The Evolution of the Steelbands

 

Early Beginnings and Structure

The 1950s marked a transformative era for Steelband’s in Trinidad and Tobago. Initially, all steelpan instruments were supported around the necks of players, emphasizing mobility during Carnival parades. The primary role of Steelband’s was to perform vibrant music on the streets, captivating audiences with their energetic rhythms.

Preparation for Carnival began approximately two months in advance, a period referred to as "practice." During this time, pan men gathered to learn and rehearse their musical parts. Band leaders, often self-taught, played a crucial role in arranging music. Most pan players lacked formal musical education, relying on auditory skills to memorize complex compositions.

Formation of TASPO and International Recognition

In 1950, the steelpan community took a significant step forward with the establishment of the National Association of Trinidad & Tobago Steelband men, led by Sidney Gollop. This organization aimed to unify and promote Steelband’s, elevating their status in society.

The following year, in 1951, the steelpan achieved international recognition with the formation of the Trinidad All Steel Percussion Orchestra (TASPO). This ground-breaking ensemble was composed of eleven leading pan men, chosen to represent Trinidad and Tobago at the prestigious Festival of Britain in London. TASPO included:

 

Sterling Betancourt (Crossfire)

Sterling Betancourt was a pivotal figure in the global spread of the steelpan. As a member of TASPO, he played a crucial role in showcasing the instrument at the Festival of Britain in 1951. Betancourt chose to stay in London after the tour, becoming a key ambassador for the steelpan in Europe. His efforts were instrumental in introducing the instrument to new audiences and establishing Steelband’s in the UK, helping to foster a vibrant steelpan community abroad.

Belgrave Bonaparte (Southern Symphony)

Belgrave Bonaparte was known for his exceptional skill and dedication to the development of Steelband music. As a member of Southern Symphony and TASPO, he contributed significantly to the ensemble's sound. Bonaparte’s performances were marked by his rhythmic precision and musicality, which helped elevate the steelpan’s status as a serious musical instrument during international performances.

Philmore Davidson (City Syncopators)

Philmore Davidson was a talented pan player and tuner with the City Syncopators. His expertise in tuning was vital for TASPO, ensuring the pans produced the desired tonal quality during their performances in Britain. Davidson’s contributions to the steelpan community extended beyond playing, as he helped refine the instrument's sound, making it more versatile and appealing to diverse audiences.

Andrew De LaBastide (Hill 60)

Andrew De La Bastide brought his unique style and technical prowess to Hill 60 and TASPO. His role as a player and tuner was crucial in the early development of the steelpan’s international presence. De La Bastide’s dedication to his craft helped in creating a cohesive and professional sound for TASPO, which impressed audiences and critics alike during their tour of Britain.

Orman Haynes (Casablanca)

Orman Haynes was a prominent figure in the Casablanca Steelband and an essential member of TASPO. Known for his innovative approach to playing, Haynes contributed to the evolving style of Steelband music. His participation in TASPO helped to highlight the steelpan’s potential as a sophisticated instrument capable of performing complex arrangements and resonating with international audiences.

Elliott Mannette (Invaders)

Elliott Mannette, often referred to as the "Father of the Modern Steelpan," was a pioneering figure in pan innovation. With Invaders, he revolutionized pan construction, developing techniques that improved the instrument's tuning and range. Mannette’s influence extended to TASPO, where his expertise was crucial in crafting the ensemble’s sound. His contributions laid the groundwork for future advancements in steelpan technology.

Granville Sealey (Tripoli)

Granville Sealey was a talented player from Tripoli who initially joined TASPO. Though he left the group early, his involvement highlighted his skills and the significance of his contributions to Steelband music. Sealey's work with Tripoli showcased his ability to blend traditional and innovative styles, enriching the musical landscape of the Steelband community.

