Woodshed Entertainment Collective

20 responses so far ↓

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  tony bell // April 29, 2008 at 6:02 am

  I went to the show in Tobago. It was great. Best ever for this bunch (Production One/Jazz Artists on the Greens) in terms of quality of music. Small audience though. Tobago may have been revved for Whitney Houston to overlook this great opportunity to see the Latin American and Caribbean variations on Jazz.

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  Israel // April 29, 2008 at 10:01 am

  We are interested to know Tony what the makeup of the audience was. For if it was mostly local J-Fans then it would mean that the visitors were not Jazz enthusiasts and so did not go to Tobago because “Jazz” was in the name of the festival. Usually, the word “Jazz” is used to draw that niche crowd, don’t you think?

  Further, if you come across any indepth or even decent reviews of ‘Jazz on the Greens’ be sure to send us a link of it here.

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  Vaughnette // April 30, 2008 at 8:35 pm

  Israel
  This show was great. Simply great, great cast, great music. It was just the perfect night, except of course for the attendance. I have pretty decent pictures for you and I am looking forward to the reviews in the newspapers. Tell me where to send the pictures too. You are right, I think that this show suffered because the group of people who would have been interested in this type of show was NOT in Tobago (for the “jazz” festival)

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  Vaughnette // April 30, 2008 at 8:36 pm

  Marisa Lindsay is a great singer and I look forward to hearing and seeing more from her.

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  Israel // April 30, 2008 at 10:04 pm

  Where have been girl? You have not told me anything about the gigs you have had, from the one in Tobago (right?) to the stuff in the States. What’s up with that?

  This is what you could do with the photos: e-mail them to me (see my ‘What Is It About Me’ page) and be sure to caption and/or comment on them for context. Pleaase?

  And oh, don’t forget the pics of Satchmo’s, if you got them. I am about to do a short piece on the upcoming Mother’s Day brunch there.

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  Vaughnette // May 1, 2008 at 7:51 pm

  I have so many pictures to send for you it aint funny. My computer was acting up but it’s okay now. Check 0ut my website I have lots of pictures in Satchmos in the photo gallery.

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  Vaughnette // May 1, 2008 at 7:52 pm

  The gig in Tobago was fabulous, great artistes, great ambiance and generally beautiful crowd. Will send the pictures as well.

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  Israel // May 1, 2008 at 9:37 pm

  You mean to say you have had the Satchmo’s photos on your site since the end of March and you never said a word? And I never thought of checking. My fault.

  I look forward to getting the other pictures.

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  Harold Homer // May 2, 2008 at 12:10 am

  April 25th 2008

  Competing for an audience, made up of mostly Trinidadian holiday-makers, who were in Tobago to attend the Plymouth Jazz Festival on the weekend of April 25th through 27th, and facing well-publicized competition from Pan Trinbago’s same night “Pan Jazz in ‘D’ Yard – Reloaded”, Production One Limited’s first edition of Jazz Artists on the Greens – Tobago was held last night (24th April 2008), at the Bon Accord Recreation Grounds.

  Blessed on the night with excellent weather for an outdoor event, the show’s content lived up to Production One’s usual distinctive, organizational brilliance in all aspects, except audience attendance. From the first note, which was played promptly at 7.00 p.m. by the island’s well-rehearsed Euphonics Steel Orchestra, through Tobago’s Kariwak Players, Cuba’s Bellita and her Jazz Tumbata, Nilson Matta’s Brazilian Jazz Voyage and a grand finale that featured Trinidadian Sean Thomas on drums, Bajan vocalist Marisa Lindsay, New York based Grant Langford on saxophone and accompanied by Nilson Matta (acoustic bass) and Klaus Mueller on piano, the show maintained its advertised schedule. Change-overs were smooth and in spite of the foibles of the emcee, were happily painless for the small, but appreciative, audience.

  With an audience that included a few local jazz regulars and some tourists, JAOTG – Tobago proved that good jazz is good jazz, anywhere and at any time. After the first on-stage act – the Kariwak Players under the leadership of John Arnold – Bellita and her Jazz Tumbata (a group of versatile troubadours), which is comprised of Lilia Exposito Pino (aka Bellita) on piano (and African drum), her husband, Miguel Antonio Miranda Lopez, who is the only known artiste to play jazz music on the electric bass with one hand while maintaining afro-latin percussion on bongos, congas and high-hat with the other (and cow-bells with his foot), her daughter Glenda Lopez Exposito on flute, Emir Santa Cruz Hernandez on saxophone and clarinet and Alain Ortiz Samada on drums, held the audience in rapt attention during its entire allotted forty-five minute set.

