The Lydians Present: Christmas in Chrome Featuring the Lydian Steel - December 2020 - Magazine

Mission Statement

We believe in God. Our belief demands that we live in service of God’s Greater Glory.

We recognise that music is a gift and that the ability to perform it is a grace - this leads us to develop our skills to their fullest and to give to all who wish, our cooperation and support that they may develop their own ability.

We recognise that our improvement as musicians will be achieved only through unrelenting effort, through practice and discipline, through accepting instruction and by our willingness to be patient as we teach and encourage others.

The fruit of our effort we offer only to God to feed His hungry to heal His sick to educate His untaught.

We offer our song as well: to bring solace where there is grief, to mark his presence where there is joy, and to bring His Name to all people.

We set ourselves the goal of excellence; Perfection will not be achieved in our mortal lives but that knowledge does not remit our effort, for we know that if judged worthy, we shall hear the Perfect Harmony, Eternal; as we return to God.

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Contents 6

Musical Director’s Message

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Message from Our Sponsor

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Chairman’s Message

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General Manager’s Message

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About the Show

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PAN-demic: Sending the Music Everywhere

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Programme

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History of the Lydian Steel

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Lydians in Cyberspace Featured Performers and Pieces:

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- Germaine Wilson - Soprano

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- Adan Hagley - Collaborator

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- Feature Premiere: Mary’s Song

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Cast List

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Acknowledgements

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Photo Credit: Kyle Stephen

Musical Director’s Message .

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Man a plan, God a wipe”

As someone who generally tries to have as many of my ducks in a row in advance as I can help, this year has at every turn redirected me to this proverb. I now find myself laughing at my calendar and planner. Dates circled in red have passed with no fanfare, to do list items remain un-crossed. 2020 has been the year of the hurry up and wait.

as she entered the sectional check-in! The valve released a little pressure, and members were happy to reconnect. We had virtual events and rehearsals, and even made the first Virtual Choir to feature steelpan, voices, and piano! We sang for each other, we laughed and shared recipes, we comforted each other in grief, and commiserated with each other in our fears.

We are now most of us truly out of that stasis, as we mark the 13th month of COVID in the world, and the 10th of it attaining global pandemic status.

A Chromatic Silver Ringing – 25 years of Lydian Steel delayed.

After allowing March to fully disabuse us of the belief that this stint of distance and physical isolation was to be some brief flash, ever ready to foster connectivity, the Lydians went online.

Our virtual check-ins were a bright spot in the days of many of our members. We got tours of homes, makeup tutorials and advice and a running commentary on shopping protocols – and that was just one Alto saying good evening

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– Jamaican Proverb

The rehearsals with steel had been possibly the highlight of the past few weeks. Nothing beat the end of day being “Zoomed out,” like totting off to the Sound Forge to engage in the business of music making. It has certainly been a balm to the soul (Eddie solo plug ). It did a lot make the reality of the fizzle of the 2020 mid-year projected 25th anniversary Steel concert that much less of a heartbreak. Inspired, we defer for a hopefully soon coming and safe date.

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Many are the plans in a person’s heart, but it is the Lord’s purpose that prevails.”

– Proverbs 19:21 (NIV)

We Need to do Better – but in the meantime, gratitude One thing this time has shown is that Art is not to be dismissed as one of life’s frills. How many persons are continually thankful for art in some form helping to maintain their sanity, bring solace, or just to help cope with this time of massive upheaval? Yet for something so vital, it remains a peripheral thought and unstable.

Amateur/community-based arts organisations and artistic concepts in the Caribbean lead a very precarious life. This can be exacerbated when the main source of not only our outreach, but of our sustainability is linked to presenting concerts at a time when pandemic halts such in-person activities. One blessing in this regard has been the sponsorship of First Citizens. Affording us the ability to worry less about the business-as-usual recurring costs such as storage, or some of the other needs of a group of our accompanying infrastructure.

We have a hope…

It is a hard time to navigate, the crunch is on.

Here we find ourselves excitedly rallying to present a dose of hope, humour, and comfort to you, and to ourselves. May we imbue you with all.

Bless, Carl-Anthony Hines

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Message from Our Sponsor “

Theirs is the true gift of inspiration and upliftment. A gift that focuses the mind and heart on what this season truly means.”

Season’s Greetings!

2020 has been a very different year for everyone, but we have all made adjustments in one way or another, to prevail in difficult circumstances.

The same is true of the Lydians, who, over the years, have brought us such inspiring music and concerts, especially at Christmas time!

They have ensured that albeit virtually, this year we can all still be enriched by their gifted talents!

Theirs is the true gift of inspiration and upliftment.

A gift that focuses the mind and heart on what this season truly means.

Christmas in Chrome featuring our national instrument, will offer the soul-stirring cadence we’re all in need of.

On behalf of all your fans and followers, the First Citizens family who is proud to support you - to The Lydians family -best wishes for a wonderful season, as you celebrate amidst the joyful echoes of Christmas in Chrome, the virtual experience.

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Mr Larry Olton Head, Brand and Marketing First Citizens

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Chairman’s Message

Our 2020 traditional Christmas concert has been replaced by a virtual musical offering – Christmas in Chrome – given the abnormal times that have befallen us. While this year for the most part has been surreal, we can use the yuletide period not only to celebrate, but also as a time of reflection. After the year this has been, we can all agree that reflection is required for the restoration of hope.

As we reflect, we will see the importance in taking the time to deepen the connection you share with family, f riends and peers; to experience gratitude for our many blessings; to remember the lessons we have learned in the past year so we can create a more meaningful and rewarding 2021.

If we were to only dwell on the difficulties faced this year or ifFrost we scamper about just Professor Sterling to ensure that we have a fun holiday and we Chairman fail to use this time of reflection, we could be less grateful, less resilient and less joyful for the New Year. A well-spent Christmas begins with a reflective disposition and with this comes a renewed sense of hope.

Photo Credit: Brent Louis

As we attempt to find our renewed hope during this season amidst what may be perceived as darkness, we should remember that light shines brightest in darkness. We must remember that God entered our lives in darkness on the night of his birth, showing us the way to light, guiding us on the path to overcoming darkness. Christmas should remind us that even when things seem dark, we can trust the everlasting light which is embodied in renewed hope.

May Christmas in Chrome be the catalyst for our reflection as we bask in the sheer beauty of the music that our talented team has produced for your enjoyment and inspiration. Let us love one another and most importantly, let us give thanks for the renewed hope that Christmas brings.

