I caught L’acadco from Jamaica as part of my work with the CARIFESTA media team. This group
Here are some shots of the night as they brought folk and traditional Jamaican movement to the stage.
Carifesta XV Day #6
Saltwater Tongues: Carifesta XV Day #2
On Day #2 of Carifesta XV, I attended Saltwater Tongues: We Came from the Sea at Browne’s Beach.
I really enjoyed this concept, which brought together different folk dance groups, theatre and spoken word artists to a public space.
Here are some of the images from that day.
Enjoy!!!
Carifesta XV
Carifesta is in Barbados, returning after 8 years.
As I continue to explore another aspect of art as part of the media team, here are some of my photos from this year’s parade.
If you are in Barbados, COME OUT!
There is a lot going on!
Crop Over – The Periods – Period II – The Blue Ice Years – 1983-1990
Welcome back to my series of Crop Over musical periods. The last period, Ancient Crop Over Music, looked at the music that was part of the festival after its re-introduction in 1974. This next stage is one of the most important ones in the Barbadian music period, and for many, it is seen as the Golden Age.
The Blue Ice Years
The Blue Ice Years is the period where Eddy Grant, from his Blue Wave Studio in St. Philip and Ice Records, his label, dominated Crop Over. He was responsible for the songs that bossed the Tune of the Crop, which are the songs most frequently played at Kadooment, which is the final day of Crop Over.
Boots – The Mighty Gabby
This 1983 release from the Mighty Gabby was massive, not only in Barbados for Crop Over but throughout the region. In fact, it did the unthinkable for a Barbadian release then and became very popular in Trinidad. Boots is also typical of the Grant production approach of that time, with back-beat drums, minimal use of horns, and comparatively sparse bass lines. This song did not win the Tune of the Crop for that year, but it remains one of the classic Crop Over songs of all time.Â
Sousy – Director
Produced by Eddy Grant and arranged by trumpeter Ricky Brathwaite, this song was one very popular in 1985. The rhythms were more typical of other soca offerings in the Caribbean at the time, and it didn’t have the Grant production stamp of the period, however, the durability (it was remade this year by Barry Chandler) and the impact of this work can not be denied.
Mr. T, Stinging Bees, More Grynner- Grynner
When it comes to popular works from the Blue-Ice Period, Grynner’s songs are definitely the ones to be noted. Grynner was the undisputed Tune of the Crop artist of the 80s, and these three songs won from 1983 to 1985. All of them bore the Eddy Grant style, with the back-beat rhythms from American music and/or the bass and harmonic minimalism.
Summary
For me, the Blue-Ice Period is the most nostalgic era of Crop Over for older Barbadians. It was not only defined by these iconic sounds and songs, but also marked a significant shift in the festival’s status. This was a time when the tent system was thriving, and Crop Over transitioned from the fringes to being a truly national festival.
Royalty-Free Caribbean Music and More
Hello everyone,
Are you a social media creator, film or tv producer, marketing officer or an artist who needs Caribbean music and is tired of getting those takedown requests?
Then this is for you.
Head over to
https://stefanwalcott.bandcamp.com/
and take a look and listen to my royalty=free albums.
There’s something there for you.
Handel’s Caribbean Messiah in Halle Germany
Look what came through yesterday.
The program to Handel Festpielle in Halle with Handel’s Caribbean Messiah as a featured production for the 2021 run.
I wrote and was executive producer on this work since its inception and what a ride Handel’s Caribbean Messiah has been. Here is a clip of me going through the process of composing for the debut show.
So here are the THANK YOUS!!!!
- Thank you Fran Wickham and Ronald Grant, for really believing in that first show at Frank Collymore Hall in 2017.
2. All of the Barbados Museum crew especially Kevin Farmer who brought us over in 2018. BCIDA for supporting the album production in 2018.
3. Jewel Forde and everyone at the Caribbean Broadcasting Corporation for the success of the 2018 run.
4. The Caribbean Export Development Agency National Cultural Foundation for their support in 2019.
5. The original management team who assisted in the growth of the production, the original Bajan cast and our expanded cast in 2019.
This started as an idea on a page and ended up being accepted by Handel Haus, I am truly personally humbled and I have learnt soooo much.
We might not get there as a group but the production shows there is a global demand for what we do in these tiny islands once there is co-operation.
Eventually, I will be writing and blogging on this experience outlining where we can improve as cultural industry people.
But for now.
Thank you Barbados for allowing me to create Handel’s Caribbean Messiah.
60 Caribbean Folk songs available on amazon now
I present to you my final book from the lockdown period.
60 Caribbean Folk Songs with Audio.
60 Caribbean Folk songs is a book which has compiled folk songs from Trinidad and Tobago, Dominica, Jamaica, Guyana and Barbados. For the first time, all these Caribbean treasures can be found in one document that is digitally preserved.
All songs come with audio tracks so you can sing along.
Check the link below.
Enjoy
Handel’s Caribbean Messiah #global
I am very proud to announce that Handel’s Caribbean Messiah has been selected for the Handel-Festspiele in Halle Germany for 2021.
The Handel-Festspiele is an annual festival celebrating Handel’s music in his birthplace by local German and international acts.
I am incredibly moved by this selection as we were chosen based on my re-imagining, orchestrations and in some cases compositions, with the performances executed by a 100% Barbadian cast.
The fact that this was done by a panel of Handel experts makes the achievement even more rewarding. Also, the fact that the negotiations began through my completion of the Caribbean Export process, which involved some sacrifice, made me more reassured in my music business decisions.
Handel’s Caribbean Messiah is one of the only locally created indigenous works that brings the strands of Caribbean culture together and even though we might not make the last financial hurdle to reach Halle, the fact that it has been looked at as having international quality by unbiased experts shows how we should rely on our own confidence as Caribbean cultural practitioners in what we do.
I encourage all who are in Barbados this week, December 20-22nd, to come out to the Frank Collymore Hall and see this production that will soon be leaving these shores by the 100% Bajan ORIGINAL cast.
Thanks to my team who supported the dream and to Fran Wickham and Ronald Grant whose support allowed for the first staging of the production in 2017. Also to Carol Roberts who was enthusiastic about it when it was only an idea and suggested the use of a Bajan nation language narrator who is now Jabari Prince Browne.
Interview with Noisey on Bashment Soca
Last month I contributed to an article written by Sharine Taylor from Noisey.
Here is the link.
Enjoy!
Workshops and Stefan Walcott
I love doing workshops.
Here I am at Edna Manley College in Jamaica speaking to how Dancehall music can be used as melodic and harmonic material for Jazz large ensemble.
The case study here is Summertime, the Vybz Kartel composition mixed with the more well known Gershwin one. The students are using the fused melody to go through various Caribbean styles as well.
Enjoy
stefanwalcott.com 