Reminder: Dobet Gnahoré à BVI, Jamaïque et DA, October 21, 23, 29 (update 3)

First published, October 14, 2011

The Ivorian performer, Dobet Gnahoré, opened the music season of the Scène nationale de Basse-Terre, Saturday, October 15, at l’Artchipel, boulevard Félix-Eboué, Basse-Terre, Guadeloupe.

But  the previous night, Friday, October 14, Gnahoré was at CMAC in Martinique under the marquee, Dobet Gnahoré – The Tree of life – L’Iceberg.

DOBET GNAHORE, Haiti

Gnahoré’s Caribbean tour has since taken her to Haiti where, on October 19, she performed her new album ‘Djekpa la you’ courtesy of the Institut Français d’Haïti. 

This weekend, Gnahoré makes too stops, one on Tortola in the British Virgin Islands, the second in Jamaica.  Then, she turns right back around and points her finger on the map of the Caribbean.  Her finger tips will land on the Nature Isle, the Commonwealth of Dominica. There, she takes part in the 13th World Creole Music Festival 2011, performing on Night two.

Back to the BVI, Gnahoré has the distinction of opening the 17th edition of the Performing Arts Series of the H.L. Stoutt Community College on Friday, October 21 at the newly renamed Eileene L. Parsons Auditorium, formerly the HLSCC Auditorium.

Jamaica will be introduced to the music of Dobet Gnahoré at the Philip Sherlock Centre, University of the West Indies, Mona, on Sunday, October 23. This as the Alliance Française de la Jamaïque promotes intercultural ties between Jamaica and France.  Gnahoré’s appearance is their contribution to JA’s Heritage Week celebration, the theme of which is ‘International Year for People of African Descent‘.

Alliance Française’s Amandine Poret captured the reasoning behind the choice of artist for Heritage Week in Jamaica in a conversation with the Jamaica Gleaner.  She told the Gleaner that her “…expectation is for the Jamaican public to discover a great, young…and brilliant artiste for the closure of Heritage Week, and share with the intercultural dialogue between France, Jamaica and Ivory Coast. It’s really a discovery for Jamaica because they don’t really know the artiste yet...”

Dobet Gnahoré’s talent was rewarded with a Grammy in February 2010 in the Urban/Alternative category for Pearls, a duet with India.Arie.

She sings in a range of African languages, including Bété, Fon, Baoule, Lingala, Malinke, Mina or Bambara, just a few of the twenty or so African dialects she has mastered.  Gnahoré inherited the bété style from her father, Boni Gnahoré, a master percussionist of Côte d’Ivoire.

Educated very early at the Pan-African Centre for training in the arts and entertainment, the Ivorian artist is a true live performer who sings, dances and plays percussion. Her voice, lyrics and musical sensibilities are equally original attributes. Gnahoré explores her continent with unique vocals, informed by its diversity; and surrounded by her musicians, captivates audiences from east to west and from north to south.

Dobet Gnahoré continues to promote her blend of music, which is now recognized and highly rated in show biz today.

– Dobet Gnahoré, H. Lavity Stoutt Community College’s Performing Arts Series at the Eileene L. Parsons Auditorium, Tortola, British Virgin Islands on Friday, October 21 at 8:00 p.m.

– Dobet Gnahoré, Philip Sherlock Centre, University of the West Indies, Mona, Jamaica on Sunday, October 23 at 06:00 p.m.

– Dobet Gnahoré, Windsor Park Stadium, Roseau, Commonwealth of Dominica on Saturday, October 29.

Dobet Gnahoré has now left the Caribbean for the United States.  First off, she takes her “multi-faceted approach to music and performance,” as legionarts.org puts it, to Cedar Rapids, Iowa, November 09, 2011.

Adapted from these sources: guadeloupe.franceantilles.fr ¹, ²

Jazz ‘n’ Creole, Dominica style

DOMINICA

The Jazz scene in Dominica is picking up again after being in the doldrums for years. Over the past twenty years, measured attempts were made to return the genre to the live stage with the occasional tour and a most valiant move at a Jazz club, which held on for a bit. Through it all, a small core of do-or-die musicians with a penchant for the art form, kept the faith against the odds and with little recompense.

Inspired by the World Creole Music Festival, a pre-festival event has received generous sponsorship from a major business house in Dominica to the benefit of the music industry in general and of course the fledgling Jazz fraternity on the island.

