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Jazz on Pan a Noteworthy Brooklyn First

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New York - It was an evening of Jazz on Pan - and music lovers did not even have to journey into the city ‘proper’ to experience two and a half hours which showcased the skills of some of the finest young steelpan musicians this region has to offer, along with a headline act.   And the cool Spring Friday evening in May was an apt backdrop to an event which got underway just ten minutes after its advertised 8:00 p.m. start.

Headliner Andy Narell on steelpan
Headliner Andy Narell on steelpan

Presented by USSA (the United States Steelband Association) and the organization’s Youth Committee, opening remarks by Magnus Scanterbury and the national anthem played by daughter Kiera Scanterbury set the stage for what was a well-paced card of talented and confident steelpan musicians.  A who’s who of essentially Brooklyn’s younger generation in the steelpan world would grace the stage - each delivering a few selections before headliner and veteran steel panist Andy Narell and his band.

Many have watched Mustafa Alexander, Iman Pascall, Andre White and Kareem Thompson - household names on the New York pan scene and beyond - as they have grown up and evolved. This foursome has titillated audiences in magnetic combinations of capable fora as solo and group performing artists, arrangers and composers.  Earl Brooks, Jr. who rounded out the line-up is known in Trinidad & Tobago and being introduced to the North American pan world.  Each of these exceptional steelpan musicians gave the audience credible musical insight into just what makes people sit up and take notice whenever they are ‘in the mix.’

One of the more noteworthy characteristics of these particular musicians was their genuine intent to focus on the stated theme/genre of the night - Jazz.  This is not always the case in pan shows which advertise Pan Jazz content as the musical fare, but then artists de-emphasize that theme when on stage and instead sprinkle liberal doses of R&B and Soca in their repertoire.

Mustafa Alexander on stage for Jazz on Pan
Panist Mustafa Alexander on stage with K.I.T. Caribbean Connection for Jazz on Pan

Mustafa Alexander who is studying at Five Towns College opened up with Blue Moon (Rodgers and Hart) and Morning Dance by Spyro Gyra.  He set the stage for what would be a series of impressive sets of music to follow from each of his contemporaries.  Mustafa is a serious young individual, whose skills and quiet but passionate dedication come to life whenever he is behind his instrument, in this case the tenor pan.

Iman Pascall on stage for Jazz on Pan
Panist Iman Pascall on stage with K.I.T. Caribbean Connection for Jazz on Pan

Iman Pascall, who has a year and a half to go at Berklee College of Music, followed with Celia by Bud Powell; Centro Havana - Oriente López and her own composition, Inspiration.  Iman, who also plays drums, appears to love the tenor pan instrument as an extension of her inner soul.  This ‘twinning’ results in one of the finest young musicians in the steelpan world.  There is seemingly nothing that inhibits the expression of her musical self whether delivering ‘standards,’ or her own inspired compositions.  

Earl Brooks, Jr. on stage for Jazz on Pan
Panist Earl Brooks, Jr. on stage for Jazz on Pan (Adan Hagley - keyboards, Sheldon Thwaites - drums; Samuel Gonzales, Jr. - bass; Edgar “Spots” Fitzgerald - congas)

Then came Earl Brooks, Jr., who has just finished his first year at Berklee, also on tenor.  Lettuce’s Break Out; I Know You Know - Esperanza Spalding and Smash by Avishai Cohen were his tunes of choice.  Just as they did with Iman and Mustafa before him, the crowd showed their approval with spontaneous bursts of applause and cheers punctuating highlights of his set.

Andre White on stage for Jazz on Pan
Panist Andre White on stage for Jazz on Pan

Next it was the turn of Andre White who turns twenty-one on May 26, but who has already made history as the youngest steelband arranger ever to win a major Panorama competition (New York - back in 2008), and continues to be a musical force with which to be reckoned.  Now in his final year at Berklee College of Music - for an eager audience, and in the capacity as an extremely competent solo artist, Andre served up Walking In, Walking Out by Tony Grey; The Afterthought - Stefon Harris and Red Clay by Freddie Hubbard.  With the double seconds as his instrument of choice, Andre’s energy and gifted musical flair are molded and delivered with an uncompromising determination belied by his age.

