With a flare for combining the best of traditional Bebop Jazz with other musical styles, such as Calypso, Victor Provost has made a name for himself as one of today’s best Pan players and an innovator in terms of his own smooth, fluid sound. PM spoke with Victor recently about his style, background and opinions on the future of the instrument.
How did your journey with music begin?
I was interested in music even as a young child. When I was growing up, my father would play songs on the guitar or piano. We had various drums and horns scattered around the house, but I’d sit at the piano with him and he’d show me how to play little tunes like “Fur Elise” or “Sentimental Journey.” One of his favorites to play was Joe Zawinul’s “Mercy, Mercy, Mercy.”
How and when were you first introduced to the Steelpan? What about it made you choose it as your primary instrument?
I was 10 years old and I was practicing for my piano lesson at the St. John School of the Arts (SJSA). It was a small building – one room upstairs and a small office downstairs with a piano. I was practicing downstairs and I heard this amazing sound coming from up above me, so I went up to check it out. It was the first time I remember hearing a steel band – I’d heard Pan before, but I must have been at an impressionable age, because this particular afternoon that sound made an impression. About 30 of my classmates were pounding out a soca-fied arrangement of the theme from “Chariots of Fire”. So I found an adult and asked if I could join. Sis Frank, the matriarch of SJSA (and of music of St. John) handed me some sticks and said “there’s a Pan over there, just watch what Barry is doing.”
Who are your biggest musical influences, both on Steelpan and other instruments? Why?
Way too many to name properly. But my earliest influence was vibraphonist Milt Jackson who was introduced to me by one of the great unsung heros of Pan, Mr. Rudy Wells (who directed the youth steel band I was in).
It might be easier to list the first records I listened to after I found them in my father’s record collection: Somethin’ Else(Cannonball Adderley), Getz/Gilberto (Stan Getz and Joao Gilberto), The Promise of a Future (Hugh Masekela), Light as a Feather (Chick Corea and Return to Forever), and Children of Sanchez by Chuck Mangione. I spent so much time listening to these records and trying to play along with them – I didn’t know what the hell was going on, but I had a good time pretending I did!
I also grew up listening to the guys I like to call the “celebrities of Pan”: Robbie, Andy, Liam, “Boogsie,” Ray, “Professor,” Earl Brooks, Othello, “Two-Left,” Haffers. I had a bunch of the “Pan Assembly” cassettes and CDs that featured most of these guys. I had all of Andy’s albums, got whatever “Boogsie” I could get my hands on, had a bunch of Monty Alexander records featuring Othello, etc. I listened to it all and I appreciated the fact that they had all created a distinct voice for themselves – I think that’s important; the development of an individual voice and style.
Tell us about your Pan. How did you come to settle on that particular design and why did you choose the Tenor Pan as your instrument?
I have several instruments (all tenors). I have a low D built by Egar Mayers, a Low C “rescue” that I believe was built by Harrigan, a Low C built by Glenn Rowsey in Morgantown, WV, and a Low G “oversized” tenor built by Kyle Dunleavy in Philadelphia, Penn. I started on tenor because there was an empty one in the band and because the steelband I played in as a kid didn’t encourage switching instruments, I got comfortable on it quickly.
About five years ago I saw a Low G tenor that Glenn Rowsey had built, but he gave it to his mentor Ellie Mannette as a gift. I mentioned the Low G to Kyle one day in passing and a few years later he sent me a message saying he’d built one. I drove up to Philly, played it for 15 minutes and took it home. Having the range of a double second (minus a few half steps) in the fourth and fifths pattern I’m accustom to gave me the best of both worlds. I’ve been playing and recording with it almost exclusively these days.
In your 2011 debut album, “Her Favorite Shade of Yellow,” the genre seems to be Bebop-infused jazz, with hints of Caribbean flare. Is this what you would call your preferred style/genre, or do you plan on expanding to include mixed genres like Pop, Rock and Funk?