Then in the past couple of years, a number of indoor and open-air events took place in the Dominica capital, Roseau and at the Cabrits National Park situated to the northern-western end of the town of Portsmouth. Speaking of the Cabrits, the site of an old English garrison called Fort Shirley overlooking the magnificent Portsmouth harbour, it was host to Creole ‘n’ All That Jazz, featuring Trio Laviso out of the French isles, in May 2010.

Creole ‘n’ All That Jazz, a name borrowed by the producers, Discover Dominica Authority, was renamed Jazz ‘n’ Creole for the second edition on June 12, 2011. 

Barbara Cadet at Jazz 'n' Creole 2011, Dominica (Credit: Celia Sorhaindo)

This time around, Dominica welcomed the legendary Martinique pianist Ronald Tulle along with double bassist Alex Bernard who backed up Dominica’s own Michele Henderson, St. Lucian saxophonist Barbara Cadet and Alfredo de la Fe from the United States. Opening for them were a pair of Dominican Jazz outfits, Pan and Sam and Shades of Green.

Michele Henderson at Jazz 'n' Creole 2011, Dominica (Credit: Celia Sorhaindo

Source: Caribbean Festivals

Karlos Rotsen Quartet in concert at Baiser Salé, Paris, France, May 24

MARTINIQUE

Maroon Kartet presents the Karlos Rotsen Quartet in concert at Baiser Salé, Paris, France, on May 24, 2011, 04:30 pm Eastern (09:30 pm Paris Time).  The Quartet’s performance is part of Caribéennes de Mai, which also features Sakésho, Mario Canonge with Ralph Thamar as his special guest, Tricia Evy, Sonny Troupé and Thierry Fanfant.

Imbued with Caribbean rhythms, embellished with a diverse blend of influences from soul to funk, Rotsen will bring to Baiser Salé this rich personal experience “live” in a unique and unparalleled musical offering.

Karlos Rotsen’s Jazz stylings, though rooted in the rich musical heritage of the Antilles, are nevertheless borne of the kinds of liberal experimentations that have made him a “Jazz Marron.”

It is with a certain impertinence that he teases out elements of the traditional music of Martinique (Bèlè, biguine etc.) and fuses them with other musics from the Caribbean – Cuba, Haiti and so on – as well as soul, gospel and funk.

Baiser Salé is on Rue des Lombards 75001, Paris, France.  Soyez tous au rendez-vous! 

The Karlos Rotsen Quartet is Rotsen (piano), Arnaud Dolmen (drums), Irving Acao ( sax) and Damian Cortès Nueva (bass).

Source: Festival Les Caribéennes de Mai – KARLOS ROTSEN QUARTET

Additional ReSources: Karlos Rotsen Quartet on MySpace

Woodshed ‘JazzinCaribin’ Calendar  

St. Lucia Jazz 2011 is on…updated May 07

ST. LUCIA

Now, it is on to St. Lucia Jazz…

St. Lucia Jazz is off and running again.  That sun did not, however, rise in the east; rather it came up on the fringe located to the South of St. Lucia, at Laborie and Vieux Fort.

As reported here, that was not the original plan.  Bad weather forced Jazz in the South to push back its first event on Saturday, April 30 by one day. Thus, their Sunday, May 01 show at the Coconut Bay Resort and Spa in Vieux Fort shared the starting line with Jazz on the Beach, the Beachfront of Royal by Rex, and the Fire Grill Restaurant and Lounge Bar.

An all-St. Lucian lineup led by the premier Lucian saxophonist and Caribbean Jazz icon, Luther François, rang in The Jazz at the Jazz on the Beach. Tailing off behind Francois’ conga line were the likes of Blues guitarist Robert ‘Zi’ Taylor among others – Stacy Charles & Phaze Band, 4th World, Pantime Steel Band and Teddyson John.  Luther François could be seen again at Carellie Jazz – in the park on May 02.

Over at the Fire Grill on May 01 was the Derek Yard Project together with a lapo kabwit (goat skin) drum ensemble. Jazz on the Grill is a three-day fringe event, which ends on May 03.

Boo Hinkson & Friends manned the Fire Grill on Monday, May 02; Zi & the Vibe Tribe served up the menu on Tuesday, May 03.

Boo Hinkson doubled the fun, again and again.  Firstly, he was at the J Q Charles Shopping Mall on Tuesday, May 03 during Jazz Rhythms @ Rodney Bay Mall; the Derek Walcott Square in Castries had him early afternoon Wednesday, May 04; then at sundown on that same day, the St. Lucia Golf Club received him in a collaboration with Roger Eckers.

