Barbadian sax lion, Arturo Tappin, has been invited back to Dominica, no doubt because of the hit charity show he put on there two years ago and the resounding reputation he has garnered over several decades.
Tappin will once again give of his time this Saturday, August 18 in support of Children’s Heart Fund of the Commonwealth of Dominica. Also travelling to Dominica for the event is St. Lucian guitarist Ronald “Boo” Hinkson who will make an appearance as a guest artist at the show.
The CHF-organised fundraiser, captioned All That Jazz is also slated to pool the collective talent of the most prominent Jazz tribes in Dominica at the bedrock Old Mill Cultural Center, situated at the southern entrance of Canefield, three miles north-west of the capital Roseau. These are saxophonist Quanti Bomani & Friends (Quanti seemed to have gotten stuck in the Nature Isle); Armstrong James & Jazzwalk Quartette, once the leader’s house band at the now defunct Jazz Walk club and the young upstarts, Breve, a promising group buoyed by the Finnish saxophonist, Yussi Paavola, now resident in Dominica to learn to play the indigenous music of the island.
ALL THAT JAZZ with Arturo Tappin with special guest Boo Hinkson, Quanti & Friends, Breve, Armstrong James & Jazzwalk Quartette +
Old Mill Cultural Centre DOMINICA
8.00pm, Saturday 18th August 2012
Tickets $50 and VIP $100 are available at…
Fadelle’s on Kennedy Avenue, Dr. Rhonda McIntyre’s office at Harlsbro , Kai K Boutique and Heart fund directors
While London was gearing up for the grand opening ceremony of the 30th Olympiad,Hull Jazz Festival was awaiting Jazz Jamaica and their special Jamaican guest, Myrna Hague, on Saturday, July 28, 2012. Hague, wife of the late Sonny Bradshaw, prominent JA trumpeter and band-leader, joined a strong line-up that included Bobby Watson, Pee Wee Ellis and Bruce Barth for the 30th summer of Jazz in Hull as curated by promoter J-Night. Hull Jazz Fest is a nine-day event, which takes place at multiple venues such as the award-winning Pave pub.
Hague’s guest appearance with Jazz Jamaica paired the legendary Jazz singer with a band that emerged out of bassist Gary Crosby’s concept, to create a quintessential fusion of traditional Jamaican folk music (mento, ska and Reggae) with Classic and Modern Jazz standards. The result is that unique blend called “Skazz.”
Led by original Jazz Warrior Crosby himself, Jazz Jamaica is Denys Baptiste (tenor sax), Soweto Kinch (alto sax), Abram Wilson (trumpet/vocals), Harry Brown (trombone); the rocking rhythm section of Gary Crosby (double bass), Alex Wilson (piano/keys), Robin Banerjee (guitar), Oreste Noda (percussion), Rod Youngs (drums); and features the powerful, soulful vocals of Juliet Roberts, and rising star vocalists Zara Macfarlane and Wesley Lucas.
Another one of those busy times for paternal Jazz fans all over is Fathers’ Day. The Woodshed abounds with listings planned for that day, June 17. However, the Father’s Day concert of the Jamaica Ocho Rios Jazz Festival and Abstract Entertainment’s 2012 production of PanJazz, “Music – The Original Social Media,” stood out from the heap.
As a prelude to the Jamaica Ocho Rios Jazz Fest’s Father’s Day concert, a Dinner Jazz session was held at Glenn’s Jazz Club, Tower Isle, St. Ann in addition to the Sonny Bradshaw School Band Competition and Jazz Treasures at the Two Seasons Guest House, Treasure Beach, St. Elizabeth on the Saturday. Then on Sunday, June 16, Jamaican fathers celebrated the Closing Father’s Day concert in the Turtle River Pk., Ocho Rios.
This weekend, on Saturday, June 16, the eighth annual presentation of Abstract Entertainment’s Pan Jazz 2012′s production of Music – The Original Social Media took place at Frederick P. Rose Hall at Jazz at Lincoln Center, 60th & Broadway, New York City.
For this show, vocalists Alison Hinds of Barbados and Thandiswa Mazwai were backed up by an All-Star band led by Trinidadian trumpeter Etienne Charles, whose participation in PanJazz was his seventh overall and his fourth as musical director. Notable band mates were Jacques Schwarz-Bart playing saxophone, Leon Foster Thomas and Victor Provost of St. John, USVI playing steelpans.
Returning, after an exciting collaboration last year, was the legendary South African trumpeter Hugh Masekela, St. Lucia’s famed guitarist Ronald “Boo” Hinskon and Suriname’s Etienne Stadwick. Appearing for the first time with PanJazz was the multi-faceted Martiniquan percussionist Mino Cinelo.
This year’s production was dedicated to Ralph MacDonald, Grammy award-winning percussionist, songwriter and producer.
Trinidad and Tobago had its Saturday night action too, mind you. Saxophonist Jesse Ryan fronted a band of Theron Shaw (guitar), David Richards (drums) and Rodney Alexander (bass) at the Fiesta Plaza, Movietowne.
The ever-present Blackberry Bro, Nigel Campbell, lamented that Jesse’s original compositions like “Algun Dia” although fleshed out with “dissonance, swing, improvisation, rhythm and time changes, alternative chording,” had little impact because local audiences, save for a selected core of a few dozen fans, are not comfortable with new music and do not reflect that accepting energy to the artist.
Also on Saturday, June 16, Trombonist Reginald Cyntje of St. Thomas, USVI helped promote an appreciation for African-American history and culture at the fifth annual Juneteenth celebration at Watkins Regional Park in Maryland.
Juneteenth commemorates the abolition of slavery in the US.
On the lighter side, Smooth Jazz saxophonist Eric Darius, whose heritage is traceable to Haiti and Jamaica (the birthplace of his father and mother), flamed the Red Cat in Houston, Texas while Shirley Crabbe, a descendant of the British Virgin Islands did her thing at Old 76 House in Tappan, NY.
Ocean Club Jazz: Ocean Club, Rodney Bay: Carl Gustave Band (St. Lucia)
We now invite you to view the JazzinCaribin Calendar below for details on this and other Caribbean-Jazz events taking place in the region and further afield. Also, go to the right Sidebars here at the Woodshed to link to Facebook for yet more listings.
Original post, February 08, 2012
Update 2, May 02, 2012
On Thursday, January 26 2012, the twentieth edition of St. Lucia Jazz was launched live on radio and television – for the first time. Stakeholders of the festival gathered ‘in-studio’ at the Sandals Grande St. Lucian Spa and Beach Resort on the Pigeon Island Causeway to await the much-anticipated announcement of the line up for the purportedly pared down event.
As background, St. Lucia Jazz actually started in 1991 as theSt. Lucia Jazz Festival, as it was called then. It was – and still is – a marketing ploy to boost tourism in the off-season.
In the ensuing 20 years of its existence, St. Lucia Jazz has become a world-class event that has featured the biggest and heaviest names in Jazz, Cadence, zouk, reggae, pop, R&B and everything in between. Name them and they have been to (Anita Baker, Boys II Men, Kenny G, Rihanna, Santana) and performed at (Boo Hinkson, Luther Francois, Shane Ross, Teddyson John) St. Lucia Jazz.
