The quartet, Pathways, recorded a new CD for the Soundkeeper label last spring called “Americas”. It will be released in May of 2012. It will feature many of the tunes we learned on the road from the Latin America tour last year and our jazz arrangements of a few more Caribbean and South American songs. More on that as it comes closer.
The Kickstarter CD fundraising campaign for the ‘Paul Beaudry & Adam Rafferty – New Tomorrows’ project was successful. It looks like that CD will be ready for release by the summer of 2012. By that time it will have been 4 years in the making, that project started in 2008.
My jazz quartet, Paul Beaudry & Pathways, recently completed a Rhythm Road: American Music Abroad tour to Central Asia. In October 2011 we performed and gave educational workshops in Kazakhstan, Kyrgyzstan, Bangladesh and India. I’ll be updating my blog soon and finally moving my all my blog posts to this site!
Pathways on "Astana Road"
Our first rest day of the tour. We’ve heard that there’s an indoor beach with a waterslide at a shopping mall in Astana, Khan Shatyr, the biggest mall in Central Asia. I recall doing a Middle East Rhythm Road tour with Alvin Atkinson and The Sound Merchants in 2007 where we visited Dubai and saw the ski slope, Ski Dubai, in the Mall of the Emirates. I can’t miss the opportunity to see a beach in a mall, that will be a first. We start our journey by walking along the central strip in Astana that
Pyramid of Peace, aka "The Palace of Peace and Reconciliation"
starts with the Pyramid of Peace (also known as the Palace of Peace and Reconciliation) and continues through the capital building, the Bayterek Tower, and the Khan Shatyr mall on the other end. The whole strip is 3 miles long. We’ll only walk half then take a cab later to the Pyramid. The buildings along the way are incredible, almost everything in Astana is new as the capital was moved here from Almaty in 2005. Since then the government has been building Astana quite a bit and in 10 years many of the building and architecture projects will be finished. If Astana looks this way now I can only imagine what it will be like when it’s finished. As a country Kazakhstan is only 20 years old having declared their independence from the USSR in 1991. Everything is so modern-looking now in Astana it’s amazing that this is a post-Soviet territory.
Beach at the mall, Khan Shatyr
The mall is overwhelming and incredible. We grab a bite and some coffee and head for the ‘beach’. Unbelievable. The beach and waterside are six tall stories from the ground and this definitely looks like a futuristic movie. Well done. We exit to catch a cab to the Pyramid of Peace which is another landmark of the city. Unfortunately the Pyramid is closed on Sundays but there’s still plenty of pictures to take outside and on the way back the hotel passing the capital and the Bayterek Tower along the way. Back to work gentlemen – 4 more days in Kazakhstan before we leave for Kyrgyzstan.
At 9am we head out to do a workshop for music students at an international school. We’ve brought much of our own equipment so this time we’re in a large classroom where Bennett can play keyboard and Tony can sing through a small amp I have with me. We play a song up front and start talking about jazz and the different instruments. We get the students involved in some small group and large group improvisation exercises and have everyone clapping and singing. We answer questions afterward and play another song. I’m glad after the workshop the students have a much better understanding of what we’re doing than they did when we first started. After the closing applause, several pictures and autographs we’re ready for some lunch. We’re joined by Jeff Sexton along with Maren and Zhanar for a great discussion about music over our meal. We cover Jazz and Classical music’s standing in America and how that relates to audiences worldwide. We talk about some of America’s pop greats like Stevie Wonder, Michael Jackson, Paul Simon, and others yet how much the younger generation tends to gravitate toward music that’s visually-based. I’m concerned about the future of music as it’s become much more about sight than sound. We’re well aware of the artist’s responsibility to captivate the interest of the audience yet leave something of artistic value to uplift the spirit and leave behind a legacy for the next generation to aspire to not just in terms of popularity but in terms of art. After a great conversation that we pledge to continue it’s time to go back to the hotel and pack up for another plane flight. That early evening we fly to Pavlodar for another American Corner event and concert again accompanied by Maren and Zhanar.