Hinkson’s lunchtime appearance at Derek Walcott Square for Jazz on the Square on Wednesday sandwiched him between St. Lucia’s E’vion, which had as its special guest, the award-winning Barbadian singer Kellie Cadogan. Cadogan was voted Barbados’ 2010 Jazz Artiste of the Year.  This marked Cadogan’s second consecutive visit to St. Lucia Jazz, having performed with Rupert Lay and Red Clay last year.  The Derek Yard Project was the other act on the Golf Club bill, dubbed Jazz on the Green.  

Lay was himself on the Square the following day, Thursday, May 05.  That Thursday action included Trinidad and Tobago’s Elan Parle, the St. Lucia School of Music Orchestra and Alibi.  (Alibi: Teddison and Francis John, and Richard Payne)

Jazz on the Square shut up shop for another year on Friday, May 06 at which time St. Lucian guitarist Harvey Millar played in the middle of a three-band bill.   

The leader of Elan Parle, Michael Low Chew Tung aka Ming mentioned on his Facebook page Tuesday that the band would be flying in to St. Lucia on Wednesday and with them would be guitarist Clifford Charles.  By the way, Ming and Charles’ bands just played separate sets on closing night, Sunday, May 01, at Tobago Jazz Experience.

The Fire Grill stayed lit through Thursday, May 05, thanks to Alibi.  Guitarist Carl Gustave and the Cali Kats performed there on the Wednesday, May 04.  

The Black Ants Band, a faction of the St. Lucia School of Music Orchestra, did Tea Time Jazz at 03:00pm in La Place Carenage on Wednesday while Barbara Cadet’s Sisterhood held it down on Thursday.

  

The one-day only Jazz on the Pier – Pointe Seraphine Duty Free Shopping Complex – outfest is actually a three-segment marathon that started at 03:00 Friday afternoon with a Warm Up Segment of steelpan music and ended with what was presumed to be an advertisement for St. Lucia’s 2011 Carnival.  

The bachannal was tempered by a Jazz Segment from 04:00pm till 08:00pm.  All of the acts for this show – Harvey Millar, E’Vion featuring Kellie Cadogan, Rob Zi Taylor and Luther Francois – were making comebacks, having played at various locations during the first week of St. Lucia Jazz.

MAIN STAGE

For some, St. Lucia Jazz is really bracketed by the last five nights at The Gaiety Rodney Bay (two nights) and Pigeon Island National Park.  

Gaiety opened its doors on Wednesday, May 04 to Allison Marquis and Eclectic Pan Jazz, Regina Carter and Ledisi. A former member of Third Eye out of St. Lucia, Marquis has performed with Andy Narell and the Bernard Brothers of Martinique.   He has collaborated with folks like Harvey Millar and recorded with his countryman Emerson Nurse, Barbadian pianist Adrian Clarke – recently deceased – and Michael Boothman of Trinidad and Tobago.  Marquis’ last appearance at St. Lucia Jazz was in 2009.

On Thursday, May 05, Augustin “Jab” Duplessis was on tap.  Jab Duplessis was, like Marquis, a member of Third Eye.  Jab toured independently with the West Indies Jazz Band of Luther Francois and otherwise performed with the Bernard Brothers, Fourplay and Earth Wind and Fire.

Currently, he is working on a solo project that will fuse Caribbean rhythms and traditional Jazz. Jab Duplessis returned to St. Lucia Jazz after an eight-year absence.

Haiti Music Collective calls for pledge to musicians – Jazz in the South began May 01

ST. LUCIA

Originally posted on April 15, 2011; update 4 on May 02, 2011 

A number of St. Lucia-based entities have banded together to bring attention to the plight of Haitian musicians who in some cases, have lost homes, equipment, places to play, sources of income, relatives and even hope, no thanks to the January 2010 earthquake that wreaked havoc on the Caribbean island nation.

In May 2010, the St. Lucia School of Music, the Folk Research Centre, the Cultural Development Foundation, Alliance Française and the East Caribbean Collective Organization for Music Rights (ECCO) invited festival and cultural organizers from Haiti, Guadeloupe, Martinique and Trinidad and Tobago to a meeting of the Haiti Music Collective, in St. Lucia, at which time a call was made to festivals the world over to book at least one Haitian musician or group in their respective line-ups for 2011. 

