JUMP UP by Professor Ray Allen will be launched in Brooklyn, Tuesday, August 27th, 7pm at Greenlight Books (632 Flatbush Ave) just in time for Carnival 2019.
Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Blending oral history, archival research, and ethnography, ethnomusicologist Ray Allen examines how members of New York’s diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace and transformation of Carnival music. The work fills a significant void in our understanding of how calypso, soca (soul/calypso), and steelband evolved in the second half of the twentieth century as it flowed between its Island homeland and its bourgeoning New York migrant communities. Grenadian-born journalist and editor of Everybody’s Caribbean Magazine Herman Hall joins Allen in conversation in this special event leading up to Carnival 2019. Trinidadian-born pan player Garvin Blake also helps celebrate the launch with a musical performance.
A REVIEW OF “JUMP UP” BY HERMAN HALL
I
should not be reviewing Professor Ray Allen’s Jump Up
because my name and EVERYBODY’S,
the Caribbean-American magazine, are mentioned multiple times. Positively, I
may add. The introduction of Jump Up
begins with a quote from the September, 1982 edition of EVERYBODY’S.
As a result, some readers may say this review is not objective; it’s flattering
Professor Allen. That’s a reasonable assumption but not correct.
The
truth is I read various chapters several times hoping to find something to nitpick,
a statistic that is wrong or a crucial point Allen omitted. I found none. Every
time I say, “gotcha, you left out this person!” Low and behold the person’s
name pops up. And this is what makes Jump Up impressive and
appreciative. Professor Allen informs the reader of many unsung heroes who
contributed to the development of masquerade bands-costume making, calypso/soca
and steelband in New York and indirectly across the U.S.
Randolph
Hilaire, steelband and calypso icon, is an example. He has contributed immensely
in promoting all aspects of Trinidad and Eastern Caribbean musical and carnival
phenomena in America. Hilaire established Sonatas Steel Orchestra in 1971. The
band had many preteenagers and teenagers. That was the beauty of Sonatas. The
youths were nurtured and disciplined by the elders. Many children became model
citizens and earned college degrees. In 2019 their grandchildren are members of
Sonatas.
The
heyday of calypso tents in Brooklyn was the 1980s. Hilaire using his sobriquet
as Count Robin was the prime mover of the Rainbow Terrace Calypso Tent. The
aging Count Robin is an organizer in 2019 of a calypso tents on Utica Avenue.
These
days, on carnival weekend in Brooklyn, the multitalented Hilaire assists the
West Indian-American Day Carnival Association adjudicates masquerade bands and individual
costume pieces.
Another
unsung hero Professor Allen is reminding us about is Caldera Carabello. After
his family Caldera’s next love is the steelband. He was part of steel orchestras
when the home of the steelband, calypso and carnival in the diaspora was
Harlem. He toured with Harry Belafonte and played at the White House for
President Dwight Eisenhower’s inauguration. During the 1970s, Caldera’s friend
Carlos Lezama grabbed him from retirement to be an integral part of WIADCA and
to coordinate panoramas. Long before, The New York
Daily News and Donald Trump brought
Trinidad & Tobago leading orchestras to entertain at socialite dinners,
Caldera brought orchestras to perform at Avery Hall-Lincoln Center and Brooklyn
Academy of Music.
Winston
Munroe, Kim Loy-wong, Ruddie King, Michael Scanterbury, Clyde Henry, Clyde
Durrant, Emmanuel “Cobo Jack” Riley and dozens of others have not been
recognized for the sacrifices they made to promote Caribbean Culture in New
York, especially steelband music. Fortunately, they did not escape the research
net of Professor Allen.
That’s
one reason Jump Up
is easy and enjoyable is reading.
Apart
from recognition of committed individuals, Jump Up summarizes the history of
carnival in New York City. “Carnival, transplanted from Trinidad to Harlem in
the 1930s, and to Brooklyn in the 1960s …The story begins in the New York
recording in the late 1920s, when Trinidad calypsonians and dance orchestras
arrived to make records,” Professor Allen states. I do not know if immigrants
of the early 20th century, if they were alive, would validate “The
story begins in the New York recording in the late 1920s, when Trinidad
calypsonians and dance orchestras arrived to make records.” Before the Roaring
Twenties, West Indian immigrants from the then carnival islands – St. Vincent,
Dominica, Grenada, St. Lucia and Trinidad – celebrated carnival the weekend
before the Lenten season in their apartments and basements in wintry New York.
They designed costumes and played mas. On canboulay night, the night before
carnival Monday, they cooked dumplings, rice and peas and played music.
Although
Jump Up
is a narrative of carnival, steelband and calypso/soca in New York and to a
certain extent the diaspora, the book is scholarly. (Be aware, it is published
by Oxford University Press.) As the author says Jump Up digs “deeper into this phenomenon
of deterritorialization seeking to elucidate how, in the context of Labor Day
Carnival, the performance of calypso/soca and steelband music contributed to an
emergent sense of transnation among Caribbean New Yorkers.” He is absolutely
correct.
Professor Allen leaves no stone unturned. His analysis of the future of carnival in New York City ought to make everyone read Jump Up. This masterpiece belongs in every Caribbean-American home.