Enjoying some Russian eats with Maren
We arrive in Pavlodar, check in to the hotel and eat at a Russian restaurant to get some more tastes of the local food and specialities. Pavlodar is another major city in Kazakhstan and we can get a sense that like Aktobe it has a more established and continuous history than Astana. Astana has been largely rebuilt since the government decided to move the capitol there from Almaty so much of Astana is new. Here we can see Soviet architecture and a mixture of the Kazakh nomadic tradition, Russian tradition and a more modern influence since their independence all mixed together.
The next morning we do another American Corner event meeting new people, answering more questions, and again talking about what we do and playing some music which at times engages the audience. There is another press conference afterward with a few newspapers. I notice that with every question and answer session sometimes by answering it helps me clarify what I’m doing and what we’re doing as a band. I’ve always been into the concept of making music that has a high degree of authenticity and originality. I come to realize that my career has followed that direction all along. From insisting on learning classical and jazz music, playing in the Black Church, playing blues, funk, R & B, studying with some great Latin jazz players, and amassing a huge library of music at home. I explain that in the Pathways band I try not to distinguish between the different musical styles all styles are equally valid forms to improvise on but we are using the jazz philosophy as we approach every song. Jazz philosophy meaning we are improvising on the melody or the song, the harmony and sometimes also the form. As we are playing each song the band is actively listening to each other. We’re in conversation with each other and with the audience as we feed off the audience’s reaction as well. Stylistically we may stay in the blues, a certain Latin style or funk but the jazz element is the spontaneous composition that takes place as we perform the piece. I also like being inspired by folk music and other great songs. I love the jazz standards but I see that as only one source of songs and there’s a whole world of music out there. Pathways has continued to learn a new song in every country that we’ve visited and added that to the band’s repertoire. Much of the band’s repertoire at this point is folk or pop songs from different countries throughout the world. Trying to keep the original rhythmic feels authentic to the home country and styles the songs are from I realize Pathways is moving into a direction of world music using a jazz concept. We perform our arrangement of the Kazakh folk song ‘Kamazhai’ again for the American Corner audience to illustrate our message of keeping the music authentic and yet adding an additional level of creativity to it. People at event really like what we play but are particularly interested in our arrangement of ‘Kamazhai’.
Performing in Pavlodar
We have lunch, a soundcheck, and get ready for our first full-length concert of the tour. Our show in Aktobe was only 30 minutes to kick off the International Aktobe Jazz Festival and while that was fun we do appreciate having a full 90-minute show ahead of us. Our performance in Pavlodar is electric. Something happens musically that really brings this band together on this show and we play better than we ever have before. I’m sure the audience may have something to do with it as there are over 800 people in attendance. This is our first overseas full concert since October 2010 in Honduras and our first live showcase of some of the music we recorded for the ‘Americas’ CD in May. Whatever it is we feel great and the audience goes nuts. Again ‘Kamazhai’ is a big hit along with ‘Maria’ that we learned in Suriname and ‘Nicaragua Nicaraguita’ that we learned in Nicaragua. We feel like rock stars from our audience’s reception after the show. It’s great to play jazz and get that kind of feedback. It inspires me that musically the band is on the right path.
Bayterek Tower at night
7:30am lobby call the next day to fly back to Astana. We have another big show tonight this time in Astana at Shabyt, the National Academy of the Arts. I have a few press interviews in the afternoon before the band heads out to soundcheck. There is a nuclear proliferation conference in Astana going on at the moment and there are diplomats from all over the world in attendance. Kazakhstan has been a leader in nuclear proliferation and this is an international conference to discuss future plans. Our concert turns out to be not only for the general public but also for the international delegates of the conference. We are honored to be playing a part of such an important event. The concert (video clip of “Caravan”) is well-attended by over 500 people with standing and sitting room only as the hall is packed. I’m happy that our energy from Pavlodar carried over and continued in another great show featuring our interpretation music from all over the world. People feel like they are being treated to a smorgasbord of great sound. I guess growing up in diverse San Francisco I like it that way. Again much applause, photographs, conversation and autographs afterward. I’m especially touched by those we meet who work to foster a sense of cultural understanding and diversity and to those aspiring musicians that we’ll be working with the next day during our workshop during our master class. It’s been a great night.