The Forum was hosted by St. Lucian Jazz outfit Bluemangó and Labowi Promotions, the organizers of Jazz in the South, part of the St. Lucia Jazz franchise.

The Forum rationalised that Haitian artistes have made a tremendous contribution to Caribbean identity and civilization and so are deserving of the solidarity of Caribbean musicians as they rebuild their music scene and reconstruct their lives.

Labowi Promotions has in fact been supportive of Haitian artistes for over ten years, having had musicians from Haiti at Jazz in the South almost every year since 1997.

For this the 20th anniversary of St. Lucia Jazz, Labowi Promotions welcome the Wéspè Pou Ayiti Project (Haitian trumpeter Jean Caze, St. Lucian pianist/composer and co-founder of Bluemangó  Richard Payne, Guadeloupean drummer Sony Troupé of the Sony Troupé Quartet and member of Trio Laviso) to Coconut Bay Resort and Spa in Vieux Fort on May 01, 2011.

It was announced on Thursday, April 28 that the Wéspè Project, originally scheduled for Saturday, April 30, had to be moved to Sunday, May 01, due to portending inclement weather.  The Project was fitted into the Sunday programme with Andy Narell and Lord Relator’s University of Calypso, Jean Caze, and from Guadeloupe, Trio Laviso and Sonny Troupé, fresh from Jazz de Outre-mer in Paris during which he shared the spotlight with fellow French West Indians, Alain Jean-Marie and Tricia Evy.  There was no indication if St. Lucia’s Rupert Lay would still be part of Jazz in the South.  Lay was originally on the Saturday 30 card.

There were reports Sunday night of incessant rain and flooding in St. Lucia.  However, it appeared there were no plans to disrupt Jazz in the South any more than it already had. Therefore, the St. Lucia School of Music’s Black Antz will open for the Sonny Troupé Quartet and a Collaboration of Jazz in the South Artists at the Rudy John Beach Park, Laborie starting at 03:00 pm on Monday, May 02. 

Wéspè Pou Ayiti Project

The Forum would like to see all Caribbean festivals and events do the same for our neighbours.

(Original Source: caribbeanfestivals.net) 

Now, it is on to St. Lucia Jazz…

St. Lucia Jazz is off and running again.  That sun did not, however, rise in the east; rather it came up on the fringe located to the South of St. Lucia, at Laborie and Vieux Fort.

As reported above, that was not the original plan.  Bad weather forced Jazz in the South to push back its first event on Saturday, April 30 by one day. Thus, their Sunday, May 01 show at the Coconut Bay Resort and Spa in Vieux Fort shared the starting line with Jazz on the Beach, the Beachfront of Royal by Rex, and the Fire Grill Restaurant and Lounge Bar.

An all-St. Lucian lineup led by the premier Lucian saxophonist and Caribbean Jazz icon, Luther Francois, rang in The Jazz at the Jazz on the Beach. Tailing off behind Francois’ conga line were the likes of Blues guitarist Robert ‘Zi’ Taylor among others – Stacy Charles & Phaze Band, 4th World, Pantime Steel Band and Teddyson John.  Luther Francois could be seen again at Carellie Jazz – in the park on May 02.

Over at the Fire Grill on May 01 was the Derek Yard Project together with a lapokabwit (goat skin) drum ensemble. Jazz on the Grill is a three-day fringe event, which ends on May 03.

Move over Derek Yard, Boo Hinkson & Friends will man the Fire Grill on Monday, May 02 from 08:00pm; and Zi & the Vibe Tribe will serve the menu on Tuesday, May 03 at the same time.  Boo Hinkson doubles the fun at J Q Charles Shopping Mall on Tuesday, May 03 during Jazz Rhythms @ Rodney Bay Mall.

West Indians feature prominently at Festival Banlieues Bleues, France (updated with video)

GUADELOUPE

Originally published, March 16  2011; updated with video, April 30  2011 

Guadeloupean saxophonist Jacques Schwarz-Bart’s virtual visit to the shores of Haiti on March 11, 2011 for Jazz Racine Haiti put him at a crossroads from where he forged a new musical journey, one that began with his Contemporary Jazz explorations of the Gwo Ka drums on “Soné Ka la” and culminating with his most recent work, “Rise Above,” a product of the New York Jazz scene…and now an investigation into the roots of Voodoo Jazz.

