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.
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About M. Minchie Israel
I have a modest artistic background in the arts, especially in the realms of poetry, theater and radio.
I have done a bit of acting as well as writing and directing for the stage before dropping out upon leaving the Caribbean a few moons ago.
I am hoarding volumes of crudely-bound poetry dating back to my teenage years. Publishing any of them is not on the cards...yet.
I spent a total of seven years moonlighting as a general programming announcer and Jazz jockey, primarily on DBS Radio in the Commonwealth of Dominica back in the eighties and the very early nineties. I did a short stint on Kairi FM in Dominica in the late nineties while "in transit" between Canada, where I completed a five-year programme of study, to the British Virgin Islands where I currently reside.
Jazz and Other Improvisations (coincidentally, J.O.I. are my daughter's initials; her name is Jazmin) have become the theme of my life outside of work. I study the history of Jazz with a passion, more so about Caribbean-Jazz and Jazz musicians of Caribbean descent. I spin nothing but Jazz in the CD player, really. Jazz is what excites the pants off me. However, I love listening to national radio stations from the Caribbean and the Americas if for no other reason but to keep a tab on popular musical trends happening in our region and the world over. After all, Jazz musicians are notorious for incorporating pop music sensibilities into Classic Jazz and Blues structures.
The Woodshed is meant to attract Caribbean-Jazz artists, Jazz artists born of the West Indies, Jazz producers and programmers, Jazz writers and curators...and of course YOU the aficionado. If you fall into any one of these categories, you really need to reach out to us at The Woodshed to learn about our goals and objectives to build a loose network of Shedders dedicated to sharing every piece of Caribbean-Jazz news there is from around the Jazzosphere. Knock on Wood at the Primary Menu at the top of this blog for all of our Contact information. Please send us a note or an email to let us know that you wish to have a key to the Woodshed.
Now...go forth and spread The Jazz.
View all posts by M. Minchie Israel
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Woodshed Entertainment Collective 
April 17th, 2010 at 11:04 am
Yes definitely! That’s the short answer but for a bit of a longer answer:
He’s got a beautiful sound on the trumpet and somehow, it’s distinctive as
well. You’d recognise it , if you’ve heard some of his recordings before.
I’ve copied the following from allaboutjazz.com:
I know that album and it’s a really good showcase to hear Harry Beckett’s beautiful playing. (I think the “cultural stew” must be about the UK.)
Harry Beckett’s done a lot of stuff since including the “Modern Sound of Harry Beckett” from 2008 (or 9?). But I’ve only heard that once right through so I can’t really comment, just to say I loved it.
He had some great albums in the past. My favourites were “Flare Up” and “Warm Smiles” (from the 70s). They’re both available on CD, probably download as well.
He played with lots of different groups, including jazz rock stuff and in African groups (Chris McGregor’s Brotherhood of Breath with Dudu Pukwana. There’s also an album by the bass player Johnny Dyani on the Steeplechase label, which I keep meaning to get. I’m sure it’s really good but I’ve never heard it. Because it’s just a quartet you should get to hear maximum Harry; that’s why I’m guessing its good.)
Best album I’ve heard though is by a Belgium Jazz group called the Wrong Object. It’s a live album called “Platform One.” The guests are Harry Beckett and Annie Whitehead (trombone) and it’s the best I’ve heard of either of them. It’s quite a recent album from 2007 or 2008.
April 14th, 2010 at 3:15 pm
its called “the modern sound of harry beckett” (not the new sound of hb)
April 14th, 2010 at 4:20 pm
I’m not at all familiar with Harry Beckett. I would have to say you recommend him, yes?
April 11th, 2010 at 3:37 pm
Well, I only know him + his music from that 1 recording (Morne du Don), but he sounds fantastic, as good as any1 from anywhere. That was 20yrs ago though so I guess he’s an old guy now (70+?) – maybe that’s part of why he’s disappeared from view.
Harry Becketts still going though. I don’t know how old he is but must be approx. 70. He had a very interesting album out last year in the UK – the new sound of Harry Beckett. It’s a reggae/dub collaboration with Adrian Sherwood. There are some vocalists on it.
April 10th, 2010 at 3:40 pm
Hi Minchie, did you find out from your friend with the record store anything about human cause2 ie if it was completed? Also if any1 knows where you can buy human cause1? (I’m assuming they’ve run out of them at the airport shops now!) thanks.