The album was absolutely conceived of as a “straight ahead” jazz record. I’ve spent a long time studying (and continue to study) bebop as a foundation for my improvisational style and I wanted that to show on “Her Favorite Shade” (which is dedicated to my wife, Rachelle). We recorded it the way a typical jazz quartet would – all live, no overdubs – to insure that there was maximum interplay between musicians. Some of the arrangements are Latin-infused, and my nod to the culture was an arrangement of Kitch’s “Rainorama”.
It’s very unlikely that I’ll ever record any modern pop, but some music by the greats like Stevie Wonder, Chaka Kahn, Prince, and Michael Jackson may show up on future projects. I don’t convincingly “rock out,” so I’ll leave that up to the guys that do.
Are you planning on another album any time soon? If so, what will the focus be?
I’ll be beginning work on a new record this fall and will be releasing it next year. This record will focus on my original compositions, and will be more groove-oriented, but will hopefully retain the colorful harmonic pallet I’ve been trying to develop. I’ve had lots of inspiration since the last record, including my 5-month-old daughter, and I’m really looking forward to sharing this music.
What has it been like performing and recording with legendary jazz artists like Paquito D’Rivera? Is there anyone you hope to perform with? What do you hope to take away from performing with such jazz legends?
Over the last few years I’ve had the pleasure of working with some of my earliest influences like Paquito, Dave Samuels, and Hugh Masekela, as well as some of my contemporary “idols” like Nicholas Payton and Joe Locke. Working with a luminary like Paquito D’Rivera is surreal – not only is he one of the most incredible musicians on the planet, he also has a great sense of humor and is just a wonderful person to be around. I consider myself fortunate to be able to learn from and make music with him – and with all of the guys I named above. I have a long “wish list” of people I’d love to perform with, including Stefon Harris, Joshua Redman, Herbie Hancock, Esperanza Spalding, João Bosco, Vince Mendoza, Dave Mathews, any and all of the Marsalis brothers (and Ellis!), Sonny Rollins, I’d better stop there!
No matter who I’m on stage with, I consider each performance a lesson. After almost every show (sometimes during), I’m asking one of my bandmates “hey man, what was that you played over such-and-such chord?” Its real music nerd stuff. When I get to spend time with more established players, I tend to ask less musical questions and ask more life questions: “How did/do you balance career and family life?”, “What do you think of the record industry?”, “How do you keep your laundry fresh on the road”, “How do you eat and stay healthy with such an unpredictable schedule?” Questions like that.
In May of this year you headlined the Virginia Beach Panorama Fest in Virginia Beach, Va. What was that experience like for you? Do you see yourself returning next year? Is this type of event appealing to you as a player? Why?
I had a really incredible time at Virginia Beach this year. What a great opportunity to put together the rhythm section of my dreams (Alex and Zach Brown, Billy Williams, Bobby Thomas, Jr.) and add to that my friend and wonderful vocalist Rudy Faulkner PLUS the great Positive Vibrations Youth Steel Orchestra! I’d welcome the opportunity to play the festival again anytime, although I think the directors there do a good job of keeping it fresh with new acts every year. I’ll be at the festival in 2015, even if just as a supporter/spectator. The evening concerts have a great vibe and everyone there loves pan. It’s really an awesome venue.
How do events like the Virginia Beach Panorama help or hurt the Steelpan movement? How can events like this help to improve the image of Pan as an accessible instrument to all?
I’m always wary of using terms like “the steelpan movement” because I don’t see that a codified, unified movement exists in earnest. That idea means different things to different people and groups of people around the world. The festival in Virginia Beach has done a good job of finding a very difficult balance. They’ve created a festival that includes what is probably the most organized steel band competition in the western hemisphere – this in itself is no easy task.
They attract bands that represent a wide range of ages, talent and experience levels (although mostly school-aged and average-skilled) and have created an environment where these bands from schools, private studios, and community groups can get quantified feedback and comments from qualified judges. Each year there seems to be a surprise stand-out performance, and that is encouraging. If there is any criticism to be made of the festival, perhaps it is that it “over-academicizes” an art form that, historically, has flourished in the community, not the academy. This is evident in the number of bands each year playing the same arrangement of “Sunset” or “Bahia Girl”!
