‘Reid, Wright and be Happy’ — a great evening

THERE were so many pleasing aspects to the evening that it is difficult determining which should be the object of focus. There was Ron Reid’s deft touch to his pair of double second pans; Orville Wright’s delicate tinkling of the ivories; and the totally awesome bass playing of David “Happy” Williams. Surinamese drummer Harvey Wirht may possibly have been a tad too loud at times, but his undoubted skill on the skins was in evidence, while the radiance and charm of US-based vocalist Nia Allen was eclipsed only by the soulful power of her voice. The “secret” MC (he remained out of sight, but everyone knew it was Alfred Aguiton, well-known jazz aficionado and chairman of Ample Advertising) brought a welcome breath of fresh air to the job; the exhibited works of graphic artist Kenneth Scott showed off his expertise and versatility; and the mouth-watering menus on offer from culinary artiste Jacqueline Danclair appeared to appeal to the most discerning of palates. It all happened down at the Central Bank Auditorium in Port-of-Spain last Friday night at the opening performance of the two-night production “Reid, Wright and be Happy - The Concert” presented by Sanch Electronix Ltd.

An almost full house of patrons, after engaging in social chit-chat during the cocktail hour, experienced the best in entertainment in a three-hour showcase from three-widely acclaimed Trinidad and Tobago nationals. In making comments to the audience before start of the second segment, producer Simeon Sandiford alluded to the event as “our little experiment.” He said it was a new approach to marketing culture and promised that with the continued thrust he would successfully bring a Grammy Award to Trinidad and Tobago in two years’ time. “We intend to travel with this bandwagon and teach the world to read and write, and I am sure they will be happy for it,” he quipped. The playbill opened with just Reid and Wright giving interpretation to Williams’ composition “Happy’s Story.” The full ensemble then gathered for a groovy rendition of Ray Holman’s “Pan On The Move,” before vocalist Nia Allen was introduced. The lass, who recently graduated with a Degree in Music Education from Berklee College of Music in Boston, Massachusetts, won instant favour with patrons for her inspirational treatment to the Wright composition “I Know It’s Real.” A truly remarkable performance of the late Andre Tanker’s “Morena Osha,” presented in a reggae/jazz styling, was followed by Reid’s keyboard and Wright’s double seconds engaging in musical conversation to Reid’s “Laura’s Waltz.”

Allen came back to do an appealing rendition of “God Bless The Child” before we were treated to some great bass playing by Williams in the showcase of his composition “Keep The Master In Mind.” Wright paid tribute to his musical mentor, the late Olive Walke, leader of the now defunct La Petite Musical Chorale, with a sensitive, classical treatment of the choir’s best-known folk song, “Mangoes.” Williams, on the other hand, chose to remember his late father, the great bassist John “Buddy” Williams by giving a stunning display on the instrument while rendering the Manning Sherwin classic “A Nightingale Sang In Berklee Square.” Not forgotten was the late Grandmaster of Calypso, Lord Kitchener (Aldwyn Roberts) who would have been more than pleased with the aggregation’s jazz interpretation of his 1963 Road March winner “The Road.” The three nationals finally, but forcefully, showed pride in their identity with a new, but endearing twist to Ian Wiltshire’s mega hit “Trini To The Bone.” Sandiford made presentations of the group’s CD to Lester “Eifebo” Wilkinson of the Ministry of Culture and Tourism; Brian Harry of the Tourism and Trinidad Development Company (TIDCO); Kenrick Sooknarine of Cariflex;  and former First Lady Zalayhar Hassanali representing the Charity Foundation, Women Against Breast Cancer.