April 10th, 2010 at 6:11 pm
The word from my contact on Happy Lewis is that he is incommunicado. Happy is not being seen in person; he cannot be contacted by phone; nor is he wired. Consequently, there is no word on what he has been up to. And if my contact is clueless, I don’t know who is clued in.
Personally, I have been actively trying to find out about him for over ten years with no luck.
After your last comment, I reviewed the website that tracks artists from the French West Indies. To prove my point, the last entry on Happy was the Festival de Jazz de Pointe-à-Pitre en décembre 2001. Since then, a deep, dark hole.
I intend to travel to Guadeloupe in the not too distant future. If I do not flush him out then heaven help us all.
March 19th, 2010 at 1:41 pm
Ok, many thanks for that. But I only know about Human Cause 2 from reading all thru this blog or whatever you call it! + I only know about Happy Lewis because I recently bought Morne du Don. Wow, it’s a truly fantastic album. I never heard of any of the musicians before (I’m from london, UK). That’s what I find amazing.
mick
March 19th, 2010 at 4:22 pm
Shucks, too late. The guy who did Morne du Don, St. Lucian saxophonist Luther Francois, was in England a few months ago. He was coming off the release of his latest CD (with a different cast) called Castries Underground. See if you can lay your hands on that one; you’ll be amazed some more.
March 28th, 2010 at 6:32 am
Tes, you’re right! I emailed Mr. Francois + he helped sort me out with the Underground cd. It’s another top quality project; the great thing about it + also Morne du Don is every track is outstanding, no fillers in there! For any1 who hasn’t heard the new cd, I can give it top recommendations. Main difference is there are 2 sax voices (LF + Wes Smith) instead of sax and trumpet from 1989. Still can’t believe such a talented musician is so “underground” (like his album) in the UK at any rate.
March 17th, 2010 at 6:43 am
I just found this blogsite. It’s all very interesting. Does any1 know if Happy Lewis finished his album Human Cause2? Or do you know where you can buy human cause (1997)?
Thank you.
March 17th, 2010 at 12:28 pm
Thanks for dropping by Micko.
You got me there. I had no idea that Happy was working on Human Cause 2. I picked up Human Cause many years ago at an airport record shop. I have not seen the CD anywhere since.
Anyway, let me put these questions to a French West Indies source of mine who runs a music store out there.
April 8th, 2009 at 6:06 am
Good morning,
Where can I buy the last CD of Luther François in Martinique?
Thank you
April 8th, 2009 at 11:24 am
I have put that question to Luther. Will have an answer for you as soon as I hear from him.
December 1st, 2008 at 1:31 pm
Good lord – Lukuya !!! that was 20 years ago. Roland now performing regularly – with Val – at OJ’s beach bar in Johnson’s Point – Fridays and Sundays from 19hrs – 22hrs. Couldn’t make it last week but will be there this week.
November 25th, 2008 at 10:30 pm
Yes, count me in too Lori, re information about Roland Prince. I remember asking Iz about him on my very first visits to this site several months ago.
Remember being really blown away by him and his artistry when he performed at the Barbados Jazz festival in the mid-1980s (gosh! its been way too long). Is his group Lukuya still going strong? The English-speaking Caribbean region is certainly blessed with fine jazz luminaries: Roland is unquestionably one of our greats.
November 24th, 2008 at 10:21 pm
It is a relief to know that Roland Prince is getting his groove on again, as he has for the past several years.
But tell us WHERE (including address) he is performing as well as the DATE and TIME, if you will. That info deserves to be on our Jazz Calendar and as a JAZZZ BUZZZ.
November 24th, 2008 at 4:58 pm
cheers Minchie! got your point – back soon with more to share. I’m based in Antigua and the plan is to go hear Roland Prince in the next few days. Will see what he’s up to. With this is leave you for today – Aufwiedersehen
November 23rd, 2008 at 8:30 pm
Everything about the Collective is about “chance” Lori. I mean, you drop by this forum and clue us in about Happy Lewis.
Other readers offer information in Comments and by e-mail. What are the odds?
But that is the idea, for all of us to pitch in what we know about Jazz in the islands.
And thanks for the thought. I hit the pews (and manned the camera) in the morning; had a restful afternoon; the neighbours were nowhere to be seen though.
November 23rd, 2008 at 12:41 pm
Hi Iz, apols for the wait. To my defence – I only get my updates by chance (and by prying :-). Happy Lewis’ recording of ‘Human Cause volume II’ postponed till mid Dec. Apparently there were techn probs due to hurricane Omar – which you yourself only know too well. Will try to find out names of musicians he is inviting this time around.
