THEY CALL IT CALYPSO

New Zealand Listener, Volume 37, Issue 934, 5 July 1957, Page 6

THEY CALL IT CALYPSO

He true calypso dates back to 18th century Trinidad, Slaves transported from Africa were not permitted to talk as they worked, but they were allowed to sing, and the calypso, sung in an almost incomprehensible dialect, was their way of complaining, conveying the local news or indulging in neighbourhood gossip. It was natural in a race so primitively musical as the African, for the storyteller to put his words to music; and derived from slave-gatherings on the plantations, the cosmopolitan rhythm of Trinidad gave birth to its unique calypso. Like the flamenco songs of Andalusia, the calypso is a racy and delightful account of topics of current interest. It’ should be extempore, suddenly improvised to commemorate some occasion, as "We Want Ramadin on the Ball" celebrated the’ victory of the West Indies in the second test at Lord’s in 1950. The origin of the name "Calypso" is obscure. One school of thought believes it to be derived from a Greek myth about the goddess, Chariso, who was released from imprisonment because of her ability to sing extemporaneously. Usage changed the word from "Chariso" RIGHT: First the drum is cut to the size required-the high-toned "Ping Pong" for melody, the "Strum Pan" for chords, or the "Tune Boom," steel band equivalent of the double bass. To make tuning easier, and give the notes more "ring," the surface is then stretched by pounding, and after that is heated to temper the steel to the. right pitch "

into "Calypso." Another school believes it to have come from the African word "Kai-so," "which means "Bravo," and which gradually became anglicised to "Calypso." Performers of the songs were encouraged by. their . audiences who expressed approval to particular versions by shouting "Kai-so." | Whatever the origin, calypso is the voice of the people of Trinidad, and in Trinidad the highest ranking per-

former is the Calypsonian, a _ singer who composes his lyrics and melodies extemporaneously. He has little respect for rank or station; he'll sing against the governor or anybody at all if he has something to say. An element of humour holds the listener -while-the Calypsonian drives across his deeper purpose. He is noted for the strange name he adopts, tending strongly to that of a historical character such as

Attila the Hun or Lord Kitchener. Usually he is a primitive who knows little about music, but to qualify as a Calypsonian, he must be able to compose a story on any subject, whether it be commonplace or fantasy. The commercial Calypso singer, on the other hand, is regarded merely as a parasite, for he is singing only what he has memorised. Some of the calypso "standards" began as impromptu songs by certain ranking Calypsonians, and were so well liked that they were picked up by other singers, "Hold ’em, Joe" and "Brown Skin Girl," both of which are sung by Harry Belafonte, who is no Calypsonian, are examples of such calypso "standards." There are two forms to the Calypso songthe "bracket" form for bouncy ditties that are mostly nonsense, and the "ballade," which is the most common form for serious topics. No matter which form the calypso takes, however, the lyrics must have a humorous twist to them to qualify the song as a calypso.

Even more "interesting than the music, however, are | the instruments with which it is played. The "musicians" form themselves into what is known as a steel band consisting of 20 to 30 "players." Each man carries, by a strap round the back of the neck, the brightly-painted top of an oil drum or a dust-bin lid. One way of making these "instruments"-by beating out sections of the metal top-is shown in the

pictures on these pages. In another method the top is cut, radially, into segments, each segment heated over a coal pot until the metal gives out a note of exactly the desired pitch, then plunged into cold water. When all segments have been so tuned, they are welded together again, the whole brightly painted, and there is the drum having a range of about an octave. With 20 or 30 such drums of varying shapes and sizes, most of the musical scale can be covered and the steel band can, if it so wishes, play almost any piece.

The commercialisation of calypso is not new. It enjoyed popularity in New York in 1939 and then in 1945, through the impact of a number called "Rum and Coca Cola," it became an overnight mania, The current calypso craze is attributed to a number of factors, among them the increased American tourist trade with the islands in the Caribbean and the desire of disc jockeys in the United States to play something besides Rock ’n’ Roll. Harry Belafonte’s recordings were selling quite well, and so the jockeys pushed them to the exclusion of those by genuine Calypsonians. Belafonte has therefore received credit for this sudden new interest in what is called calypso, but which embraces all manner of rhythmic aberration, from hits like "Day O" to such opportunistic items

as "Rock ‘’n’ Roll Calypso" and "Hillbilly Calypso." Few calypsos are contained in Harry Belafonte’s popular LP album titled "Calypso." Clarinettist Tony Scott, who worked with Belafonte during much of 1955, said he felt that Harry was doing calypso songs as authentically as possible for the American public. "It’s not authentic, because the real calypso is so pure .. . it’s got that syncopation and is really too deep-rooted, Harry has been like Glenn Miller who used to take a jazz piece and do it very simply. Harry takes this authentic material and works on it until it’s ready for American consumption." On his research trips, Belafonte travels the islands of the Caribbean with a tape recorder on the prowl for material. "When I hear them sung in the West Indies," he said, "I try to capture that feeling and relate it to myself, and to my audience, Naturally, we compromise because we try to relate the material." Belafonte wants no identifi-

cation with this "so-called calypso." "Two of my big records now are not even. calypso. ‘Jamaica Farewell’ is a West Indian folk ballad and ‘Day O’ is a West Indian work song. No matter how big this craze gets, I will never sing one of those phony numbers merely to sell a lot of records." In fact, Harry and his associates bridle when they hear him referred to as "The King of the Calypso," or some such title. His talents extend far beyond just one corner of the musical scene and he should remain on that scerie long after the calypso fad has passed. Readers may want ta. hear some real calypso so that they can get this confusing business straightened out. Listeners to the serial Bold Venture, which is presented every Wednesday at 10.30 p.m. on the ZBs will no doubt be familiar with the character called King Moses, who sings the odd’ calypso to Lauren Bacall whenever Bogart is in real trouble. His renditions are genuine

and extremely appealing. Record collectors may like to try the following: the two Argo LPs by Edric Connor, "Sir Winston Churchill," by Lord Beginner, "Prince Rainier," by Lord Invader, "Manchester Football Double," by Lord Kitchener, "Sir Winston-not out," by Young Tiger, "Mister Charlie," by Lord Flea, and "No Carnival in Britain," by the Mighty Terror. There is also an LP just released on the local market called "Songs of Trinidad," as presented by Wilmouth Houdini, a Brooklyn-born calypsonian, who was taken to Trinidad. This should be as genuine as you are likely to get in this country. The flurry of popularity achieved by the calypso back in 1939 was chiefly due to the recordings of this same Houdini. I was quite fortunate the other day. I walked into a local record store and there on the counter was a 78 recording by The Trinidad All Steel Percussion Band of the calypso "Papito." This disc will never get on to the Hit Parade, but

tor those who are interested in the real thing, this is worth hearing. How long the calypso craze will last is hard to tell. Existing’ restrictions in the United States make it difficult for authentic talent to enter the country from Trinidad, and consequently there is a shortage of the genuine product. Calypsonians are concerned lest too much of the counterfeit article may spell a sudden end to its popularity. I can’t see it myself. Calypso is part and parcel of Trinidad, and all the while the natives of Port of Spain, its capital, hold their Carnivals, parade their steel bands and sing their songs, the genuine calypso will remain a favourite with the

tourist.

Ray

Harris

("What's This Calypso?" is the title of a programme to be heard from the YAs, 3YZ and 4YZ this coming Sunday, July 7. On Sunday, July 14, at 3.0 p.m., 2ZB will present "Calypsos: and Calypso Singers.’)