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Track Listing:
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Trinidad All Stars Steel Orchestra
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Limited Edition, numbered with live signature Unframed Screen Print (20.5 x 20.75) of the CD in stock.
eCaroh Price $ 75.00
TRINIDAD ALL STARS
A BRIEF HISTORY OF AN "INSTITUTION"
(1935 - 1999)
Sixty-four years of Discipline, Dedication and Magnificence
The history of Trinidad All Stars by and large is as old as the Steelband Movement itself.
In 1935, the band was known as Hell Yard Boys. Hell Yard itself was a poor area on the banks of the East Dry River in Port of Spain. This name changed several times to Second Fiddle, Cross of Lorraine and finally All Stars, chosen because of the perceived superior ability of its players. By 1946, the word Trinidad was added to the name.
The band is credited with a number of steelband innovations through its first captain, Prince Batson, and pan innovator, Neville Jules. These include the introduction of classical music on pan – played to Calypso rhythm and known as the Bomb, the quarto or alto pan, now called the double second, the bass pans and the use of two sticks.
The band’s watchwords of Discipline, Dedication and Magnificence have played a major role in the band’s successes over the years. Trinidad All Stars has taken part in most of the major steelband competitions. To date, it has won the Panorama (Calypso) Competition four (4) times, Bomb Competition (Classical piece to calypso rhythm) five (5) times and Steelband Music Festival (Classical music played as per score) six (6) times – a feat that is envied by many.
The band also staged the first classical music concert by a steelband in 1974 and every two years thereafter. The last was Classical Jewels VIII held in 1991.
Trinidad All Stars has been the recipient of the following National Awards:
- In 1982, the Government of Trinidad and Tobago awarded the Humming Bird Medal – Gold for its contribution to the Pan Movement.
- In 1986, the Port of Spain City Corporation gave a special award to the band.
The band has made a number of international tours playing to large audiences wherever it performed. Countries toured include Barbados, Bermuda, Canada, China, Puerto Rico, Scotland, St. Maarten, the United Kingdom and the U.S.A.
Some prominent persons who have contributed to the success of the band over the years are:
Tuning of Instruments: Neville Jules, Allan Jervais, Leo Coker
Arrangers: (Panorama) Neville Jules, Rudolph Wells, Leon (Smooth) Edwards, Eddie Quarles.
Musical Directors / Conductors: (Classical Performances) Jerry Jemmot, Gillian Nathaniel Balinthulo, Nelson Villafana.
The band has been fortunate in having very supportive corporate sponsors starting in 1968 with Hand Arnold – Catelli Primo continuing to 1988 and then the conglomerate, Neal and Massy Holdings, from 1988 to the present time.
© 2000 Trinidad All Stars Management Committee
THE NOSTALGIC PANYARD
1999 marks the thirteenth anniversary of my association with Trinidad All Stars. Our initial recording was done at the auditorium of the Central Bank of Trinidad and Tobago on December 21st 1986. It was entitled Nostalgia and released on cassette. Delos International of California reissued some of the music on our first compact disc, Steelbands of Trinidad and Tobago.
Subsequent experiences have convinced me that the best place for recording large steelband ensembles is outdoors, live to two track. This album was compiled from four such sessions, the first being on February 21st 1998 (Me and Mih Lady) with 120 players, the second on May 20th 1999 (96 Medley) with 60 players and the third and fourth on November 24th and 25th 1999, respectively with 23 players. I recorded these performances late at night at the panyard. Any extraneous noises, which you may detect while listening, are not unpleasant and would have originated from sources located at least 150 yards away from the microphone arrays.