Enjoy your Sundays, get to church and love thy neighbor!!
October 27th, 2008 at 10:55 pm
A pity Iz. I hope there’s no bird flu spreading….
October 27th, 2008 at 1:41 pm
Not a single word John.
None of the ‘Jazz birds’ from Bim have perched anywhere near the Shed lately. So you can imagine: no bird songs, no news.
October 27th, 2008 at 4:41 am
Any news on the wires and net on the Barbados Jazz Festival 2009?
By now the line-up is usually public knowledge…
Bajan jazz fans? Do let us know when you hear the proverbial shout.
John
October 24th, 2008 at 12:30 am
Don’t sweat it Iz. It’s a welcome addition. Oliver Samuels rocks!!!!!
October 23rd, 2008 at 11:29 pm
Actually John, my work as an actor, writer and director for the theatre pre-dates my obsession with Jazz. Comedy is another passion of mine. Therefore, expect to see stories on theatre and comedy off and on, either on the main pages or hidden away in either the sidebar or on the Calendar, which will take you off the blog site.
FYI, the original concept of this blog was “Jazz and other improvisations” where the others would be theatre, comedy and West Indian cuisine. I dropped the ‘other improvisations’ to concentrate on Jazz.
As a matter of fact, I have written reviews of the many plays and comedies I have attended over the years. I just have not published them to keep this forum 99.9% Jazz.
This blog is the preamble to a larger idea that I have not yet revealed. In time, you will see how other West Indian art forms will come together with Jazz as the cog.
Have you noticed too that the name of the blog is Woodshed Entertainment Collective? There is a reason for that.
October 23rd, 2008 at 11:20 pm
Welcome aboard Lori. Glad to have you.
Happy is back in the studio?
This is a hard guy to pin down. Do you have any more details – or the means to get updates – on the progress of his recording project?
October 23rd, 2008 at 8:22 am
Let’s not forget the new Spyro Gyra addition Bonny B from Trinidad. He’s also a fine singer and gives a sweet rendition of the “Christmas Song” on the new SG yuletide CD.
Since biographical details about this fine musician are pretty scanty on the net, it would be delightful for any Trini jazzers out there to tell me some more about him.
BTW, Iz, is Oliver Samuels supposed to be some kind of new jazz mascot?
October 20th, 2008 at 3:42 pm
No problem Iz.
October 20th, 2008 at 2:53 pm
That was an obvious error John. I am relieved that you brought it to my attention.
And to think that I have Kind of Blue in the CD well right now.
October 20th, 2008 at 1:45 pm
It’s my lucky day for I stumbled across this forum. I’ll be visiting you EVERY day from now on.
By the by – heard through the grape vine Happy Lewis has hit the recording studio after a break of over a decade. Extremely curious of the outcome.
Trumpet rules!
October 20th, 2008 at 5:27 am
Iz, Very informative post on WI jazz folk of note.
Couldn’t help but notice the entry on Wynton Kelly; I know he tinkled some mean ivories, but its news to me that he was a trumpeter too.
October 18th, 2008 at 5:34 pm
For future reference:
“John Stevenson is a London-based Bajan free-lance writer and broadcaster”
Hope this suffices – and thanks!
October 18th, 2008 at 9:56 am
Hey John, you know what we needed for the article? A short blurb (a one-liner) that describes you. You know the drill. “John Stevenson is a (music critic, Jazz writer for..or whatever the readers need to know about you). That goes as an end note to the article.
October 18th, 2008 at 8:21 am
Iz,
Can’t thank you and your team enuff for the great work on the article. Thanks for the editing work you performed as well.
Bravissimo!
October 15th, 2008 at 11:49 pm
Anyhoo, I was just handed a window of opportunity this evening and succeeded in uploading the text of the review, formatted and everything.
Omar is almost on top of us this very minute. Look the lights are beginning to fluctuate again, a good sign that we are beginning to experience some of the 90mph winds. We go on a nationwide blackout at 50mph.
Regardless, the review is programmed to go live online tomorrow evening, but without the photos and posters. I left that window open to give me time to format them before then. That though depends on how we fare overnight and how much time it takes to restore power.
October 15th, 2008 at 9:24 pm
Sorry Iz, I have been burrowed in too deeply and unaware of the weather down in the Windies; take care and do what needs to be done to protect hearth and home.