Kareem Thompson on stage for Jazz on Pan
Panist Kareem Thompson on stage for Jazz on Pan (Toure Fitzgerald- keyboards, Iba Fitzgerald - bass; Keith “KJ” Marcelle - drums; Edgar “Spots” Fitzgerald - congas; Sheldon Thwaites - percussions)

Kareem Thompson has one more year at Berklee, and arranged for the first time for the New York steelband panorama in 2010 for Sesame Flyers Steel Orchestra.  He comes from and was accompanied by, literally, his  family of musicians, K.I.T. Caribbean Connection.  Jazz Crimes from Joshua Redman; Douens by Etienne Charles and Keep It Tight written by Toure Fitzgerald were the weapons of choice in Kareem’s musical arsenal on this night.  Outwardly preferring to remain in the background when offstage, Kareem is a calculating, smoldering talent who must not be underestimated, and takes no prisoners whenever he is behind his double seconds.  This night was no different as he took the audience with him on a musical path that he only let them off of in his own time - at the end of his set.

The panists were accompanied for the most part by the rest of Kareem’s musical family - K.I.T. Caribbean Connection (formerly Jambalasi), with Toure Fitzgerald on keyboards; twin Iba Fitzgerald on bass, and family patriarch Edgar “Spots” Fitzgerald on percussions.  The band is anchored by Berklee College of Music-based student, New York’s own Keith “KJ” Marcelle on drums.  “KJ” played tenor pan when he was younger, but has followed his heart over the last few years and pursued his passion for drums.

K.I.T. Caribbean Connection’s Edgar “Spots” Fitzgerald stayed on when Earl Brooks, Jr. took the stage, with Adan Hagley - also from Berklee -  coming in on keyboards, Samuel Gonzales, Jr. on bass and Sheldon Thwaites (Berklee alum) taking up position on drums.

The audience in attendance for Jazz on Pan
The audience in attendance for Jazz on Pan

During the brief changeover period for headliner Andy Narell and his band, USSA president Keith Marcelle thanked the audience for being on hand, though pointing out that there were still available seats (the auditorium was about two thirds full).  He also spoke about the show unfolding:  “What we are trying to do with this organization [USSA] is to uplift what we produce and promote where Pan is concerned.”  He declared the “Jazz on Pan” show the first of its kind in Brooklyn, and promised that more would be forthcoming.  Marcelle also looked back briefly at the launch of USSA ten years ago with the organization’s inaugural 2001 Panorama (held at the Thomas Jefferson Athletic Complex grounds in Brooklyn), while advising the audience of the association’s acquisition of 501(c)(3) standing, and expected status benefits.

Andy Narell with band perform at Jazz for Pan
Andy Narell & band perform at Jazz for Pan

Soon it was the turn of well-seasoned steel pan artist Andy Narell who did what he does best - deliver to his audience a well-honed, adept repertoire of steelband works, coupled with onstage camaraderie - always desired and enthusiastically welcomed by steelpan music fans.  With his band complement of Dario Eskenazi - keyboards; Gregory Jones - bass; Pedro Martinez - congas and Mark Walker - drums, he rolled out honeyed music transitions in Terror’s Sugar for Pan, and his own compositions of Baby Steps and Coffee Street.   Narell had the majority of the audience - local and out-of-town visitors alike - eating out of his hand.

For the finale, all the steelpan artists joined Andy Narell (who additionally delighted the audience by playing his old-style tenor in this round) on stage for Pan In Harmony, each giving final ‘flashes’ of their music acumen, in what was a summary performance to close off the evening.

All artists on stage during Jazz on Pan for finale performance
All artists on stage during Jazz on Pan for finale performance

This audience of music connoisseurs came with high expectations for Jazz on Pan, which were fulfilled.  It is safe to say that no one who attended, came away from the evening not being pleasantly surprised and awed at the wealth of talent this younger generation stepped up and delivered.  Kudos to USSA for having the vision in bringing together these panists on their own night in Brooklyn.  And there are other such young sterling steelpan musicians on the scene as well, so the stage is set for what must become the norm rather than the exception.

The only real distraction When Steel Talks found was the increase in volume of sound reinforcement - which started out as adequate for the acoustics of the auditorium - but then increased to unnecessary levels at a later point.  In this particular compact setting, enhancement of the performances, not outright amplification should have been maintained as the rule of thumb.  That being said, USSA presented an organized and timely event, supported by the availability of a comprehensive and colorful program for all upon entry, chock full of background on performers, event details and more.  Attendees were pleased with the talent line-up, and venue - the Iris and B. Gerald Cantor Auditorium within the Brooklyn Museum.

Related post:  Check out the thoughts of renowned panman Garvin Blake on the performances.

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