Winston Simon (Tokyo)

Winston Simon, a legendary figure in the Steelband world, was renowned for his role in developing the tenor pan. As a member of Tokyo and TASPO, Simon's innovative playing style and musical creativity set him apart. His contributions were instrumental in expanding the steelpan’s melodic capabilities, allowing it to carry intricate melodies and complex harmonies that captivated audiences.

Dudley Smith (Rising Sun)

Dudley Smith, from Rising Sun, was a key player in TASPO, bringing his rhythmic expertise and dynamic energy to the ensemble. Smith's performances were characterized by their vibrancy and precision, helping to elevate the Steelband’s international reputation. His work with Rising Sun and TASPO demonstrated his commitment to pushing the boundaries of Steelband music.

Theophilus Stephens (Free French)

Theophilus Stephens was a dedicated musician from Free French who played an integral role in TASPO’s success. Known for his strong sense of rhythm and harmony, Stephens contributed to the ensemble's cohesive sound. His involvement in TASPO helped showcase the steelpan's versatility and potential, leaving a lasting impact on the perception of Steelband music worldwide.

Anthony Williams (North Stars)

Anthony Williams, a visionary in the Steelband community, led North Stars to numerous successes with his innovative arrangements and leadership. As part of TASPO, Williams’ expertise in arranging and playing was crucial in demonstrating the steelpan’s musical range. His pioneering work, including the introduction of wheeled pan stands, significantly influenced the evolution and popularization of the steelpan.

 

Led musically by Lt. Joseph Nathaniel Griffith of the Police Band, TASPO's members were also skilled tuners. Although Granville Sealey withdrew early and was replaced by Carlton Roach, the group embarked on a successful tour of Great Britain, performing in cities like London, Newcastle, Leeds, and Manchester. Their performances introduced the world to the unique sound of steelpan, showcasing its versatility and melodic potential. Sterling Betancourt remained in London, furthering the steelpan's development abroad.

Societal Challenges and Changing Perceptions

Despite their growing skill and international exposure, Steelband’s faced significant societal challenges in Trinidad and Tobago. Often associated with the poorer, less-educated segments of the population, Steelband music was unfairly linked to delinquency and violence. Many pan men were involved in street gangs, and Steelband’s were perceived as extensions of these groups. Fights between bands were common, sometimes escalating into violent clashes.

In response, a new wave of young, middle-class, college-educated individuals began forming their own Steelband’s, seeking to change the negative perceptions. Bands like Dixieland, led by Curtis Pierre, Silver Stars, led by Edgar "Junior" Pouchet, and Saigon (later known as Starlift) played pivotal roles in gaining acceptance among the middle and upper classes. These bands, supported by students from prestigious schools like St. Mary's College and Queen's Royal College, demonstrated that Steelband music could be sophisticated and respected.

Competition and Musical Innovation

A significant milestone in the acceptance of Steelband’s was their inclusion in the biannual Music Festival in 1952, competing for the Hope-Ross Challenge Cup. This was despite initial resistance from the Music Association, which opposed Steelband’s playing classical music. The festival, conducted in cinemas due to the lack of concert halls, highlighted the Steelband’s capability to interpret complex compositions.

The mid-1950s witnessed rapid advancements in the construction and playing of steelpans. Instruments evolved from single to multiple units, enhancing sound quality and range. Innovations by notable figures like Neville Jules (All Stars), who developed the twin-bass, and Ellie Mannette (Invaders), who created the double-second pan, transformed the Steelband into a versatile orchestra. Anthony Williams (North Stars) revolutionized mobility with the introduction of wheeled stands, allowing bands to parade the streets more easily.

These innovations enabled Steelband’s to adapt classical and popular American music to the calypso beat, expanding their repertoire. Notable recordings by Invaders included "Liebestraume" by Franz Liszt and "Melody in F" by Anton Rubinstein, while All Stars produced hits like "Intermezzo" and "Barcarolle."