Professor Sterling Frost CHAIRMAN

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General Manager’s Message It is December once more, where did the time go? We are now well into the season of Advent, (from Latin adventus, “coming”). For most Christian believers this is a period of preparation for the coming of the Saviour. It is safe to say with the events of this year, Advent and Christmas for many of us may have a deeper meaning and significance with all that we have endured and adapted to, as we continue to live with this pandemic. One thing that has held us Lydians together through this turmoil is the music that we share.

“We recognise that music is a gift and that the ability to perform it is a grace” – excerpt f rom The Lydian Singers Mission statement This music, indeed a gift that we are grateful and privileged to be a part of, is more than just an outlet, it is the foundation of our community, our family. It has been a binding agent and needed support to many of our members in their time of need over the last ten months.

“Look at how a single candle can both defy and define the darkness.” ― Anne Frank It should come as no surprise that we would want to share our “candle,” this simple but powerful symbol of hope with you, even though not in our traditional way. 2020 has been filled with many challenges that each of us have had to deal with – loss, displacement, fear, loneliness - these events weigh down on us in unique ways. However, we were also able to show and see the beauty and strength of humanity through the acts – love, caring, and giving, performed for our fellow men.

Isn’t this what the Christmas spirit is all about?

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When the effects of the pandemic brought an immediate halt to our activities, we were caught off guard, and then the reality set in that this was not going to be a short “vacation”. So, how do we continue?

The members, through the herculean efforts of Mr Carl-Anthony Hines (our newly appointed Musical Director), were kept engaged and connected virtually utilising the technology available to us. The inability to meet in large numbers was always going to be a major hindrance to any possible presentation that we would do for the rest of the year. In August, we premiered our first virtual choir effort “Requiem” by E. Gilkyson arranged by C. H. Johnson which also included members of The Lydian Steel on the steelpan, a first to our knowledge for voices and steel (see it on our YouTube Channel). As difficult as it is for a community chorus of our size and demographic, the virtual choir model gave us the best chance to allow as many of the members willing to try, the opportunity to be part of the music-making.

We are extremely fortunate to have as part of our organisation The Lydian Steel, an ensemble of talented musicians mirroring the broad demographic of our chorale, primed to celebrate its 25th anniversary. Given the COVID-19 restrictions and the risks associated with singing in large groups, it was logical that we look to the very competent and skilled hands (and voices dare I say… you will see!) of our steel players to lead the charge for Christmas 2020.

“Christmas in Chrome” reunited The Lydian Steel in a way that lifted the hearts of players, singers and supporters alike during the rehearsals and recording sessions. Having the fourteen-member strong ensemble, consisting of returning founding members (such as Kareem and Roland), the regular core, the young and new members (Kamaria and Kadesh) all working together led by Astra with support from Tonya under the guiding baton of Carl, reminded me how impactful and universal music is and the fellowship it creates when performed together. The energy at Queen’s Hall during the recording sessions was no different to previous years when there would be eighty additional bodies ready to add their vocal texture to the Lydian sound, the only thing missing was you, our audience.

I want to thank each member of The Lydian Steel for the commitment, professionalism and dedication shown through this production process. We salute you! I pray that this candle that was lit this year continues to burn brightly, as the dawn of a new chapter in the evolution of “the Steel”.

To our soloists, thank you for your continued support throughout the year and commitment and desire to still make music despite COVID. A special thanks to Eddie, Joanne, Alicia, Kory, Malene, Joseph, Alliyah, and Germaine (in Germany) for helping to make Christmas in Chrome even more special through your gifts.

To our amazing accompanists Lindy-Ann, Myrtle, and Andrew, words cannot express enough our gratitude. Thank you for your dedication, time and talent.

To our Musical Director Carl-Anthony, thank you for your vision and your guidance in proposing and creating this wonderful work and steering us artistically through this year. To the Management Team, the wonderful and amazing group of individuals – Joseph, Dennis, Astra, Christine, John, Nickisha, Carl, without whose continued support and efforts my work would be much more difficult and frankly impossible to accomplish, I sincerely thank you. To our recent addition Anton, welcome, and looking forward to your involvement as we go forward.

To the silent helpers that supported and worked tirelessly behind the scenes to help make this production possible, my sincere appreciation.

To the Board of Directors thank you for your continued support. To our corporate partner, First Citizens thank you for believing in our mission and brand, we are grateful for your support.

To all Lydians everywhere, this year brought us together in a very special way, f rom all across the world we reconnected in a very meaningful way.

You are what makes this organisation so special and unique. Thank you for remaining committed, believing in the resiliency of the group, and the importance of our music and our mission. Each one of you adds to its wonderful texture and it is my privilege to serve you, my Lydian family.

The world we live in is one that will continue to challenge and test our resolve and faith in ways we can never anticipate. Aside f rom the very real concerns of the virus, we live in a time where crime is still very prevalent and unfortunately, it impacts us more intimately than we would like.

Our Mission is one that seeks to offer our music as a light - to banish the darkness (where it may be), to enhance the illumination that already exists, with the hope of creating a brighter tomorrow with faith and trust in God. You, our supporters, you are more than an audience. You complete the ”circle,” and without you what we do would make little sense. This concert we offer to all of you wherever you are in the world. We hope that even though we come to you virtually this year, that this production featuring our Lydian Steel on the national instrument of Trinidad and Tobago, will lift your spirits and bring joy to you this Christmas like only The Lydians can deliver. We thank you for your continued support.

From all of us to all of you, Merry Christmas and looking forward to sharing more with you in the new year.

God bless.

Garnet Allen December 2020

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About the Show Chrome: A contemplation Human beings are always exploring the unknown.

This penchant naturally turns us very often beyond the mysteries of our immediate to the oncoming.

We project ourselves beyond our present, and thoughts of the future come to occupy our consciousness – so much so that “futurism” is universal in its presence across cultures… even though rarely in the similarly clothed. We project beyond a now of uncertainty, pain, loss, or despair, to a future of hope, knowledge, mastery. To a time of possibilities.

In the western, westernised and west-adjacent ideas of what the “future” would be, the aesthetic of it always plays an important part: “What will it look like?” is the often-voiced question. And how can it not, when people are largely, of all our senses, visual consumers.

In the 50’s-60’s the future seemed a vibrant place, colourful polymers encasing us with glass and plastic as the main aesthetics. We look at cartoons like the Jetsons, sci-fi comics of the day, and even to the Walt Disney attraction that was named “Tomorrowland,” and we are greeted with this ideation of a future of colour and clouds and lightweight transparency.

At some point, we shucked this for a future of shine and the lustre of metal; we returned to the steel of industrial revolution, but with a shinier, more polished façade. We looked to chrome – all things new and sleek and… “modern” – even changing the words we associate with the future to make it our contemporary.

Chrome:

a decorative or protective finish on motor-vehicle fittings and other objects.