Speaking at the launch, St. Lucia’s Director of Tourism, Louis Lewis stated that the country has “…every reason to be proud… It has not been an easy road. We have many challenges.”
Referring to the idea of carrying the launch live, the Director of Tourism rationalised that the goal was to “…reach out to people who cannot participate in the Jazz Festival.”
As for the festival, Director Lewis revealed that St. Lucia Jazz has now opted for a wider embrace of the so-called fringe events – he prefers to call them “community events” – by bringing together the ancillary community organisations that have produced those ‘outfests’ at venues in Castries, the East, South and elsewhere on the island under one banner, one festival, St. Lucia Jazz.
This fresh approach comes with some well-needed changes to the format, the point being that St. Lucia Jazz is no longer living up to the original objectives. To address this issue, a different track is proposed, one that focusses on a tighter festival. The result is a reduction in the number of acts to address the problem of the increasing length of the festival days. With shows ending as late as 10:00 pm at the Main Stage on Pigeon Island for instance, it is felt that the character of the national park has been so stultified as to eliminate the lure of a picnic and the child and elderly-friendly atmosphere it fosters.
Regarding the so-called Community Events like Jazz on the Square, it was noted that they have steadily outlived their usefulness. Singling out the Derek Walcott Square (Jazz on the Square), complaints abound that it is hot, parking is limited and the businesses in the area have not embraced it. Apparently, the surrounding business houses are harping on the noise and the perceived disruptions to their mercantile activities. So…the action has been moved to Pointe Seraphine just outside central Castries.
The St. Lucia Jazz producers claim to recognise that the Jazz Festival is not living up to the original objectives, hence the formation of a core group of people who were tasked with the responsibility of doing some brainstorming. They have concluded that the Jazz Festival is not living up to the original objectives and that the focus should be on tightening it up. Therefore, the decision was made to reduce the number of acts in part because the increasing length of the festival days has stultified the event.
As an added incentive for patrons interested in attending the weekend of concerts at Pigeon Island National Park and to cater to the high demand for an “up scale” VIP corporate experience that gives patrons a premium view of the stage, a Gold Pass is being reintroduced.
Looking further forward into the future, St. Lucia Jazz believes some bold steps need to be taken if for no other reason but to reinvigorate the festival and transit this marquee event to something that is more truly St. Lucian.
The expectation is that they will continue to enjoy the logistical support of the sponsors, particularly Platinum Sponsor, Digicel, which has just renewed its association with St. Lucia Jazz for a second three-year term. Digicel’s Country Manager for the Eastern Caribbean, Geraldine Pitt, told the launch party that Digicel is “excited to put on a show as never before” this year, stressing that their sponsorship is gratitude for the support of the St. Lucian people to the company. That relationship, she noted, strengthens the company’s resolve “to provide an avenue to market the event throughout the Caribbean… This is the commitment of Digicel!”
The launch was impressively choreographed and MC’d in spirited fashion. However, if I am afforded one pet peeve, it would have to be the appearance of Mervin Wilkinson and 1090 who was a waste of time, playing pop and reggae at the launch of a Jazz Festival. The chatterboxes on Scruffy TV agree.
April 28: Coconut Bay Resort & Spa: Sisterhood (Barbara Cadet), Loula Trio featuring Ricardo Francois |April 29: Black Antz Jazz Combo, Rupert Lay Quartet, Etienne Charles
Tuesday May 01: Rudy John Beach Park – Cameron Pierre (Dominica/UK) featuring Fred Nicholas (Dominica) Ricardo Francois, Emerson Nurse (both St. Lucia); Miki Telephe (Martinique); Alibi (St. Lucia) featuring Richard Payne, Teddyson John and Francis John; Loula Trio featuring Ricardo Francois; Laborie Steel Pan Project (St. Lucia)
Thursday, May 03: Saint Lucia School of Music, Castries, 4pm – 7pm – Master class with Cameron Pierre, UK-based Dominican guitarist, a stalwart of the British jazz scene since the 1980s, who recently released his fourth CD, ‘Radio Jumbo’.
Friday, May 04: Independence Square, Vieux Fort – Mushy Widmaier (Haiti); Alchimik’s (Guadeloupe) Cancelled; Sisterhood (St. Lucia)
Sunday, May 06: Coconut Bay Resort & Spa, Gil Tony’k (Martinique) featuring Tony Chasseur and Gilles Voyer; Sakésho with Andy Narell (US), Mario Canonge (Martinique), Michel Alibo (Guadeloupe) and Gregory Louis; Rupert Lay Qtet (St. Lucia); Black Antz Jazz Combo (St. Lucia)
Wednesday, May 09: Gaiety on Rodney Bay – Ronald “Boo” Hinkson
Thursday, May 10: Gaiety – Luther Francois followed by Mario Canonge
Friday, May 11: Main Stage, Pigeon Island National Landmark – Derek Yarde Project ‘DYP” – En Kweyol
Saturday, May 12: Pigeon Island National Landmark – Alison Marquis Nonet featuring Andy Narell
Sunday, May 13: all-star cast of Richard Payne (St. Lucia), Joel Widmaier and Jean Caze (Haiti), Sonny Troupe (Guadeloupe) and of the The Wespe Pour Ayiti Project; Hugh Masekela
Jazz on the Grill: (Fire Grill and Lounge Bar, Rodney Bay, May 07-09, May 11, May 14)
Monday, May 07: St. Lucia School of Music
Tuesday, May 08: Rob Zii & The Vibe Tribe
Wednesday, May 09: Carl Gustave & BMF Band
Friday, May 11: Luther Francois, Emerson Nurse Band
Monday, May 14: The Encore (Jam Session)
JAZZY RHYTHMZ: (JQ Rodney Bay Mall, May 07-11, May 14)
“I love Jazz music and its tradition for it offers me the unique opportunity of self-expression unmatched by any other art form,” says the Dominica-reared Pierre, who had only one day of rehearsal with the musicians prior to recording the live album. Radio Jumbo consists of ten tracks, two of which see vocal contributions, one each by Dominicans Michele Henderson and Dave Joseph.
Henderson, hugely popular in the French West Indies, masterfully covers Stevie Wonder’s “Another Star,” while Joseph gives a stirring narration on the track “Traditional.” Pierre debuts his banjo playing skills on “Traditional” as well as the title track “Radio Jumbo.” A staple of the Jing Ping bands he listened to as a child; Pierre says he always dreamt of incorporating the traditional African instrument into his music.
Recorded in just one day at London’s Holodeck Studios, and featuring renowned French pianist Mario Canonge, Cameron Pierre’s Radio Jumbo is a mix of French Antillean rhythms and influences fused against a backdrop of jazz interpretation.
The album was named after a radio station from his teenage days in Dominica called Radio Jumbo and reflects the Creole heritage of both Pierre and Canonge (who hails from Martinique). Sharing a love for sounds such as zouk, cadence, kompa, and beguine and influenced by bands such as Tabou Combo, Magnum Band, Malavoi (of which Canonge was a member) Grammacks, Exile One and others, working together was easy. Pierre, who first saw Canonge perform at a party in Paris in 1994, found his way to the Canonge’s band’s rehearsal the following day. It took 16 years, though, for the two to actually get together to record any music.
