Tribute to jazz master Voisin

In the early 70s, when TT ’s popular studios — K&H and Semp — were expanding, we were both musicians working in the studios.

After recordings, or in-between gigs, we’d go to my place and jam. We had formed a small fraternal group of musicians called Astralypso Chapter.

The way we explored improvisation in the music — the intuitive and the discoverable, the cross-cultural elements of jazz — we were really relocating the Caribbean jazz essence. We were aligning with past elders like Fitzroy Coleman, Rupert Clemendor, Edmundo Ros and the inherent combos and big bands in the region, as well as the coming world music recordings.

Tony was in love with music and music loved him. He was a gracious soul.

Everyone loved him.

He was also a creative punster. The same creative play with music, he had with words. Everyone who really knew him expected his jokes and puns — once a pun a time … that would be Tony as he would engage with the likes of Pelham Goddard and drummer Barry Howard.

We were into music for the sake of music, exploring harmonies, polyrhythms, tonal modes and counterpoints and improvisation.

We were into the language of music, etc — jazz stuff. We were into the universalism of jazz and it’s unifying elements, the same kind of sensibility now being curated in the collaboration of UNESCO and the International Jazz Day celebration — the unicity of jazz as a changing agent.

It was this musical exploration that fascinated Tony — freeing up his unique guitar riffs style and embellishing any music, song or genre. He was the groove in the groove, groove in the soca, in its music, arrangements and performances.

Soca music has Tony’s signature in its DNA. This was the inspirational source and support of his musical exploration that empowered his intuitive groove skills. It was indirectly Tony’s style that the internationally renowned soca artist, Arrow, cited in his composition, Groove Master.

Tony had played with various combos — Night-winds, Franklyn George’s Rush and the group In Crowd. This was the period when combos were fading as the recording industry and DJs were taking over. This was in the lull of change in the industry. Investments were directed to soca performers and DJs produced most of the fetes.

Audio technology was changing also, with woofers and tweeters becoming popular. The DJs reigned, changing the aesthetic of the sound to volume power, bass and highs. In my estimation, it was the beginning of the distortion and the misrepresentation of the musicians’ music, especially in TT .

When producer Rawlston Charles needed a band to accompany his soca artists in mid-70s, he recruited the best of the studio musicians, included Goddard as leader and arranger, and Tony was in the mix.

Charlie’s Roots had the same high-gear sound arsenal the DJs had. The band brought the live music back to TT , opening up the area for live bands. Benefitting from this was its fan club (Frontline), Minshall, Rudder, Tambu and other top Caribbean soca artists.

In the mix of it all was Tony’s infectious style — riffing the soca dance floors worldwide. In Roots’ performances, Tony and his compadre guitarist Junior Wharward shared electrifying exchanges in their animated play. They were known as the “yes” and “no” soulsters.

Junior would shake his head left to right (no) to Tony’s solo, while Tony would shake his head up and down (yes). It is all in the groove.

The TT fraternity of musicians share the highest respect for master Caribbean jazz musician, fraternal brother and friend, groove master Tony Voisin. RIP Tony.

DAVID BOOTHMAN artist/musicia