The Lexicographers at Oxford Dictionaries give a succinct definition of this word. Decorative or protective. The order of precedence in their choice of adjectives I would like to believe,

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is deliberate and may be in this same order extended to the feature instrument of this year’s Lydian Christmas offering, the Steelpan. While a now mostly standard practice, the act of putting a layer of chrome on a steelpan is a relatively new innovation to the instrument’s history – recorded as taking place in the mid 80’s with the higher ranged pans.

Now, why do we chrome a pan? The pan certainly functions without chroming, and while somewhat standard now, it is not an innovation that is a necessity. In this regard I find the “Oxford order” instructive. The shiny chroming, a treatment of nickel and chromium, gives a bright lustre. a beautiful finish that attracts the eye and gives more presence to the pan, it also lends protection to the instrument, staving off corrosion – while making the tones brighter.

Now, this act of “chroming” is far f rom new in musical circles; indeed Flautists will proudly tell you that their nickel, tine, silver and rose-gold cylinders evolved f rom wooden predecessors.

More than just easier to mechanise a metallic process of creation, this innovation marks a standardisation of colour and range; of making music that much more universal and accessible.

At a reach one could argue this act was protecting interest in the music by making it more accessible to reproduce.

But spare a thought for what the pan has become through this. There is now a modern acoustic instrument, created f rom industrial material, and played percussively, but can subsume colours f rom the wind, string, and percussion timbres in an orchestra.

Pan is future and the future is Pan. But I am telling you nothing you do not already know.

So now, the Modern sensibility of a Christmas in Chrome.

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We looked to chrome – all things new and sleek and… “modern”...

Chroma: purity or intensity of colour.

Chromatic: of, relating to, or giving all the tones of the chromatic scale; of or relating to colour or colour phenomena or sensations In this time of mass uncertainty, where we face the ravages and losses of and during a worldwide pandemic, the attempts of selfish men who would wield power to their own ends at the expense of the collective good, as well as the shift to accommodate a new normal in the hopes of ‘riding out the storm,’ we once again turn to time and the future as comforts and sources of hope. When our present is so fraught, we look ahead and say, “if I/ we can just make it to ____ then maybe it will be alright.” And what better season to project to at this time, than Christmas?

What better space than the time of year when goodwill is an expectation and not an exception, when we believe in hearts changing and people embracing love and harmony (though unfortunately not each other at this time) We look to the bright lights and beautiful sounds of the season, and hope that this infusion of hope takes us that much closer to a future of touch, of hugs, of laughter and shared spaces. Closer to the feeling of physical connection, not with the intermediary of our screens, and our masks and our chrome. ‘til then, may the peals of our silvery song remind all of “Peace on Earth, goodwill to men.”

Carl-Anthony Hines

Photo Credit: Kyle Stephen

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PAN-demic: Sending the Music Everywhere If there was ever a year when the world needed music, it’s definitely 2020. To say that the last few months have been difficult, for everyone, in almost every possible way imaginable, would certainly be an understatement. And, quite frankly, in an environment such as this some might wonder, “why bother to have a concert at all?” However, in the midst of the uncertainty of the present times it is telling that one of the most poignant and resonant moments of the year came f rom the instinct to share music publicly. In Italy—a country whose musical heritage has contributed extensively to The Lydians repertoire—while the pandemic rampaged through the population and the citizens were on strict lockdown, videos circulated worldwide of Italians sitting on their balconies and leaning out of windows singing and playing instruments together across the chasms between their apartment buildings. These actions not only brought solace and a sense of connection to the “performers” themselves but quickly, also, to anyone else who viewed them.

Powerful examples such as these, coupled with a strong desire to act upon the guidance of our Mission Statement—to share the gift of music to bring comfort and encouragement--helped to sway our initial discussions about our approach to Christmas 2020. We knew that this season we would have to be especially creative and innovative to produce a concert experience that would stand up to the constantly shifting local and international pandemic landscape. From one week to another, we, along with the rest of the nation, would listen to the official government press conferences to help guide our planning. Would venues be open? Would audience be allowed? How many people can be on the stage? What health and safety protocols would we have to introduce?

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It soon became clear that this year, Christmas would have to be CHROME. A show featuring the Lydian Steel was decided upon as the natural choice for maximum impact while still being able to observe the social distancing and other rules that have now become part of our everyday lives. As a happy coincidence, this year, Lydian Steel celebrates its Silver Anniversary—25 years of dedication to the national musical instrument of Trinidad and Tobago and to the vision of our founder, the venerable and unshakeable Pat Bishop. Her simple belief was that young (and young at heart) pannists with excellent technical skill and dedication, buoyed by the ability to read music, could not just play more complex orchestral works but could also finally accompany large scale choral repertoire with precision.

The rehearsal process for Christmas in Chrome saw us meeting over several weekends at the Sound Forge performance facility on Christopher Samuel Drive, Port of Spain. The band this year is mix of our current standard crew as well as some returning seasonal players. We are always happy when they come to perform with us as they bring great technical skill as well as much need levity and energy. Interestingly as well, with the contribution of the choir en masse with several “virtual choir” arrangements, the recording of which was handled very early on in the production process, our Steel rehearsal time benefitted f rom the presence and focused attention of our newly appointed Musical Director, Carl-Anthony Hines. He was able to have that time to really shape the music with us and create the synergy required to put on an excellent performance.

Well, what’s on the programme? I won’t list everything here but just give a taste. There’s Corelli’s magnificent Christmas Concerto (aka “Tommy’s favourite warm-up piece no matter the time of year”) featuring a small core of Fayola Granderson, Kareem Brown, Joseph Knights, Tonya Perouze and Marlon “Tommy” Redhead as soloists supported by the rest of the orchestra. Perennial Lydians Christmas favourite, It’s the Most Wonderful Time reimagined as band transcription. Cantique de Noël (O Holy Night) as a powerful duet between two Steel members who also sing—soprano Malene Joseph and our always surprising counter-tenor Joseph Knights. De Local Something (aka Local Christmas medley part #2 aka “cue the Royal Castle ad”) from our Despers bass-on-loan Kwesi Moore. Also, my own local flavour with I Eh Do Nuttin Yet sung with relish by tenor Kory Mendez, ably accompanied by Shurvone Braithwaite on clarinet, with Andrew Samlal and myself on keyboard.

We were also excited to work for the first time with Adan Hagley, a young but accomplished jazz pianist and arranger. We have been anxious to make this collaboration happen for quite a while now and this season it has slotted in perfectly. His two arrangements of Postcard by Cro Cro and God Rest Ye Merry Gentlemen in his unmistakeable smooth kaiso-jazz style had us grooving in the rehearsal room and even more so on stage! Also being premiered is Mary’s Song, a reflective and ambitious seasonal piece by Michael Hudlin with two of our Steel frontline forming part of the ensemble there as well.