Documentation and International Influence

The Steelband’s growing prominence was documented in the 1956 film "Music From Oil Drums," directed by Peter and Toshi Seeger in collaboration with Kim Loy Wong. This 15-minute documentary detailed the process of making and playing steelpans and was accompanied by an instructional manual, "The Steel Drums of Kim Loy Wong," co-authored by Wong and Pete Seeger. The film and manual garnered international acclaim, winning the "Chris" award for excellence and earning a nomination from the Educational Film Library Association.

Emerging Talents and Stylistic Shifts

The late 1950s saw the emergence of young talents who would shape the future of Steelband music. Ray Holman, a 13-year-old prodigy, joined Invaders, helping to shift their image from a band with a troubled past to one of respect and innovation. Holman's influence was instrumental in elevating the band's status.

Emmanuel Riley, also of Invaders, became renowned for his extraordinary solo performances and improvisational skills. His "jazzy" approach to pan playing set a new standard, inspiring other bands in the western part of Port-of-Spain, such as Starlift and Silver Stars, to emulate his style. This interpretative jazz style became synonymous with many popular steel bands of the era.

Key figures like Kelvin Hart, and ambassadors Kelvin Dove and Kim Loy Wong continued to promote steel band music, contributing to its global recognition and acceptance.

A Celebrated Chapter in the History of the National Steelband Music Festival. -Witco Desperadoes

 

Under the extraordinary direction of Dr. Pat Bishop, the Laventille Hill Steel Orchestra, known as Witco Desperadoes, achieved remarkable milestones that have left an indelible mark on the history of steelpan music. Their journey of excellence began in 1986 at the National Music Festival - Pan is Beautiful, where they mesmerized audiences with their awe-inspiring interpretation of Borodin's "Polovtsian Dances." This performance not only showcased their technical prowess but also their emotional depth, capturing the hearts of all who listened.

1986: Borodin's "Polovtsian Dances"

In 1986, the Witco Desperadoes took the stage at the National Music Festival with a breath-taking rendition of Alexander Borodin's "Polovtsian Dances." Under Dr. Bishop's meticulous guidance, the orchestra delivered a performance that highlighted their intricate technical skills and profound emotional expression. The arrangement of this classical piece for the steel orchestra was a testament to Dr. Bishop’s visionary approach, blending the rich traditions of classical music with the vibrant tones of the steelpan. This performance captivated the judges and the audience alike, setting the stage for the Desperadoes' continued success.

The choice of "Polovtsian Dances," a piece originally composed for the opera "Prince Igor," was ambitious and innovative. The dances are known for their lively rhythms and exotic melodies, which translated beautifully to the steelpan. Dr. Bishop's arrangement preserved the integrity of Borodin's composition while adding a unique Caribbean flair. The performance required the Desperadoes to master complex rhythms and dynamic shifts, which they executed flawlessly. The orchestra's ability to convey the emotional depth and cultural richness of the piece was a testament to their skill and dedication.

1988: Tchaikovsky's "Marche Slave"

The journey continued in 1988 when the Desperadoes, under Dr. Bishop's direction, conquered the World Music Festival with Pyotr Ilyich Tchaikovsky's "Marche Slave." This victory was a testament to the orchestra's exceptional talent and Dr. Bishop's ability to elevate their performances to global acclaim. The intricate arrangements and flawless execution brought audiences to their feet, earning standing ovations that echoed the band's brilliance and dedication. The performance not only showcased the technical mastery of the Desperadoes but also their versatility in adapting complex classical compositions for the steelpan.

"Marche Slave," composed in 1876, is a symphonic poem that reflects Tchaikovsky's deep emotional connection to the Slavic peoples. The piece is characterized by its dramatic themes and powerful orchestration, elements that were beautifully captured in Dr. Bishop's arrangement for the Desperadoes. The performance required precise control of dynamics and a deep understanding of the emotional narrative of the piece. The Desperadoes rose to the challenge, delivering a performance that was both technically impressive and emotionally resonant. The global recognition they received at the World Music Festival highlighted the universal appeal of the steelpan and the innovative spirit of Trinidad and Tobago's musical culture.