I don’t know that we need to improve the image of Pan as accessible to everyone – I think it already has that image, perhaps too much so! Certainly the steel band is one of the fastest growing community music ensemble types in the U.S. and for the last several decades they have been growing exponentially in American schools and universities.
The question is: Given the accessibility of the instrument – that is, the relative ease with which it is learned on a rudimentary level – how do we ensure that those accessing it have the skills and understanding to move the instrument forward, to move it beyond the rudimentary level?
What is your feeling on the current state of Pan and how it is viewed as an instrument around the world? Based on your travels, are there places that seem to accept the instrument as being more than a Caribbean instrument relegated to novelty status?
I’m generally encouraged with the way Pan is viewed around the world. I see the Pan being embraced as both a musical instrument and as a vehicle for expressing and experiencing the wider culture of Trinidad and Tobago. As an instrument, it is increasingly being used in a variety of interesting settings, performing novel compositions and being explored in unconventional ways. As a cultural vehicle, you only have to look to the hundreds of Pan competitions and festivals throughout the U.S., Canada, Europe, Africa, Asia, Australia!
I find that the idea of the Pan as an “umbrella drink novelty” is almost exclusively American (almost). I don’t think I’ve ever played a show overseas and had someone shout to the stage for me to play Buffet or Belafonte or comment that they felt like they were “on a Caribbean cruise.”
These are requests and comments I receive fairly often in the U.S. – even though the groups I’m playing with are typically performing very sophisticated, very difficult music, at a very high level. Ultimately, it is our job as performers and composers to gently advise the audience (and I mean audience in a general sense) that the instrument is dynamic and that it doesn’t need to be pigeon-holed.
What is your hope for the instrument in the next 10 years?
I’ve been thinking about this recently, and I actually have written a mini-manifesto on the direction I’d like to see the art form take in the next decade. Let me attempt to summarize: I think it is amazing that the popularity of the instrument has grown significantly and that bands have grown markedly throughout the United States, and in schools and universities in particular. But I’m worried that we may be approaching a point at which we will begin creating a system self-perpetuating mediocrity.
A steel band in every school in the U.S. could be a great thing, if those bands are truly representative of the potential of the instrument. Otherwise we will create a system by which music educators, with varying levels of experience with the instrument, start a school steelband because its “fun” or “different” or “engaging,” but often don’t have the training (or intuition) to pass on good habits (i.e. interesting repertoire, varied listening, proper playing technique, cultural awareness, etc.) to their students. These students move through the school and university system, sometimes going on to be educators themselves, starting their own school steel bands and perpetuating the problem.
One of the reasons this happens is because a private lesson culture is virtually non-existent in the Pan world. In almost every other school-based music ensemble, be it orchestral, jazz, or choral, ambitious students will benefit from studying with a private teacher, which raises their awareness of the craft and prepares them to excel within the ensemble. If that student has a great band or choir director they will benefit even more! But because very few Pan players have ever taken even a single private lesson, they are totally at the mercy of the band director that studied sousaphone at University of Wherever and decided to start a middle school steelband on a whim (no offense to the sousaphonists out there).
Some have the desire and budget to periodically bring in experienced Pannists for clinics/concerts and this is great. But I would LOVE to see a private lesson culture develop around Pan, to accompany and complement the incredible communal culture that has existed since the early beginnings of its development. I understand that some may see this point of view as somewhat “elitist”. Maybe it is as I want the instrument to be considered “elite” and want to listen to and meet “elite” players and composers. I really believe this can be done without losing the spirit of the steelband as a communal musical endeavor.
How do you feel competition events like NY and Trinidad & Tobago Panorama impact the public’s view of the instrument?