In front of Shabyt
Our last day in Kazakhstan and we’re back at the National Academy of the Arts (Shabyt) this time to teach the students. Many of the students saw our performance the night before but not everyone. We play some music up front and this time we can get more in depth about music then many of our other workshops because today we have college students and aspiring professionals. We get the opportunity here to teach and invite students to play with us and give them some constructive criticism. The students here are talented and eager to play as well as eager to learn. Improving in a skill involves not just practice and developing new habits but unlearning certain habits as well. A real transformation can take place when a student unlearns an old habit and replaces it with a new, more constructive one. It’s always a joy to witness that transformation take place during the course of one master class. We leave them with as much encouragement and advice as possible and the students and teachers are very thankful. Hopefully this is a place we can return to as there is much learning that took place during this 90 minute short period of time. We have a photo session and conversation afterward with autographs and hope to come back in the future.
This has been a nice end to our Kazakhstan part of the tour. We will miss Maren and Zhanar who have been with us since we arrived in Kazakhstan. We do get a chance to be in Almaty but only the airport as a two-hour layover before taking another plane to Bishkek, Kyrgyzstan where another set of experiences await us. We will have fond memories of Kazakhstan in terms of the people, the culture, our interaction and the concerts we played there. It feels like we’re starting this tour on a real high note. Our next move is to learn some music from Kyrgyzstan. We have a big concert the first day of our arrival and we will play an arrangement of a Kyrgyz folk song on that show. In the meantime we’re going to enjoy our two hours in Almaty as our last stop in Kazakhstan by having some traditional Kazakh food at the airport. It’s surprisingly good. Now for our next flight.
Paul Beaudry & Pathways performance in Pavlodar, Kazakhstan Oct. 11, 2011
Round #2 for Paul Beaudry and Pathways to head out on a Rhythm Road: American Music Abroad international tour! We’re so happy to be going to South and Central Asia and this time very prepared in terms of what to bring. Our tour this time brings us to Kazakhstan, Kyrgyzstan, Bangladesh and India. One of the first things I notice in the planning stages is the mixture of languages we’ll be dealing with. Last year was easy – Spanish and English. This year it looks like it will be Russian, English, Kazakh, Kyrgyz, Bangali, and maybe Hindi. Doing some advance research all of the countries in this region share a common history in being connected by the Silk Road, the ancient trading routes that connected China and India to Europe. The Romans in particular were very fond of the gold, fine silk products and spices of India, the silk having originally come from China. After the fall of the Roman Empire the trade route continued until the 15th century. Throughout that period those who controlled portions of the Silk Road became very wealthy so the South and Central Asian region has a history of common kings, dynasties and rulers.
It was finding an alternative to the Silk Road that prompted Columbus to sail west of Europe in search for India. Well we all know how that story went, some still call Native Americans “Indians” to this day but this goes to show the length a king would go to control a piece of the Silk Road or in Spain’s case to find another sea trade route altogether to bring the riches of China and India to Europe.
I’m planning our repertoire to be a mixture of the first Paul Beaudry & Pathways CD, the new “Americas” CD (our arrangements of Caribbean, South and Central American tunes we learned on our last tour plus a few more from the region), some new songs we haven’t played yet and whatever new music we find along the way. We still plan to learn at least one new song in each country. So 4 countries, 12 cities (plus a 2-day layover in Istanbul, Turkey) and 16 airline flights in 30 days – here we go.
Map of Kazakhstan
We arrive in Astana the capitol of Kazakhstan close to midnight completely beat. We left JFK the night before at 9:45pm, had an 8-hour flight to Frankfurt for a 2-hour layover then a 5-1/2 hour flight to Astana. We’re now 10 hours ahead of Eastern Standard Time and our body clocks are completely turned around. But Astana is beautiful. I’m floored, I had no idea this city was so amazing. Not much time to relax we’re extremely tired and we have a 6am lobby pickup to fly on another small plane for a two hour flight to Aktobe. Early next morning we’re met by our Embassy guides that will be with us for the rest of our travels in Kazakhstan – Maren Payne-Holmes from Minnesota and Zhanar Kul-Mukhammed from Kazakhstan. And we’re off for another flight.
