While Santa was fine tuning his North Pole operations, marshalling reindeer and sleighs while reviewing wish lists from the world’s children, this year one of his emissaries arrived early in Trinidad, in the guise of jazz trumpeter Etienne Charles, who aided by his musical elves, showered a sold-out Queen’s Hall with everything they’d wished for and more at last Sunday night’s one-off concert.
A Fatima alumnus who soared out of the island to pursue his studies at Florida State University and then the prestigious Juilliard School of Music, the 32-year-old Saga Boy has rapidly established himself as one of the leaders of a new generation of Creole jazz musicians, who are infusing mainstream jazz with the diverse traditional rhythms and melodies of the Caribbean. His penultimate album Creole Soul topped jazz charts in 2013 and his recently launched Creole Christmas, which provided last Sunday’s playlist is destined for similar acclaim.
The album is impressive, conceptually and musically, not least because it draws on the local seasonal repertoire, delving back to the heyday of Lionel Belasco as well as including such international favourites as This Christmas and I’ll be Home for the Christmas, but the live performance surpassed all expectation, validating previous glowing reviews which invariably cite Charles’ ebullient and daring improvisation.
Brilliant soloist as he is, “Creole Saga Boy’s” Christmas package came gift wrapped, firstly in his seasonally coloured plaid waistcoat and tie, two tone shoes and signature pork pie straw hat and then by a band as talented and full of seasonal spirit as its leader. Enjoyment and delight could be read on the faces of all assembled in Queen’s Hall and for once at a jazz concert there were no sleeping heads slumped on gently rising chests, no accompanying snores.
Playing to his partisan home crowd, Creole Saga Boy dived straight in the deep end, easing into the first set with his arrangement of Tchaikovsky’s Sugar Plum Fairy. This choice of opening number was a mark of Charles’ eclectic taste and confidence, a gamble which might have astonished those who don’t know of the Sugar Plum’s association with Christmas.
A senior Saga Boy and local jazz icon David “Happy” Williams laid the melodic foundation on his double bass, accompanied by Orisha master drummer Everald “Redman” Watson on congas, immediately framing the whole performance with roots beats and colour. Jacques Schwarz-Bart’s tenor sax riffed into the evocative soundscape joined by Alex Wintz’s lyrical guitar before Charles veered off into minor mode, taking the band on one of those mystery tours which returns to its melodic motif, as surely as a track off the Miles Davis classic Kind of Blue.
We all travelled North in the next number for the American Negro Spiritual, Go tell It On the Mountain, sung by another stateside Trini, Florida-based Roger “Golden Voice” George, whose version I preferred to Mykal Kilgore’s album take. George gave a controlled bluesy rendition embellished by flourishes from Charles, building to the crescendo on Kris Bowers’ Roland keyboard, before the effortlessly gentle conclusion.
Riding the vibes like a seasoned cabaret comedian, Charles then explained the concept for his Creole Christmas album, which was: “Based on what I played on my stereo on Christmas morning.” Reminiscing that the first local song he learnt was Tell Santa Claus, provided the intro to this Trini classic, which rivals the child-centred narrative of The Little Drummer Boy.
Hauntingly sung by George, as the story of the barefoot boy begging his impoverished mother to ask Santa to send a trumpet and ‘constantina’ to relieve his loneliness picked up momentum, bebop energy from alto saxman Brian Hogans and stylised body movements from Charles (recalling the one-legged stork posture beloved of flautists and guitar heroes), steered the song beyond pathos or sentimentality, in a beautifully crafted interpretation of a Good Samaritan’s gift to a small boy.
Having evoked sentiment Charles then sat down on his cajon, to join master drummer Everald “Redman” Watson, in a tribute to the recently deceased Junior Noel, Redman’s longtime fellow drummer and the Orisha rhythms Charles draws on. The first set was wrapped up with George delivering the American classic This Christmas, his velvet baritone hinting at Stevie Wonder’s phrasing.
The second set opened with a galloping Venezuelan Joropo interpretation of Tchaikovsky’s Chocolate, or Spanish Dance, with a distinctly local Spanish parang feel evoked by Venezuelan cuatro maestro Jorge Clem (hailing from Cumana where Rio Manzanares originates) and Clarita Rivas on maraca. A racing-speed duet featuring Clem’s cuatro and Charles on cajon elicited the evening’s loudest roar of approval, recalling the atmosphere of spontaneous rural rum-soaked parang sessions.
Acknowledging our own Christmas musical heritage came two Lionel Belasco compositions-Roses of Caracas, an Antillean Waltz and then Juliana. Roses began slowly with deliberate piano steps joined by Hogan’s caressing clarinet and Charles with muted trumpet creating an aura coloured by formal elegance.
Then the defining syncopated swing of the Antillean Waltz registered and in the ensuing swirl Charles switched to cajon for another duet with Clem’s cuatro, Schwarz-Bart trading sliding riffs with Wintz’s guitar as a prelude to a Happy Williams double bass solo, who passed on the melodic motif like a baton to some cheeky flourishes from Charles culminating in what can only be described as a zip, trumpet and body flipping upward in unison. Juliana brought Trinidad’s own Paganini—Stanley Roach, Creole fiddler extraordinaire—back onstage for one of his all too rare public performances.
Robert Munro, local cuatro maestro joined the ensemble for another swinging arrangement (reminiscent of biguine) introduced by cuatro and cajon, with unforgettable sequences from both cuatros and Roach’s violin.
Charles’ research into early kaiso has led to yet another fruitful collaborative relation ship with the man who keeps it alive. So nobody was surprised when Charles introduced “extemponian” the Lord Relator, resplendent as ever in tux and tails. First he gave us his own excellent seasonal advice—Make A Friend for the Christmas, Charles’ muted trumpet underscoring his laconic delivery and couldn’t resist a stale yet topical Thanksgiving joke which went something like: “Thanksgiving isn’t popular anymore, especially in Russia. Putin says he don’t want to have anything to do with it anymore, especially Turkey.”
Famous for his Spoiler renditions, Relator introduced the surrealist’s Yuletide special-Father Christmas: “Very difficult because of Spoiler’s phrasing, and Etienne doesn’t help jazzing it up.” In fact Charles added absurdist brio and melodramatic colour along with the rest of the brass, to make this the evening’s comedic climax.
A night no one wanted to end romped out into the pre-Advent night with “a down home version” of Relator’s Christmas is Yours Christmas is Mine. As patrons dispersed as sated as though they’d just spent a Christmas Eve night “with food on the table, drinks at the bar and music on the porch”, many could be heard anxiously enquiring when was the next Etienne Charles concert. Maybe Santa will bring him back for the Christmas self.