Students Name: Orlando Rouse Subject: Music S.B.A Teacher: Mr.

Oswald Williams Introductory In this Biography I am going to converse on the life of Mr. Olsen Peters a very well known musician in St. Vincent and the Grenadines and the Caribbean. Mr. Peters is known for his contribution to development of the calypso art form and music in general. I am going to take a window glance into his life and highlight his career development, the influences on life, his mode of composing and his achievements. I will also analyze some of his most influential musical compositions. Mr. Olsen Peters didnt receive any formal training in his music development. Most of his fans and critics believe he came from the womb with the gift of music; he was born in Paul Avenue (Pauls lot) and at the tender age of six or seven he had the urge to engage himself in several rhythmic activities such as handclapping, stomping, beating rhythms on table top, benches, chairs, old pans and buckets. These were simple things gave him great rhythmic satisfaction. His early Education Mr. Peters early education began at Miss Labordes private school (pre-school plus early primary). His parents eventually moved him into the Kingstown Methodist School, otherwise referred to as Wesley Hall School. Here the head teacher, Mr. Fraser, did his best to expose the students to musical activities which include the playing of musical instruments. Here he took interest and learnt to play the flute. A teacher at the school had a piano at her home and wanted to teach him how to play it but unfortunately he had to oblige. He thought it was a little too slow for him. However, in his spare time he fooled around on it. After spending a year and a half there, he entered the Intermediate High School. The headmaster, Mr. Bertram A. Richards, was a lover of

poetry. It was under Mr. Richards influence and leadership he was touched by the poetry of the English lake poets-lord Byron, John Keats and Percy Bysshe Shelley. He was also introduced to bits and pieces of the great English play Wright William Shakespeare and other literature of European origin. After two years at this school he was transferred to the St. Vincent Grammar School, where he became more acquainted with the French and Latin languages and the mathematical subjects of geometry and algebra, and the sciences. It was here that Mr. Peters was exposed to the rudiments of music from masters like Mr. C. Cooper Jacobs. He fell in love the language used in Shakespeares plays like Julius Caesar and the merchant of Venice especially with Sir Lambert Eustace, the presiding literature teacher. It was at Grammar School Mr. Peters begun composing verses with the prevalence of love themes giving vent to his adolescent fantasies and dreams. These poems were never in calypso format. Calypso competition or composing had not yet reached his musical horizon. His style of composing both lyrically and melodically mimicked and copied the Hollywood/Broadway song style to which he had become exposed to through his occasional visits to the cinema. According to him however, he did put his own twist to it giving a sort of caribbeanised version of the material. Teacher-Musician-Calypsonian-Arranger-Principal It was during the early 1960s he began developing interest in the calypso art form. This influenced came from the calypso performance of the Mighty Sparrow, Lord Melody and Lord Kitchener of Trinidad and Tobago. The lyrical and melodic structures of their compositions also inspired him. He began working as a primary school teacher a year after leaving school and from his salary he bought a trumpet; an old patched up leaky thing from a down and out musician in Middle Street (Kingstown) for only $15.00 which was nearly his whole months salary, but he managed to make it work. Olsen taught himself how to play the trumpet. Three months later he learned a couple of tunes in carnival he was able to impress the public with his music. By this time he had already endeared himself to the music loving public in S.V.G with his trumpet playing. He was able to play for Christmas serenading and Charismas