Our performance took place on our familiar Queen’s Hall stomping grounds—the difference this year being that Steel was front and centre featured on the stage. I must admit that having room to move rather than being in the jigsaw puzzle-like configuration of the orchestra pit that we are normally accustomed to was a refreshing development. We recorded over two long but productive days, bearing the delays and repeats that are a normal part of this kind of process with stoicism—not to mention trademark humour and ole talk! We are grateful to all the professionals and technical staff who worked hard to capture us at our audio and visual best. Also, thanks to all the Lydian support in managing and executing the run of the days and providing refreshments and care.

We are happy to share the gift of company and comfort with you, our local and international audience, through our music. In so doing, we look forward to your support and generosity through your contributions to our listed donation portals.

This year has been a tight one for everyone and performing arts non-profits such as The Lydians have felt the pinch and have had to recalibrate our offerings accordingly. We look to our stalwart followers and new f riends in the fold for the help that we need to keep bringing you wonderful productions and exquisite artistry this year and beyond! We urge you to keep in touch with us on social media to see what’s the next spectacular Lydians experience that you can be a part of in 2021. I know for sure that a Lydian Steel concert is waiting in the wings.

Yet for now, join us as our shining chrome pans ring out as bells with the music of the season, drawing you in to come together in spirit! As we perform, we proclaim hope and joy, peace and goodwill.

On behalf of Kareem, Avis, Roland, Tonya, Fayola, Joseph, Kadesh, Kamaria, Akil, Tommy, Kwesi, Natasha, Dennis and myself, our most sincere wishes to you and your families for a happy, holy and safe Christmas. As chrome heralds the aesthetic of the future, may we all step into the New Year positive that music, delivered with excellence and heart, will always be part of the answer no matter what question the circumstances may pose for us.

Astra Noel Captain, Lydian Steel

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Programme National Anthem of Trinidad and Tobago Lydian Ladies Sextet

- Arr. E. Cumberbatch

Concerto Grosso in G minor, Op. 6, No. 8 (Christmas Concerto) Lydian Steel

- Corelli

A Fanfare and Processional for Christmas Virtual Choir

- Trad, Arr. Huff

Cantique De Noel (O Holy Night) - Adam Soloists: Malene Joseph and Joseph Knights A Christmas Fanfare (Hodie, hodie) - Wells Virtual Choir Mary an’ Her Baby Chile - Arr. J. Hairston Roun’ De Glory Manger - Arr. J. Hairston Soloist: Germaine Wilson, Accompanist: Anthony Kent Videographer: Dinipri Etebu, Video Editor: Errol Fabien Background: St. Michael’s Church, Hamburg, Germany.

There is a Balm in Gilead - Arr. Stucky Tenor: Edward Cumberbatch, Guitar: Andrew Samlal

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Commissioned premiere: Mary’s Song - M. Hudlin Soprano: Alicia Barrie, Tenor pan: Fayola Granderson, Triple Tenor: Kareem Brown, Piano: Andrew Samlal Feature Collaboration: Adan Hagley Meets Lydian Steel

Postcard - Sparrow, arr. A. Hagley

God Rest Ye, Merry Gentlemen - arr. A. Hagley Soloists: Aden Hagley, Avis Bruce-Brown, Kareem Brown and Natasha Joseph It’s the Most Wonderful Time of the Year

- Pola, Wyle, Arr Althouse Lydian Steel Adpt. Lydian Steel I Eh Do Nuttin’ Yet! - A. Noel Soloist: Kory Mendez, Piano: Astra Noel Clarinet: Shurvone Braithwaite, Synthesiser/Strings: Andrew Samlal Brazilian Sleigh Bells - Faith, Adapted and Arr. Hines Lydian Steel D’ Local Something!

- Arr. K. Moore Feat. “Back a Yard” (Brother Marvin) “Come Go” (Baron) Conductor: A. Bruce-Brown Lydian Steel “Hallelujah” from Messiah - Handel, Steel Adpt Sharma, Arr. Bishop

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History of The Lydian Steel One evening in October 1994, the newly formed Solo Pan Knights Steelband was at rehearsal in their panyard. The pannists were hard at work preparing their pieces for “Pan is Beautiful V”, the Trinidad and Tobago National Steelband Music Festival. A surprise visitor was announced.

Pat Bishop, doyenne of Trinidad and Tobago’s Steelband music scene and Musical Director of The Lydian Singers, was doing the round of panyards to listen to pannists in the early stages of rehearsal and had dropped in to hear the new band. A Steelband rehearsal usually consists of the pannists learning pieces by rote with each phrase repeated until learnt. Entire pieces of music with complex arrangements have to be committed to memory by each member of the band before performance. When Pat Bishop entered Solo Pan Knights panyard she was greeted with an amazing sight. She saw a group of young persons playing music while engrossed in reading score sheets under the baton of Ben Jackson. Here at last were pannists who could learn quickly, could adapt easily to change and who could have an unlimited repertoire. Here was a vision of glorious possibilities for the future of Steelband.

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After the Festival, Pat proposed to Ben Jackson that the band accompany The Lydian Singers at their annual Christmas concert. At the time, Ben was also Musical Director of Success Stars Pan Sounds Steelband, a school-based Steelband whose players had formed the core of Solo Pan Knights for the Festival season. It was this former group along with another Steelband, The Entertainers that, in 1994, provided the first Steelband accompaniment for The Lydian Singers.

The following year when the fused group had become a more cohesive body, they undertook their first major work by accompanying The Lydian Singers in Frederick Delius’ “Koanga”. This was a historic event of global musical significance as it was the first time that a steel band had accompanied a complete opera. The combination of steel and electronic instruments produced a brand new and wondrous sound which became the signature accompanying sound for The Lydian Singers. The band was now so closely identified with The Lydian Singers that it became known as The Lydian Steel.

During the years 1996 to 1998, Lydian Steel played an increasingly essential role in The Lydian Singers performances. Lydian Steel accompanied The Lydian Singers at the Easter concerts, the Festival Sundays in July as well as the annual Christmas concerts. In this period Lydian Steel and The Lydian Singers undertook several major works together, including, in December 1996, their second opera, Donizetti’s “L’Elisir D’Amour”.

There were also welcome opportunities for showcasing the talent of individual pannists in solo performances of works such as Gershwin’s “Rhapsody in Blue” and the second movement of Rachmaninoff ’s “Second Piano Concerto”. In August 1999, the band accompanied The Lydian Singers in yet another opera – Puccini’s “Turandot” which ran for fifteen performances.