Upon arrival in Aktobe we check into a hotel for a bit then head straight to a well-needed lunch, our first real food in two days. We find that there are local delicacies that are Kazakh and some that are Russian from Soviet times. Fermented mare’s milk and horse meat seem to be the top Kazakh favorites but for now a Turkish menu will do.
with American Corner hosts (plus Tony saying "hi")
In our tour plans I’m noticing several events for American Corner. American Corner turns out to be a group which hosts events at libraries and other public spaces to showcase information about American culture. The attendees are normally college and high school students, teachers, researches, or any one else in the general public that’s curious about America. Our first American Corner event is a comfortable sit down setting at a library. There are press cameras taking pictures and video as we come in and prepare for our information session/performance. Some attendees are also a part of an ‘English Club’, some are jazz fans, and some have never heard jazz before but all are curious about jazz and American culture. We talk a bit about us, about jazz, about New York, play a few short songs and talk about improvisation and music. Along the way we get people to clap and sing along so they can participate in what’s we’re doing and experience what we’re talking about. It’s a very successful event and we’re presented with a beautiful picture coffee table book about Kazakhstan and a trophy. Afterwards there’s a short press conference with a few newspapers and local TV stations.
Traditional Kazakh ensemble
Our first masterclass is at the Philharmonic. The audience is largely music students, teachers, and local professional musicians with some general audience in attendance. Along with teaching jazz, getting some audience participation and talking about how to become a highly trained musician we challenge the audience that we would like to learn from them. A local piano teacher jumps on stage and teaches us a Kazakh folk song ‘Kamazhai’ on the spot. After hearing it a few times we try a version of it. We promise the audience that we’ll have an arrangement of it for our performance at the International Aktobe Jazz Festival the next day. Everybody is happy with lots of pictures and autographs afterward. We find out that a traditional Kazakh ensemble will be playing at the Philharmonic that evening and we decide we need to see some of that show before dinner. That night we see 30 minutes of the show then have dinner at a traditional Kazakh restaurant with some local Peace Corps volunteers stationed in the area. I’m really curious and this is my real opportunity to eat local food so I try fermented mare’s milk and horse meat. Not bad. Back to the hotel for our first full nights’ sleep since we left New York.
Next day we have a soundcheck at the Philharmonic around noon time for our first performance of the tour. I’m glad to be a part of the International Aktobe Jazz Festival here. We get the sound set and keep working on our ‘Kamazhai’ arrangement. We find that there will be other Kazakh instrumental and vocal groups there playing “Kazakh jazz” music and one of Tim Armacost’s old friends from Holland, pianist Mike Del Ferro, is headlining the whole festival. That night we play a 4-song set including “Kamazhai” (see video). The audience goes crazy. We end with “Maria” the song from Suriname that will be on the “Americas” CD coming out soon. 450 wildly applauding fans at the end of the show and we’re feeling good. We stay a bit for a Kazakh a cappella vocal jazz group then head for a Soviet-style dinner at an old Russian restaurant.
Soviet-style pool table
Wow! This Soviet-themed establishment really kept the vibe with relics from the early 1900s and very old maps, typewriters, computers, a large Soviet-style pool table (larger than American and all the play balls are white and the cue ball is red), posters and portraits of Soviet leaders. I feel like I’m in a different world. The food is fabulous as I had a Borsch soup (beef and vegetables) as a starter then lamb and vegetables cooked and served in a small iron pot. After dinner and plenty of pictures there we head back to hear the end of Mike Del Ferro’s set and gather the rest of our equipment. Successful day, we’re still jet lagged but ready to do another workshop in the morning before flying back to Astana.
