By Dr. Richard A. Byron-Cox
It’s rather easy for the casual observer to conclude that contemporary Vincentian musical culture is generally nought but blasting noise, intended solely for titillation and gyration, inviting all to cockup/wine-up yo’ bumper; pull down this, mash up that, push down this and tear down that. And, better yet if you do this being “stink and dirty,” “behaving the worse,” “pushing down one another” or are profane to the ultimate degree, for “madness” is the pinnacle of our culture. There are the episodic moments of sanity, such as the calypso semifinals and finals, and Steel Expression, but we immediately return to jump up and get on bad. If not discerning, one could believe that all of society is contented with this morass, celebrated as cultural. Not so. During my recent sojourn home, I attended a musical evening put on by the Jazz Tropical Project (JTP), which convinced me that all is not lost musically.
Held on a Sunday afternoon into late evening, the venue, Basil’s at villa, was completely filled before the show started. Attendees included from the Head-of-State downwards. Attire was casual as befitting the occasion, with no undress competition to determine who was the best at being all but completely naked. Equally, there was no cockup/wine-up bumper competition. As the band tuned up and people seated themselves or found standing space, one could sense universal anticipation of something sweet and special, something opposite to madness. We weren’t disappointed.
Following a short welcome by leader/manager, Dexter Rose, JTP hit it, opening with a cover of Johnathan Butler’s gospel; “We need you Lord”. The tone was set. From then on, it was up and up in quality, diversity and musicianship, creating a sensational musical discourse with their audience.
They continued with covers of classics like Ain’t no sunshine, It’s too late, Oye Como va, Chan Chan, Let’s stay together, Sweet Love, I shot the Sherrif, …., they just rolled them out. This repertoire portrayed the different times in the life of popular Jazz, stretching from the present, back to the 60s. Catering to all moods and tastes, JTP served up soulful and smoot jazz, Caribbean and Latin Jazz, fusions, and of course some free (style) Jazz.
As already hinted, from Santana to Marley, Al Green to Buena Vista Social Club, Bill Withers to OneRepublic, and a host of others were given the JPT touch. The talents of the individual musicians came through a seamless symphony. Dexter was living Edith Piaf’s La Vie en Rose as he made his bass joyfully thump or just roll as necessary. The drum major was Calvin Flour Hannaway, who kept things in time, while veteran guitarist, Zan George gave moments of improvisation that had me time and again declaring, “You call that George!” Then there were “los dos Cubanos.” Juan Carlos Cepeda was on keyboard and doing vocals. But what is a jazz band without sax? Bryan Ortiz, the other Cuban, played his as if the music came from his soul. Additional icing was added with renditions by a guest artiste.
Needless to say, I and other patrons who had the courage to show the effects on us of this Moulin Rouge experience, did shake a leg, for as Brother Bob says, “One good thing about music, when it hits you, you feel no pain. JPT hit me so hard, I couldn’t let such musical ecstasy fly by knowing that I would have awoken Monday morning regretting that I did. I ignored the staring eyes, and whispering lips, for like the late Ras Shorty I, “I love music, sweet, sweet music,” and so refused to suffer the pian of self-denial.
This was an entertainment package on an ordinary Sunday evening where there was music instead of noise, and where the men were separated from boys! JTP did not just display intelligent maturity in musical culture, it demonstrated that as Plato said, music is a moral law that gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. We were grateful recipients.
Rose can be justly proud of JTP’s role in enhancing SVG’s musical culture menu. Two scores years earlier, he had left music and performing to navigate the worlds of tertiary education, journalism and diplomacy. Now he’s returned to “Living in music,” for that is Jazz a la Dexter Gordon. I do encourage that you check out their next extravaganza, for they help the sane retreat far from the madding crowd, to experience the speech of angels, i.e., music that rests your soul. Remember Herbie Hancock, “Jazz is about being in the moment.”