During the recording of Radio Jumbo, Canonge was instrumental in getting Pierre’s ideas across to the musicians (including a string quartet) who were not familiar with some of the French-influenced rhythms. Still, they all shared a Caribbean sensibility: drummer Wesley Joseph is of St. Lucian descent, and the bass player Michael Bailey and percussionist Donald Gamble have a common Jamaican heritage.
Pierre is hopeful that a European and Caribbean tour with Canonge can take place this year. In the meantime he plays the UK jazz circuit with his own Cameron Pierre Band, and tours with Courtney Pine, who produced the album with him.
Composer, producer, arranger, teacher, Cameron Pierre is a respected staple on the UK Jazz scene. Pierre taught himself to play the guitar at age sixteen and began his musical career in the reggae genre playing for artists such as Barrington Levy, Al Campbell, Dennis Brown and Wayne Marshall. He found his niche with jazz and cites George Benson, Charlie Christian, Wes Montgomery, Miles Davis and Charlie Parker as some of his greatest influences.
His music unabashedly reflects his rich Caribbean heritage.
To date he has released six albums: Friday Night (1997), Return To The Source (1999), The Other Side of Notting Hill (2002), Devotion (2003), Pad Up (2007) and now Radio Jumbo featuring Mario Canonge (2011).
Pierre has also worked with Pee Wee Ellis, Orphy Robinson, Alex Wilson, Jazz Jamaica, Dennis Rollins, Omar Puente, Junior Walker, Joe Cocker, and numerous others in the jazz genre.
In 1994 he formed ‘Creole’, a multi-cultural mélange of musicians from Africa, Haiti, Cuba and the Caribbean, enjoying wide critical acclaim for their performances at the Glastonbury and Womad Festivals. He is the first artist signed to saxophonist Courtney Pine’s Destin-E label and has toured Europe and the Caribbean with Pine. Pierre’s own The Cameron Pierre Band has performed at the London Jazz Festival, North Sea Jazz Festival in Holland, Brecon Jazz Festival in Wales.
AGSelectPR is a boutique public relations firm specializing in the Entertainment Industry. The company aims to create and execute successful communications campaigns for its clients. Central to the company is the goal of relationship building with clients; as well as media sources, that disseminate AGSPR’s releases; and the general public, to whom we are introducing our clientele. The company is based in Jamaica and is a division of On Target Communications Group.
I overheard myself say emphatically, “That was great” after the very first listen to Barbara Bully-Thomas’ new CD release, Creole, Christmas and Jazz. Perched on my favourite couch several hundred feet above the Caribbean Sea, I thought I was on vacation in paradise somewhere…I thought it was “National Day” there…I thought, no, it must be Christmas time.
As I came around and the ambient sounds of the real world began coursing again through my unconscious mind – by then the CD had come to a stop in the carousel – I welcomed the sensation that I might have been to this wonderful place at those celebratory times of the year.
I could have been in a dream state or in a trance. Whatever it was, I seemed to recall hearing a folk ditty, “Selebwe Nwel,” inviting me to give thanks for everything because Christmas is nigh and the year is coming to a close. I distinctly heard the call to clean house, do the mandatory painting, then gather around to serve up the kindness, love and prayers along with the seasonal feasts.
There was also that sense of longing for a “Christmas Kiss” from you. It’s just one of those things, I guess, that the season is embodied by anticipation and hope, that you will return home for the holidays in a spirit of forgiveness. Carried on a lilting samba, prosecuted by Fred Nicholas’ bubbling bass lines and Rob “Zi” Taylor‘s emotionally charged soprano waves, “Christmas Kiss” exudes the pure joy of knowing that we can leave the past behind and write a new page into life.
Still not fully recovered from the trance, a story emerged of a reunion of the lovers taking a walk, hand in hand, on the Caribbean sand, resolving their issues. “Maybe ‘Cause It’s Christmas” was the song that kept being replayed in my head. Of course it was. I do recall Barbara swinging and scatting with the big band and St. Lucia’s Ronald “Boo” Hinkson taking the time off from the arranger’s chair to sing a couple of choruses on the guitar.
Love lost…love found, it was time to rejoice. “Gloria”– no more sullenness. This thirty-odd year old Alwin Bully composition in the hands of producer Cornell Phillip is smelted into Bouyon gold.
Originally done in the playwrights’ “Folk Nativity” easter musical (1977), Barbara’s arrangement of “Gloria,” as well as “Come to Dominica” and “Dou Dou Mwen” are reminders to some of the Bouyon practitioners of how the Jing ping sensibilities that inform the Bouyon is still relevant in spite of the harshness they have imposed on the style.
And what better place to celebrate Creole, Christmas and Jazz with Maxine, Tasha P and BARBARA BULLY-THOMAS than in Dominica. So go to Dominica. No, “Come to Dominica” “Dou Dou Mwen,”…the most beautiful island in the world.
Come and see what we have here Come to Dominica Come we’ll welcome you Come to Dominica Come and hear what we say here Come to Dominica Come and see what we do And you can do…you can do almost anything You can come for Creole Festival You can come to spend Christmas and all You can come to jump up for Carnival Just come to Dominica
Creole, Christmas and Jazz is, to this scribe, a portrayal of Barbara Bully-Thomas, the singer/songwriter. She sings and does it remarkably well on “Maybe ‘Cause It’s Christmas”. But apparently, she is comfortable letting Dominica’s Maxine Alleyne-Esprit and Tasha P (reigning Calypso Monarch of Dominica) vocalize her songs and Cornell Phillip and Boo Hinkson produce them for her. Honourable mention goes to the Sixth Form Sisserou Singers of Dominica who provided the chorus on “Selebwe Nwel.”
The other striking feature of this piece of work is its accessibility. Additionally, it is a document to be sustained beyond the first listen or radio play. There are tracks here for Christmas, lent, Independence and all occasions in between. The Francophone crowd will appreciate the beguine embodied in “Dou Dou Mwen.”
As I regain consciousness and my legs, I find that I thoroughly enjoyed being in that 20 minute trance, much too short by any measure. I am hoping, therefore, that Barbara will consider reissuing a full-length CD when the time is right for her.
…and I still hear myself exclaiming, “That was great.”
Ah go play it again. You can too.
Pick up your copy at Cartwheel and Choices in the Commonwealth of Dominica.
Creole, Christmas and Jazz with Maxine, Tasha P and BARBARA BULLY-THOMAS
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
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 drummerSony 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 theWéspè Project, originally scheduled for Saturday, April 30, had to be moved to Sunday, May 01, due to portending inclement weather. TheProjectwas fitted into the Sunday programme with Andy Narell and Lord Relator’s University of Calypso,Jean Caze, and from Guadeloupe, Trio Laviso andSonny Troupé, fresh from Jazz de Outre-mer in Paris during which he shared the spotlight with fellow French West Indians, Alain Jean-MarieandTricia 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 TroupéQuartet 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.