Workshop at orphanage in Tamdy
I didn’t know how special this day was going to be. We’re doing a jazz workshop for an orphanage in the village of Tamdy about an hour drive outside of Aktobe. We arrive and again I feel like I’m in a different world. Rural area mostly agricultural where Kazakh and Russian is the primary language. Many of the houses are very simple with clothes lines, animals outside and most houses have an old, giant satellite dish. We arrive at the rural orphanage and it’s apparent the principal and teachers here are totally dedicated to their calling of educating and being mentors to the children here. We’re told there’s a few students who want to perform for us. We sit down to hear them first. I’m moved. Their peers are cheering them on as they sing and perform their music mostly Kazakh pop music that’s on the radio right now. We applaud them. There are about 60 children here ages 8-14. We want to teach them about jazz, inspire them to study hard and be curious about the world around them. Our arrangement of “Kamazhai” comes in real handy as we use that and variations on “Happy Birthday” to show improvisation on a set song and form. We do some group improvisation exercises and play another song. Afterward we have a round of pictures and autographs and everyone is happy. We leave Tamdy and head to pick up our things at the hotel before going to the airport in Aktobe for a flight back to Astana. After arriving just before midnight we’re ready for our first rest day the following morning. Astana is a beautiful city. We already have an idea what we’d like to visit as it’s our only day off in Kazakhstan.
Concert at the Ambassador's residence featuring the young, Surinamese up-and-coming jazz musicians
This is our second country on the tour and the first time I’ve ever been to South America. We only have 3 days here but 6 events so I know we’re going to be a lot busier than we were in Trinidad. The entire population of Suriname is just under 500,000 people and I’m thinking that Queens alone has about 3.5 million so I’m thinking about how things work here. Turns out that Suriname is massively ethnically diverse just like Queens with lots of spoken languages and influences. Most everyone speaks English or Dutch (as it’s a former Dutch colony and the country is formerly known as Dutch Guinana) and Dutch is the official language but there is another language that’s home here and that is Sranan-Tongo. It seems to be a mix of English, Dutch, and African languages and is only spoken in Suriname. 90% of the population lives on the northern coast (about 20% of the land mass of the country) and the rest of Suriname is jungle which they call “the interior”. Much of the Black population that live in the interior are descendants of former escaped slaves, the Maroons, and have kept their pre-colonial African culture intact. As badly as I wanted to go to “the interior” I knew there wouldn’t be enough time so I was on the lookout for anything that could represent that experience.
mosque and synagogue right next to each other living side-by-side
We left the International airport at about 1:30am or so and arrived at our hotel in Paramaribo by 2:30am. Sleep was definitely in order as our press conference was scheduled for 1pm and we would have a briefing at the U.S. embassy beforehand with the U.S. Ambassador, John R. Nay, and some of his staff. After a few hours of sleep we were ready for our briefing and to see a little of Paramaribo. There are so many cultures living side-by-side here it’s amazing. Ethnically I believe the largest populations are West African, East Indian, Chinese, Javanese, Lebanese, and Dutch. We all took pictures of a synagogue and a mosque that are right next to each other with no apparent tension between the two religions. There are Christians, Hindu, and Buddhists here as well along with several traditional African and Amerindian religions. The Ambassador and the Deputy Chief of Mission, Susan Bell, are both amazing people with a love for Suriname, it’s people and history and we have a great conversation as we also talk about the upcoming press conference, workshops, and concerts. I find out in the Ambassador’s office that Tim Armacost’s father, Michael Armacost, was the U.S. Ambassador to Japan for 4 years and U.S. Ambassador to the Phillippines for 3 years in the ’80s. I knew his father worked for the State Department but I didn’t know exactly in what capacity. I’ve known Tim for 8 years and I have to come to Suriname with him to find that out! That’s also the fun part of traveling. It’s like suddenly meeting an old friend of yours out of the blue in a hotel lobby in Europe. 
The press conference is hosted at a local jazz club/restaurant. There wasn’t many people there but it was attended by the biggest newspaper in town “De Ware Tijd” and they asked questions, took pictures, and it was in the paper the next day. Here’s a short video clip of Tim and Tony giving them a taste of the upcoming concerts. Just afterward we are treated to a lunch at the restaurant. They prepare a special dish called ‘”grit bana” meaning grated banana. In cooking it’s banana, cassava soup with chicken, beef, and dumplings, and coconut milk mixed together but the significance of the dish is the coming together of the two worlds – the African and the Dutch. Aside from it being a great dish to eat, it is their way of welcoming us to Suriname!
