Steelpan Pioneers- The Echo's of Spree

 

Winston “Spree” Simon: The Pioneer Who Shaped Steelpan’s Melody

Introduction

In the tapestry of Trinidad & Tobago’s musical history, few figures loom as large or as quietly transformative as Winston “Spree” Simon. He is widely recognized as one of the earliest innovators to transform percussion into melody, turning discarded tins and oil drums into what would become the modern steelpan. Simon is more than a historical footnote; he is the father of the melody pan, the person who saw musical potential in metal where others saw only refuse.

As the very first subject in our “Steelpan Pioneers” series, Simon’s story illuminates the origins of an instrument that would go on to shape the cultural identity of Trinidad & Tobago and influence music worldwide. His life is a narrative of creativity, resilience, and innovation, set against a backdrop of poverty, community struggle, and social marginalization.

Early Life & Context: Growing Up in Laventille and John John

Winston “Spree” Simon was born in 1930, the youngest of six children, four boys and two girls in the impoverished district of Rose Hill, East Dry River, Port-of-Spain. While his older brothers went out to work at a tender age, the family’s fortunes continued to decline, eventually prompting a move to John John, a neighbourhood marked by deprivation and hardship.

Simon later reflected on his experiences there:

“...the depressed, frustrated, under-privileged and poor people sweat out their drab and dull existence...”

He learned first-hand the toil, persecution, humiliation, and dishonour that came with being connected to steel bands in those early days:

“...the persecution, humiliation and dishonour that was the price for anyone connected with the steelband, more so for the early pioneers.”

Police harassment was common. Young pannists were beaten, arrested, and jailed, often suffering silently and innocently. Yet despite these dangers, John John would become the cradle of a momentous occurrence in 20th-century music history. It was here that Simon would encounter the momentum generated by early masters like Andrew Beddoe, the Orisha drummer and slap-bass virtuoso, witnessing the birth of steelpan as a glorious musical invention.

Early Musical Influence: Learning from the Pioneers

Once settled in John John, young Simon immediately immersed himself in a percussion band. Following in the footsteps of an older brother who played in the John John band, he became the band’s “third best kettle drummer,” absorbing skills from seasoned performers:

“One of the all-time greats in the art of folk drumming... Andrew Beddoe... Ralph Charles (‘Fairy’), Harold Vespree (‘Bongo Toughy’), Neville Chamberlain (who introduced the bugle), and a host of others. These were my teachers, and good teachers they were, the best I could afford.”

The kettle drum Simon played began its life as discarded “garbage” from nearby small industries; biscuit factories, tanneries, candle makers, and the railway yard. Youths in John John discovered that these discarded metal objects could produce sound, forming the foundation for their street sessions known locally as liming, picong, and fatigue - accompanied by clapping, foot-stomping, and rhythmic knocking on anything that produced a tone.

It was in these sessions that Simon first discerned that different tins produced different sounds. This realization marked the birth of his experimental approach, in which he learned the joy of creating music out of nothing, finding excitement even amidst hardship and danger.

The Invention Journey: From Kettle Drum to Melodic Pan

Simon’s breakthrough came in the early 1940s during a street parade in John John. He lent his special light metal kettle drum to a friend, who returned it badly beaten, the concave surface distorted. Simon began pounding the inside with a stone, then a piece of wood, and to his astonishment discovered:

“I was able to get distinctly separate musical notes. Thereupon, I was able to knock four notes out. I turned my knowledge over to the other members of the band - and pan was born!”

From this humble, one-note drum, Simon’s experimentation evolved rapidly. By 1943, he had created an eight-note “ping-pong” pan, and by 1946, he had refined a 14-note instrument capable of playing melody and harmony. These developments transformed the steelpan from percussive novelty to melodic instrument, setting the stage for the orchestral steel bands we know today.

Key Moments: Concerts, TASPO, and Band Leadership

1946 Solo Concert
In March 1946, Simon performed solo on his 14-note pan at a public Carnival event. Dignitaries including: Governor Sir Bede Clifford, Lady Clifford, calypsonian Lord Kitchener, social reformer Audrey Jeffers, and other dignitaries. He played a remarkable set: from calypsos to hymns to classical pieces; including Schubert’s “Ave Maria,” Lord Kitchener’s “Tie‑Tongue Mopsy,” and the British anthem “God Save the King.”  This event was pivotal in legitimizing the steelpan as a serious musical instrument, not merely street percussion.

TASPO & International Exposure

In 1951, Simon was among the select pannists chosen to join TASPO (Trinidad All Steel Percussion Orchestra). TASPO travelled to Great Britain for the Festival of Britain; an opportunity to introduce steelpan to the world. Their participation helped raise the global profile of pan, showcasing its melodic potential on an international stage.

Steelband Leadership
Beyond TASPO, Simon was deeply involved in several local steelbands. Early in his career, he led or co-led bands such as Tropical Harmony, the Fascinators, and a band then called Destination Tokyo (later Carib Tokyo). His leadership was not only in playing but also in shaping the sound and direction of these groups. He shared freely what he had discovered, fostering community and mentorship around him.

Legacy & Influence:

Despite the controversies, he faced Winston “Spree” Simon’s influence is profound and enduring.

• Mentorship and Inspiration: He worked closely with later pioneers. Anthony Williams, who developed advanced soprano pans, is said to have been influenced by Simon. Similarly, Bertie Marshall, the tuning visionary who introduced harmonic tuning, learned from Simon’s experiments and absorbed his ethos.
• Cultural Immortality: His life and work were immortalized in calypso. Lord Kitchener composed a tribute to him, and other artists remembered him in song.
• Commemoration: There's a monument to Simon in John John, a physical reminder of his legacy in the community that shaped him.
• Symbol of Resilience and Creativity: For many in Laventille and beyond, Simon symbolizes how ingenuity can emerge from struggle, how an artist can transform what is discarded into something sacred and melodic.

Reflection: Why Winston Simon’s Story Matters Today

Winston “Spree” Simon’s journey holds lessons that resonate strongly in the present:

1. Innovation from Marginality: He didn’t come from privilege, but he enabled a major musical revolution from the margins. For communities that feel unheard or under-resourced, Simon’s story is a powerful model: creativity is possible, even in adversity.
2. Listening to the Ordinary: He heard melody in a battered tin drum. That ability to listen deeply - to find potential where others saw mere refuse - is a reminder that innovation often begins with observation and empathy.
3. Community Roots: While he’s celebrated as an individual, Simon’s progress was inseparable from his community: the young street musicians, the carnival bands, the mentorship networks. Real transformation often grows from collaboration, not lone genius.
4. Legacy Beyond Fame: Simon passed away in 1976, after suffering a stroke in the 1970s. He did not leave behind vast wealth or global fame, but his mark on music is permanent. His life teaches that impact is not always about awards or fame - sometimes, it’s about changing how people hear.
5. Inspiration for New Generations: For young musicians, especially in Trinidad & Tobago, Simon’s journey is a reminder of what’s possible. His curiosity, his persistence, and his willingness to experiment encourage a new generation to innovate, to try, to fail, and to build.