A MEMORABLE NIGHT AT PAN ROYALE

A brilliantly executed three-song opening by calypsonian Brother Mudada (Alan Fortune); the bluesy improvisations by female violinist Marlene Rice of the David “Happy” Williams Sextet; and the dazzling technique of legendary saxophonist Lou Donaldson combined to make the second night of Pan Royale 2003 memorable. Enitled “Jazz  Night,” the programme, presented by the Queen’s Royal College (QRC) Foundation in collaboration with the Ministry of Culture and Tourism, was held on the College’s grounds in St Clair. It attracted a large, lively audience that gave spontaneous appreciation to the offerings of featured artistes, Mudada, Andy Narell and Sakesho, Othello Molineaux, the Williams Sextet and Donaldson, who was a special guest.

Backed by a musical aggregation led by ace arranger Pelham Goddard on keyboards, Mudada set the tone for the evening’s entertainment with a classy showcase of three compositions from his songbook that included “The Mecca,” “Papers No Use,” and “We Carnival.” For many in attendance, it was, perhaps, the first occasion they saw and heard Marlene Rice play the violin. She is, however, well known in creative jazz music, and beyond, for the soulful tone of her violin, as well as her improvisations. Donaldson’s impressive mastery of pop and funk styles in his playing since the 1950s is legendary. His creative spark and inventiveness have not diminished with the passing years, as was so expressively evident in his interpretation of the popular selection “Misty.” Following Mudada’s opening, Sakesho, the quartet led by American-born pannist Andy Narell, took centre stage for a showcase of its music, a form of highly syncopated rhythms native to the French Caribbean, from which came three of its members — pianist Mario Canonge, bassist Michel Alibo, and drummer Jevan Fanfant.

The group’s name translates into “It’s gonna be hot.” It offered selections from its latest CD of the same name, inclusive of “Laventille,” a sedate, calypso-style jazz number written by Narell, and the vibrant and energetic Afro-Cuban groove with the tongue-twisting title “Kon Djab Djigidji,” written by Canonge. In addition to Rice, the Williams’ sextet included another female in the person of drummer Sylvia Cuenca. Also among the group was celebrated musical arranger, New York-based Frankie McIntosh on keyboard, Ron Reid on double second pans, Vince Herring on saxophone and Williams on bass. Just as it did at last year’s edition of the event, the aggregation charmed patrons with its effortless and flawless execution of songs. Seasoned professionals, they all contributed to the playbill’s intent to demonstrate the “happy” marriage of pan and conventional musical instruments. Othello Molineaux is a pan virtuoso who set out with the mission years ago “to show jazz musicians that pan is a melodic instrument, not just a percussive one, and to liberate it from the touristy image that still dogs it in many circles.”

That he has been successful in achieving his aim is beyond question, as was so forcefully demonstrated in his quartet’s repertoire. Backed by Sylvano Monesterios on keyboard, Leonardo Brooks on bass and Ernesto Simpson on drums, Molineaux artfully demonstrated the blending of pan with jazz.  It was a show of touch, precision, power and graceful melody in his choices that included the mysterious and exhilarating selections “G N” and “Visionary.” Sponsored by the National Lotteries Control Board (NLCB), National Gas Company, Petrotrin, Tourism and Industrial Development Company (TIDCO) and First Citizens Bank (FCB), Pan Royale 2003 ends this evening  with the programme  “Voices and Steel,” starting at 6.30 o’clock.