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.