Kitchener's musical adventures

Kitchener's musical adventures
By Wayne Bowman, Trinidad Express, October 21, 2004

During this the month celebrating the History of Calypso, the Trinbago Unified Calypsonians Organisation has been hosting a series of lectures exploring the lives and music of certain calypsonians. One of the legendary calypsonians being paid tribute to is the late Kitchener who was the subject of a lecture delivered by archivist, Teddy Pinhero roughly two weeks ago at the National Museum. Pinhero focused mainly on Kitchener's time in England and also touched on his early days before he migrated from Arima into Port of Spain.

TUCO hosted a second lecture on the music of Kitchener, presented by Rawle Gibbons on October 18 at the Arima Town Hall. The theme of Gibbons' lecture was, " Lord Kitchener: Transition and Innovation," through which Gibbons explored Kitchener's contribution to the kaiso arena during the 1940's into the 1950's. He also identified five main characteristics of Kitchener's music. Gibbons suggested that it was Kitchener who brought the "jumpiness" to the kaiso music speculating that this may have come from the pulse of the city during that era. Gibbons, however, reminded that the music did have a certain bounce to it before Kitchener came on the scene and cited the music of Small Island Pride as an example. Gibbons further stated that Kitchener may have also picked up his vibe from the adoption of the Baptist people's praise and worship music.

Gibbons said that before coming into Port of Spain, Kitchener spent about a year serving as the chantwelle for a band and it was through this that he developed his call and response style, which was resonant in many of his songs. Storytelling was another characteristic of Kitchener's music that was identified by Gibbons who said that the calypsonian could actually create musical adventures through his composing style. "Kitchener's songs feature suspense, characterisation, action, resolution and a punch line. Among the other greats who possessed this ability were Melody, Spoiler and Wonder, but it was Kitchener who always seemed to stand out. Remember "Love In The Cemetery." Kitchener also developed the compound chorus structure, for example look at "Toco Band," which has four different structures within one chorus," Gibbons said.

Gibbons also spoke of Kitchener's adoration of Carnival and of how he defended the festival through his music. According to Gibbons, Kitchener saw Carnival as a spirit that took control of the people and allowed them to free themselves of all frustrations. "Kitch objected to Carnival and calypso being banned during Lent because he saw that as a form of oppression. Take a listen to "Dance In The Lent," Gibbons said. The calypso researcher said he was fascinated over how Kitchener was able to dominate the Road March between 1964 and 1976, a period of 13 years. Gibbon said this is something that is unheard of especially in this time when many artistes don't even last beyond one year. "Just imagine that Kitchener was able to come back to Trinidad after 15 years in England, hit these shores and win the Road March without effort. People leave here for five years and lose it. And Kitch was in his 40's when he did this," Gibbons said.

Use of language was another thing about Kitchener that Gibbons said impressed him. He said that Kitchener had an uncanny command of the English language and was also adept at creating new words that have become part of local parlance today. Gibbons pointed out that Kitchener created his music from the sounds he heard around him, taking these and weaving them into rhythmic and melodic patterns. Gibbons also said that Kitchener took his time and reflected on the creative process whenever he was composing his songs. During the question and answer segment, veteran calypsonian Striker asked Gibbons how come the University of the West Indies never saw it fit to bestow upon Kitchener a Doctorate. Gibbons responded by saying that there have been several persons within the calypso fraternity and in other areas that have been deserving of such honour, but the University has to make a choice whenever the time for such honours comes around. He said it is simply a matter of choice.

One man suggested that the music of Kitchener and other great calypsonians be scored and made available to symphonic orchestras across the world. This he said, would be one of the greatest honours that can be paid to any composer. The fact is, Alvin Daniel has already begun to explore the possibilities of making musical scores of calypsoes available to orchestras and others. The proper copyright measures must first be put in place however. Kitchener's manager, Errol Peru, noted that Kitchener had won 10 Road Marches and his songs have won 18 Panoramas, feats that to date have been unparalleled. He also pointed out that Kitchener never released a song that did not have a sense of completion to it. His songs were always smoothened and without blemish, Peru said as he called for more respect to be given the nation's calypsonians, composers and others involved in art and culture.