  Just when it was thought by some members of the audience that things could not get much better, Nilson Matta’s Brazilian Jazz Voyage quartet, with Klaus Mueller on piano and Mauricio Zottarelli on drums and rounded out by featured, world-renowned trumpeter Claudio Roditi, treated them to some of the finest jazz to grace the country in a long while. With pieces ranging from Brazilian Antonio Carlos Jobim’s “a Felicidade” to some of his own compositions, Matta struck out boldly to demonstrate his versatility on the up-right acoustic bass. He is an undoubted master at his craft and amply illustrated why he continues to be first call for many of the U.S. prime Jazz musicians.

  The curtain-closing act, which comprised an eclectic aggregation of jazz professionals, each with wide-ranging performance exposure to some of the better internationally known jazz greats, was able to sustain the show’s high energy. The Latin-Jazz lead established by the Cubans and reinforced by the Brazilian Voyage was complemented by the Sean Thomas Ensemble of saxophonist Grant Langford, Nilson Matta on acoustic bass, Klaus Meuller on piano and Thomas himself on drums. After the audacious treatment of three well-known jazz pieces in which all instrumentalists demonstrated their renown, leader Thomas invited the up-beat female Barbadian vocalist, Marisa Lindsay to join his group on stage. Immediately taking charge of her audience, this twenty-eight year old showed why, in addition to her youthfulness and enthusiasm, she is described as a naturally charismatic, deep, soulful, sensual woman. Using her wide vocal range to full advantage, she playfully toyed with members of the audience as she energetically belted out three beautifully delivered renditions. This young lady has lots of sugar, spice and talent and will certainly be going places.

  On a weekend in which Tobago was all abuzz for the Plymouth Jazz Festival, Jazz Artists on the Greens was certainly “the appetizer that rivaled the main course”! Asked whether, in light of the commercial challenge posed by their first attempt in Tobago, they would be back in 2009, all members of the Production One team emphatically replied in the affirmative.

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  Israel // May 2, 2008 at 11:51 am

  Harold, Harold, Harold. I’ve got to hand it to you man: this is just the kind of writing that we here at the Collective have been asking our readers for. Now, if we could only get reviews like this one after every show (major or minor), of big star or budding artiste, we would be in Jazz heaven.

  This piece deserves its own Front Page post. I would love for you to come back and give us something to recognise the writer by, say, you know a short blurb such as ‘Jazz writer for…’, ‘Jazz enthusiast who…’, ‘Musician with (name of band)…’ - you get the picture. We need this to go at the top of the post to make it clear who penned the post.

  And you know what, a photo would also be welcome. E-mail the information and photo to woodshedec@gmail.com and I will format everything for the Front Page.

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  tony bell // May 5, 2008 at 11:07 am

  Israel,

  I like Harold’s piece. I saw a review in the Tobago News.

  As far as the audience make-up is concerned, I saw a busload of foreign journalists (literally) who were in Tobago to cover Whitney Houston et al at Plymouth, but they stayed for the first set unfortunately missing the Cuba and Brazillian jazzists. Pity, that coverage may have been cool for Production One. So far, there was no coverage of the event save the Tobago News.

  Audience-wise, mainly mature Trinidadian jazz lovers. I spoke to a few, who admittedly came to see Whitney on Sunday, but also allowed for “Jazz Artists on the Greens.” They had the free time and disposable income. Tobagonians in the main, I heard, were liming at Pan Jazz in de Yard - Reloaded or at bars which had “jazz-themed” evenings on days prior to Plymouth.

  All in all, this was an event that went unnoticed this year, but with the pix I have seen on Production One’s facebook page http://www.facebook.com/group.php?gid=10114871138, I expect bigger things next year in both Trinidad and Tobago.

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  Israel // May 5, 2008 at 12:36 pm

  Yes Tony, I was also immensely impressed with Harold’s writing. For this reason, in my reply to his original comment, I asked that he e-mail me a short caption so that I could give him better credit on the Front Page.

  Like you, I expect that Jazz Artists on the Greens will catch on and that Production One and Pan Jazz will come to an understanding to avoid a full frontal clash of dates.

  Better still, if JAOTG and PJIDY could be incorporated into Plymouth Jazz to serve as the Jazz component, thereby justifying the name. Then the foreign press would be mandated to cover all three events, don’t you think?

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  Vaughnette // May 5, 2008 at 7:59 pm

  The Tobago news carried some incorrect information on this production. Please beware.

