Music and drums spice up the landscape: William Doyle-Marshall samples multiple proofs that Caribbean culture inhabits Toronto - Critical Essay

You constantly hear talk about Canada's changing demographics. Unless one is blind or lives the life of a hermit it is impossible to not recognize vivid signs of difference.

For instance, one recent Saturday morning I stopped at a roti shop in the east end of Toronto. It was a normal Saturday morning, just approaching noon. Wonderful tropical-type sunshine. The early risers were up and about, doing their chores, while those who elect to sleep in were just about ready to rub their still sleepy eyes and stretch yesterday's tiredness away.

I stepped into the roti shop and was greeted by a huge television screen. The attendant recorded our orders for three buss-up shot rotis and two Solo sweet drinks.

This is no high brow spot. Less than a handful of patrons was present. Regular metal chairs that could play harshly on your behind. The hard-wood tables covered with oilcloth. As my survey continues, it is clear that I. am about to experience one-day cricket: West Indies versus South Africa.

Cricket? Yes, cricket! Blow by blow, run by run, ball by ball, grunt by grunt. In my Canadian city that glorious Saturday morning, we were given front-seat views of every run of the bowler up to the wicket as he delivered in anticipation of success.

On the musical scene as well, Caribbean and other African people are being showcased in Toronto's mainstream clubs such as The Second City, Berlin, the Montreal Bistro, even the Fairmount Royal York Hotel's staff Christmas party. In the past you could expect to hear "Yellow Bird"; later "Hot Hot Hot" was included among the requested calypso material. But today, DJs playing at non-Caribbean events easily include "Who Let the Dogs Out" (written by Toronto musician Anslem Douglas) and a series of the jump-and-wave selections like "High Mas", "Small Pin" and "Old Woman Alone".

Gone are the days when the BamBoo Club on Toronto's trendy Queen Street held sole sway over calypso and soca artists. In the old days, on slow nights the BamBoo would hire the few Canadian acts, like Jayson and his Soca Review, Phase Two, Kali & Dub, Brass Trazx and the Legends. However in the late '80s soca bands were featured for an entire month at a time during the annual "March About Festival". (Unfortunately this event died, like so many other cultural organizations.)

Through the initiatives of Trinidadian producer John White, the BamBoo also recruited bands that came directly from Trinidad and Tobago for the annual Caribana festival. Among the early recruits were Sound Revolution, Blue Ventures and Dominica Swinging Stars.

One very well known Caribbean band that has thrilled standing-room-only crowds at the BamBoo over the years is the Sattalites, with Jojo Bennett at the helm. Groovers International, Right Direction, New Direction and the Undergrads were others that satisfied the cultural needs of people from the Caribbean and their non-Caribbean friends who also had an insatiable taste for the music.

While the mainstream daily publications hardly ever carried stories about these activities in the past, artists are now cautiously acknowledging that the Toronto Star, Toronto Sun and the National Post have been slowly admitting that the growing presence of Caribbean culture is influencing the Canadian scene Toronto calypsonian King Cosmos' very successful 2001 CD launch "Fire" at the BamBoo -- in the middle of winter -- received good ink in the dailies and was featured on Citytv. Many have concluded that the work that community radio stations like CHRY, CKLN and CRIT do in showcasing soca, calypso and reggae, zouk and other musical expressions are contributing factors to this new awareness in the Canadian media.

Music crosses many borders without visas or passports. The calypso jazz fusion group NEWA proved this as they pulled together a tremendous repertoire at their jazz concert as part of Harbourfront Centre's Barbados on the Water Festival this past spring. Everybody was there: even Barbados High Commissioner to Canada Victor Johnson and Consul-General in Toronto Kay McConney-Barrington.

The four fearless musicians who comprise NEWA (Nicholas Brancker, Eddie Bullen, Wilson Laurencin and Arturo Tappin) took chances, venturing into the unknown. Not even they knew always what would come back. But the audience came out to play and listen and NEWA responded kindly. Quite difficult to forget the talking instruments, musical conversations, dramatic interpretations all night among Brancker's bass, Tappin's saxophone, Bullen's keyboard and Laurencin's drums!