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.
First published on January 19, 2011; updated, January 22, 2011
Heard of the cancellation of the Barbados Jazz Festival, did you? Yes indeedy, the BJF crashed and burned on re-entering the 2011 Jazzosphere. The producers, GMR International Tours Inc. headed by Gilbert Rowe laid the blame gingerly on the festival’s main supporter, the Barbados Hotel and Tourism Association (BHTA) for not being forthcoming. But reports are that there was a conflict between GMR and the BHTA, which resulted in the eventual deferment of the festival. Whatever the problem – and we will go deeper into that – the festival is off for 2011.
Then there was the Cayman Islands Jazz Fest. That one too hit the dirt. Well, we understand Cayman’s position, having been dealt a serious blow by Hurricane Tomas, the downturn in the economy worldwide and the pressures being applied on Offshore Banking by the United States and most recently a former banking executive who worked in the Cayman Islands.
The Jazz Showcase in the BVI has also suffered, but for different reasons. Since past President of the H. Lavity Stoutt Community College, Dr. Michael O’Neal, retired from the institution, the “young people” went to the Jazz with a scalpel, succeeding in reducing the offering of three concerts per season to just one.
And In the past few months, the single Jazz station in the Caribbean, WMJX, Trinidad, went off the air.
Add to that the relegation of authentic Jazz in the surviving Jazz Festivals and you have a bleak future for The Jazz if something does not give.
Thankfully, St. Lucia Jazz is staid and is expected to hold fast. The one year, 2009, when they drifted a little away from The Jazz, they got an earful. In 2010, they reverted to the old formula. The prospects for St. Lucia Jazz look good. Fingers crossed.
At this moment in time though, it is the Barbados Jazz Festival that lights up the bulbs at the Shed.
GMR’s Gilbert Rowe sat down with Kaymar Jordan, Editor-in-Chief at the Nation newspaper of Barbados in December to clarify the issues. This followed the publication of an Official Press Release on the producer’s website. Asked what specific challenges he faced, Rowe placed the blame squarely on the economic recession.
However, that was a hard pill to swallow since in the same breath, Rowe claimed to have “managed to hold on to all our other sponsors,” which implied that it was only the BHTA that hit the skids and could not come up with their percentage of the sponsorship monies. Either that or the BHTA was just playing hard-ball with Rowe and would not cut him a cheque early enough to give him the six months head start he needed to promote the festival.
In fact, Rowe would have us believe that the latter is true. But why? His explanation in the Nation interview was that the BHTA was only prepared to take responsibility for the international marketing of the festival, which they knew to be inadequate for an event the size of the Barbados Jazz Festival. For the matter, the BHTA supported the BJF with a cash infusion all seventeen years since the first edition in 1993. Rowe made no bones about it; the Barbados Jazz Festival could not survive without tangible support from the BHTA.
And compromising the integrity of the festival by scaling the brand down from an international spectacle to a Caribbean or even Barbadian one was not a viable option for GMR.
When a shoe loses a foot, there is always another foot to step in it. Enter Jazz’N Barbados.
Jazz’N Barbados mounted a major coup in drawing some major Caribbean Jazz acts from neighbouring St. Lucia, Trinidad and Venezuela to join their local Barbadian cast for five nights of Jazz, January 12 – 16, mainly in the outdoors. It was like – how should I put it? – some sort of “Town Hall Jazz,” bringing the sound to the people where they are most comfortable, in De Street, in De Hall, under De Mango Tree, on De Gap and De Second Street and in ‘De Woods’ (my coinage) of Naniki. The one night that The Jazz was taken indoors, it was for a traditional concert under the roof of the Frank Collymore Hall in Bridgetown.
Jazz’N Barbados was pulled together by Limelight Inc. within one week – nine days to be exact – after Gilbert Rowe announced the cancellation of the Barbados Jazz Festival. There to lend a hand was the Barbados Hotel and Tourism Authority (BHTA) that spurned Rowe’s GMR Tours because they would not provide the BHTA with the details of the contracts they were due to sign, presumably with BHTA money. Some of those funds went instead to Limelight for Jazz’N Barbados.
“…[W]e’ve gotten a lot of logistics support from them…we’ve got a lot of guidance, moral support and a little bit of money. Not a lot of money, but even the little bit of money that we received made a big difference,” Grady Clarke of Limelight told NationNews Mobile.
And the people trucked to the Mango Tree at Peronne Gap, Worthing, to take in Trinidadian music educator and pianist, Dave Marcellin & Friends at Jazz’N De Street on Wednesday, January 12, 2011.
The Thursday, January 13, was set aside for the sit-down types to savour The Malcolm Griffith Septet with Michael Cheeseman and the ‘Barbalucian’ (Ok, Drakes was born of Barbadian and St. Lucian parents, but lives and practices her art in Barbados) pianist Rhea Drakes and her St. Lucian band at Frank Collymore Hall.
On Friday, January 14, the fans trekked to Mahagony Ridge for Jazz’N De Trees to hear and see Barbadians Roger Gittens Big Band and Friends, saxophonist Arturo Tappin and songstress Rosemary Phillips. Visiting the Ridge on the night was Trinidadian multi-instrumentalist Michael Boothman whose primary instrument these days is the electric guitar.
The next day, Boothman was ferried to the mecca of live music in Barbados, St. Lawrence Gap. The name of this event? (You guessed it!) Jazz’N De Gap. The date? Saturday, January 15.
Now, those of us who have been to De Gap are well aware that the live bands hardly ever unplug, taking the night owls through the night, literally to daybreak. No wonder then that Jazz’N De Gap featured a fat cast that included Barbadian drummer Antonio “Boo” Rudder & Friends, Rudder’s compatriots David “Ziggy” Walcott on his tenor pan and Tappin at Hal’s; Mike Sealy Quartet, Ricky Aimey and Boothman at Paolo’s; the Barbados Community College’s BCC Ensemble featuring Kirk Layne and Reggae Fusion All Stars at the Reggae Lounge. Returning home, so to speak, for this Jazz action was Trini pianist Raf Robertson.
YVETTE BEST filed this report for NationNews Mobile. We have reproduced it here unedited.
St Lawrence Gap was a jazzy zone Saturday night as Jazz’N Barbados made its fifth stop for the season.The parking lot between Paulo Churrasco Do Brazil and Sweet Potatoes was the central place for Jazz’n De Gap, where patrons gathered to hear some of the finest talent in Barbados and the Caribbean, and the developing talent out of the Barbados Community College.Under mostly clear skies, and with a cool night breeze blowing through, patrons were treated to selections from Boo Rudder and his group, the Ziggy Walcott Band, Raf Robertson and friends and Rickey Aimey and his friends.It was not the original concept where the gap was closed off and music playing from the various establishments and on the street, but fans had a delightful musical treat that took them close to 2 a.m. And for those who still had not had their fill, the vibe continued with a reggae fusion jam in Reggae Lounge with John King and his group.