The composition of the membership of Lydian Steel continued to evolve, with a significant change occurring in the latter half of 1999. While in the planning stage for the performance of Mozart’s “Piano Concerto in A major (K488)”, Pat met with Lorraine Granderson, music teacher of Bishop Anstey High School and director of the school’s progressive and accomplished senior steel ensemble. It was agreed that the two steelbands would work at performing this challenging concerto together and almost immediately rehearsals began.

This new group, comprising ten school-age girls and the original Lydian Steel members – at the time eight mainly boys from Success Laventille – were, quite surprisingly, a well-matched set. The old Lydian Steel members brought experience and raw panyard-honed pan playing talent and the Bishops girls brought music-reading ability and a naïveté that was inspiring, both to the new Lydian Steel collective and to Pat herself.

As for the actual performance of the Mozart, it was brilliant, with the pan superbly complementing the virtuoso playing of accomplished Lydian accompanist, Lindy-Ann Bodden-Ritch. That night in November 1999 at Queen’s Hall marked the beginning of a journey of growth, both in musicianship and maturity of a very special group of young people.

The year 2000 brought new challenges to the band, most notably the Brahms “Requiem”.

This work for Easter 2000 was the first major work that the new Lydian Steel performed with The Lydian Singers and was a plunge into untested waters if there ever was one – both challenging and exciting.

This experience also marked the ensemble’s first church pilgrimage with the choir. Many nights of coming back to Bishops on the bus with tenor pans being cradled on the laps of dozing players helped to build character and stamina, as well as camaraderie.

At the end of the year, The Lydian’s annual Christmas concert allowed Lydian Steel to shift into a different mode, accompanying the choir and the dancers for some of the pieces in “The New Genesis”. This original work was composed in part

by John Jacob, the choir’s de facto folk/calypso arranger. Over the years, John has come to treat the band as an extension of the choir; teaching the singers a new song and then every few lines hastily yelling out some chord progressions in the band’s general direction. In this slightly haphazard yet functional system, the raw musical talent of the members of Lydian Steel becomes evident as any discrepancies in John’s arrangement are quickly corrected.

The next step for Lydian Steel was really the major leap in the development of the ensemble. At the invitation of the Miami Bach Society, the band performed on the opening night of their 2nd Annual Tropical Baroque Music Festival at Fairchild Tropical Gardens in Coral Gables, Miami. The major works for this concert were the “Brandenburg Concerto no.2 in F major” (Bach) and the “Air and Gigue f rom Orchestral Suite in D major” (Bach).

The performance was further enhanced by the presence of guest soloist Michael Zephyrine. The response of the Festival audience and organisers was nothing short of tumultuous. The Executive Director of the Society declared that, “the musicians are to be lauded for their intensity and focus and the absolute beauty, both aurally and visually, of their performance.” The Society went on to pay the highest compliment to Lydian Steel by breaking one of its own rules of not inviting a group back the year following their performance by immediately asking the ensemble to return to Florida to open the Festival in 2002.

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The Miami 2001 experience firmly established Baroque music as the period of choice for The Lydian Steel. It also helped to gel the band both musically and personally and, after such an excursion, a short hiatus was certainly in order.

There was no such luck however and in April the band performed with The Lydian Singers in a concert series entitled “Music for Easter” followed in August by another concert series with the touring Magdalen College Choir of Oxford University, England.

The Lydian Steel concert, entitled “Basically Baroque”, was held in November 2001 at Under the Trees, Hotel Normandie and was the first such event to be staged by the band at home in Trinidad. Selections from the Baroque Festival repertoire were performed and the individual talents of the band were also on display with pan solos by Sophia Subero and Kareem Brown and a piano solo of an original composition by Astra Noel. This concert was very well received and was yet another step forward for the band in its quest to be recognised as its own legitimate entity and not only an accompaniment to the choir.

March 2nd, 2002 met a 16-member strong Lydian Steel on stage for their second appearance at the opening of the Tropical Baroque Music Festival in Coral Gables, Miami. The major work for that year was to become one of the landmark achievements of The Lydian Steel. Vivaldi’s “The Four Seasons” was more technically challenging, longer and incidentally, faster than anything the band had ever attempted before. The piece has now become a standard in the band’s repertoire.

Miami 2002 also featured the ensemble’s major collaboration with pianist Lindy-Ann Bodden Ritch. This piece was Bach’s “Harpsichord Concerto no.5 in F minor”. In addition, the band performed Corelli’s “Concerto Grosso no.8 in G minor (The Christmas Concerto)”, a work which was debuted at the previous year’s Christmas concert as a stunning collaboration between The Lydian Steel and the Caribbean School of Dancing.

The quality of that year’s performance won the band a special place in the hearts of the Festival organisers and an invitation has been extended every year since. However, the ensemble did not make the trip in 2003 due to the fact that many of the members were in the middle of Cambridge A-level examinations preparations.

Yet somehow the band still managed, albeit with a much reduced side, to make it to New York in June 2003 for successful joint performances with The Lydian Singers and David Rudder at the prestigious Brooklyn Centre for the Performing Arts. The year’s other engagements included the benefit concert for rising young baritone star Michael Zephyrine and an appearance at Pan Royale with Robert Greenidge as a guest performer.

Soon enough it was 2004 and Lydian Steel was once again opening the Tropical Baroque Music Festival on March 6th. Handel’s “Music for the Royal Fireworks” and Telemann’s “Suite in A major” were the works of choice that year. The performance was made all the more special due to the collaboration between the steelpans and the viola da gambas of accomplished musician Jay Bernfeld; an unorthodox combination, the outcome of which was surprisingly harmonious.

The 25th anniversary celebrations of The Lydian Singers (also the 10th anniversary of The Lydian Steel) began in a magnificent manner from September 2004 with the Monteverdi “Vespers”, performed in fifteen churches throughout the course of the month. This work really stretched the musical capabilities of the band members and the experience served to further enhance the skills of the ensemble.

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Next up was, the annual Miami tour in March 2005 which featured Vivaldi’s Concerto no. 10, not to mention a handful of brand new members. Then it was off to Tobago with the choir to celebrate the mutual anniversaries of the National Gas Company (our then sponsors), The Lydian Singers and Steel and the Signal Hill Alumni Choir. The band then turned its attention to furious preparation for its own concert in April and the choir’s production of Gluck’s “Orpheus and Euridice” in September 2005.