Prayers for safety assured
John
October 15th, 2008 at 7:58 pm
I am getting to you man. I received all of the materials and I working on them.
We have been under the gun with Tropical Depression 15 cum Tropical Storm cum Hurricane Omar this week. Massive power outages have resulted in dead servers. We should be out of the woods by Friday.
October 14th, 2008 at 8:50 am
All systems go, Iz?
Watching this space (smile)
October 12th, 2008 at 7:57 pm
It took you a while John, but you have come through with the review…darn it.
Now the shoe is on the other foot. I need that thing ASAP!
Check your Inbox for contact details.
October 12th, 2008 at 4:43 am
I agree Iz …
I’m not sure where Arnoux is carrying that; I can only assume it’s proffered in a benign spirit of Lutherian celebration.
Apropos, my mission to complete the review is now finished.
Taking up your offer to have articles/reviews posted to the Woodshed, I can post you the text PLUS some really nice photos Luther kindly emailed to me featuring himself on sax and the artwork of the CD.
Please send me an email address ASAP so that I can get these materials to you for onward paste-up to the ‘Shed.
Awaiting your response,
John (jstevensony2k@yahoo.co.uk)
October 10th, 2008 at 9:45 am
I do not know, Arnoux, whether you are equating Luther with Sonny. If you are, that is the highest of honours you could bestow on a Caribbean Jazz man.
October 10th, 2008 at 12:20 am
vive Sonny Rollins
September 18th, 2008 at 11:06 am
Cameron,
It seems that your comment fell into John’s “black hole,” which is why it showed up here four days late.
Forgive me, but the security features on this site are extremely strong and sometimes flag comments like it did yours.
Believe you me, I am about to put up a bit on the Courtney Pine Scarborough gig that features your guitar. Hey man, you need to come back and talk to us about that when it is all done.
And if you please, we would be flattered if you could keep us informed of your own performance schedule so we can keep up to date with your movements on the Jazz Calendar (See the Sidebar).
September 14th, 2008 at 1:25 pm
Hey John! Thanks for informing me of Luther’s forthcoming release, looking forward..
Peace
September 8th, 2008 at 12:15 pm
WEC apology:
John, your August 28 comment was only approved on September 07 after having been inadvertently buried in the Spam Cue with all the rest of the sleezy stuff that Akismet blocks. Your name was cleared for automatic upload on the site after that comment was already in the black hole. Sorry.
Herbie, you need to scroll up this page to the said date; John would have wanted you to read the comment.
September 8th, 2008 at 11:09 am
I don’t think that popularity is the problem with Caribbean Jazz. Our misplaced identity here in the Caribbean is responsible for many of our artforms, scholars, political initiatives, heritage sites being abused or neglected and our music is also suffering from this dilemma. We really do not recognise ourselves or our works as significant enough to warrant serious investment, by way of time, money debate, collaboration.
The challenge is for us as Caribbean people to invest the effort in all fields into what will take us forward. We will find that many of the elements that others identify us with are inimical to progress. We see ourselves as entertainers and not artistes, so that when asked to produce, we pander to what is popular and not what will challenge our people into any serious thought and action.
We also lack an accurate historical perspective of ourselves. We are the people whose expertise and effort feather the nests of foriegn interests and trends, while neglecting our processes.
It is well known (I think) that the Caribbean is partly responsible for the cultural potpourri that was New Orleans, which birthed Jazz in North America. This means that we still have the elements alluded to before that spawn the creativity that is almost synonymous with our region. Why then do we still suffer for true artistic voices?
It is because we ourselves do not recognise our importance to the point where we can have art schools and music schools and radio that plays Caribbean music in particular. We the artistes in general are myopic to recognise the significance of our fellow artistes and our role in collaborating for a common good. We are a string of islands that share a common past but a fragmented future if we do not see our personal significance and the significance of our fellow Caribbean people.
September 6th, 2008 at 11:10 pm
John Stevenson:
If by “critical masses” you mean Jazz could one day be placed on the shelf labeled ‘Popular Music,’ I am afraid John the chances of that are slim to none.
Sadly, for Jazz – Caribbean Jazz included – to filter down from the status of a cerebral art form, the music must first be understood. For it to be understood, the masses must be able to hear it.
The compartmentalization of Jazz on radio play lists does not allow for Caribbean styled syncopations to get broad airplay, which is the only way to reach the unconverted.