Clifton Henry of NATIONNews.com also had something to say…
David “Ziggy” Walcott one of the best, if not the best, steel pan player on the island, was met by screams of approval from both locals and visitors. He did not disappoint.
Songs like Never Too Much by George Benson and Through The Fire soon had everyone in a dancing mood. Following would be David Rudder’s Bahia Girl, and a Mighty Sparrow medley that included The Lizard, Melda, Drunk And Disorderly, Jean And Dinah and Big Bamboo.
Walcott would eventually rock the street with Rihanna’s current No. 1 selection Only Girl In The World.
There are no more adjectives that can aptly describe Arturo Tappin’s musical genius. Badd by Michael Jackson, Independent by Neo, Green Light by John Lennon and Roll by Alison Hinds were among his servings in a most spectacular performance.
Cadogan (on mic), Luther (sax) Photo, Lennox Devonish
The Jazz fans would have had a busy time of it on that Saturday – I can tell you – if they would have had any chance of taking it all in for home-grown C4 Kaiso Jazz Fusion, a quartet from the Barbados Community College (BCC) and a St. Lucian contingent comprising of the Luther Francois Quartet (with Luther’s brother Ricky on drums and Barbadian singer Kellie Cadogan) and Blue Mango, a group of Lucian and Martiniquan musicians, disturbed the peace at the Naniki Amphitheatre of the Lush Life Nature Resort in St. Joseph, Barbados, from 1:00 till 06:30.
YVETTE BEST of NationNews Mobile was on tap and filed this edited report.
The hills, up north, came alive with music as the first day of Jazz At Naniki – A Caribbean Jazz Festival, started in St Joseph…The Luther Francois Quartet, with singer Kellie Cadogan, was among the acts that serenaded the audience…
Actually, Jazz’N Barbados served up a two-day menu of Jazz at Naniki in parallel event with their Jazz’N this and Jazz’N that all over the place. Saturday’s course was the first serving.
Come Sunday, January 16, the Elan Trotman Quintet and Arturo Tappin out of Barbados assembled with Trinidadian bassist David “Happy” Williams for the second go round the Jazz buffet, held within earshot of Naniki Restaurant.
The fanatic who would have imbibed The Jazz at Naniki would then have had to Jazz’N up Second Street, Hole Town, like bats out of hell to catch Trinidadian elder pianist Robertson, Aimey, Walcott, Tappin and Venezuela’s Ernesto’s Salsa Band featuring Trinidad’s Rellon Brown on trumpet.
Now that Jazz’N Barbados has staked a claim for an expanded event in January of next year, it will be interesting to see how it coalesces with a possible return of the Barbados Jazz Festival.
Trinidadian multi-instrumentalist Michael Boothman added another title to his hat, that of philanthropist, when he and his band, Boothman’s KysoFusion put on a benefit concert on November 28 to aid the island of St. Lucia recently devastated by floods and landslides brought on by Hurricane Tomas.
The 2010 Caribbean Jazz Fusion Concert, held at the Hyatt Regency in Port of Spain , Trinidad on November 28, also featured Biguine-Jazz band Makadanm out of Martinique.
Boothman was inspired to commit part proceeds from the concert to St. Lucia by virtue of his long-standing relationship with St. Lucia Jazz and the people of St. Lucia.
The concept of the Caribbean Jazz Fusion Concert is being expanded into a first of its kind Caribbean Jazz, Food and Wine/Spirits Festivaltentatively scheduled for the first quarter of 2011. (Source: Jazz takes on Martiniquan twist)
The Blackberry Bro, Nigel Campbell was at the Caribbean Jazz Fusion Concert and filed this report on the KysoFusion segment of the concert:
After Makadanm had taken flight with their French Caribbean beguine, Michael Boothman’s KysoFusion hooked up and with our Songbird, Nisa Nora on the vocals, did “Saying it with Music,” a remake of a 1970s Boothman classic. Much was expected from Nisa because you know the lady can sing. And she delivered the goods.
Then KysoFusion played “Maya Mosquito” – never sounds old; the hallmark of great song-writing.
But as Boothman pulled out those kaisojazz gems and classics out of his creative bag, the crowd began to dwindle. That’s disrespect.
“Jump to It,” another classic co-written with percussionist Ralph MacDonald, was a loss for those people who left, and worse yet, those who were not there to witness the man Boothman playing with a band for the first time in a while, by his own admission.
KysoFusion closed its set with a cover of a Roger Boothman composition (the Boothman Brothers are an institution in Trinidad) and a Michael Boothman original entitled “A Brighter Day.” This song was dedicated, quite appropriately, to St. Lucia, that she may see a brighter day after the scourge of Hurricane Tomas weeks ago.
However, the fun was not yet over for Makadanm was invited back on stage for a last jam with KysoFusion. They came out with Bob Marley’s “Waiting in Vain” with Makadanm’s vocalist doing a creole rap over the melody.
Some time ago, Iguane Xtet announced a new show for Vieux-Fort on May 04, 2010 at Coconut Bay Resort & Spa as part of the Jazz in the South outfest of St Lucia Jazz. Jazz in the South opened on Sunday, May 02 with a free concert at the Rudy John Beach Park, Laborie with the Wendell Richards Quartet(Mahurney Augier (keyboards), Ron Louis (bass) and drummer Herman Hercules) and Tropix (Michael Seraphine and Shanon Pinel on vocals, Ezra Joseph on bass and keyboardist Shomari Maxwell) of St. Lucia, Dobet Gnahoré, Ivory Coast and Martiniquan band, Bamboolaz.The paid concerts were from May 03 – 05 at Coconut Bay in Vieux Fort.
Jazz in the South has taken on a new image this year with a formula spanning four days including a free beach concert (Sunday, May o2) in the village of Laborie followed by three concerts at the Coconut Bay Resort and Spa, Vieux Fort, May 3, 4 and 5. The Festival also offered master classes for musicians.
The formula may be new, but the emphasis is still the same, Caribbean Jazz but with a welcome foray into the land of the Metal Zouk of Bamboolaz, the headliners for the May 02 concert.
The program is dedicated to Haiti and the musicians of St. Lucia.
Jazz in the South, autonomous as it is from St. Lucia Jazz, is actually hosted some Haitian Jazz greats in the Mushy Widmaier Sextet – Widmaier is a founder of the group Zéklè and Thurgot Théodat, a saxophonist and composer who has performed elsewhere in the Caribbean, at the Festival de Jazz de Pointe à Pitre, two years ago.
The Mushy Widmaier Sextet had their play on Monday, May 03. Opening for Widmaier was the pianist Rhea Drakes Jazz Quartet while Théodat had his say on Wednesday, May 05 with the JATT All-Star Ensemble of Trinidad and Tobago.
Théodat busied himself with two Master Classes in Vieux Fort and Castries on May 03 and 04. The first, on May 03, was for music teachers in Vieux Fort; the second was at the School of Music in Castries with members of the school’s Jazz band. The theme of both these classes was the connection of Haitian Voodoo music to Modern Jazz. (gather.com)
The JATT is a quintet made up of the biggest names in Trinidad Jazz: pianist Clive Zanda, trumpeter Etienne Charles, bassist Douglas Redon and band director, drummer Sean Thomas.