Schwarz-Bart’s collaborators for Jazz Racine Haiti were Ewol Josué (vocals), Milan Milanović (piano), Luques Curtis (bass), Jean Bonga (percussions), Obed Calvaire (drums); and flying in from Carnival in Trinidad, Etienne Charles (trumpet).   

This show was part of the 28th edition of Festival Banlieues Bleues, Jazz en Seine-Saint-Denis at Espace 1789 2-4 Rue Alexandre Bachelet, Saint-Ouen, France 93400.

The next concert of note is on March 18 with the Christian Laviso Trio + Dédé Saint-Prix.

Laviso has, for thirty years, been plowing the deep grooves of the Ka for a completely original sound, Free Gwoka you could call it.  Laviso would say that his style was partly informed by the work songs he heard his Marie-Galante mother singing when he was a child and the Free Jazz of Ornette Coleman.

Saint-Prix, a multi-instrumentalist (flutist, singer, percussionist) and an alumnus of Malavoi and Pakatak, re-awakens his flagship band, Avan Van to once again light a flame under the indigenous ‘Bwa-Chouval,’ rhythms of Martinique.

(Sources: le bananier bleu, Banlieues Bleues)

Other Resources: Etienne Charles: Jazzy and Original

Four French-Caribbean Jazz artistes could not be wrong

In case you did not notice, three French-Caribbean Jazz artists – Martinique’s Gilles Rosine (piano) and Chyco Simeon (bass) and Haitian-born saxophonist Jowee Omicil – played Kreol Jazz at New Morning, France on March 12, 2011.  A fourth, Guadeloupean Tricia Evy, was back and forth between the Caribbean and France in March – at Moule, Gwada, March 15 and Le Baiser Sale, France, March 29.

Rosine went to the heart of Afro-Caribbean Jazz, combining modern and Cuban Jazz with the inexhaustible riches of traditional music from Martinique.  This is no better demonstrated than on Rosine’s 2010 CD “Madin’ Extension.”

Simeon did much the same, mixing popular urban sounds with the traditional on the New Morning stage as he has done on his third record, “Ozanam.”

Haitian-born saxophonist Omicil was reported as a most welcome surprise, igniting New Morning from his very first notes, buoyed by his personable character and good humour.  

The inspiring music of this showman, whose groove on stage is a fusion of gospel, negro spirituals, electronica, Jazz and so-called island music, as it is on his latest album “Roots and Grooves,” earned Omicil a standing ovation.  (qualified Source: akcentuatethepositive.over-blog.com)

 

Tricia Evy is a French-Caribbean singer, based in France, who draws her musical influences from Ella Fitzgerald, Louis Armstrong, Mel Torme and Nat King Cole.  However, she does not stop short at Classic Jazz in defining her personality and sound.  

Evy combines elements of Swing with the Beguine and the Bossa Nova to nurture the themes and melodies that are at the heart of her being.  On February 04, 2011, Tricia Evy, Jean-Phillip Bordier (guitar) and Xavier Richardeau (sax) served up that soup at Sunset, Paris, France at a concert not to have been missed. (Source: le bananier bleu)

Evy came home to the Caribbean March 15, 2011 for a performance at Salle Robert Loyson in Moule, Guadeloupe. (Source: lbb)

She was back in Paris, France on March 29 where she gave two concerts at Le Baiser Salé on 58 Rue des Lombards. Concert number one was with French Caribbean pianist Mario Canonge, Thierry Fanfant and Arnaud Dolmen. The second concert featured David Frackeure, Jean Philippe Fanfant and Stefan Filey. (Source: Tricia Evy)

The quartet, including Frakeure, Jean Philippe and Tierry Fanfant was at Baiser Sale on May 17 for Festival Baiser Salé Caribbeennes de Mai.  And that is only the Beginning. Oh, Beginning is the title of Evy’s latest offering on CD.

La talentueuse Tricia EVY (accompagnée de Xavier RICHARDEAU et de Jean-Philippe BORDIER) lors du concert “Jazz and Biguine”, Tricia EVY trio et les Copains d’Accord. 3h de concert live au restaurant Hemingway à Deshaies le Samedi 19 Mars 2011.

Tricia Evy était en tournée en Guadeloupe en Mars dernier.  Extrait.  Live @ Hemingway.