I think anyone who has seen a Panorama performance, whether live or through recordings, would have to agree that Panorama in Trinidad (and to a lesser extent Brooklyn) is a remarkable musical spectacle. I don’t see how panorama could possibly perpetuate the idea of the Steelpan as a novelty. It is one of the greatest examples of the virtuosity that is possible on the instrument. But I don’t know that these competitions are particularly good for promoting innovations within steel band music. And I don’t know that they necessarily should be.
In my humble opinion, Panorama is as much a cultural competition as it is a musical competition. Musical styles and tastes have changed dramatically in the last 70 years, but culture as a whole changes much more slowly. It is incredibly difficult as a composer to allow yourself to be bound be these greater cultural expectations. It’s the natural tendency of the composer to push boundaries while composing a satisfying Panorama arrangement that is also likely to win is an almost impossible balancing act. I, personally, have often preferred lower placing performances in recent Panorama years to the winners.
Do you ever plan on arranging for Panorama? Why or why not?
It would be an incredible honor to arrange either in Brooklyn or Trinidad, but I don’t see it happening anytime soon. In order to be successful in Panorama – or even be considered by a band – you really must live in that music and I simply don’t.
I love steelband music and I love composing for steelband, but I stay just on the periphery of “the Panorama scene”. I have a tremendous amount of respect for the individuals that arrange and manage successful bands, but at this time, and throughout my career so far, I’ve decided to focus on being the best player I can be – being the most honest, thoughtful, and creative improvisor on the instrument. Some days are better than others!
Do you have any other passions or hobbies outside of Pan? If so, what are they?
I enjoy cooking. I don’t know if I’m any good at it, but I haven’t killed anyone yet. I enjoy hanging out with my wife and daughter, just going to the park or going on little drives. I don’t have any particular hobbies that take up significant amounts of time, but I’m generally interested in philosophy and often read or listen to lectures about political or religious philosophy.
What is your goal with the instrument in the next 10 years? Do you plan on teaching? What do you see being your primary role professionally in the Pan industry?
My goal is to continue developing my career and my craft, and to really develop myself as a bandleader. The reality, for anyone that wishes to have a career as a musician (or in the arts in general), is that you have to diversify your skill set. I’m currently an adjunct professor of music at George Mason University, where I founded a small steelband. I also have a small studio of private students and teach lessons online via Skype. In addition to this I obviously do a fair amount of performing between D.C. and NYC. I work regularly with five different groups including my own, and I also freelance.
I’ve made a conscious (and sometimes financially painful) decision to stay away from playing pool parties and corporate gigs, although I play the occasional wedding ceremony or church service; most of the time I’m playing in clubs. Ultimately, if I can continue to build the program at George Mason University and market myself as a performer/clinician while feeding my family and my soul, that would be ideal.
What advice would you give to up-and-coming Pan players to help them find their way with the instrument?
Listen. Seek out great music across genres and find something to connect to. Find out who your favorite musicians are listening to and listen to them as well. Then listen some more. Focused listening is one of the most important things any young musician, particularly Pannists, can do. This includes transcribing or learning tunes/solos from records.
Study. Find a good private teacher. If you are in a metropolitan area, you should be able find a suitable private teacher; check with area universities. If you can’t find a local teacher, try online lessons.
I also strongly suggest studying with a non-Pan player at some point. I studied for a little over a year with a piano player and jazz guru named Charlie Banacos. It was the most formative time in my development as a player. By studying with someone who plays another instrument you will expose yourself to styles and techniques that are idiomatic to that particular instrument. Adapting those styles and techniques to Pan will go a long in helping you develop an original style.
Practice. Everyday, even for just a few minutes, practice the fundamentals with good technique and proper sticking. This will go a long way to helping you avoid bad habits early on. I often see great players who have hit a wall because they didn’t take the time to develop good technique and sticking early on.
Enjoy. Spend time experimenting and composing – never lose the joy of simply playing to play.
Learn more about Victor Provost at http://www.victorprovost.com.
Pan virtuoso Victor Provost performs his arrangement of Lord Kitchener’s “Rainorama” with the University of Akron Steel Band.