Among ingredients of the second annual Muhtadi International Drumming Festival outside Queen's Park last summer were exploding tassa drums, solid Cameroon styled drumming, lively Indian Mridangam melodies, and jazz stylings. Patrons concluded that the downtown area surrounding the seat of Ontario government is probably changed forever.

From 10 a.m. that Sunday morning through 10:30 p.m. Trinidadian percussionist Muhtadi, a former member of Trinidad's famed Desperadoes Steel Orchestra, played host to drummers from literally around the world. Whether it was during the bright daylight or after dusk, without the benefit of moonlight, or even flambeaux, the thundering sounds of drums kept thousands of anxious and curious music lovers dancing on the grass outside the Parliament Buildings, showing how strong the Toronto cultural scene has become.

The Hummingbird Tassa Band, led by Vijay Doon, a Mastana Bahar champion, exploded on the festival stage in the twilight zone. And every living being within earshot of the cutting drums moved energetically to the rhythms! Students from the Umoja Learning Circle, aged between four and nine years, thrilled the audience with their total confidence. They sang, played their drums and danced as though they were in their own world, ignoring the peering eyes, whether they were close up or from the distance. No signs of inhibitions.

Two Toronto steelbands in the festival were St. Jamestown Steelband and Afropan Steel Orchestra. One exhibited the youthful talents of the city, who will be carrying the banner later on; the other was proof that the older players can relax as the art of playing steelband instruments is in safe hands.

Toronto's own Archie Alleyne, accompanied by Joel Josephs of Kollage; Wilson Laurencin of NEWA and the Mike Bullard television show, and 11-year-old drumming sensation Aaron Seunarine contributed significantly to the festival. But it took Cameroon-born Toronto drummer Njacko Backo to wake up the crowd when he settled on the stage with his nine students. He began his performance playing on solid logs and progressed to other traditional drums. When the sedate crowd sat on the greens, merely looking at him and applauding politely, he challenged them to get up.

"What do you people want? We are playing drums for you. Look at my teeth. I don't bite people. Stand up and dance," Backo commanded. They complied and never sat after that. Off came their shoes and a multitude of dance steps appeared. Some moved to the timing of the drums and others pranced to the sounds in their own heads.

Famoudou Konate of Guinea, a guest and workshop leader at the festival, made a brief appearance and totally astounded patrons. The small man with powerful hands left the audience wanting more. His mere touch of the drums with his fingers seemed to wake up the spirits of onlookers. They whistled and called for more. However, Konate only returned later to join members of Bolo Kelen (One Skin) Drumming Group.

Another Toronto outfit, Roots Drummers, led by Tobagonian Lambfal, presented rhythms of Senegal, while Samba Squad's interactive performance had festival patrons moving to its spicy, pulsating Brazilian melodies. (The third edition of Muhtadi International Drumming Festival takes place June 8 and 9, 2002.)

Some Caribbean nationals feel that the expanding community brings so many of their specialties that running home or phoning relatives is no longer necessary to satisfy any true yearning. Music, spices, special ingredients for national dishes -- from hot pepper and callaloo bush to Ovaltine and coconut water -- all are available.

The only missing ingredients that force some to make the journey down south are real hot sun twelve months of the year and the opportunity to bond with childhood friends and close relatives who do not travel up north. Their music is here for all to share. Simply check out local record stores with your shopping list and your wishes will be granted.

William Doyle-Marshall is a writer/broadcaster and critic who has immersed himself in monitoring the arts on the North American scene. His provocative columns, commentaries, features and reviews have been read around the world in a number of publications and broadcast on radio. In Canada he hosts "My Data Bag" weekly on CHRY Radio 105.5FM. His columns have been published in the Ghanaian News, Pride News Magazine, Metro Word Magazine and the Jamaica Weekly Gleaner. He can be reached at doyle@the-wire-com.

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