Richard Francois has a thing or two to say about the impact of Jazz on its audience. In a Letter to the Editor of Guyana’s Stabroek News, Francois details the transformations that Jazz went through over the last century. He concludes that in spite of of those changes, there were no negative social impacts on Jazz aficionados. According to him, the same is not true with Dancehall Reggae, which has had a profoundly deleterious effect on listeners.
The WEC has excerpted Richard Francois’ comments about the evolution of Jazz, but will leave it to you to link to the source for the attack on Dancehall.
Change is inevitable. Everything changes over time, even music. And so we would have seen that within all the genres of music, there are changes in composition and delivery. This does not necessarily mean that the foundations of the different genres of music has changed, but just that subtle changes would have been made probably to phrasing, timing, harmony, or lyrical composition.
Let us examine Jazz. A few years ago we celebrated 100 years of Jazz. The sound of Jazz today has changed considerably from what it used to be in the early and mid 1900s. Jazz as a genre had several sub genres back in the day like most music today. And even today, Jazz still remains sub divided. In the past, the composition of Jazz revolved around a variety of sub genres. The music moved from New Orleans Dixieland dating from the early 1910s to the Big Band-Style Swing from the 1930s and 1940s. Then it accommodated the Bebop from the mid-1940s, a variety of Latin Jazz Fusions such as Afro-Cuban and Brazilian jazz from the 1950s and 1960s, Jazz-Rock Fusion from the 1970s, and late 1980s developments such as Acid Jazz, which blended Jazz influences into Funk and Hip-Hop. These are just a few sub genres of Jazz. There are many more. Today Urban Smooth Jazz is a sub genre that is widely sought after by both the young and mature Jazz fan.
The genre of Jazz evolved through time and is still widely accepted as pleasing to the trained musical ear and the not-so-trained ear.
Jazz has shown that the changes it went through did not have a negative impact on its audience. If anything happened, it was that the changes seem to have sought to expand its listening audience.
More here…
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A JAZZ WARRIOR’S TALE
by Ming
Bandleader, Élan Parle
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A deluge of early evening rainfall would keep all but the most ardent Jazz fans at home. Those who braved the elements though were rewarded with a wonderful evening of music, food and friends. That’s how the first Smooth Jazz Sundays at Martin’s Piano Bar passed on August 02, 2009.
The band Élan Parle, playing new music from their forthcoming CD ‘Jazzalypso,’ was loudly applauded by the small but appreciative crowd. Among the attendees were Jazz promoters Nigel Campbell and Anton Doyle, musicians Sherwin Cooper, Clifford Charles and Arthur Marcial among others.
The band consisted of Sean Friday on bass, Richard Joseph on drums and me on piano/keyboard.
We played two 1-hour sets starting just after 6:00pm and closing around 8:30pm just in time for patrons to get home early and safely.
Smooth Jazz Sundays @ Martin’s Piano Bar, Woodford Street, Port of Spain Trinidad. 5:30pm to 8:oopm
WEC note: Since then, Martin’s Piano Bar has hosted Smooth Jazz guitarist Clifford Charles.
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Man I have been in Boston since June 18th, 2009; came back on Sunday, July 5. I attended two workshops at Berklee College (Vocal Summit and Stage Performance). It was fabulous. I got a chance to meet and work with some fabulous musicians and choreographers including Lalah Hathaway and Otis Sallid of St. Kitts roots. Google him and you will see.I also did two gigs where I played at the All Seasons Restaurant in Malden with Berklee faculty and I was the guest performer for the band Earthsound at their CD release party. It was beautiful. These guys are phenomenal. Interesting to note too the diversity of their nationalities, what made it so special. There was Jason Davis – Boston; Fernanado Micheline – Uruguay; Fernando Brandao – Brazil; Jorsge – Peru; and me Vaughnette – Trinidad.Could you imagine?
Peter Shim, Trinidad’s premier “starving on call drummer” hung out again with compatriot Clive Zanda at Satchmo’s on June 05. Peter packed his “choice cast bronze cymbals” for the gig and came away with the following impression:
As usual, Clive was his creative self…
I see him steering over the grand. He’s playing a flurry of notes and chords.
Now please understand, I can’t read nor interpret music; I can’t technically tell chordal or tonal expression; I learned everything I know by ear. But I understand everything. This ability has somehow enabled me to express myself musically on drums – in any musical environment.
So, as I was saying, Clive is searching, feeling. Russell Durity [bass] begins to feel the direction Clive is going in. This thing grows into a 4/4 Jazz swing, but a lot looser, if you know what I mean.
I’m not holding a typical ride and hi-hat pattern. I’m just using spaces in between 7/8 interspersed with 6/8 measures.
Clive loves to take chances. This is greatly spurred on by his participants. With greater understanding of the direction, there’s reciprocation and things only get higher…and a piece has just been written.
Zanda created three improvs that way.
After some renditions of old Calypso standards, bossas/sambas and a break, the master begins to feel another vibe. That rhythm is basically a 12/8 Afro type rhythm. Russell and I enter the fold in 1/4 then 1/2 measures until the piece is in full tilt.
During the performance, I’m able to place 3/4, 6/8, 7/8 and basic 4/4 measures thus creating intricate musical landscapes. We visited many musical cultures that way. It started out in a basic African sensibility. Then I introduced a back beat in the measure, pushed it forward, pulled it short, changed it around and then held the timing.
It’s very hard to talk drums being that the measures are just numbers, but it’s the sub-divisions that really add to the feel of the pattern. Playing with the palette of music that surrounded my senses, I was given an immeasurable amount of freedom to express my musicality on the drum kit…as a drummer. It’s what I thrive on.
On the pieces Clive instigated, a few of the close listeners asked, “What’s the name of the number?” to which Clive replied, “Made Up.” Nothing more was asked of any new piece knowing right off what the answer would be. I asked him about that later and he said they were “Extempo” – one and two, I suppose.
Clive Zanda sometimes creates his music pieces on those nights and that was the one night a recorder was not present. It was epic though. I guess one had to be there to experience it.
This was the best fun I have ever had. Satchmo’s was Fantastic.
Read Peter Shim’s previous tale about jammin’ with pianist Clive Zanda at Satchmo’s in Trinidad.
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LINER NOTES
Etienne Charles (trumpet), Trinidad/United States of America
The Scribe, John Stevenson, has written the Liner Notes to the now-released (June 01, 2009) Etienne Charles CD, ‘Folklore.’ John was gracious enough to share the notes with us in advance of the CD hitting the store shelves. Thanks John.