In 2008, Scenes from the Song of Hiawatha [Coleridge Taylor/Longfellow] saw all cast and orchestra in native costume to present a very moving and emotional story. In 2009, The Messiah [Handel] was performed complete with African and Indian drums and Af rican folk dancers. In 2010, Misa Cubana [Vitier] gave us an opportunity to play f resh authentic regional music with challenging rhythms and harmonies. To this day the “Plegaria” f rom this work is one of our most regularly performed pieces. In 2012, Vivaldi’s Gloria was the year’s major undertaking. In 2014, as part of the 35th Anniversary performances, Verdi’s Requiem was performed at St. Finbar’s RC and Trinity Cathedral. This work was very well received and tested the capabilities of the choir, Steel and guest orchestra to the absolute limits.

In 2015, The Lydian Steel celebrated its 20th anniversary and was featured in a special way in that year’s Christmas production at Queen’s Hall. New young members have joined and have contributed their talents not only as players, but also as arrangers, taking a type of initiative we are happy to encourage. We can proudly say that, even given The Lydians recent challenges of finding a new home and navigating our new responsibilities to our corporate supporter, First Citizens, the group has managed to stick together. WE continue to provide support to the choir and to the organization as a whole and also strengthen our own identity.

While The Lydian Steel’s membership, repertoire and capabilities have evolved over the years, one thing that has not changed and that still sets the band apart f rom most other steel orchestras in the country is the ability of all the members to read music. In a way, this necessity has sometimes hampered the growth of the band as it has often happened that prospective members do not last very long, being intimidated by the sight-reading ability of the band and the sheer volume of music that the players may be expected to absorb in one session.

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It is also important to remember that Lydian Steel is essentially a group of young people.

Currently, the age range is between 16 and 35. A large proportion of the original core members passed through half of secondary school while in the band, juggling the commitments of CXC and A-level examinations and, most recently, university, with the long practise hours that the performance schedule and musical repertoire of The Lydian Steel require.

The band in its many incarnations – at one time not too long ago the members numbered six in total – has boasted and continues to boast multitalented members. Among the ranks of Lydian Steel are talented soloists, arrangers, composers, pianists, dancers, artists and others. There is also originality in the band in the actual arrangement of the pans. Lydian Steel pioneered the use of three tenor pans by one player, either in the configuration of two double tenors and a tenor or two double seconds and a tenor.

While Lydian Steel can cite many achievements of its own, the band has also been instrumental in assisting other steelbands to achieve success.

In fact, it was through the support the band members were providing for Solo Pan Knights on that fateful day in 1994, that they came together as a unit which formed the nucleus of Lydian Steel. In the finals of the competition of the 1994 Festival, Solo Pan Knights placed fourth. The unit continued assisting the Solo Pan Knights and prepared them to enter their first Panorama competition. This is the premier steelband competition in Trinidad and Tobago and it is held during the Carnival season. More than a hundred steelbands, many long-established and well organised, compete fiercely for top honours in that competition. The fledgeling Solo Pan Knights gained fourth place in the 1995 Panorama Competition.

In 1995 also, the members of the unit, armed with their new skills and expertise, carried their founding band, the Success Stars Pan Sounds, to first place in the Schools Junior Music Festival. This achievement won the band a trip to participate in the Aberdeen Music Festival in Scotland in 1996. In that year too, Success Stars Pan Sounds successfully defended their title as Schools Junior Music Festival Champions.

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Lydian Steel then moved on to the big stage at the World Steelband Music Festival 2000. Steelbands f rom around the world, including participants from the USA, the UK, France and Switzerland as well as f rom the birthplace of the instrument, Trinidad and Tobago vied for honours at the Jean Pierre Complex in Port of Spain, Trinidad. Lydian Steel’s Ben Jackson conducted TCL Skiffle Bunch, a San Fernando-based steelband whose membership included many Lydian Steel pannists. Their performance of Len “Boogsie” Sharpe’s “In the Rainforest” saw TCL Skiffle Bunch crowned World Steelband Festival Champions.

This year, 2020, is our 25th anniversary. In the midst of the pandemic, we are headlining this Christmas season for Christmas in Chrome, happy to be on Queen’s Hall stage again showing the versatility and talent of the band and also accompanying the choir and wonderful guest artistes. Looking forward to the future, the band hopes to acquire some new instruments and we are also working on plans for a full-fledged Steel concert in 2021. It is expected that Lydian Steel will continue to evolve and take on even more exciting projects as its journey of musical discovery continues. The musically literate pannist will hopefully be the way of the future and we are happy to lead the charge and support the growth and development of our people and our national instrument.

Ben Jackson, 2016 (Updated Astra Noel, 2020)

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Lydians in Cyberspace “Is my mic on?”

“I can’t see everyone” “Wait, is that Auntie Marlene?” *waves* * overlapping voices, laughter* * A television blares the signal for the end of the news hour in the middle of vocalises – someone hadn’t been singing or muting their mic* With the acceptance of the reality of the pandemic, after some time, the urge to be together and check-in with each other meant a need to pivot.

Zoom was the platform of choice. For many of the choristers, steel, and myself it was assumed that this platform and undertaking would be a one off, as we didn’t properly get to say our ‘see you in a while’ s to our friends – in fact, this struck in the middle of the Music Festival. After that first week of sectional check-in, it was apparent f rom the questions of if there would be others and how soon or frequent, that this would definitely be ‘a thing.’ Sectionals gave way to full ensemble

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A run-down of the Lydians in Choral #PandemicPivot f rom a proud facilitator

check-ins. We were joined by Lydians abroad on occasion. Teachers, students, and others whose professions already had them in meetings via video conference willingly added this activity to their screen time roster. It was also very heartwarming to witness/hear stories of the techsavvy helping those who were not so inclined, to take part. Stories of new smartphone purchases, lovingly exasperated young helpers, and especially excited children “you all makin’ mommy use video chat now, so we getting to see her. Thank you so much!”

Big shout out to Marlene and Adele of the altos, and Pat Whittle and Aunty Jo of the Sopranos.

Naturally, after 2 sessions, came the dreaded question: “Carl, I’ve been seeing some groups on YouTube, and one even you were in, that was doing virtual choirs. When do we try that?” *resists urge to rub at temples at murmurs of agreement and videos of nodding assent*

After outlining just how difficult the process is, and how likely that they would not all want to take part because as much as the end result is communal, it is a very individualistic process – we began to make a virtual choir. And like the guardian who moved from being convinced by their ward that ‘this was what I really want,’ to then inveigling that same ward to actually do the thing they committed to, there I was, asking if we were still doing this.

From that effort was born the first virtual choir performed featuring Voices, Steelpan and Piano.

High from that undertaking, all the difficulty is forgotten, and ‘when is the next one’ began making its way into the meetings.

Internal Events: #VirtualVignettes and the 40th Anniversary Choir Service Vignettes, our annual Young Artists Workshop and Internal Concert marked its 5th anniversary in 2020. It was decided this would be a part retrospect, part virtual submissions of solo work and distanced opportunities to record works under development from the composers among our young Artists.