Over the years, I have often tried to analyse why the music of All Stars is so distinct. I have finally concluded that one significant factor is the bounce in their rhythm. This must be attributed to Neville Jules, their first arranger who has succeeded in "handing down" his style to every other arranger, from Rudy Wells to Leon "Smooth" Edwards. When you listen to Jules’ arrangement of the ‘96 medley performed at coasting speed on track 10, this fact is clearly evident. His clever integration of four melodies into a seamless whole creates the instantaneous effect of triggering your memory into a nostalgic past…
You remember 3000 All Stars masqueraders playing sailor on Carnival Monday and Tuesday in the late fifties. You close your eyes and see them swaying synchronously from side to side on the streets, throwing powder (Cashmère Bouquet made by Cussons) into the crowd while simultaneously sucking sweet Coca Cola laced with sugar cane distillate from nipples attached to family size bottles. Incredibly, the band was so large that about 90 percent of the members could not hear the accompanying steelband music. Yet the sound of the chip… chip... chip... chip… of their feet was so metronomic that it created a rhythm that kept them going all day long.
Much of the All Stars nostalgia is rooted in their discipline, of which the best example that I have witnessed relates to a bell. This instrument was given to the band by former captain Prince Batson circa 1971. The bell in All Stars panyard may be compared with the mace in a court of law. It is used by the band’s arrangers to attract the attention of players during rehearsal and to count their Panorama renditions. No one dares to hit a note or to coast after they hear ting…ting…ting…ting. The bell can be heard on tracks 10 (coasting speed) and 11 (Panorama tempo) of this album.
Traditional community spirit and camaraderie have kept All Stars alive for over six decades. On any given evening their panyard is filled with elders and youngsters alike, playing draughts or cards, rehearsing music or just liming. I can think of no other steelband that has an annual old boys’ Christmas dinner and children’s Christmas party that has gradually escalated from being organized for children of band members only (about 60 odd) to children of the entire neighbourhood (over 600).
Finally, during all my thirteen years of recording steelband music I have never left my equipment overnight in any panyard. Yet, when the invitation came from All Stars during the final phase of this project, I deemed it an honour to do so. There was a feeling of mutual trust.
© 1999 Simeon L. Sandiford
CREDITS
The arrangers of the music in this album are Yohan Popplewell 1, 2, 4, 5, 8, 9: Dane Gulston and Clive Telemaque 6: Clive Telemaque 7: Neville Jules 10 and Leon ‘Smooth’ Edwards 11.
Featured soloists are: Dane Gulston (tenor) on tracks 1,4,6 and 7; Clive Telemaque (double seconds) on tracks 1,4,5; and Nalo Sampson (double seconds) on track 7.
TRINIDAD ALL STARS
HISTORIA BREVE DE UNA INSTITUCION
(1935-1999)
Sesenta y cuatro años de Disciplina, Dedicación y Magnificencia
La historia de Trinidad All Stars es, por lo general,tan vieja como el mismo Movimiento de Bandas de acero.
En el año 1935, la banda se llamaba Hell Yard Boys. En si misma Hell Yard era una á rea pobre localizada en las orillas de East Dry River en Puerto España.Este nombre se cambió varias veces a Second Fiddle, Cross of Lorraine y por fin All Stars, nombre elegido por la habilidad superior de sus tocadores,En el año1946, se agregó la palabra Trinidad al nombre.
Se acredita a la banda varias innovaciones de bandas de acero mediante su primer capitán, Prince Batson,e innovador de pan,Neville Jules.Entre ellas se incluyen la introducción de música clásica en el steelpan-tocada al ritmo de Calipso y conocida como la Bomb, el pan alto o quarto, ahora llamado el double second, los pans bajos y el uso de dos palitos.
Su lema -Disciplina, Dedicación y Magnificencia han hecho un mayor papel en los éxitos de la banda durante los años.Trinidad All Stars ha participado en la mayoría de las mayores competencias de bandas de acero.Hasta la fecha, ha ganado la Competencia Panorama cuatro (4) veces, la Competencia Bomb (Música clásica al ritmo de Calipso ) cinco (5 ) veces y el Festival de Bandas de acero (Música Clásica tocada a la partitura ) seis (6) veces-un triunfo que muchos envidian.