In addition, Jazz in the South staged a collaboration called An tonèl, May 05, between St. Lucian poet, Kendel Hippolyte and the master of Ka, Roger Raspail. That collaboration was created for Festival Vibrations Caraibes 2008 and was recently reproduced at the L’Artchipel in Guadeloupe.
Four days earlier, on Saturday, May 01, Raspail conducted a two-hour Master Class for the benefit of professional and amateur musicians alike at the Blue Oasis in Vieux Fort. The class focussed on techniques and methods to Jazz and Afro-Caribbean (Cuban, Guadeloupe Gwoka and Reggae) drumming as well as the history and morphology of the drum. (gather.com)
The other invited guests for Jazz in the South was the guitarist Cameron Pierre Trio, a native of Dominica living in London and the St. Lucians Ricardo François and Emerson Nurse, the leaders of Kléwé (with percussionist Athanasius La Borde and Gene Leon on bass guitar).
St. Lucia Jazz Notes:Jazz in the South
Dominican guitarist Cameron Pierre met St. Lucian opposite number, Ronald Boo Hinkson at Coconut Bay Resort and Spa at “Jazz in the South” on May 03.
This Festival is organized by Labowi Promotions, the same cultural group which has organized the festival for the past twelve years.
Soufriere Creole Jazz took place at the Mini-Stadium in South St. Lucia on Friday, April 30. The Main act: Jeff Joseph and Grammacks of Dominica, for two nights. Also performing at Soufriere Jazz was Cuba’s Klimax, which according to the official Klimax website, is one of the “most sophisticated and original of timba bands…created by Giraldo Piloto.”
St. Lucia Tourism Minister Allen Chastanet told Helen FM 100 it was a “very, very good decision to bring Grammacks to Soufriere Creole Jazz.” He also promised to take the founding members of Soufriere Creole Jazz to Dominica to learn from World Creole Music Festival. For his part, Jeff Joseph of Grammacks said that “Playing Sulfur Springs is like magic…It was a nice show…It was a pleasure…Just tremendous…People really enjoyed it.”
Soufriere Creole Jazz continued on Saturday, May 01 and concluded on May 02.
St. Lucia Jazz Notes: Jazz on the Square, the Derek Walcott Square
The Main Jazz acts: Michael Boothman & Kaiso Fusion on May 03; the St Lucia School of Music Jazz Band, Macadam and Cuba’s Klimax on May 04; and Freewinds Band featuring Carmel and Dominican songstress, Michelle Henderson on May 05.
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The St Lucia School of Music Jazz Band gave Charlie Parker a confusing calypso/soca treatment, did a fair Tarrus Riley, some Big Band Swing, bass heavy Funk and salsa. The St. Lucia School of Music has in excess of 300 students with about 70 of them studying woodwind instruments. The School of Music has about 40 children from the Primary schools according to Ryan, the Coordinator of the Woodwind section.
Cuban salsa band Klimax was making its second appearance at St. Lucia Jazz in two years.
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St. Lucia Jazz Notes:Jazz on the Pier
The NDC (St. Lucia’s National Development Corporation) produced “Jazz on the Pier” at Duty Free Pointe Seraphine just outside Castries central on May 04. The Main Jazz acts: Red Clay featuring vocalist Kellie Cadogan of Barbados and Trinidad born, St. Lucia resident, Ovid Alexis Rhapsody Band.
“Jazz on the Pier” is dedicated, as it has been since 2004, to showcasing home-grown St. Lucian talent during St. Lucia Jazz. It was usually on the last Friday before the Main Stage events of St. Lucia Jazz. However, Tuesday, May 04, 2010 is the new date for the event.
The official launch of “Jazz on the Pier” was on Tuesday, April 20.
Referring once again to Iguane Xtet, we found them before St. Lucia Jazz at Habitation Birloton (April 17) and Coco Grill, Bouillante, Guadeloupe on April 30; and after the festival, Xtet will be at Green K’fé, Deschaies (May 08) and then at leMarboeuf, La Retraite, Baie-Mahault, Guadeloupe. (Source: artistdata)
Speaking of St. Lucia Jazz, the line-up has an expected fare of international and Caribbean heavy-hitters. In regards to the Caribbean contingent earmarked for this year’s 19th edition of the festival that runs from May 01-09, there is the Saint Lucia School of Music Jazz Band (Black Ants), a group of young and gifted music students whose repertoire consists of, among other styles, swing and bossa-nova; St. Lucia’s Monty Maxwell and guitarist Harvey Millar; and pannist Allison Marquis at the Gaiety on Rodney Bay, Thursday 06; Teddyson John of St. Lucia at Pigeon Island National Landmark, Friday 07; Cubans “Eliades Ochoa” and “Amadito Valdés”, stars from Buena Vista Social Club, guitar hero Ronald “Boo” Hinkson and friends featuring Tempest and Claudia Edward, May 08; and St. Lucian six string bluesman Carl Gustave on finale night, May 09, 2010. (Sources: caribbeannetnews, stluciajazz.org)
St. Lucia Jazz Notes: Fond D’Or Jazz, May 01
The theme for Fond D’Or Jazz is “A decade of music, a blend of cultures”
Main Acts for Fond D’Or Jazz: Shane Ross, Ronald ‘Boo’ Hinkson…
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Arturo Tappin…
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and the Kings of Cadence from Dominica, Midnight Groovers (slide to 05:20:00 for Groovers video).
One other name for Fond D’Or Jazz is that of Linda ‘Chocolate’ Berthier with a fusion of Jazz, Reggae and Dancehall, and gospel.
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St. Lucia Jazz Notes:Jazz on the Grill, the Fire Grill Restaurant, Rodney Bay, Gros Islet, May 02-06
Then there was “Jazz on the Grill,” Fire Grill Restaurant, Rodney Bay, with Rob Zi Taylor Sound of St Lucia Sax, May 6, 2010.
St. Lucia Jazz Notes:Jazz on the Edge, The Edge Restaurant, Rodney Bay Marina, Gros Islet, May 04-06
Rob Zi Taylor moved over to the The Edge Restaurant, Rodney Bay Marina for “Jazz on the Edge,” May 6, 6:15pm. (Fire Grill is at 08:00pm)
The Edge Restaurant welcomed St. Lucian saxophonist Barbara Cadet on May 4, 2010.
St. Lucia Jazz Notes: Carolie Jazz, May 07
Another Jazz event during St. Lucia Jazz was “Carolie Jazz.” Appearing at Carolie Jazz was be St. Lucian, John Polius’ Cosmic Rhythm and brothers Ricardo and Luther Francois with separate bands.
Cosmic Rhythm is a band started by St. Lucian, John Polius while in Italy. The unit comprises of three Italians and three Lucians and a Japanese. However, the Italians (or some of them anyway) cannot make it to St. Lucia for the festival and will be replaced by local Lucian artists.
St. Lucia Jazz Notes:Main Stage, Pigeon Island National Landmark, May 05-09
Monty Maxwell (Jazz/Blues guitar) teamed up with Harvey Millar (guitar) and Allison Marquis (pan) for an all St. Lucian band, Troisem (3M) on May 06 at the Gaiety on Rodney Bay.