The premiere - and encore was met with much enthusiasm. Tears were shed.

Laughs were had. Lengthy new inside jokes were made. Previously hesitant singers committed to next year’s Vignettes, whether virtual or otherwise.

The 40 th Anniversary Choir Service came as well, and with it the herculean task of condensing 40 years of music, gratitude, love and service into a “short, comprehensive, and excellent online presentation.” So, we sacrificed the “short” bit. Also receiving encores, this experience had Lydians who tuned in asking ‘When next do we get to see things like these? When next do we get to take part in them?’

So here comes Christmas, and you know we Virtual Choir-ing again.

The process was rife with laughs, hijinks, and some whispers of fears of the task. Thankfully, those who fought through that fear to deliver came happily back to say that it ended up being far less scary than they had thought it would have been. I am still proud of everyone for wanting to and for following up on the online rehearsals and process.

Vivat Lydii! - Long live the Lydians Bless, Carl-Anthony Hines

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Featured Performer Ms. Germaine Wilson Vocalist to Actress Germaine Patricia Wilson has always been fascinated, standing on the stage. Classical, Calypso, Pop, R&B, Musical Theater, All that Jazz and a little bit of Folk runs through her veins. She holds a Bachelor’s Degree in Business Administration, but her love for performing earned her scholarships f rom Berklee College of Music – Boston USA and SUNY Plattsburgh State University in New York, where her studies included Vocal Performance, Music, Modern Drama and Theatre Performance.

A few of her treasured roles in Trinidad include ‘Corporal Female’ JAB MOLASSIE (2014) , ‘Lady Thiang’ f rom the KING AND I(2013) , ‘Mother Superior’ SOUND OF MUSIC (2012) , ‘Glinda Good witch of the North’ ‘WIZARD OF OZ, ‘Liu’ in the opera ‘TURANDOT’ ; also being a proud Lydian Singer and a multi-championship winner of the Trinidad and Tobago Music Festival on several occasions. Additionally, in the USA being chosen to perform for the Founder of Motown Records - Berry Gordy amongst several international singers.

“

It’s simply indescribable, all the hard work has paid off. I am so thankful to God and honored now to show the German spectators my talent!”

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Photo Courtesy Trinidad Newsday

While Germaine is no stranger to the international stage, her latest accomplishment is performing as Cover Sarabi, Shenzi & Female Singer Swing at Disney’s Lion King, Hamburg Germany. “And why not” she says, “Sarabi one day , Shenzi the next, this way I never get bored on stage. “ Germaine’s other interests include dancing, interior decorating, developing business ideas, fitness training, make-up artistry, traveling/ touring the world, mentoring young people, and growing spiritually, but more than ever she hopes to never stop singing/performing.

Featured Collaborator Adan Hagley Adan Hagley is a pianist, arranger, composer, producer and educator from Trinidad and Tobago. He graduated from Berklee College of Music in 2013 with a Bachelors of Music in Contemporary Writing and Production. Since returning to Trinidad, Adan has been freelancing as a pianist with many of the country’s top acts including Vaughnette Bigford, Carlton Zanda, Andy Narell, Relator, Ella Andall and The Mighty Shadow to name a few. As a composer and arranger he has also been freelancing for a variety of mediums. As a film composer his work on “Flying The Coup” a short film by Ryan Lee, helped win the People’s Choice Award at the Trinidad and Tobago Film Festival.

In 2016 Adan took up the role of bandleader to perform his original compositions and arrangements. The band is a septet of some of Trinidad and Tobago’s finest musicians. In 2016 Adan had his first show entitled “Break Out” at Kaiso Blues Café in 2016.

After this Adan went on to headline a number of shows including Point Fortin Jazz 2017, North Coast Jazz 2017, Eat Drink Jazz 2017 and Jazz Artists on The Greens 2018 and Naniki Barbados Music Festival 2020.

Adan’s debut album entitled “Insomnia” was released on October 12th 2019 at the Little Carib Theatre.

“Insomnia” documents his journey in music from Berklee College of Music in 2009 to present. Performing in front of a packed house, his groovy, melody driven, fun and accessible, modern day jazz-calypso music was well received by the audience members. “Insomnia” is available on CD Baby, ITunes, Spotify and all online streaming platforms.

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Featured Premiere Mary’s Song Composer: Michael Hudlin

“

Sitting here on the cold stable floor, with creatures both great and small Joseph my bethrothed fills the manger with straw...”

It’s September, and in a short talk about the season and the likelihood of us being unable to have live music, Carl-Anthony and Michael Hudlin are having a discussion on pandemic protocols and performance.

Carl-Anthony: “I think it would be interesting to

see what you would do with that

as a creative brief” Michael:

“What? With what?”

CA: “A carol. A Christmas story piece,

written for no more than 5 persons.”

M:

*Chortles* “Any more things?”

CA:

*hums* “It should be no more than 5 minutes? Hmm. This is going to be a thing.”

Conversation topic changed, Hudlin may have thought it forgotten. Until a message made its way to him: A Christmas piece, no more than 5 performers following protocol. At least one steel pan, at least one singer, piano is optional, percussion also optional. It should be on the Christmas story in keeping with the theme.

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A month and some weeks later, the commissioned music was received. Mary’s song CA:

A post-partum Magnificat? That’s new

M:

*surprised laugh* well yeah, I guess that is it.

CA:

I see you went lower than the forces stipulation and delivered beautiful lines. Your words?

M:

Yeah, they came to me some time ago and this is how I heard it.

CA:

How would you describe it?

“It is an art song based on what I perceive as Mary’s thoughts after giving birth, what she felt for and feared for her child…what she saw around her, and thought was coming for and to her. It [the piece] conveys this position as accessibly as possible, and as much in the style of a carol as possible – how I imagine that they (carols) would sound f rom me.”