parties in about nine to ten months and the following year to play in carnival jam sessions in music bands. During the glorious 1950s he came out strongly as a trumpeter to play in the Syncopators Orchestra led by Ardon Panna Daisley, to play In the Mellotones Orchestra no (2) led by Arthur Jam McIntosh and to play in the Blue Rhythm Orchestra led by Sylvester Syl McIntosh which according to Mr. Olsen was primarily the first band he played in (1957-1964). He kept the Blue Rhythm Orchestra flag flying high when Syl Migrated to Canada in 1964, until 1969. His debut as a calypsonian began in 1953 not in a vincy Carnival setting however but in a week of celebrations to mark the coronation of Queen Elizabeth 2. Calysonians were invited by the S.V.Gs Department of culture to compete for prizes in a coronation calypso competition which took place at the lyric cinema in the first week in June. He won with his song entitled June June the Coronation Tune. Another amazing aspect of Mr. Olsen Peters was there was no written arrangement done for the accompaniment; no rehearsal by the band. The band got to know what the song was like in the terms of chord progressions and melody a half hour before the event. He was apart of the band and Syl was already acquainted with the tune, he used his trumpet to play in the introduction and in the band chorus to heighten the quality of his calypso (presentation) rendition. In 1958 while a musician in the Blue Rhythm Orchestra he was crowned national calypso monarch at the Victoria Park during the vincy carnival period. Calypsonians were required to sing only one song for the competition. His song was entitled The Maiden Journey. He had another song on standby with the title The Female Bullfighter which could have easily won the competition if he had sung it. Both songs brought out quite strongly the masculinity in calypso much as described or define by Gordon Rohlehr in this chapter on the construction of masculinity in Trinidad and Tobago in Rhoda E Reddocks book Interrogating Caribbean Masculinities. Hes a qualified assistant teacher (QAT) in the service of the government of St Vincent and the Grenadines in the year 1957-1961; he found time to get involve in socio cultural activities which included composition and singing calypso in the Barrouallie Community, almost in every nook and cranny. The byways and highways and the rum shops were favorite venues for the kaiso jam session with few company by Tall Boy, Archie Francis and his box guitar providing back up and the twins Tan and Dan doing off and on back vocals. Mr. Peters found a special urge to compose during the years 1959 and 1960. Most of the compositions were in the social commentary mould. Among the songs he created and performed were Infant Destroyer, Madam Perkins, School Master Tom, Babies with no Daddies, Cat Men, Bad Jumbies, People Political Party and Unity Labor Party fighting for power, Hurricane Katie, Fanny the foul thief, Iron man of Africa, Strange

tree in the courtyard, Willy Nilly bend down, Saga Thing and Gold teeth. These are just to name a few there were many more that dealt with some exciting happenings in the Barrouallie Community especially in bottle and glass and Gleble hill he noted. At the Barrouallie Anglican School (BAS) primary he did his job as well as he could as (QAT) under the headship of three headteacher (HTS) they were HEA Dasley, Mrs. Gwendolyn Lewis and Cecil T King. At the school there were occasions when he used the leather strap to help with discipline to punish late comers and keep the unruly rowdy in check. Today he pleasantly reflect on some of the successful citizens in the Vincentian society whom he had happened to guide in their academic activities in that school during the 1950s and early 60s. Among them were Mr. Parnel Campbell QC, Mr. Norrel Hull, Dr Elloworth Charles, Mr. Adrian Frazer, Mr. Kenton Kirby and Mr. Anselm Scrubb in the U.S.A to name just a few many of them should remember that he used to play Trumpet as aid to teaching songs usually used by school of that colonial era-the ash grove, down yonder green valley, John peel, and the lot. Calypsos were not sung or played in school during that era. Now and then a few folksongs of Jamaican, Trinidadian or Guyanese origin were used sparingly. During his sojourn in Barrouallie he happened to meet, though for brief period, budding musicians who at the time had joined the royal St Vincent and the Grenadines police band Cadets recently they were Veron Jackson, Vernon Coombs, Arnol Caesar (Tall Boy). Kenton Kirby was just about getting in to that groove Mr. Peters was able to meet with the Jackson Brothers-Vin, Gideon and Keena. Vin and Gideon played the saxophone and Keena the Trumpet. An interesting character of the Findlay clan-Ezra Findlay was Just back from England playing a very good trumpet deep in to hi-life music. The Band Syncopators-Mellotones (2) - Blue Rhythm The Syncopators Brass Ensemble had originated out of the steel band experience which had involved some experimentation in pan culture through effort by Ardon Panna Daisley and pan pioneer Lunie Alexander. Other persons who were associated with this historic venture Lancelot Collymore, Mourice, King, Kenneth Porter, Rufus Jarvis, Bruce Horne, Maurice Snowy Brown, Vincent Smeller Bute, Othniel Adams, Clive Oliver, and Wendell Boogie Forbes. Among the brass ensemble were trumpets, a tenor horn, and a euphonium. The Piano was played by Lance, or by Panna and the drum by Mourice King. Mr. Olsen Peters was not yet 21 years old when he joined the band and so a little difficulty in getting his parents permission to work out with the band or to play a musical engagement, or tour St. Lucia. He managed to make the St. Lucia