“Millar’s musical style is highly percussive and rhythmic reflecting the combined influences of Bebop, Caribbean idioms…hip hop.” (St. Lucia Jazz website)
19-year old Stacey Charles of theTempest crew led by Ronald Boo Hinkson will be at St. Lucia Jazz. TEMPEST, featuring Stacey, Zionami, Cylva J and Alpha, will be hosted by Boo Hinkson for his first St. Lucia Jazz set, May 08. Then Boo goes solo, performing music from his forthcoming CD, on the second set.
The CD tentatively entitled “Shades” follows his ’95 solo debut of “Alive and Well,” “Beyond,” (’03) & “Urban Drift” (’06). It features Emerson Nurse on keyboards (St. Lucia), Arturo Tappin on Sax (Barbados), and vocals by Stacey Charles (SLU), Baltimore native Tracy Hamlin, Sean Paul (JA) and Teddyson John (SLU). The CD was expected to be released in the second week of May, before the end of St. Lucia Jazz 2010.
Charles is the one who did the St. Lucia Jazz theme “Come for the Jazz, Stay for the Cricket.”
Stacey Iman Charles has a new song on Boo Hinkson’s upcoming release. The track features Sean Paul.
Carl Gustave did some “high-energy” tracks from his CD’s “Too Hard” and “Searchin’ ” on the Main Stage at St. Lucia Jazz, Sun., May 09.
Once again LIME is stepping up to the plate and providing support to St Lucia Jazz.
For the 19th year in a row the company is providing sponsorship support to the premier entertainment event in St Lucia and the Caribbean.
LIME is sponsoring five of the St Lucia Jazz side events – Jazz on the Square, Tea Time Jazz, Jazz on the Pier, Jazz in the South and a brand new event created to add a new brand of entertainment to the St Lucia Jazz season, Caribbean Divas…
Andy Narell and Relator have really been making the rounds in support of “University of Calypso.” This is the phenomenal CD of classic lyrical calypso compositions tailor-made for Jazz interpretations. The album was designed as a tribute to Lord Kitchener, but Narell and Relator also paid homage to other storytellers, some of them of considerable popular standing, others like Spider from the Commonwealth of Dominica with cult status only.
Most recently, Narell and Relator brought the “University” to Pan Jazz UK on November 08, 2009 and the students of the Martinique Jazz Festival 2009 on Thursday, November 27. They played the MJF on the heels of Guadeloupean saxophonist, Jacques Schwarz-Bart, whose night was Wednesday, November 26 and preceded Martinique pianist, Ronald Tulle, on Saturday, November 28.
But on Sunday, November 29, Narell and Relator stood alone at the top of the heap when they did a repeat performance of “University” in Antigua and Barbuda. The occasion was the “Moods of Pan Festival” (MOP), an event organized by the Gemonites Steel Orchestra of A&B. The festival was scaled down to a one night affair due to a drought in sponsorship funding this year
By the way, MOP was not just about steel pan music. Storyteller, Paul Keens-Douglas was on hand to split the pan fans in stitches.
Meanwhile, Martinique lit up with the sound of Jazz music on November 26, 2009 when musicians from France, the United States, Benin, Trinidad and Tobago and the French West Indies were dispersed around the island for what has become the longest running Jazz Festival in the Caribbean, which is the Martinique Jazz Festival.
The center of the action is the CMAC (Centre Martiniquais d’Action Culturelle) in Fort-de-France. However, there is an outfest at various locations across the country, in St. Anne, St. Marie, Lamentin, Riviere Salee, Sainte Luce and La Pagerie Museum in Trois Ilets.
MARTINIQUE JAZZ FESTIVAL 2009
du mercredi 25 novembre au dimanche 06 décembre
Martinique Jazz Festival 2009
Concerts à l’Atrium, 20h
Jeudi 26 novembre
Jacques Coursil (Martinique) Jacques Schwarz-Bart (Guadeloupe / Etats-Unis)
Vendredi 27 Novembre
Jacky Terrasson Trio (France / Etats-Unis) Andy Narell and Relator (Etats-Unis / Trinidad)
Samedi 28 Novembre Ronald Tulle (Martinique)
Rhoda Scott Ladies Quartet (Etats-Unis / France)
The 2nd edition of Gwadloup Festival is being staged on the French Caribbean island from 21 – 29 November 2009. Organized by le Conseil Régional de la Guadeloupe et le Comité du Tourisme des îles de Guadeloupe (CTIG), the artistic and cultural event is the brainchild of long-time musicologist, Pierre-Edouard Decimus.
The Gwadloup Festival is, however, not restricted to the French Department. And so the producers have this year invited Jose “El Canario” Alberto, Josean Jacobo y Tumbao Joseíto and Mateo of the Dominican Republic to the festival.
Gwadloup Festival celebrates 75 years of popular music from Guadeloupe through such creations as “Voyage au Pays des Biguines,” an exposition of traditional music, the Legends concert featuring the band Kassav, which celebrates its 30th anniversary this year, and Le Grand Bal with L’Orchestre Jeunesse.
The Gwadloup Festival is also adopting a new format of dispersing the individual events to several communities around Guadeloupe. These include Basse-Terre, Petit-Bourg, Gosier, Abymes, Pointe-à-Pitre and Moule.
In order to make the festival accessible to as diverse an audience as possible, the producers have come up with the concept of “scenes” that they believe should enable every style of music to find its audience.
There was the Caribbean Folk-Jazz acoustic scene, Café Créole Blues, on Sunday, November 22, which showcased the talents of the new generation through artists like Erik, Jean-Michel Rotin and the Fabso Concept. This show began with the Willy Salzedo Trio.
Salzedo is quite a successful composer who has written most famously for Tanya St-Val. Also, he co-founded Moun Karayib with the Jean-Alphonse brothers, Castry and Olivier. And fresh from Festival des percussions de Longueil et Nuits d’Afrique in Canada, K’Koustik represented the traditional drum culture of the Antilles. Among the ranks of this group is percussionist Joby Julienne of Iguane Xtet.
On Tuesday 24, La scène Jazz Caraïbe hosted the Martiniquan pianist Michel Sardaby Trio and St. Lucian saxophonist Barbara Cadet, during the course of an evening punctuated by a “Carte Blanche” granted Guadeloupean percussionist Charly Chomereau-Lamotte. Sardaby’s long list of credits in his fifty-year career includes a 1984 recording with Monty Alexander.
Chomereau-Lamottecame out swinging with an outfit reminiscent of the Caribbean Workshop spearheaded by St. Lucian saxophonist Luther François. He amassed a band of Caribbean Jazz kingpins for Gwadloup Festival namely François himself, Guadeloupean bassist, Raymond d’Huy, and Trinidadian drum impresario, Sean Thomas. Chomereau-Lamotte continues to collaborate handsomely as he has always done, his most prominent outings having been with the Jocelyn Menard “Gwanada” Big Band project, the d’Huy Brothers and Antiguan born, Guadeloupe based trumpeter, Happy Lewis.