We had a short break before we headed off to our first workshop with younger music students (mostly 10-19 years old) with many music teachers in attendance and we find we can speak English in the workshop. The students are surprisingly good!!! There are different levels of skill but they have the spirit and were relatively fearless when it came to trying new things and going for it. Some of the older students are in their early 20s and some of them are the local teachers. I am surprised at their level of skill and hunger for knowledge seems to be insatiable. We couldn’t give them enough information and they didn’t want the workshop to end. We received a standing ovation at the end and were able to leave them with some ideas, things to work on, a list of great musicians and records to listen to, and tunes that they should know to be able to sit-in with anyone and play jazz anywhere in the world.
The large Parbo's were a little too big. 🙂
We are humbled by their desire to learn but we’re also exhausted. We have dinner near the hotel and start our on-going beer taste contest. We loved the “Carib” beer in Trinidad and the big local beer here is “Parbo”. Along with dinner I order a small Parbo and Tim and Tony order a large. The small is 330 mL but the large turns out to be a 1000mL bottle and yes we had to share and it took some work to finish it all!
The next day we have a workshop at the Ambassador’s residence and a concert later on. This workshop is for more advanced teachers and players so we do a masterclass instead and focus more on them. We meet and hear more knowledge-hungry musicians and classical players (and conductors). The vibe is great and there’s a crew of young jazz musicians that are a tight-knit group that talk to each other and play together frequently. Again we are humbled by their intensity of how much they want to learn. At the end they teach us a popular song in Suriname “Maria”. To close we play our version of it to a standing ovation and invite the players to attend our concert that night and the following night.
The concert at the Ambassador’s residence is totally packed. It’s a great feeling to play for a packed, appreciative audience. We do two sets and on the last song “Maria” feature some of the musicians who played with us at the workshop who continue to surprise us with some great playing. After another standing-O (I’m enjoying this) there’s plenty of smiles, hand-shaking, hugs, and conversation to go around and again more questions from the local musicians.
It’s now our last day and we find out that we can hear a great Suriname drumming ensemble, Ala Kondre, after our soundcheck and radio interview for a our final concert in Suriname. Soundcheck goes well and we answer some questions and do 3 songs for the radio show.
Some members of Ala Kondre just arriving before the demonstration/session
The Ala Kondre Dron Ensemble (“All Countries Drum Ensemble”) is a very special group not just for Suriname but they seem to have a world-wide reputation. It was started in 1971 by a man named Henk Tjon who had a vision to invite all the drumming styles of the different ethnic groups of Suriname and play together as one group. Please, take a few minutes to view this video about Henk Tjon, one of the greatest cultural ambassadors of Suriname. The concept is to celebrate different cultures working together and create something new. The 6 cultures they have represented are: East Indian, Amerindian, African/Maroon, Creole, Lebanese, and Javanese. For the ensemble they were able to gather for us there were 2-3 percussionists representing each cultural group. When they start a piece you can hear that there are 6 distinct rhythmic traditions playing together at the same time, and it works! Myself having a background in percussion I have never seen nor heard anything quite like this before. After playing all together for a short while they break down into solo sections where one distinct drumming style will ‘solo’ and lead the group. When the 2-3 percussionists representing their style are finished with their ‘solo’ the whole group comes back in again in a refrain. After each group has had a chance to lead or ‘solo’ the whole ensemble plays again and finishes the piece. It’s been said that writing about music is like dancing about architecture so here’s a video clip of what Ala Kondre played for us. What we saw is a smaller version of the ensemble as they can have up to 90 percussionists at the same time with the group plus dancers! On their 25th anniversary of being together they had a show featuring over 400 performers play or dance over a period of several hours! Again I’m wondering if Jazz At Lincoln Center has ever heard of this group or how often they travel to the United States. Seeing and hearing this group is an experience I am going to remember for a long time, most likely for the rest of my life. We attempt some musical collaboration with them as Tim Armacost pulls out his saxophone, Tony Jefferson plays some New Orleans-style snare drum, and I play on a djembe-like hand drum. We all get into a group groove, each takes turns soloing, then take it out together with a transformed version of the group groove we started with. Here’s a short clip of Pathways with Ala Kondre.
