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ISSUE 1/MAY 2014
This past January, the UTT Academy for the Performing Arts (APA), in collaboration with the United States Embassy, hosted the illustrious Michigan State University (MSU) Jazz Orchestra for an exciting week of music and cultural exchange. Led by Double Bassist Rodney Whitaker, the contingent included saxophonist Diego Rivera, pianist Reginald Thomas and son of the soil and trumpet prodigy, Etienne Charles. The school was abuzz as students of the highly acclaimed jazz programme interacted with the student members of UTT’s Big Band, exchanging ideas, sharing technical knowledge and talking music.
The cultural differences between the mid-western American state and sweet Trinbago became very clear to me and seemed analogous to the musical differences between jazz and calypso. Jazz, arguably the most influential musical form of the 20th century, is virtuosic and has a disciplined character to it. Jazz emphasizes the importance of communication and musical relationships. Calypso on the other hand employs a loose groove and has the tendency to make you forget your troubles. Calypso is easy going and has a playful swagger to it. Golden era calypso also drew a lot from jazz; chord progressions, melodic approaches and musicality, which in this case, makes the comparison all the more fitting.
Cultural differences aside, I knew I was in for a treat when I entered the theatre to check out an impromptu jam with the MSU collective. The atmosphere felt smoky and calm as the sound of New Orleans filled the room. Standing at the back of the theatre I listened as the rhythm section laid down a rubbery drum and bass groove. The pianist was cheekily playing a scintillating rift with a deft certainty, opening the floor for two sax players to have a rather elaborate and intellectual conversation.
Though the music was tight and seemed totally rehearsed, I knew it wasn’t because there was a look of pleasant discovery on the musicians’ faces, as if they were discussing the taste of doubles with their instruments. Then in a militaristic tone, Mr. Whittaker announced the start of the rehearsal. The drummer, bassist and pianist then got up and sat in front of their actual instruments. Before I could finish collecting the bits of my mind that had just been strewn across the room, the entire MSU collective was in place. “That’s Jazz”.
Listening to the band rehearse was a pleasant experience. Their tone was very refined and even when the texture became thick, each individual line was still easily discernible. The saxes sounded warm and inviting and the brasses were bright and commanding but not harsh. I watched as various members of the orchestra played solos with an almost subliminal obsequiousness, making eye contact with Whittaker intermittently as if to seek his approval. He would nod nonchalantly as if he was barely impressed with what he was hearing and mind you, these solos were impeccable. They made me regret all those times I skipped practicing my trumpet playing to shoot hoops or lime, my only comfort being that I’d never owned a trumpet. Then the band wrapped up and handed the stage over to Aidan Chamberlain and the UTT Big Band.
Aidan made an announcement for the UTT musicians to take the stage, his distinctly British accent barely audible over a crowd hum that seemed to appear on cue. As students began taking their seats, small discussions began taking place, possibly to kill some time before the rehearsal actually started. Aidan, noticing that two seats were empty, began inquiring as to the whereabouts of the missing students for whom no one could account. After finally deciding to start without them, the UTT musicians tuned up and started to play. “Dat is Calypso”.
‘What Calypso can learn from Jazz’
by Lamar Pollard