Caraïb to Jazz is four young Guadeloupean Jazz musicians who are positioning themselves as heirs to the rich French Caribbean Jazz heritage. Likened to Sakésho of Mario Canonge and Andy Narell, with Jonathan Jurion on piano and Laurent Lalsingué on pans, this band turns out the Calypso-Jazz too (follow the link and check out “Medites”), something that has impressed no other than Jacques Schwarz-Bart who predicts that “…these musicians from Guadeloupe (and Martinique) will give us many reasons to delight us for many years!”
Barbara Cadet of St. Lucia (second from left above) has had a unique experience of her own. She was key to the creation of a steelpan orchestra, “Allegro Pan Grove” and vocal group, “Sisterhood”, all the while establishing herself as a solo artist, armed with her reeds and voice.
Jean-Claude Montredon
Most notably, Biguine-Jazz will be presented by pianist Jean-Max Mirval who, one year ago, had the opportunity to present this music alongside Mario Canonge at Centre des Arts. One of the names Mirval will have on his team on this occasion is drummer Jean-Claude Montredon.
Then there was La Scène Musiques Actuelles that brought together Soca superstar Alison Hinds, Buju Banton and G’Ny on Friday, November 27, 2009.
With such a diverse programming, the Gwadloup Festival is a rewarding link between generations. The artists are from different backgrounds (zouk, salsa, beguine, Jazz, reggae, urban, gwo ka, dance, merengue…) as a common platform with the popular music played in the Caribbean.
Guadeloupe Festival is for everyone, for all ages, all over Guadeloupe.
Dimanche 22 – Pays de la canne à Beauport 12 h – Scène acoustique café créole blues
Jean-Michel Rotin, Willy Salzedo trio (feat: Leedyah Barlagne, Victor Ô, Patrice Hulman, Erik, Olivier Jean-Alphonse, Jean-Luc Divialle), K’koustik, Fabso Concept (Sonny Troupé et Fabrice Troupé), Jean-Max Mirval, Artefact, Kareen Guiock
Mardi 24 – Artchipel scène nationale (Basse-Terre) 19 h – Scène jazz Michel Sardaby, Caraïb to Jazz, Barbara Cadet,CharlyChomereau-Lamotte, Josean Jacobo y Tumbao
Mercredi 25 – centre culturel Sonis (Abymes) 18 h – Scène excellence
Festival des écoles de musique (invité : Sonny Troupé)
Jeudi 26 – place de la liberté (Moule) 19 h – Scène tradisyon voyage au pays des biguines
Big band biguine, comédie musicale de Arthur Apatout « Manuela »
Vendredi 27 – plage de Viard (petit-bourg) 19 h – Scène musiques actuelles
Alison Hinds, G’ny, Saël, Ti Wony, Buju Banton
Source: le Bananier bleu (this link is your starting point; make sure to follow the related links back and forth for all the sub-sources)
Trinidad and Tobago was this past June voted ‘Caribbean Jazz Capital’ by Woodshed readers. The month-long Woodshed Poll asked the question, “Which country would you say is the Caribbean Jazz capital?”
The results of that poll show that 36% of Woodshed Warriors favour Tn’T as the place to be for Caribbean Jazz action. Second in line is St. Lucia at 27%. Guadeloupe leads Martinique 18% to 9%. Barbados is tied in fourth place with Guadeloupe.
No votes were cast for Anguilla, Jamaica or the United States Virgin Islands, which all have active Jazz scenes. Similarly, none of our readers suggested any of the other Caribbean islands such as Cayman Islands, Cuba, Bahamas, Bermuda, Dominican Republic and Puerto Rico, countries with well-established Jazz scenes. In our view, therefore, this simply means that Woodshed Entertainment has not sufficiently penetrated these countries.
Add to that is our failure to attract one single Jazz Author (one who would regularly submit news on Caribbean Jazz events to this blog) after two years of trying.
Anyway, the vote for Trinidad now sets the stage for the Woodshed banner to be altered to reflect Trinidad‘s place on the Caribbean Jazz landscape.
However, there is one more question that needs to be asked to determine whose images should be included in the collage that will make up the head banner. That is “Which TRINIDAD Jazz artists – past or present, heavenly or earthly, at home or abroad – have influenced CARIBBEAN JAZZ the most?” The answers are for you to provide.
All of you Woodshed Warriors, not just Trinis mind you, are eligible to share the names of the Trinidad artists you think fit that bill. Share those names and your justifications in Comments, if only to grow a dialogue on the subject.
The strongest candidates will form the basis of another Woodshed Poll that anyone (ANYONE) can vote on.
The first suggestion and rationale is LORD KITCHENER (Aldwyn Roberts). This comes from The Scribe, John Stevenson.
First off, congrats to the Trinis on the land of the hummingbird being the top jazz destination in the region – as per the opinion of the ‘Shedders.
In response to your question, Iz, the first person coming to mind for me, is Aldwyn Roberts, though many would argue that he wasn’t a jazz musician per se.
Lord Kitchener was a man of immense taste and rare depth in terms of compositional nous, wide-ranging influences, and, in turn, his influence on Caribbean music. Period!
He played acoustic bass, composed calypsos in Trinidad and England where he resided for a time, all the while utilising Afro-Cuban and bossa-nova motifs, big-band jazz orchestrations with accustomed ease and matchless innovation.
He was also, in the lineage of people like his countryman CLR James, imbued with a marked Pan-African consciousness.
His compositions were also very influential during the Soca (Soul & Calypso) period ushered in during the 1970s.
But above this, the Grandmaster’s sweet lyricism has inspired countless jazz improvisers to immortalise his many tunes as working Caribbean jazz standards.
Who hasn’t heard Andy Narell performing Rainorama or Raf Robertson riffing rhythmically on Margie or Clive Zanda’s keyboard wizardry on Old Lady Walk a Mile and a Half? If you haven’t now is the time to grab those reverential recordings.
Rules of Engagement: Should there be less than three (3) adequate nominations, meaning the submission of complete names and justifications, within the next fortnight, the whole idea of making the Woodshed banner Trinidad-centric, will be scrapped altogether. The administrator of Woodshed Entertainment Collective will not undertake to singlehandedly pick the most influential Trinidad Jazz artists for that would render the name “Collective” meaningless.
Another one of those busy times for paternal Jazz fans all over is Fathers’ Day. The Woodshed abounds with listings planned for that day, June 17. However, the Father’s Day concert of the Jamaica Ocho Rios Jazz Festival and Abstract Entertainment’s 2012 production of PanJazz, “Music – The Original Social Media,” stood out from the heap.
Entertainment’s Pan Jazz 2012′s production of Music – The Original Social Media took place at Frederick P. Rose Hall at Jazz at Lincoln Center, 60th & Broadway, New York City.
Trinidad and Tobago had its Saturday night action too, mind you. Saxophonist Jesse Ryan fronted a band of Theron Shaw (guitar), David Richards (drums) and Rodney Alexander (bass) at the Fiesta Plaza, Movietowne.
Woodshed Entertainment Collective 