Too often, I find myself having to explain the history of Jazz and the freedom of expression that the practice of the art engenders, one that is on par with the call and response heard in the drum and dance of Dominica’s Quadrille Music and that of Classic Calypso. This tells me that the ‘ordinary’ listener does not appreciate that Jazz is an extension of the primal rhythms of our forebears.
Let me make one more telling point on this. When I lived in Dominica, the country of my birth, I moonlighted as a radio announcer specializing in Jazz programming. After a few years, that segued to Jazz promotions under the banner ‘Positive Jazz: the Blue Note Festival.’ Luther François was the first big event that we had.
While building the Jazz audience in Dominica, whether be it on radio or on the concert stage, there would be a constant debate about whether this or that is ‘Jazz.’ I still have this discourse these days.
Try to have a listening party for yourself. You are bound to learn that while someone is quick to say he does not like Jazz (period), yet he loves Clive Zanda and Don Pullen’s Calypso-Jazz, and Marjorie Whylie’s Kumina-Jazz interpretations. Then you have to pin-point the Jazz vein in the music.
Finally, if in the United States of America, the Jazz fans number no more than 15% of the population and that the greatest Jazz artists of the day may never sell a million units like Kenny G, how can we hope to drive a deep wedge into the knee-jerk aversion that the critical masses have to Jazz?
On a more optimistic note, the Caribbean Jazz idiom will grow, but give it time.
September 5th, 2008 at 7:29 pm
I can’t believe I have entered into this blogging thing. I have never engaged in an online conversation before. But as John has suggested about mutual beliefs, I have lodged here for the past week or so because of the interest you have shown in profiling Caribbean jazz musicians and their predecessors. This too is my interest along with trying to argue that at this stage jazz, like reggae, has become borderless. It will not be contained. And it “swings” to its various propulsions and kind of blues that comes with national and geographic difference. In spite of those who must, for whatever reason, continue to behave as though only mainland born and bred, and then a few can cut it.
As for “the Caribbean music’s special place” in the tradition, see my piece “Syncopating Rhythms: Jazz and Caribbean Culture.” It is part of a larger treatise which I hope to one day publish as a book. But the piece at hand is sufficient to highlight the point we all are interested in pursuing.
John I will direct you to pieces that address the Air Jamaica Jazz Festival and why “jazz” seems to be dying (question 2), as well as one regarding # 3 at another time.
I am producing a Dizzy Johnny Groundation, which starts in an hour and so must swing out of here.
September 5th, 2008 at 12:24 pm
Thanks Iz, Herbie – and Trini hummingbird Vaughnette.
Its been a pleasure to stumble on this great resource of a blog spot.
I shall shortly be uploading my review of Luther’s Castries Underground, Jacques-Schwarz-Bart’s Abyss and David Sanchez’s Cultural Survival – three stunning new CDs that musically argue the case for Caribbean music’s special place in the tenor saxophone jazz tradition.
Before we get too carried away with being a mutual admiration society – the temptation to lurch into false contentedness is always present when likeminded souls ‘gather’ at great blogspots -it would be good for us to ponder a few questions:
1. Why has Caribbean jazz always enjoyed an ‘art music’ status, never really penetrating the critical masses it ought to be reaching; Could it be tied into the whole thing of our allergic reaction to books, which Herbie touched on?
2. Is jazz a dying art/craft in the Caribbean? Perhaps Vaughnette can address this more directly?
3. What can we do to raise the profile of our homegrown jazz stars at the many festivals taking place across the length and breadth of the archipelago every year?
September 5th, 2008 at 10:18 am
This is precisely the kind of education that we hoped this blog would attract. Keep the names coming guys so that when one needs to be distracted from life’s onerous “demands,” we can be challenged to familiarise ourselves with Jazz Greats born of the West Indies.
You may have noticed Herbie that we have been stealthily, though slowly, developing a database of the Jazz Greats on this blog. Eventually, we hope to broadcast the information on a separate page to facilitate a quicker find. Feel free – if not helpless – to add to the list for the benefit of the J-Fans.
This is not the only site with this goal. However, together, we can maintain an exhaustive listing of Jazz men and women.
For our purposes here at the Collective, we are interested in the names of all practitioners of the art, celebrated or unsung, who were either born in the West Indies or have a heritage line that may be traced back to our region.
September 5th, 2008 at 1:09 am
An important set of books, indeed. The problem is, there are so many jazz books arriving these days it is difficult getting to them with all of life’s other demands hovering. And yet, it is to these very books and to the music that we turn when we feel we must take a respite from those demands.