trip a few times before. However, after his 21 birthday the going was made much easier. Sylvester Syl McIntosh became his music buddy from then on. They use to do regular musical workouts several hours a day, Sly on alto saxophone and Peters on trumpet that he refer to as his angel horn. The musical experience widened the appreciable while they were member of the mellotone (2) orchestra. The formation of that ensemble was an attempt by its leader. Syls uncle Arthur Tom McIntosh to give the Vincentian public another musical group similar in composition and musical output, to the original Mellotones in which musicians like Shake Kean (trumpet), Ben Prescott (piano) and Sammy Joshua (guitar) feature in the period 1946 to 1952. The Big Band setting of Mellotones (2) provided much useful musical experience. It was in that context that they became more exposed to musical arrangements of some of the Worlds best dance music including the universally established standards. Most of this music was ordered from North America and England. They learned much about breaking up chords in solo work and improvisation, and they became more acquainted the jazz styles of famous trumpeters and saxophonist especially on the Black American music scene. Among the tunes in Mellotones (2) repertory were: Fly me to the Moon, Perdido, Take the a Train, Lullaby of Bridland, Star Dust, Sophisticated Lady, 1 oclock Jump, String of Pearls, In the Mood, Perfidia, To each His Own, The Nearest of You, Once in Awhile, Girl from Ipanemia, Summertime, All the Things You Are, Blue Moon, Besame Mucho, Chocolate Shake. In 1957 Syl McIntosh decided to form his own band which was named Blue Rhythm. The foundation members of the band were, Syl, Conrad other known as Paddy Padmore, Clive Boogie Forbes, Bruce Dellimore, Goff Roberts and a guy everybody Shorty. Shorty played the double bass, Bruce played the piano; Boogie was the trumpeter, Paddy on tenor sax, Syl on alto sax, Goff Roberts on Drums. Other musicians who played in Syls Blue Rhythm at later stages were George James (bass), Neville Nobby Alexander (guitar), Carvey James (piano), Pete on trumpet, Cooper Prescott also on trumpet and Willington other know as Boodow Sergeant on double bass (the mother fiddle). Boodow changed over to the bass guitar later to keep in line with the then growing trends in instrumental Music. Blue Rhythm No. 2 The Blue Rhythm orchestra, which began functioning as a dance band in 1957 on the capable leadership of Sylvester Syl McIntosh enjoyed twelve years of active, productive and very exciting musical groups in the Eastern Caribbean during the period. Blue Rhythms musical life may be