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  Israel // May 6, 2008 at 12:30 pm

  I noticed the errors, some of them really horrible to put it mildly.

  ‘I, therefore, beware’

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  tony bell // May 7, 2008 at 10:28 am

  Minchie, the idea of collaboration with Plymouth is magic. You should join Production One!!! While I grate at the thought that competition should be avoided, I realize that Tobago is too small to accommodate two on one night. The Tobago House of Assembly (THA), which is benefiting from Plymouth Festival in the millions of dollars, has called the week prior “Jazz Week”, and I am under the impression that they encourage entrepreneurs and promoters to have “jazz-themed” events during that week. Parties, beach limes, free jazz-on-the-beach events, were evident. A coordination by the THA would be great.

  Plymouth’s promoter is a private entity and is not encouraged to “incorporate” with anybody, even events on prior days. That is capitalism! An overarching marketing campaign headlined by the THA to include all events is the key to success by all stakeholders. The budgets and production values of JAOTG, Plymouth, PJIDY vary. I admit that I visited all. JAOTG has a production values that rivals Plymouth save for the obvious difference in budget and what that would imply. But on the small things, JAOTG has it. A printed program that becomes a bookmark/keepsake. Branded apparel for sale. These are the touches that impress.

  All in all, Production One is coming back next year to Tobago. I hope that the collaborative marketing could become a reality. And if crowd size is a mark of success, I also hope that Caribbean Jazz lovers and the media get to Tobago in numbers and in time for JAOTG 2009.

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  Israel // May 7, 2008 at 9:31 pm

  Well, there need not be a formal incorporation Tony. Look at it this way: the Tobago House of Assembly is at the center of all this, right? Their role would simply be to coordinate all the events on the island and thus ensure that the international promotions cater to ‘Jazz Week’ and not just Plymouth Jazz. So a prospective visitor has a full appreciation for the extent of the event.

  St. Lucia Jazz for instance divested the ‘out fests’ to separate organisations (Chamber of Commerce for ‘Jazz on the Square’ and Labowi Promotions for ‘Jazz in the South’ are two examples). However, all of the events around the country are coalesced by the Saint Lucia Tourist Board and BET Jazz.

  There has to be a master plan for Tobago and all of the producers have to sit at the same table even if they each order a different type of cuisine, if you know what I mean.

  Tony, Tobago has a chance to really position the events as a total package on the Caribbean Jazz map. And now is the time to do it because here it is, St. Lucia is now considering ending St. Lucia Jazz from as early as next year. No, I am not kidding.

  I would like to think that this will not happen, but the fact is that Minister responsible, Allan Chastanet, is contemplating it. Who will replace SLJ? Tobago could!

  P.S. I am waiting for the St. Lucia Jazz story to build a bit more before I cover it on this blog.

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  Vaughnette // May 8, 2008 at 6:33 pm

  Nice article on the JAOTG production on The Trinidad Guardian yesterday. The link is as follows:
  http://www.guardian.co.tt/archives/2008-05-06/entertain1.html

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  tony bell // May 12, 2008 at 9:42 am

  Minchie, I heard that St. Lucia had to cut back or delay the start performance because of small crowds. I am not sure, but I heard. You know the Caribbean thing. If St. Lucia “bust” after what is it, 17 years, then the notion of a “Jazz Festival” that is more than a misnomer has reached its natural conclusion. You can’t call a duck a chicken and hope the name sticks!

  Tobago and the THA (Tobago House of Assembly) have to see this as a GOLDEN opportunity to fill the void. As you have outlined, co-ordination by the THA is key. Your point is taken. Whether all the promoters would want to” sit at the same table” to dine is to be seen. That would prove to be the defining moment for the THA as a body with real clout, and not one that would bow to the wishes of the piper playing the loudest tune: Plymouth. I am fearful, but I could be wrong. If St Lucia is to be used as an example, then an argument could be made that divesting the ‘out fests’ with co-ordination by the centre is not a winner.

  The other Caribbean jazz festivals, Anguilla, Jamaica to name two are putting some jazz in their line-up. The Jazz Cruise, http://www.thejazzcruise.com/ and another, Playboy Cruise, hosted by Marcus Miller featuring Herbie Hancock, to me, are the potential killers of the Caribbean Jazz Festivals as we know them bringing jazz fans to the Caribbean, and the money potential that would reap.