1992: "Dance of the Pannist" and Smetana's "The Bartered Bride"

The pinnacle of their achievements came in 1992 when the Witco Desperadoes sealed their triumphant hat-trick. Dr. Bishop conducted a superb rendition of their test piece, "Dance of the Pannist," composed by Rudy Wells, coupled with Bedřich Smetana's "The Bartered Bride." This performance not only highlighted their technical expertise but also their ability to convey powerful narratives through music. The combination of a contemporary test piece and a classical operatic overture demonstrated the orchestra's range and Dr. Bishop's innovative vision. The Desperadoes’ ability to seamlessly transition between different musical genres left a lasting impression on all who witnessed it, cementing their legacy in the annals of steelpan history.

"Dance of the Pannist" is a composition that celebrates the unique sound and cultural significance of the steelpan. Rudy Wells' piece is characterized by its rhythmic complexity and vibrant melodies, capturing the essence of Trinidad and Tobago's musical heritage. The Desperadoes' performance of this piece showcased their mastery of the instrument and their ability to convey a wide range of emotions through their music.

Smetana's "The Bartered Bride" is an operatic overture known for its lively and joyful themes. Dr. Bishop's arrangement for the steel orchestra preserved the playful and energetic spirit of the original composition while adding a distinct steelpan flavor. The Desperadoes' performance required precise control of tempo and dynamics, as well as a deep understanding of the musical narrative. Their ability to bring this classical piece to life with the steelpan highlighted their technical prowess and musical versatility.

From Laventille to Carnegie Hall

The influence of Dr. Pat Bishop and the Witco Desperadoes extended far beyond Trinidad and Tobago, reaching prestigious venues like Carnegie Hall in New York City. Their performances at such renowned international stages showcased the power and versatility of the steelpan on a global scale. Dr. Bishop's innovative arrangements and the Desperadoes' exceptional musicianship captivated audiences, earning them acclaim and admiration across continents. Their journey from the hills of Laventille to the grandeur of Carnegie Hall symbolizes not only their musical achievements but also their cultural impact, demonstrating the universal appeal and transformative potential of Trinidad and Tobago's musical heritage.

Dr. Pat Bishop: A Maestro's Touch

Dr. Pat Bishop was a luminary in the world of music and arts in Trinidad and Tobago. A multi-talented artist, she was renowned as a painter, musician, and conductor. Her profound understanding of music, coupled with her passion for the steelpan, made her an invaluable asset to the Witco Desperadoes.

Dr. Bishop’s association with the Desperadoes began in the early 1980s. Her exceptional ability to fuse classical music elements with the traditional steelpan sound brought a new dimension to the band’s performances. She emphasized precision, musicality, and emotional expression, pushing the boundaries of what was possible with the steelpan. Her innovative approach not only elevated the Desperadoes to new heights but also contributed to the broader recognition and appreciation of the steelpan as a sophisticated and versatile instrument.

Dr. Bishop's contributions to the Desperadoes were characterized by her meticulous attention to detail and her commitment to excellence. She worked closely with the musicians, guiding them through rigorous rehearsals and helping them to refine their technique. Her deep understanding of both classical and Caribbean music allowed her to create arrangements that were both faithful to the original compositions and uniquely suited to the steelpan. Dr. Bishop's passion for music and her dedication to the Desperadoes inspired the musicians to strive for greatness and to push the boundaries of what was possible with the steelpan.

Legacy and Impact

The hat-trick of wins under Dr. Pat Bishop’s direction not only solidified the Witco Desperadoes' place in steelband history but also elevated the perception of the steelpan as a versatile and sophisticated instrument capable of performing complex classical compositions. Dr. Bishop’s work with the Desperadoes showcased the steelpan’s potential on the global stage, inspiring future generations of musicians and arrangers to explore new musical territories. Her contributions to the art form were instrumental in promoting the steelpan as an instrument of national pride and cultural identity for Trinidad and Tobago.

