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The Belize Times
Sunday, April 25, 2010
CARLOS PERROTE AND FRIENDS AT THE BLISS APRIL 16th - A REVIEW by Dolores Balderamos Garcia
I was pleased a few weeks ago when Sheret Perrote called me up and asked if I could do a brief introduction for the upcoming concert by her husband Carlos and his band during Music Week. I had missed his earlier show in December last year, and friends told me that I had missed out indeed. I was happy, too, to have received a complimentary CD of Carlos' latest effort “Omolewa Osain,” and I have featured it frequently on Jazz Vibes, my weekly Jazz Program on Wednesdays on Vibes Radio; and I returned the favor with an autographed copy for Carlos of “Jazz Sketches,” which Yasser Musa and I had put together and which was launched last September. “Omolewa Osain,” which means 'powerful mind' in the West African Yoruba language, is a fine production, and it establishes Carlos as Belize's veritable Jazz and music Maestro. Several of the CD's selections are original Carlos Perrote compositions, and all the pieces are very good, featuring a stellar lineup of Belizean musicians. I therefore could not refuse when Sheret asked, and I'm tickled that I was able to be there last night. I first passed for my Jazz buddy Salim Malik, and we proceeded over to the Bliss. (We grabbed a peek at the beautiful George Gabb exhibition in the rotunda section, having arrived early enough.) At around 7:55 pm we grew concerned, because the Bliss was “peel” for an 8 pm start. But by 8:10 it filled up somewhat, and then came
the first blackout, which delayed the show's start by ten minutes or so. I could feel my excitement building when Carlos and his friends took the stage. Lynn Young, one of the group's excellent players, must have made a few calls, as the lights had come back. The program was billed as “an Evening of Cugazz Music,” which Sheret had described to me as Cuba – Garifuna – Jazz, and it did not at all disappoint. The band kicked off with an energetic “Cocoto,” with Carlos every bit the leader. Some bands' leadership is
subtle, but with Carlos he displays immediately that he is in charge. I can tell you that he did not let up for almost two and a half hours, and the time flew. Four pieces into the show the lights went again, and the audience groaned, but Carlos shouted in his Cuban-accented creole “We play!” and the show went on. Thanks to Dennis Peyrefitte there was some battery-powered light until the power returned, and I can almost say that the selections done during the second blackout were better than those done with full power. I found the amplification a bit loud, tending to drown out the vocals, but that was minor in an otherwise spirited and superb program. “Watermelon Man,” “Carson Danzon,” “Take Five,” and “Alma Sharett” from the earlier part of the show were all very good. Full kudos to all the musicians, but very special mention to Benoit Coye, who was a man possessed on tenor pan. The pan section, which to me characterizes so much of the band's unique sound, were out of this world, with the experience of senior musician Lynn Young on tenor pan as well and Herchel Armstrong on double tenor and Felecia Zelaya on double second. Special mention to her also, as the only woman musician in the band apart from vocalists Debbie Gilharry and Tricia Gabourel. It was when Carlos, Lynn and Hershel, all on acoustic guitars, were playing an exquisite version of the Carlos Perrote composition “Lamento Garifuna,” a moving tribute to Andy Palacio, that the lights went out again, such a pity, as this piece could have been the best of the evening. The rest of the band were not rusty at all, and as Carlos reminded us, all of them read music. The young percussionists from Grace Primary included Keano Chaplain, Keon Blease, Arjah Arana, N'yanik Azueta and Philip Codd. With Carlos' mentorship and guidance they will go far as musicians and artists. Mark Phillips, my great friend and colleague, ably held the guitar position, and Joe Hendrikx was a trooper on the electric bass, working up a sweat with each number and never letting the beat falter. Strong support on the drums came from Elsworth “Cas” Castillo, and Mikael Garcia did stellar honors on alto saxophone. Debbie Gilharry did the vocals on the Beatles' “Yesterday” and “Time After Time,” the Cyndi Lauper and Rob Hyman composition. I found her voice a little thin, but there is plenty of talent there, and with some training and practice, I believe she can go places. Carlos' subtle accompaniment on “Yesterday,” with its beautiful chords and flourishes, was a highlight for me, not to mention his incomparable improvisations and powerful melodic runs on the Baby Grand, a fantastic show in and of itself. Tricia Gabourel did the honors on vocals for “Desafinado,” “The Nearness of You” and “Sokuta Anibbo.” I
thought that the start of “Desafinado” was somewhat inauspicious, but it improved as she went along, and she did well on the standard “The Nearness of You.” The standout selection was, however, the Yoruba “Sokuta Anibbo.” Tricia outdid herself, and the entire band were swinging full throttle behind her. The audience showed huge appreciation here, and this fed the energy of Carlos and friends. It was really amusing when Carlos then said to the audience “Too much English,” as he once more charged full speed ahead into “Cuenta Conmigo,” his own composition, with Robert “Capt. Roby” Hoare on the forceful and emotive Latin vocal. Capt. Robyimpressed me as a true musical ambassador, complete with his Belizean flag belt buckle and his high energy salsa vibe. This one had us dancing in our seats. Rounding out the program were “Little Sunflowers,” “Homage To Andy,” “Cantaloupe Island,” and Sonny Rollins' “St.Thomas.” The “braatah” was Chucho Valdes' “Claudia.” And I cannot say enough about Carlos' leadership, musicianship and boldness of vision. He has almost single handedly brought his band and Belizean Jazz music as a whole into a new era of excellence. These guys and gyals can hold their own among international musicians, and, as Carlos told the audience, all of them are fullfledged musicians – no mickey mouse imitations or mediocrity here. Carlos is indomitable. The blackout slowed him down for only a split second. And he is indefatigable. His super energy and enthusiasm were completely infectious, and the band members had an easy rapport that comes from practice as well as from the love of what they do. My only regret is that, as Carlos said, the Garifuna drummers were not on the program last night. I think this would have added that dimension of “Belizeanness” and truly unique expression to the band. After all, who else is mixing pan with Garifuna drums? My tiny criticism would only be that the microphones could have been turned down somewhat. Louder is not better, and the quality of the music spoke for itself. Cuba has imparted many gifts to Belize, and Carlos Perrote is indubitably quite a big one! Last evening's show was lovely. The main hall of the Bliss was only half full, but I think all in attendance would agree that we had a treat! Carlos and his friends are professional, serious and fun loving at the same time, and they are very versatile. Several of the musicians play two or more instruments, and their commitment to their art is palpable. “Yuh miss out if yu neva di deh,” but I am confident that this lineup and those associated with the Maestro will grow from strength to strength, and you will no doubt get the chance to see and hear them soon. Grab it!
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