  2009 should be a banner year for Jazz in the Caribbean. If St Lucia goes through, then the idea of a Caribbean Jazz festival will morph from bringing tourists to the Caribbean to hear “jazz” to allowing Caribbean born and bred jazzists a space to improvise on the rhythms and canon of Caribbean sounds for the world to appreciate.

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  Israel // May 12, 2008 at 11:45 am

  First of all Tony, I believe that St. Lucia Jazz is not going anywhere, but only if it at least maintains its move back to the original concept, which is Jazz for the most part and some pop for mass appeal.

  SLJ had, until 2007, been tipping the scales on the Jazz by infusing more and more R&B into the lineup. Now, if the typical travelling J-Fans are anything like me, we have been pulling away from SLJ since then.

  The typical J-Fans are like me. We decided that 2006 would be our last year at St. Lucia Jazz. On the final weekend of 2006, there was Babyface, Seal, Al Green, Rihanna, Ciara. I was there and could not take it, as much as I LOVED Al Green and Babyface. I was really there for the Jazz, damn it.

  SLJ must have realised that the we had had enough for they swung the pendulum toward the namesake genre in 2007.

  Here is my theory Tony: the Jazz tourists like myself bolted after 2006. which is why the numbers of visitors to St. Lucia declined in 2007. They are yet to return sending BET J and the St. Lucia Tourist Board back to the boardroom.

  The J-Fans will of course come back. However, SLJ must continue to emphasise the Jazz over everything else from 2009. I agree with you, 2009 will be a banner year. It will be the year when the Caribbean festivals will jockey for the position of No. 1 Jazz destination. SLJ has that now. Who will it be in 2010?

  Anguilla’s Tranquility Jazz? Plymouth?

  I went to Tranquility in 2007 because I observed that they were all Jazz. And they were; not a drop of pop was to be found anywhere. I went to heaven last November. I can tell you that.

  Tranquility is still small. However, I can see it growing to a phenomenal level in the years to come.

  Tobago can take an even different track froome either St. Lucia or Anguilla - and win. I realise that Plymouth will not do a strict Jazz Festival. Therefore, I am willing to compromise.

  Plymouth and the Tobago House of Assembly could draw the mass crowds for one night of big name pop acts. However, to legitimise Plymouth Jazz as a Jazz Festival, they will have to do at least two nights of mainly Jazz with probably a pop act or two thrown in for good measure.

  In addition, they must sell the festival complete with the outfests (Jazz Artists on the Greens, Pan Jazz in de Yard and so on). The J-Fans will come for the formal and informal events and so will the bacchanal crowd for the pop fare. Everyone goes home happy.

  Plymouth already has a name. Tailoring it for maximum returns is the least of their problems.

  Finally, can we put your comment on the Front Page as a ‘Vox pop Jazz’ post? This is perfect. If we could get more of these comments, it would make this blog a true Collective.

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  tony bell // May 12, 2008 at 10:47 pm

  It’s your blog, put this thread wherever you want. Your insights are instructive. I did not have all the facts about SLJ. Making Plymouth a music festival like, and I am going outside of the Caribbean, Glastonbury and Montreux Jazz where musical genres mingle, would be heaven for me. I like Pop and R&B too, but Caribbean Jazz is for me the epitome, like a Derek Walcott poem.

  We recognize that Walcott uses the “classical” style to make his “Caribbeanness” the most beautiful words to read. The nation language of a Kamau Brathwaite is the “groundation” that has a place in this space. (Work with me here Minchie, I am getting to the point!) Caribbean Jazz sails like a Walcott poem in its influence and genesis, and the potential to be world class–Nobel–I believe is ripe. Soca, Reggae, Dancehall, kompas, son, and all the original Caribbean rhythms and sounds–Kamau–are world music that has a place in my ideal Caribbean Jazz Festival.

  The original idea for these Caribbean Jazz festivals was grounded in business; bring American Jazz lovers to the “sun, sea and sand” of the islands for a cool time. The island is happy, the fans are happy. The Caribbean musician had to wait, or depend on the “outfests.” More power to the local promoter who developed Caribbean events for Caribbean fans, but the cost must be high. To bring Nilson Matta and the Brazilian Jazz Voyage to Tobago from the US had to be an expensive undertaking. The sponsors are looking for returns, and the paucity of fans for that and say Tranquility, make the inclusion of pop/R&B stars an easy business decision. Building this community here is the small step we have to take to make your dream and mine of a truly Caribbean Jazz and Music Festival a reality.

  CSME is here, embrace it. We have to visit each other and share the music.

  Minchie, I want to take this thread to Production One’s forum–still dormant–so that we can “talk” to each other.

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