with PD officer Erik Anderson after the last show
Our final concert in Suriname is sold out and since we’d like to invite more people between the jazz students and the Ala Kondre percussionists we figure out a way how to print more tickets and add more seats. The 450-seat ballroom is nearly filed to capacity. We’re excited to do the show as the Ambassador is present, many dignitaries of the Surinamese government, and a room full of people excited about what they are about to hear. Our first set goes fantastic doing mostly tunes off the new CD and I don’t mind getting a short break before going into our last set. I dedicate the last set to folk music and among other songs we play my arrangement of a Haitian field song, “Dlo”, our bass-and-drum version of the Jamaican folk song “Brown Skin Girl”, our jazz version of “Frere Jacques/Brother John”, and then invite some of the Suriname jazz players and students to join us in a version of “Maria” which everyone in the room knows. Again a standing ovation and this time also a request for an encore. After doing so many arrangements I want to keep it simple and just play. We end the concert with a Pathways jam session version of Thelonius Monk’s “Rhythm-A-Ning”. Another standing ovation and bows. Everybody is happy and people stay for almost a full hour afterward talking, taking pictures, exchanging emails, signing autographs, hugs, handshakes, and smiles. What an action-packed three days! We have a rest day coming up in Miami before we head out to Nicaragua. We leave the hotel in Paramaribo at 3am to catch the only flight out to Miami that leaves at 6:15am. I make a note to call my friend, great young jazz pianist in New York, Donald Vega, who is from Masaya, Nicaragua, 30 minutes away from Managua which is our next city on the Rhythm Road tour. But for now, we have a rest day in Miami, we’re gonna need it!
-PB
p.s. use this link for more pictures of Paul Beaudry & Pathways in Suriname
p.p.s. our pianist, Bennett Paster, is also keeping a blog
Queen's Hall in Port Of Spain, Trinidad - our first concert of the tour
This is the first international tour for Paul Beaudry & Pathways! This tour is a part of The Rhythm Road: American Music Abroad program co-sponsored by Jazz At Lincoln Center and the U.S. Department of State’s Bureau of Educational and Cultural Affairs. First off I’m really happy with this band (Tony Jefferson – drums and vocals, Tim Armacost – sax and flute, Bennett Paster – piano, me – bass and vocals) and the band members are some of my favorite people as well as being excellent players and teachers. After a long day of traveling from New York to Trinidad with a layover in Miami on Wednesday Sept 29th we arrived in Port Of Spain, Trinidad and our Public Affairs Specialist, Alice Borrell, and driver, Jesse James, immediately made us feel at home. We were excited to embark on our Central and South American tour but definitely ready for some sleep when Jesse’s van pulls up to the hotel and we meet some jazz musicians who just finished a gig there! The piano player, Clive ‘Zanga’ Alexander, turns out to be a Trinidad musical icon and we exchange information. We find out that the musicians in town knew we were coming and they are planning a party/gathering for us later in the week. Then the band’s drummer walks up and it turns out to be an old friend of mine that I met in Boston, Sean Thomas! He was in the Thelonious Monk Institute which was hosted at New England Conservatory at the same time I was at Berklee College of Music in the late ’90s. I haven’t seen Sean in about 10 years, he’s a great drummer and plays steel pans as well. I had no idea he was living in Trinidad.
Steel pans (or steel drums) were invented in Trinidad so this is their homeland. Every year around Carnival time (two days before Ash Wednesday, generally mid-February or early March) they host the huge Panorama festival and steel drum bands from all over participate and compete. I was a drummer in high school myself and my main drum teacher, Jim Munzenrider, was a student of the famous jazz-steel pan player, Andy Narell. Jim organized a 20-piece local steel pan group in the San Francisco Bay Area that I played with on occasion as a teenager. I remember looking forward to the new Panorama CDs that came out each year after the festival. Some bands were small but the pan orchestras could have up to 80 players or more!!! The smaller pans were like sopranos or the first violins and the huge bass pans (oil drums where the top of the drum was tuned to have 3 or 4 notes) were like the double-basses or even the timpani. I encourage everyone just to experience the sound of a steel pan orchestra – there’s nothing like it!
