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Clive Zanda Clive Zanda Is Here With 'Dat Kinda Ting' - Calypsojazz Innovations (180g Vinyl)

Clive Zanda Is Here With 'Dat Kinda Ting' - Calypsojazz Innovations (180g Vinyl)
 
 
 

catalog number: CLP1220

weight in Kg 0,220

 

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Clive Zanda: Clive Zanda Is Here With 'Dat Kinda Ting' - Calypsojazz Innovations (180g Vinyl)

LP, 180gram vinyl. 9 tracks, 36:37, Download card
Jazz, Caribbean, Soca

Vinyl LP, pressed on 180gram virgin vinyl.
Re-release of Clive Zanda’s classic calypso jazz album, originally released in 1975.
Recorded in Portz of Spain, Trinidad.
Only 350 copies of the record were pressed in 1975.
Extremely rare and much sought-after Caribbean record from that period. 
Comes with a reproduction of the original artwork.
Inlay leaflet with extensive liner notes by Nigel A. Campbell, song-by-song notes and biographies of the accompanying musicians.

Cree Records is set to re-release jazz pianists Clive Zanda’s classic calypso jazz 'Clive Zanda Is Here! With "dat kinda ting"-  Calypsojazz Innovations', originally released in 1975. Only 350 copies of the record were pressed in 1975 which makes it one of the most sought-after records from the Caribbean from that period today. With new distribution and manufacture being handled by German reissue speciality label Cree Records, this album — remastered and released as a vinyl LP — has the possibility of reaching a new global audience. 
Clive Zanda, an elder statesman in the local jazz fraternity in the Caribbean, began his improvisations and fusion exercises with jazz and calypso back in the early 1960s when he was a student of architecture in England. On his return to Trinidad in 1971, he collaborated with Barbados-born QRC (Queen’s Royal College in Port of Spain) teacher and indigenous jazz music advocate, Scofield Pilgrim to codify the new music that was beginning to shape a new generation of young jazz musicians. 


 Their "proof of concept" was this album recorded at KH Studios with Michael 'Toby' Tobas (drums) and Michael Georges (bass) as a trio. With a new liner note essay by local music writer Nigel A. Campbell, the project overseen during the last year by Cree Records continues the renaissance of Trinidad and Tobago music of the dynamic 1970s.

180gram Vinyl LP, 9 tracks


 

Songs

Clive Zanda - Clive Zanda Is Here With 'Dat Kinda Ting' - Calypsojazz Innovations (180g Vinyl) Medium 1
1: Chip Down
2: Fever
3: Major To Minor
4: Fancy Sailor
1: Dat Kinda Ting
2: Mr Walker
3: Caribbean Lullaby
4: Kitty Kang
5: Ogum

 

Bonus-Download


 

Artikeleigenschaften von Clive Zanda: Clive Zanda Is Here With 'Dat Kinda Ting' - Calypsojazz Innovations (180g Vinyl)

  • Interpret: Clive Zanda

  • Albumtitel: Clive Zanda Is Here With 'Dat Kinda Ting' - Calypsojazz Innovations (180g Vinyl)

  • Format LP
  • Genre Jazz

  • Title Clive Zanda Is Here With 'Dat Kinda Ting' - Calypsojazz Innovations (180g Vinyl)
  • Vinyl size LP (12 Inch)
  • Vinyl weight 180g Vinyl
  • Speed / RPM 33 U/min
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Release date 2017
  • Label Cree Records

  • Price code CLP
  • EAN: 5397102122019

  • weight in Kg 0.220
 
 

Artist description "Zanda, Clive"

Clive Zanda 

Profesionally, I am an architect planning consultant; but essentially, a composer/improviser. If there is any truth in the statement that 'architecture is frozen music, then these disciplines naturally complement each other.' 

 

The early years

I was born in Siparia, County of St. Patrick, South Trinidad, on June 15 , 1939, into a musical environment. My father Richard Alexander, is a shoe-maker by trade, a guitarist and choir master by vocation; my mother Louisa, is a gospel singer. We all sang in the church choir, where I played the guitar. Later I was exposed to the piano. 

 

Calypsonian experiences

The next phase of my musical development started when I began 'liming' with the Bill Ken Thomas Orchestra. Not long after I got an opportunity to play bongos in the Choy Aming Orchestra where I met trumpeter Erroll Ince and we both planned to migrate to the U.K. with a view to furthering our musical careers. During this period (1955-1960) there existed a musical environment in which young musicians were encouraged to mix with the veterans. Asa result, I became involved both musically and socially with prominent musicians like Fitz-Vaughn Bryan, Sel Duncan, Bert Inniss, Ruper Clemendore, John "Buddy" Williams and the Dutchy Brothers. Every young musician should know about these "giant'since they laid the foundation for the conscious development of improvising Calypso music. 

 

The migration

 In 1960 I migrated to England where I furthered my studies in the piano/keyboard harmony with private tutors while studying for a professional degree in architecture. I later formed a group (mainly of W.I. musicians) called the 'Tropical Strings" playing mostly Calypso, Blue Beat and pop music. We performed at colleges and Caribbean Institutions, English Pubs and Clubs. 

 

Calypso Jazz improvisations

I later abandoned the group to concentrate on composing. I formed my first Calypso/Jazz quartet where we performed regularly at the Pigalle, London's largest supper club. In 1965 I performed my original works in a series of concerts at the Royal Festival Hall. In that same year, my Trio performed at the Jazz Jamboree, where I shared the stage with one of my musical idols - pianist Ahmed Jamal.

 

England, Trinidad and the U.S. 

 In 1966 to 1967, I returned to Trinidad for a six-month period to carry out research for my thesis in architecture. I took this opportunity to research the multi-cultural expressions in our music. During this period I met Scofield Pilgrim, Musical Director of the Queen's Royal College Calypso Jazz Workshop, who was also into the concept of improvising Calypso music. 

We performed in a series of campus concerts at high schools, colleges and at the St. Augustine branch of the U.W.W. We also performed live on radio, television and in ecumenical Youth Service at Tranquility Methodist Church in Port of Spain, Trinidad. On my return to London I completed my professional degree in architecture. 

I came back home in 1970 and established my practice as an architect/planning consultant. Musically I re-established my contact with Q.R.C. Workshop, formed the Gayap Music Workshop; and conducted workshops at the the Gayap Music Studios. In 1974 I visited the U.S. on holiday and attended lecture demonstrations in Jazz Improvisation at Rutgers University under the direction of Chris White (bassist of Trinidad parentage). 

 

Modern Jazz and Calypso-Folk

 I then formed a group which included modern jazz musicians Louis Hayes - drummer (known for his fine work with the Oscar Peterson Trio and the late Cannonball Adderley Quiintet); Charles Davies - saxaphonist; Tex Allen - trumpeter; David "Happy" Williams - bassist (son of Trinidad's John Buddy Williams). We performed at "The East" Harlem Cultural Center, New York, and shared the bill with another of my idols Archie Shepp. As for my music, it is an abstraction of the essence of improvised lifestyles of our Caribbean folk-tradition, reflecting the percussive sound textures that underlie all black music. 

In my compositinal approach I am exploring the harmonic base of Calypso-folk music, while retaining its rhythmic essence and keeping a delicate balance between structured and free-form improvisation. Improvised music is not written before it is performed. This demands a high level of metaphysical discipline and in-group listening, thus leaving room for spontaneous creativity, which is the essence of Black art forms.

 
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