In 1983 I had the pleasure of presenting Coleridge Goode in my club, The Blue Monk Jazz Gallery, here in Kingston. Roland Alphonso played saxophone on that gig. I was also in London for the Joe Harriott tribute a few years ago and again had the good fortune of experiencing Mr. Goode’s unique approach to bass playing. I also purchased a copy of his book then. He certainly is a living treasure.
September 3rd, 2008 at 9:02 pm
I am loving this reading guys.
August 29th, 2008 at 5:11 am
Herbie, (and WEC readers in general), while we are on the topic of Caribbean jazzmen in Great Britain, I thought you might want to have a gander at a review/roundup I wrote in January of the best jazz books I read in 2007. Included is the brilliant autobiography of Coleridge Goode, the distinguished Jamaican jazz bassist. Happy reading.
http://www.ejazznews.com/modules.php?op=modload&name=News&file=article&sid=8976&mode=thread&order=0&thold=0
August 29th, 2008 at 5:00 am
Wow!
Take a bow Herbie. Thank you so much.
That was an awesome piece of analysis, which has no doubt raised the bar of discourse on the Caribbean music aesthetic and enriched our already meaningful locutions on jazz at this much-welcomed forum, The Woodshed Entertainment Collective.
I agree with you Iz, we need to telescope what’s been happening in France and the US, but let’s not forget our friends in the Dutch Antilles, Suriname, and Holland as well. Groups like the Fra Fra Sound and Curacao’s John Willikes, as well as guitarist Arturo Castillion.
Jazz has that borderless capacity to creatively absorb influences. It’s part of that magical cultural gift that our African-descended people have bequeathed to the 20th century.
August 28th, 2008 at 11:53 pm
John Stevenson will be very pleased with this historical perspective, one that speaks to the sociology of emigration to Britain in the formative years.
This discourse may even now be expanded to cover the United States in recent decades and to a lesser extent France where interesting fusions are being birthed by Francophones from the Caribbean.
August 28th, 2008 at 2:57 pm
Let me try and answer your query as briefly and as detailed as I can.
It was customary for Caribbean nationals to migrate to Britain because of imperialism and colonialism. Most West Indians first went involuntary: as slaves.
West Indians, including musicians, continued going to England for decades after, many defending that country during WWI.
By the end of WWII West Indians went to participate in the rebuilding effort. Musicians were no different. At the dawn of the 20th century to the end of the war they too migrated to Britain. In the case of Dizzy Reece, Lord Kitchener and another famous calypsonian whose name slips me at the moment, they were part of the recently celebrated S.S Empire Windrush boat lift of 1948, which was organized by the British to ferry West Indian men to help rebuild the “Empire” following the bombardment during the war.
Some of us in the British West Indies were also brainwashed into accepting “Great Britain” as the “motherland.” So, off to England went that generation during the 1950s.
It is within the context of that historic reality that West Indian jazz musicians were able to add colour and pizzazz to British jazz.
Black music writer Paul Oliver makes the point that ” Versatile West Indian musicians resident in Britain fed new blood into (British) jazz, tempered by their Caribbean inheritance.”
Indeed, blacks have been part of the musical landscape in imperial Britain since 1507. “The first known evidence of the presence of blacks in London is of the ‘black trumpet’ who was a solitary black musician living in London in 1507. He was employed by the courts of Henry VII and later by Henry VIII.” (Frayer, 1984). “A black trumpeter, twice portrayed in the painted roll of the 1511 Westminster Tournament which was held to celebrate the birth of a son to Catherine of Aragon is almost certainly the same man.” (The Black Presence in London).
As far as West Indians or people from the Caribbean go, the first recorded presence of a jazz musician is that of Jamaican pianist Dan Kildare (1879-1920).
Dan Kildare’s Cleft Club Orchestra was formed in New York in 1910. It opened London’s Cairo Club, a high society enterprise that catered to the very ritzy and to royalty, and stayed there until around 1916 before Kildere began freelancing.
So, British Caribbean music must be placed within the context of empire, migration (both forced and voluntary) and economics. From the turn of the 20th century to the present, West Indians, including our musicians, migrate(d) to Britain and other places to earn a living and to seek better opportunities for family and self.
August 28th, 2008 at 8:24 am
Thanks Herbie for that greatly appreciated morsel of information on Luther’s meritorious exploits in Jamaica, during reggae’s heyday. Iz, thanks for the links to Herbie’s articles, and yes, I would be intereested to read Herbie on the exodus to the UK by Caribbean musicians. Some of them are still pretty active like Barbadian trumpeter Harry Beckett, who is widely respected in both straightahead and avant garde jazz circles in Europe; he took a number of young British musicians under his wing such as Courtney Pine.