Before our first concert for the Patrons of Queen’s Hall there was a reception with Ambassador Beatrice Welters (U.S. Ambassador to Trinidad) and a number of other dignitaries, patrons, and esteemed local musicians. The concert at Queen’s Hall was a one-set, 2-hour show for about 300 people and we received a standing ovation at the end. On our last song we featured Sean Thomas on drums, Tony singing and Tim and I also joining in on some vocal scat over a blues. That was a marathon for our first concert but we were happy because people loved it and we were glad to be doing out first show for the tour together.
Bake And Shark Menu, Maracas Beach (p.s. $30 TT = $5 US)
The following day we had a chance to see a little bit of Trinidad and our saxophone player, Tim Armacost, golf nut that he is hit the golf course while to rest of us hit the beach and took a short tour of Port Of Spain. Near the Maracas beach area Jesse took us to an amazing legendary local food spot ‘Bake & Shark’ that had the best fried shark in a bun that I’ve ever tried! The water was incredibly warm and although we weren’t there for long we were all happy to get a piece of it before we headed back the to hotel.
Zanga and his band at Satchmo's
We were invited to a dinner that night at a jazz restaurant called Satchmo’s which featured food and drink named after famous jazz musicians and a decor recalling a 1920s jazz spot in New Orleans. We had dinner with Zanga, Sean Thomas, and a few others while an opening jazz band played. Zanga’s band later took the stage and played some of the best Caribbean Jazz I have ever heard. After about 4 tunes we joined them with Tim sitting in on sax, Bennett on piano, Sean on drums, Tony singing, and myself on bass. We played a couple tunes before Zanga came back to the piano and we finished the night with 2 more songs with Zanga. One was a local Trini folk tune that Zanga taught us on the spot. It was a magical night. I’m going to try to bring Zanga and his band to J@LC. People need to hear what he is doing with his flavor of Jazz from Trinidad. Using soca and calypso rhythms with the steel pan and great playing and arrangements I am super impressed with this band.
Our early scheduled workshop the next day was canceled due to a water pipe that burst which flooded the room we were going to use so they redirected all the students to our second scheduled workshop at the University of Trinidad and Tobago. The huge building where the workshop was held is a new multi-million dollar facility dedicated to the arts and is absolutely beautiful! After doing a soundcheck our driver, Jesse, highly recommended a place that has some excellent roti (I had a goat roti – amazing, I need another one next time I’m in Brooklyn). I was kind of in a hurry and wasn’t sure if I could finish mine but Alice and Jesse insisted saying a local Trini line that’s so far my favorite quote of the tour – “Better man belly buss dan good food waste”. We all had a good laugh and yes I did finish.
UTT jazz studies director, Dave Marcellin, with Pathways and Alice Borrell
About 100 people came to the workshop with about 30 being musicians, many wanting to play with us. We started the workshop playing and explaining the basics of what we do (here’s a short video) then turned it into a masterclass featuring the students and local professionals. Split up among 4 ensembles we were able to have about 25 musicians play during the course of the masterclass and give constructive feedback on their playing. It was great to hear them learn on the spot from some of our observations and hear some of them sound better right away after a little bit of feedback and a push to go for it. We ended with the local Trini song we had just learned the night before and got a standing ovation. The local teachers present and musicians were so thankful for our playing, information, spirit, and care about their development. I certainly hope to return as they were really happy with what we did and we would love to come back.
We had half a day to get ready for our next stop. We said goodbye to the local players again who came to the hotel before we left and got ready for another experience. We will arrive in Suriname after midnight, check into the hotel, sleep for a little bit then head to an afternoon press conference before doing another workshop – all in one day. It’s going to be a long one but Suriname, here we come!
Here’s some more pics from Pathways in Trinidad.
-PB
