It's doubtful if the 2020 visionary ever took in a MovieTowne lime. He's a man with the affairs of the world uppermost in mind and little time for licking ice cream or window browsing and certainly not consorting with that devilish music–jazz. Which is a shame, as beyond the saccharin tones of his private orchestra Divine Echoes, he could have strayed into Fiesta Plaza any time over the past month and heard some of his hardworking, talented citizens in full voice. He might also have seen on the ground, rather than from the lofty heights, a manifestation of 2020–three generations of Trinis confident in their skins, out to support and enjoy home-bred talent, which in some cases is definitely world-class.
But rather than waste time on lost causes, let's cut to the chase–the final concert in the Women in Jazz series brought Anne Fridal to the Fiesta Plaza stage last Saturday for a finale showcasing the diva's range, humour and the true generosity of a born teacher. Jazz is as jazz does and in the Caribbean in the past two decades, from Bim to Sent Lisi, to Tobago, jazz has become synonymous with R&B, funk, soul, blues and even hip hop. So it wasn't entirely mind-shattering to hear a light opera sound on Saturday night. Fridal is known foremost for her rich operatic delivery; she has shared her gifts with the same expansive good humour which informs her performances, with her many pupils.
LEFT: LeAndra Head.
RIGHT: Fay Husbands on the sticks.
Some of these honeythroats, Andre Mangatal, Marvin Smith–fresh from recent triumphs at the Music Festival–joined Fridal onstage for solo ventures (Mangatal threw off initial nerves to deliver Maria from West Side Story, with searing adolescent passion, while Smith was masterful with This is the Moment). Nine-year-old Shelby Mitchell sang Tomorrow from the musical Annie and then joined Fridal for a duet version of My Favourite Things from Sound of Music. The sensation of the night was 16-year old LeAndra Head. Singing Someone to Watch Over me in sensual nuanced tones, Head gave a performance mature far beyond her years and a lesson to all vocalists in interpretation. Unadulterated volume easily becomes shouting. To sing fortissimo about a broken heart may be unconvincing at best, or merely headache inducing.
Like a young Shirley Horne, Head not only captivated the audience, but took them to the oasis of jazz central. Rather than emoting, she suggested with the subtlety which is the mark of a true chanteuse. Miss Head, your audience eagerly awaits your next performance. Fridal must be congratulated, not only for her own performances (a swing style version of It Don't Mean a Thing; a bouncy duet with Smith–Let's Call the Whole Thing Off and a mean, low down, dirty Bessie Smith inflected Don't the Moon Look Lonesome), but for ushering in a new generation of vocalists. Women in Jazz has now established itself as one of the better events on our cultural calendar and it was a pleasure to see Fay Husbands behind the trap set, keeping her sisters in time. To all who made Saturday night's show–artistes, organisers and audience alike–take five, till next time.