La banda también organizó el primer concierto de música clásica por una banda de acero en el año 1974 y cada dos años después.Classical Jewels VIII fue el último concierto organizado en el año 1991.
Trinidad All Stars ha sido premiado con los siguientes Galardones Nacionales:
- En el año 1982 el Gobierno de Trinidad y Tobago la Medalla de Oro -Humming Bird por su contribución al Movimiento del Steelpan.
- En el año 1986,La Alcaldía de la Ciudad de Puerto España otorgó a la banda un premio especial.
La banda ha viajado por varios países, entre ellos Barbados, Bermuda, Canadá , China, Puerto Rico, Escocia, San Maarten, EL Reino Unido y los Estados Unidos.
Algunas personas eminentes que han contribuido al éxito de la banda durante los años son:
Afinación de Instrumentos: Neville Jules, Allan Jervais, Leo Coker
Arreglistas: (Panorama) Neville Jules, Rudolph Wells, Leon (Smooth) Edwards, Eddie Quarles.
Directores de Música (Ejecuciones Clásicas): Jerry Jemmot, Gillian Nathaniel
Balinthulo, Nelson Villafana.
La banda tiene la suerte de tener patrocinadores corporativos muy soportantes empezando en el año 1968 con Hand Arnold - Catelli Primo siguiendo hasta el año 1988 y luego el conglomerado Neal and Massy Holdings, desde el año 1988 hasta el presente.
DECLARACION
Lograr la excelencia en el arte de bandas de acero contribuyendo a las innovaciones en el steelpan,y dominando arreglos musicales y la ejecución de los mismos.
© 2000 Trinidad All Stars Management Committee
El Panyard Nostálgico
El año 1999 señala el decimotercio aniversario de mi asociación con Trinidad All Stars.Nuestra grabación inicial fue hecha en el auditorio del Banco Central de Trinidad y Tobago el día 21 de diciembre,1986.Fue titulada Nostalgia y fue publicada en casetes.La compañía Delos International de California volvió a imprimir alguna de la música en nuestro primer disco compacto Steelbands de Trinidad y Tobago .
Unas experiencias posteriores me han convencido de que el mejor sitio para grabar a los grandes conjuntos de bandas de acero es al aire libre,en vivo a dos canales.Este á lbum fue compilado durante 4 sesiones, la primera el día 21 de febrero de 1998 (Me and Mih Lady) con 120 tocadores,la segunda el día 20 de mayo 1999 (`96 Medley) con 60 tocadores y la tercera y la cuarta los días 24 y25 de noviembre de 1999,con 23 tocadores.Yo grabé estas funciones muy tarde en la noche en el panyard.Cualquieras ruidos extraños,que pueda percibir al escuchar, no son desagradables y habrían surgido de fuentes ubicadas por lo menos 500 metros de la formación de los micrófonos.
Durante los años,he intentado muchas veces analizar por qué es tan distinta la música de All Stars.Por fin he concluído que un elemento significativo es la energía de su ritmo.Esto se debe atribuir a Neville Jules,su primer arreglador quien ha logrado en "transmitir" su estilo a cada arreglista, de Rudy Wells a Leon "Smooth"Edwards.Cuando escuche la adaptación de Jules del
popurrí de 1996 tocada a"coasting speed",este hecho es muy evidente.Su integración ingeniosa de cuatro melodias en una totalidad crea el efecto instantáneo de provocarle la memoria en un pasado nostálgico..
Uno recuerda a 3000 integrantes disfrazados de marineros los lunes y martes de carnaval a finales de los años 50.Uno se cierra los ojos y los ve balanceándose síncronamente de un lado al otro en las calles,echando polvo(Cashmere Bouquet de Cussons)a la multitud mientras chupan Coca Cola dulce reforzada con jugo de caña de azúcar de tetillas ligadas a botellas de tamaño familiar.Increiblemente,la banda fue tan grande que un 90% de los no pudieron escuchar la música de la banda de acero que los acompañaba.Sin embargo,el sonido de chip....chip....chip....chip de sus pies fue tan metronómico que creó un ritmo que les hacía seguir adelante a lo largo del día.