(Source : dailymotion.com)

  

WELCOME to the Woodshed, Glawdys N’Dee (updated with photo gallery)

GUADELOUPE

Join me in welcoming Guadeloupe’s (and Atlanta’s) Glawdys N’Dee to the realm of Caribbean-Jazz, the all-encompassing title we apply to the diverse fusions of Classical Jazz with the indigenous rhythms of the Caribbean. Sometimes though, this phrase falls short of the broad influences an artiste might draw on.  In N’Dee’s case, her approach is one of blending elements of Jazz, Blues, Gwoka, Classical, soul and gospel with the view to developing “new cross-cultural visions,” as she would put it.

With her 2009 album “Lyannaj” (creole for Win over, unite in solidarity, to connect), N’Dee seeks to convert those elements to real life, making her music and message of self-awareness, self-esteem, tolerance and personal growth, a place where everyone can feel at home.  I take this to mean that N’Dee’s so-called “cross-cultural vision” is the Unity and Diversity of Life she craves.

That mission has transcended N’Dee’s recorded work to her performing live for A Safe Haven’s Homeless Veteran’s Initiative on November 11, 2010.  That benefit show, “The Red, White and Blues: Giving Thanks to Those Who Serve” is the embodiment of that spirit whereby an artiste’s music-making is not an end in itself. Glawdys N’Dee was joined by Miles Davis’ former Musical Director, Robert Irving III, Frank Russell, Fred Jackson, Herb Walker and Evans Atta-Fynn.

Jackson (sax) and Walker (guitar) are being joined by Calvin Koco Brunson (piano), Kenn Smith (bass) and Isaiah Asuoha (drums) for a Free Holiday Concert N’Dee is giving at the Wrigleyville Spectacular Wild Hare, Chicago, Illinois on Thursday, December 16.

Glawdys is doing this for her fans and to celebrate with them her greatest achievement yet, that of her debut album, Lyannaj, receiving a pre-nomination for the 2011 Grammy Awards.

Glawdys n'Dee at The Hare (photos courtesy Farrad Ali)

While she did not get the nod, she should feel immensely proud that the industry has taken notice of her where so many others  have fallen under the radar, talented or not.

Woodshed Poll for ‘Jazz Capital of the Caribbean’ closes midnight, July 01

‘View results’ of voting.  And keep voting.

Top reason why you should vote.

1. The country voted the Jazz capital of the Caribbean will have its flag and images of its top Jazz artistes placed on the banner instead of what is there now.

CD review of Luther François’ “Castries Underground”

Castries Underground: Caribbean jazz at its best

By John Stevenson

NB.: The bolded words are exclusively those of the Collective’s editor

Luther François' "Castries Underground" CD poster

Caribbean jazz fans have been patient. Very patient.

Despite notable work with the West Indies Jazz Band, and his collaborations with Guadeloupean and Martiniquan musicians – including his involvement with Fal Frett – the region’s very own ‘saxophone colossus’ has taken nearly 20 years (since the ground breaking “Morne Dudon”) to deliver the goods with a solo effort.

With “Castries Underground”, however, Luther François has offered up a highly compelling and satisfying platter.

Recorded in the Helen of the West Indies (St. Lucia) on the imprint of his brand new company, LRF Soundworks, the premier St. Lucian instrumentalist shares tenor saxophone duties with American music academic Dr. William E. Smith, and is aided and abetted by Vincentian keyboardist Frankie McIntosh, Trinidadian drummer Sean Thomas, Guadeloupean percussionist Charly Chomereau–Lamotte, and American acoustic bassist Corcoran Holt.

Together, they carry us on a tour d’horizon of rich jazz improvisation, refracted through the prism of uniquely West Indian rhythms. Commentary on some of the compositions on this CD can be found below.

From the gently loping biguine gait of the short opening piece, (simply entitled “Opening”) to the Afro-Latin strains of “Charly’s Groove”, and on to the dramatic tension-and-release/call-and-response aspects of the CD’s title track, there is little doubt that François has produced something of a masterpiece.

“When I Think of You”, is dedicated to the memory of the late Barbadian jazz pianist Adrian Clarke. It is a slow-to-medium Latin waltz on which François‘s tenor phrases tumble out rhapsodically, like a Derek Walcott poem, punctuated by Frankie’s block chords and Charly’s dependable congas. W.E.S. Smith’s instrumental presence on accompanying tenor saxophone is assuring as it is heartfelt.

This reviewer is normally wary of the cacophonous muddiness to be found in some small-group line-ups featuring two saxophones. On this occasion, however, the Smith-François pairing can only be described as inspired. Indeed, they tower over the proceedings like the twin Pitons, bringing a wealth of harmonic and technical acumen to a rather unique live session.