Dr. Bishop's legacy extends beyond her work with the Desperadoes. She was a tireless advocate for the steelpan and for Trinidad and Tobago's musical culture. Her efforts to promote the steelpan as a serious and sophisticated instrument helped to elevate its status and to ensure its place in the global musical landscape. Dr. Bishop's contributions to the steelpan community have had a lasting impact, inspiring future generations of musicians and arrangers to continue pushing the boundaries of what is possible with the instrument.

Conclusion

The collaboration between the Witco Desperadoes and Dr. Pat Bishop remains one of the most celebrated chapters in the history of the National Steelband Music Festival. Their hat-trick of victories not only highlighted their exceptional talent and dedication but also underscored the transformative power of music. Today, their legacy continues to inspire and resonate, reminding us of the limitless possibilities of the steelpan.

The Desperadoes' journey of excellence under Dr. Bishop's direction is a testament to the power of collaboration and the importance of pushing the boundaries of what is possible. Their achievements have left an indelible mark on the history of steelpan music, and their legacy continues to inspire musicians and audiences alike. The Witco Desperadoes and Dr. Pat Bishop have shown us that with dedication, creativity, and a passion for excellence, the possibilities for the steelpan are truly limitless.

 

Trinidad and Tobago National Steelband Music Festival: A Storied History

 

The History of the Trinidad and Tobago National Steelband Music Festival - Pan is Beautiful

The "Pan is Beautiful" festival, a revered event in Trinidad and Tobago's cultural calendar, has a storied history that reflects the evolution and significance of the steelpan. From its inception in 1952 to its modern-day iterations, the festival has been a testament to the skill, creativity, and resilience of the island’s pan musicians.

Early Beginnings: Overcoming Resistance

The roots of the festival date back to 1952 when the Trinidad and Tobago Music Association reluctantly included a Steelband category in the National Music Festival. The inclusion faced strong opposition, primarily because the Association was skeptical about the Steelband’s’ ability to perform classical music. Despite these challenges, the Steelband’s persevered, and the inaugural competition was held on March 11, 1952, at the Roxy Cinema in Woodbrook, Port-of-Spain.

The Point Cumana Boys Town Steel Orchestra, led by Clem Bellerand, emerged victorious in this first festival, performing the test piece "Under The Marabella Bridge" and their tune of choice, "You Are My Heart's Delight." This marked the beginning of a new era for steelpan music, highlighting the instrument's versatility and the musicians' talent.

The 1950s: Establishing a Tradition

Throughout the 1950s, the festival continued sporadically, gaining momentum and recognition. The increased number of participants and the high standard of performances demanded that the festival be staged independently from the National Music Festival. This period was marked by intense rivalry among soloists, including notable pannists such as Kelvin Hart, Patsy Haynes, Theo Stephens, Sonny Roach, Belgrave Bonaparte, Emmanuel "Cobo Jack" Riley, and Chic "McGroo" Springer.

A Defining Moment: The 1959 Festival

The 1959 festival, held in 1960, was a landmark event in the history of steelpan music. Dixieland Steel Orchestra, led by Curtis Pierre, won with a remarkable interpretation of "Agnus Dei," narrowly defeating the Ellie Mannette-led Invaders Steel Orchestra, who performed "In a Monastery Garden" arranged by Jocelyn Pierre. This competition showcased the high level of musicianship and the artistic potential of steelpan music.

The Biennial Festival: 1962 and Beyond

In 1962, the Biennial Steelband Music Festival was established as an independent entity, providing a dedicated platform for Steelband’s to display their talents. This format allowed the festival to attract significant international attention, with performances that highlighted the versatility of the steelpan.