Cast List LYDIAN STEEL BROWN, Kareem - Tenor/Double Tenor BRUCE-BROWN, Avis - Tenor/Double Seconds CHARLES, Kamaria - Double Seconds CLOUDEN, Kadesh - Double Tenor GRANDERSON, Fayola - Tenor/Double Tenor JOSEPH, Natasha - Six Bass KNIGHTS, Joseph - Tenor/Double Tenor LOOBY, Akil -Tenor Bass MOORE, Kwesi -Six Bass NOEL, Astra - Double Guitar PEROUZE, Tonya - Tenor/Double Seconds REDHEAD, Marlon - Tenor Bass RILEY, Roland – Tenor/Double Seconds ROBERTS, Dennis - Percussion & Drum Kit SOLOISTS BARRIE, Alicia CUMBERBATCH, Edward JOSEPH, Malene KNIGHTS, Joseph MENDEZ, Kory SPECIAL GUEST KEYBOARDIST HAGLEY, Adan MUSICIANS Accompanists CUMBERBATCH, Myrtle NOEL, Astra SAMLAL, Andrew Clarinet BRAITHWAITE, Shurvone Guitar SAMLAL, Andrew Tassa Drums BUCHOON, Shivan SOOGRIM-RAM, Mitra SOOGRIM-RAM, Prakash SOOGRIM-RAM, Ranjeet SOOGRIM-RAM, Sanjeet

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VIRTUAL CHOIR – A Fanfare for Christmas (Hodie, hodie) by R. Wells SINGERS *Overseas Submissions Sopranos DE FREITAS, Nicole FISHER, Alicia FISHER, Annaleze POTTS, Glenis PYLE, Joanne WILSON, Germaine *(Germany) Altos CHAN A SHING, Christine CHARLES-FARRAY, Janine DANIEL-LINTON, Paula GEORGE, Jacqueline HENRY, Nisha HODGE, Selma LUCAS-MITCHELL, Renee Mc FEE, Simone THOMAS, Avion

Tenors CUMBERBATCH, Edward MENDEZ, Kory Basses CLOUDEN, Kadesh GOVIA, Dirk HUDLIN, Michael REID, Olusanmi ‘Terry’ ROBINSON, Randall *(Grenada)

VIRTUAL CHOIR – Fanfare and Processional for Christmas arr. by M. Huff SINGERS *Overseas Submissions Sopranos BOLAND, Alliyah COOPER-LEACH, Marielle De FREITAS, Nicole FISHER, Alicia LEON, Simone POTTS, Glenis PYLE, Joanne QUINTAL, Jeanine WILSON, Germaine *(Germany) Altos CHAN A SHING, Christine CHARLES-FARRAY, Janine CHEBROTTIERE, Gillian DANIEL-LINTON, Paula GAYLE, Nadine GEORGE, Jacqueline HENRY, Nisha HODGE, Selma JOHNSON, Kimone *(Jamaica) LUCAS-MITCHELL, Renee Mc CLEAN PARRIS, Nickisha Mc FEE, Simone MOHON, Rhona THOMAS, Avion TRIM, George-Ann

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Tenors CUMBERBATCH, Edward LAWRENCE, Hanif *(USA) MENDEZ, Kory Basses CLOUDEN, Kadesh GOVIA, Dirk HUDLIN, Michael LALLO, Hanief *(Jamaica) REID, Olusanmi ‘Terry’ ROBINSON, Randall *(Grenada)

MUSICIANS LYDIAN STEEL CHARLES, Kamaria - Double Seconds CLOUDEN, Kadesh - Tenor KNIGHTS, Joseph - Tenor/Double Tenor LOOBY, Akil -Tenor Bass MOORE, Kwesi -Six Bass NOEL, Astra - Double Guitar PEROUZE, Tonya - Tenor/Double Seconds REDHEAD, Marlon - Tenor Bass ROBERTS, Dennis - Percussion & Drum Kit

Accompanists CUMBERBATCH, Myrtle SAMLAL, Andrew

PRODUCTION CREDITS Musical Director HINES, Carl-Anthony Creative Concept HINES, Carl-Anthony Production Team ALLEN, Garnet BEARD, Alexander J. KNIGHTS, Joseph HINES, Carl-Anthony Mc CLEAN PARRIS, Nickisha NOEL, Astra PEROUZE, Tonya ROBERTS, Dennis Stage Management Team ALLEN, Garnet DANIEL-LINTON, Paula Costume Accessories Du BOIS-FRANCOIS, Merika PEROUZE, Tonya Lighting Design WELLS, Celia Recording Engineer NANDALAL, Rajeev Mixing Engineer ALVAREZ, Kino Sound & Mixing Engineer (Virtual Choirs) MANG, Geiron MANG PRODUCTIONS Videography (Queens Hall) ABRAHAM, Keston STEPHEN, Kyle

Videography (Christ Church) HINES, Carl-Anthony STEPHEN, Kyle Video Editor STEPHEN, Kyle DIGITAL COMPASS LIMITED Communications & Publicity BETHELMY, Jean-Paul DANIEL-LINTON, Paula DOWRICH-PHILLIP, Laura HINES, Carl-Anthony LEON, Simone Mc CLEAN PARRIS, Nickisha NOEL, Astra PEROUZE, Tonya THOMAS, Avion Editorial Team DANIEL-LINTON, Paula DOWRIDGE-PHILLIP, Laura HINES, Carl-Anthony Mc CLEAN PARRIS, Nickisha NOEL, Astra Hospitality & Welfare CHAN A SHING, Christine DAVID-LEWIS, Christine WILLIAMS, Anton Equipment Transport ALLEN, Garnet BEARD, Alexander John KNIGHTS, Joseph PIERRE, Anthony

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Management Committee ALLEN, Garnet BEARD, Alexander J. CHAN A SHING, Christine EDWARDS, Claudette HINES, Carl-Anthony KNIGHTS, Joseph Mc CLEAN PARRIS, Nickisha NOEL, Astra ROBERTS, Dennis WILLIAMS, Anton Board of Directors BROWN, Leah CHEVROTIERE, Gillian De FREITAS, Nicole FISHER, Alicia FROST, Sterling JAMES, Elson JONES-MORALES, Jennifer ROACH, Carla Supernumerary Directors COOPER-LEACH, Marielle POTTS, Glenis Secretariat MENDEZ, Kory WILLIAMS, Anton

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Acknowledgements The Lydians are deeply grateful to following persons and organisations for their contributions, support and assistance in making Christmas in Chrome possible First Citizens Prestige Holdings Limited Angostura Limited The Management of The Sound Forge Mr Chinua Alleyne Department of Creative and Festival Arts, UWI St. Augustine Mr Louis Mc Williams, Head of Department Mr Satanand Sharma, Music Unit Coordinator Anthony Pierre Alicia Fisher B.C. Catering Limited Bernard Beckles Brent Carter CNC3 Carla Roach Christine David-Lewis Digital Compass Creative Studios East Yard Edward Cumberbatch Errol Fabian Gillian Chevrotiere Jeanine Remy Jennifer Jones-Morales Jessel Murray Joanne Pyle Joseph Drayton La Tropicale Flower Shop LOOP Marlon Danglade Mark Anthony Peter Med Matters Pharmacy Limited

Newsday Paula Lindo Sean Nero Step Up Productions Tech Design 360 The Anglican Church Christ Church Cascade The Management and Staff of COSTTAAT The Management and Staff of Queen Hall Trinidad and Tobago Television

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