Watch the Preview video
Wasting no time whatsoever, Charles is off on another assignment, this time at the National Jazz Museum in Harlem where, on Friday, June 05 2009, he will dialogue with the museum’s Director, Loren Schoenberg, at an event called ’Harlem Speaks: Caribbean Swing,’ part of the institution’s Family Arts Festival.
Afterwards, Charles takes the helm of the NJMH Allstars for a swing into a “jazz-fused Afro-Caribbean groove.” It all takes place at the Riverside Church at 91 Claremont Avenue (above 120th), New York, NY, 10027.
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BIOGRAPHY
Louis B. Taylor (piano), St. Thomas, United States Virgin Islands






Cayman Jazz Fest 08, Grand Cayman
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Are you a Caribbean Jazz writer, Jazz musician, a producer of Jazz music, or a promoter of Jazz events? Well, the Jazz fans will be travelling all summer long and would like to know where the gigs are. Place your schedule on the WEC Jazz calendar...You can also share your reviews and analyses of Jazz music too; become an author and get your props...Additionally, the Collective is now accepting Caribbean Jazz recordings (CD's and DVD's) for review on the site. Go to the "Me" Page for e-mail contact info.

3 responses so far ↓
Gwendolyn Willis-Darpoh // May 4, 2009 at 6:28 pm |
Does Louis Taylor have any CDs for sale to the general public? I’ve known Mr. Taylor for 30 years, but haven’t heard him play since the early 80s.
Israel // May 4, 2009 at 8:02 pm |
The only recording that I know of was a duo of Classic Jazz Standards that Taylor did with guitarist Vin Phillip, but that was eight years ago. I quite enjoy this CD even today, so much so that I have it at arms length right now. As to whether it is still on the shelves is another issue.
The man is still an evergreen Gwendolyn, I can tell you. I saw him in concert one year ago this month and was thrilled to the core. His was a tribute to the late British Virgin Islands’ crooner Jon Lucien. He used a guest vocalist by the way.
Ian Furlonge-Walker // June 5, 2009 at 1:01 pm |
It sure looks interesting. Hope it’s a beautiful surprise like “ROSE” at the Central Bank show. Keep up the good work; it sure makes me proud.