Speaking of young trumpets and musicians, our home here in London was last night graced with the presence of Trini sensation Etienne Charles. The Juilliard-educated star is also producing a unique suite of pieces which explore Anglo/Franco-Caribbean folk characters such as Papa Bois, Mama D’Leau, Soucouyant, La Diablesse and a few others. He shared one of the pieces stored on his iPhone – it’s bloody brilliant! The CD is due out at year-end and is co-produced by another Caribbean jazz prodigy, Jacques Scwarz-Bart from Gaudeloupe. Look out for my forthcoming review of Jacques’ brand new CD Abyss, in Caribbean Beat. You can also read my Daily Telegraph review of the new David Sanchez CD, “Cultural Survival” here.
Sanchez, like Danilo Perez, Miguel Zenon and others are carrying the jazz flag in fine style in the northern Caribbean.
Cheers
John
August 27th, 2008 at 9:01 pm
Your friend has good taste Herbie. 😦
Seriously though, after reading your article, I was impressed enough with it that I saved it for future reference. It came in handy when one of the J-Fans mentioned that he was researching the reasons why Caribbean Jazz musicians went to Britain in particular back in the day. Do you have any thoughts on that question?
August 27th, 2008 at 3:24 am
A friend told me about this site today and that I was mentioned.
It is a welcome event that Luther Francois has a new recording. I was acquainted with Luther when he was a student of Melba’s here in Jamaica. He was among her brightest.
In addition to Bob, I recorded Luther on Tosh’s version of “Walk and Don’t Look Back.” Dean Frazer’s solo may have been used though. On the rough mix both sax’s are soloing at the same time. Robbie Shakespeare did that and gave to me with the title “The Sun Ra Mix.” I tried to employ Luther in Word, Sound and Power, Tosh’s band, but without luck. I have not seen or heard him in years and so I look forward to this recording.
Keep your site swinging this Jazz Caribe.
herbie.
August 26th, 2008 at 12:30 am
I see John that your ejazz article has shot to the top spot on the Wood Click meter!
Ok! I have the urls of the Herbie Miller article on Jazz – What’s Jamaica got to do with it? – Pt 1 & Pt 2
August 24th, 2008 at 6:19 pm
Yes, I’ve heard of Herbie Miller. He’s a great writer on jazz and Caribbean music matters.
Not seen the one you are referring to but if you can send me a link please do. Thanks, JPS
August 24th, 2008 at 10:58 am
The way I look at it John, Britain was THE mecca for our Caribbean peoples through to the 60’s. There was a shift to the US in the 1970’s, but the fact remains. Thus, musicians and all gravitated to the big island.
By the way, quite some time back, I Google Noted a two-part article entitled “What’s Jamaica got to do with it? Parts 1 & 11 by a Herbie Miller. This dates back to June 2006. Are you familiar with it?
Anyway, I have been toying with the idea of carrying it on the Front Page – that is how good I think it is. Miller may not thoroughly answer the definitive question you have asked, but you are sure to find it useful.
If you have not read it, I can make it available to you. Let me first check to see if the link remains unbroken.
August 24th, 2008 at 1:11 am
Thanks so much again, Iz.
You might want to have a gander at this brief article I wrote a whole back on the WIJB.
http://www.ejazznews.com/modules.php?op=modload&name=News&file=article&sid=184
I yearn for a return to those heady times during the 1980s and 1990s …
Good hooking up with you guys! Not many people up here in the UK and the Europe are very clued up on Caribbean jazz musicians outside of a few Cuban and Puerto Rican ones.
I am currently doing private research on jazz musicians from the former British colonies of the C’bbean who plied their art and craft in the UK and Europe from the 1930s up to the early 1960s. I am intrigued as to why they would want to head in this direction rather than go to the music’s source in the US. Any thoughts from your bloggers on this would be dearly welcomed.
Cheers and keep up the great work!
August 23rd, 2008 at 10:20 pm
For your information John, the Woodshed concept is to grow a network of Caribbean Jazz writers from around the region and beyond in a partnership that we hope will lead to a full fledged website. The idea is to bring to the fore the local Jazz scenes and expose all of the practitioners of the art, whether fledgling or accomplished.