Luther sheds some light on the recording in the liner notes:

“This live recording is the first in a line of audiovisual products to be released by the  company, and it captures the undaunted spirit of adventure and creativity which lies at the heart of this project. I want above all to acknowledge the understanding and cooperation of the musicians as well as their wonderful skills. Some notes on Frankie’s keyboard were not working and the bass provided for Corcoran was not that easy to get around. In addition, the music was being discovered and explored during the session. The conditions of recording were difficult to say the least and yet in spite of all this the spirit of collaboration was excellent. We completed the recording in two days with an appreciative and enthusiastic live public invited on the second night on a couple of selections. Marc Escavis, the sound engineer, did a great job from start to finish. The result is what I would describe as an outpouring of soulful interplay between consenting musicians.”

Luther François at launch of his new CD 'Castries Underground'

Indeed, Frankie’s piano work on this CD is always imaginative. What’s more, it’s never ostentatious. His natural affinities for the calypso, biguine and Afro-Latin rhythms have been honed through several decades as the Caribbean region’s premier Soca/Kaiso arranger. It is evident for all to hear.

The very captivating up-tempo, calypso-inflected waltz, “Little Trane” features Luther’s spirited flute playing. The tune was written for Luther’s son and features a touching Dave Brubeck-like solo from McIntosh, and an even more probing pizzicato bass spot from Corcoran Holt.

“Yes We Can” is a raging swing number that makes you want to shake your shoes off and head for the dance floor. The two tenors go head to head egged on by Sean Thomas’s mellifluous cymbal rides and Charly’s piquant percussion. We are also left in no doubt as to the person Luther François wishes to reside in Washington DC’s Pennsylvania Avenue.

“Helen” is a classic calypso-jazz vehicle of the kind popularised by jazz pianist-composer Clive Zanda. The piece carries a terrific swagger that conjures up memories of ‘chipping’ in Port of Spain on J’ouvert Morning during the Trinidad carnival.

“My Heart’s Desire” is perhaps the most post-bop influenced piece on the CD. Luther echoes John Coltrane’s “Cousin Mary.” There’s also a skillful drum solo spot from Sean Thomas.

The title track, the CD’s piece de resistance, weighs in at nearly fifteen minutes long and contains some of the most beguiling and creative musicianship to be found on any Caribbean jazz recording. Conjuring up memories of Miles Davis, the tune draws loosely on the chord structure of Eddie Harris’s Freedom Jazz Dance. The call-and-response/tension-and-release aspects of the way the composition unfolds gives it a highly dramatic quality. Luther’s muscular soloing on this boundary-pushing tune (neither “in” nor “out”) confirms him as arguably one of the world’s important tenor saxophone titans. The solos offered up by both Frankie McIntosh and Corcoran Holt on this tune are similarly outstanding.

Castries Underground is a greatly-appreciated addition to the ongoing exploration of Caribbean musical culture as expressed through the jazz aesthetic. Through this work, Luther François has successfully instilled pride in all of us.

Luther! Luther! Luther!

(Track listing for Castries Underground: Opening; When I Think of You; Charly’s Groove; Little Trane; Yes We Can; Interlude; Eric’s Theme; Helen; My Heart’s Desire; Castries Underground; Ending)

John Stevenson is a London-based Bajan free-lance writer and broadcaster.

Previous Post: New Luther François CD set for release

New Luther François CD set for release (updated)

St.  Lucia

Update 2 on August 28, 2008

St. Lucia’s illustrious saxophonist Luther François re-emerges with this brand new CD ‘Castries Underground.‘  Unfortunately, it is only on pre-release at this time.  The Collective has now established, first-hand, that the official release of this CD took place on August 15 in St. Lucia.  As to the questions of how the fans will be able to lay hands on the CD and if a promotional tour is on the cards still remain unanswered.

What is clear right now though is that Luther assembled a band of musicians from diverse backgrounds for this project.  There is St. Vincent’s premier keyboardist Frankie McIntosh; Guadeloupe’s Charly Chomereau-Lamotte, a percussionist who has worked with Luther in the past; one of Trinidad’s foremost drummers, Sean Thomas; and Dr. Will Smith (tenor), best known to us in the region as a Jazz music educator who has for years been assisting Tranquility Jazz with the development of Anguilla’s home-grown musicians under the banner of the WES Group.