International Expansion: The World Steelband Music Festival

The international interest in the steelpan led to the first World Steelband Music Festival in 1988, featuring participants from Venezuela, Guyana, and Sweden. Witco Desperadoes won this inaugural event, reinforcing the global appeal and competitive spirit of the festival. The second edition in 2000 saw broader participation from countries like the United States, England, Sweden, Finland, France, Switzerland, Grenada, and St. Lucia.

Notable Moments and Winners

1966: Pan Am North Stars won with an outstanding performance of "Intermezzo In E," showcasing their artistic prowess.

1973: The festival introduced categories for large, medium, and small bands, with Nutones, Blue Diamonds, and Samaroo Jets winning their respective categories.

1980: The festival was rebranded as "Pan Is Beautiful," supported by the Kirpalani Group. Iscott Casablanca, re-emerging after a period of dormancy, won the competition.

1986: Witco Desperadoes won the festival, marking their return after a 19-year absence and beating strong contenders like Trinidad All Stars and Phase II Pan Groove.

1988: The first World Steelband Music Festival was won by Witco Desperadoes, with Amoco Renegades and Neal and Massy Trinidad All Stars securing second and third places, respectively.

1992: Witco Desperadoes, completed their hat trick winning the festival with an historic rendition of "Bartered Bride" by Smetana.

1998: Exodus and the Trinidad and Tobago Defence Force tied for the top spot, highlighting the fierce competition and high standards of the festival.

2000: TCL Skiffle Bunch won the World Steelband Music Festival, solidifying their place in the festival's history.

2008: Exodus continued their dominance, winning the festival once again.

2013: The Codrington Pan Family displayed skills and talent winning the esteemed title.

Honour Roll: Festival Champions

• 1952: Boys Town
• 1954: Southern All Stars
• 1956: Katzenjammers (Port-of-Spain)
• 1960: Dixieland
• 1962: Pan Am North Stars
• 1964: BWIA Sun Jets
• 1966: Pan Am North Stars
• 1968: Trinidad All Stars
• 1972: Trinidad All Stars
• 1973: Nutones
• 1980: Catelli Trinidad All Stars
• 1982: I-scott Casablanca
• 1984: Catelli Trinidad All Stars
• 1986: Witco Desperadoes
• 1988 (World): Witco Desperadoes
• 1992: Witco Desperadoes
• 1994: Neal & Massy Trinidad All Stars
• 1996: Neal & Massy Trinidad All Stars
• 1998: Exodus and Trinidad and Tobago Defence Force (tie)
• 2000 (World): TCL Skiffle Bunch
• 2002: Exodus
• 2005 (World): Exodus
• 2008: Exodus
• 2013: The Codrington Pan Family

 

Reviving the Festival: Steelpan is More Beautiful 2024

Under the leadership of Beverley Ramsey-Moore, Pan Trinbago has revived the festival as "Steelpan is More Beautiful 2024." The upcoming Trinidad and Tobago National Steelband Music Festival is being held under the patronage of the Prime Minister of Trinidad and Tobago, Dr. The Honourable Keith Rowley. This year’s festival will feature three finals in different categories: Single pan, Ensemble, and Orchestra. The competition's theme, "Canopeum Amoris – A Canopy of Love," celebrates the enduring romance between pan enthusiasts and the instrument’s melodies.

Conclusion

The "Pan is Beautiful" festival is more than just a music competition; it is a celebration of the ingenuity, talent, and cultural heritage of Trinidad and Tobago. From its humble beginnings in 1952 to its modern-day resurgence, the festival has played a pivotal role in the development and global recognition of steelpan music. As "Steelpan is More Beautiful 2024" approaches, we look forward to witnessing the next chapter in this extraordinary journey.

For more information on the upcoming festival and how you can be part of this historic celebration, visit our website or follow us on social media. Join us as we continue to celebrate the unmatched beauty of the steelpan and the vibrant culture of Trinidad and Tobago.