This blog was started to have something to show the folks we are pitching the idea to and in so doing to demonstrate that the idea is not only useful but workable. So there is a lot of behind-the-scenes work going on in this respect.
Happy is still active. He is based, as he has been for decades, in Guadeloupe. I missed him at St. Lucia Jazz 2006 by a day or so.
He participated in Luther’s Morne Dudon project and was a lead trumpeter in Luther’s West Indies Jazz Band.
Roland is still in Antigua. The Roland Prince Quartet most recently represented the country at Caribbean Tourism Week in Toronto in September, 2007.
The band was Calypso Val (bass guitar and vocals), Jaggar Martin (trombone and bass guitar), Blakey Phillip (drums and steel pan) and Prince (guitar).
Pity that Roland has not re-surfaced, big time, on the Caribbean Jazz circuit. His last major festival date that I am aware of was Anguilla Jazz Festival (now Tranquility Jazz) in November 2004. At that time, he was accompanied by Val, Martin, Clifton Byers (drums) and Dr. Lester Simon (alto saxophone).
Like you John, I am appealing to the J-Fans to update this blurb for us.
May 20th, 2010 at 5:21 pm
I am Calypso Val’s cousin. I will get you their performance schedule. Check back.
May 20th, 2010 at 11:38 pm
Appreciate it, lots.
June 6th, 2010 at 3:30 pm
Sorry for the delay but here is the info re Roland Prince:
He and Calypso Val play Fri, and Sun. 7-10pm at OJ’s Beach Bar in Crabb Hill; The Roland Prince Quartet plays at the Carlisle Bay Resort in Old Road on Thurs. 7-10pm; During the winter–Nov through May– the Quartet plays also at Catherine’s Cafe in English Harbour Wed 7-10pm.
June 9th, 2010 at 10:59 pm
Fantastic. We’ll put that up on the Jazzz Calendar.
Now we know where to go when we get to Antigua.
Keep in touch Suzanne. We appreciate you.
August 23rd, 2008 at 8:09 pm
Thanks very much for those posts, Jocelyn and Israel. Helps me to join the dots as far as Luther’s network goes. If you google ‘John Stevenson, ejazznews, you should be able to access some of my reviews.
Woodshed is great web resource. As Caribbean people, we don’t seem to realise how fortunate we are to have produced the likes of Luther, Frankie McIntosh, Shake Keane, Scofield Pilgrim, and on and on.
Thanks for the info on Claude Sommier. I wish him speedy recovery. I hosted London-based jazz pannist Anise Hadeed on a radio show about four years ago and he introduced me to some brilliant music he and Claude made in Paris.
We must document their contributions.
By the way, can anyone tell me what happened to Happy Lewis and Roland Prince?
May 19th, 2010 at 6:05 pm
Roland lives in Antigua. Has a quartet–the Roland Prince Quartet–that plays in a number of venues on a regular basis.
May 19th, 2010 at 7:55 pm
Do you know the names of any of the venues Roland plays at Suzanne? With that information, I can track him down, if not a fan who can provide the Woodshed with news on his activities.
August 22nd, 2008 at 7:14 pm
Luther practically lived in Martinique for 20 years, from 1986 to 2005, with the Arnoux family. He is a very good musician.
After that, he set out for Guadeloupe before returning to St. Lucia where he got married. He remained there from 1992 to 1995.
Back in Martinique, he stayed at home until January 2005; then it was back to Guadeloupe again until 2007.
This long period of his personal and musical life should never be forgotten even if he is now living in his home country (St. Lucia).
We salute him as a member of the fraternity of musicians; but I do not view him merely on the human and personal level.
I would also like to greet Sabrina who also commented here.
I found this site by chance by listening to the DJOA of Claude Sommier which was recorded in Paris in 1986. Claude is very sick and does not play any more. We made the Morne DUDON record together.
JA
August 21st, 2008 at 10:46 pm
Thanks for your comment John.
We are at this very moment waiting on word from Luther’s people about the official release date and availability. The details will be published here as soon as we have them.
And while we have you in our viewfinder, you have an open invitation to share your stories on Caribbean Jazz with our readers. Feel free to send us a link or an e-mail of your work.
August 21st, 2008 at 9:18 pm
Hello
I’m a Bajan music journalist based in London. I specialise in jazz and would like to know the release date of the new Luther Francois CD. Very excited by this development. I featured his WIJB’s New World Musique on the BBC World Service seven years ago and the programme was selected as pick of the week.
Cheers
John