Mucho de la nostalgia de All Stars tiene su origen en su disciplina,el mejor ejemplo de la cual que tengo está relacionado con una campana.Este instrumento fue regalado a la banda por el ex capitán Prince Batson circa 1971. La campana en el panyard de All Stars puede compararse con una maza en un tribunal de justicia.La usan los arreglistas de la banda para atraer la atención de los tocadores durante el ensayo y para contar sus interpretaciones.Nadie no se atreve a golpear una nota incorrecta ni gandulear después que se escucha ting....ting....ting....ting.Se puede escuchar la campana en canales 10(coasting speed) y 11 (tempo de Panorama) de este álbum.
Un espíritu comunitario y compañerismo tradicionales le conservan a All Stars con vida durante seis décadas.En cualquier tarde el panyard está lleno de viejos y jóvenes,jugando a cartas o a damas,ensayando la música o simplemente ‘liming’.No puedo pensar en otra banda de acero que tenga una cena navideña y fiesta de navideña anuales organizadas por los ex miembros y que se han extendido de ser organizadas para los hijos de los miembros de la banda(unos 60 niños) a los niños de la vecindad entera (má s de 600 niños).
Por fin,durante los 13 años que tengo grabando la música de bandas de acero nunca he dejado mi equipo durante la noche en algun panyard.Pues,al ser invitado por All Stars durante la etapa final de este proyecto,lo consideré un gran honor.Existió un sentimiento de confianza mutua.
©1999 Simeon L. Sandiford
Review by WAYNE BOWMAN
All Stars glitters in new collection
Trinidad All Stars Steel Orchestra
The Nostalgic Panyard (Sanch)
I HAVE heard so many wonderful stories about the good old days back in the 1950s, that there are times when I wish I'd been born back then.
Of course, had I been around that long, I don't think I'd have been able to enjoy most of the things of my youth, since I would then have been too old. Fortunately, I can enjoy the best of both worlds since I have many elder friends who keep me supplied with stories of yore. One of my favourite old-time topics is that of the pan, and the characters who kept its company. Panyards today are so into the aesthetics that much of the rustic mystique has been lost.
Even the music was sweeter then because when a man played a tune, he was putting in blood, sweat and tears. Imagine standing over a pan, one ear tuned in on the melody and the other listening for the police. One leg keeping time, while the other on standby to run for cover if they raid the yard. "When a man go through all of that just to play a tune, yuh could bet your last dollar, he playing the most lovely chords you'll want to hear."
That's just what you'll get should you pick up the latest CD collection from the Trinidad All Stars Steel Orchestra, The Nostalgic Panyard.
Eleven tracks are featured on this collection, totalling a playtime of about 65 minutes. There is a mix of calypso, jazz, Latin, ballads and pop selections showcasing the skills of the likes of popular All Star players such as lead pannists, Clive Telemaque and Dane Gulston.
The collection opens with a truly avant garde interpretation of "Craw Fish," then unexpectedly shoots into high gear with a rendition of David Rudder's, "Adrenalin City." The mood gets reflective with the soft, mournful melody of Elton John's "Lion King," before lifting back up with "Samba De Orfeu."
There is also a tribute to the sweet soca man Baron, as the band performs its own version of his covers of some sentimental love songs titled "Baron Medley."
After a light, dusty performance of Kenny G's "Forever In Love," the Stars head down to Jamaica for a bit of Jimmy Cliff's "Harder They Come," mixed in with Louis Armstrong's "Wonderful World."
The band then takes you back to 1996 as they deliver a medley of some of the popular selections of that year's soca style. The CD ends with a rendition of Car Wash's lively ditty, "Me And Meh Lady."