conveniently divided into two distinct chapters the first of which ended in July 1964 when McIntosh migrated to Canada and the second (chapter) beginning about five weeks after his departure when the leadership of the band was placed on his shoulders after some minor adjustments to the composition and structure of the organization during his stint as leader of Blue Rhythm (1957-1964). Syl had commanded the respect of musicians and other performing artists in St Vincent and the Grenadines and other Caribbean countries he was greatly missed after he left for Canada but he indelible musical stomp which he had laid on the band and heights to which he had taken the organization made it relatively easy for him to keep the Blue Rhythm flag flying on the entertainment scene. It was not surprising therefore to find the members of the band encouraged by the express wishes and desires of thousands of Blue Rhythm fans, he decided that the band should continue its operation, despite the great loss. The bands terrific rhythm section was second to none in the Caribbean. Its performance style, its overall personality and the choice of tunes, in its repertoire attracted and appealed to wide cross-section of the Vincentian society. He readily accepted the responsibility of leadership of Blue Rhythm in August 1964 as he had the unstinted support of the other band members, and Mr. Olsen Peters 10 years of band music experience at the time enabled him to be quite comfortable in that position as band leader. They were also a very closely-knit unit whose undying love for music was made evident in their performances. Peters had learnt a great deal from the Trinidad dance bands that visited St Vincent during the 1950s1960 and early 1970s. Among those bands were Frankie Francis and his Orchestra, Clarence Curvan, Dutchy Bros, Joey Lewis, Carl Ifill, and Ron Berridge orchestras. AB.G (Guyanese) band with characters such as Fat man Linton on trumpet, Keyboard wizard Ignatius Quail and an exciting sax playeralso added much to his musical experience during their visit to S.V.G. About a year and a half after Syls departure for Canada, Carver James also migrated to North America in response to his dearly beloved Sonja Deshong- McIntosh who had left our shores earlier to settle abroad. In the first quarter of 1966 the Blue Rhythm line-up was as follows:- Band leader and 1st trumpet player- Olsen Pete peters; Francis Glasgow- second trumpet player; Jeffers Sheller Alexis- alto saxophone; Gordon Numchum McIntosh tenor sax; Leroy Clock Brains Bailey- keyboard; Lloyd Turkey Jack- guitar ; Louis Barrington- bass; Arnold Smecks McIntosh- drums, Fuzzy Selwyn Knights- Tumbas ( Congas); Eldon James- Trombone and the percussion men Chandler and Dennis the mighty Davidson. Sometime later, other skin/percussion man added variety to the rhythm. Among them were Mac Smith and Vincent Ryan who played the timbales. Some of the highlights of the musical activities of Blue Rhythm No.2 (from the second chapter) include (1) Nine mornings jam sessions (2) The

musical wars between Blue Rhythm and Latinaires (3) The musical tours of St Lucia and Barbados (4) Band clashes in the short-lived saints Bandorama competitions (5) The recording sessions in the studios of West Indies Records limited, Barbados which resulted in the cutting of the bands first disk (45 rpm) in 1967. The tunes recorded were (1) Governors Ball/ No money No love (2) Opus no.1/ Nigger Man (3) Opus No.2/ A place in the sun. The opus No.1 and 2 were two Caribbean Pete Latin-flavored compositions which impressed the Barbados radio personnel and took the Bajan entertainment scene by storm. The Both Chapters 1 and 2 in Olsen musical life of Blue Rhythm have provided the players with very fond musical memories of St. Lucia particularly in the context of the Vinci end-of-year excursion to that beautiful Helen of the west, regularly every year in the 12- year period of the bands existence.

HIS EARLY AND LATE INFLUENCES According to Mr. Olsen when he was about 17-18 he was encouraged by watching, Observing and listening a lot. He happened to hear music being played nearby like the St. Vincent Grammar School from the Frenches area where he lived. He could hear the bands playing and it used to excite him and gave him an interest to learn music and this encouraged him and so the legendary Ellsworth Shake Keane had the most influence on him, as a trumpeter and his mentor and French teacher for a whole year and was already a dance band musician. The nickname Shake was given to Ellsworth while he was in St Vincent playing with his band called Mellotones. He received the name from a jazz piece song that they played called Chocolate Shake and he used to excel in that song that was his Baby when they had to play that special song the soloing that he did in that song the music chords they played was favored by him very much a lot and so Shake was born. Mellotones (1) had a strong influence on him after Shake left to go to the states and the band had broken up. Arthur McIntosh form back a band with a few members of the Mellotones (1) and referred to it as Mellotones (2). They encourage Olsen to join that band but at the time he considered it but he didnt want to play in a big band the smaller bands were better and gave much freeway because the bigger band to him were playing old tunes so to speak, they were playing songs that werent popular at the time. Olsen and Syl were in it and thats how they form the Blue Rhythm Orchestra, they werent in Mellotones(2) for long though they wanted a much smaller band to show what they have. That

is how Olsen said that Blue Rhythm was primarily the first Band that he played in. Later on the members including Olsen were heavily influenced by the musical styles of the worlds famous musicians- saxophone players such as Stan Gets, Charlie Bird Parker, Paul Desmond, Johnny Hodges, Coleman Hawkins and John Coltrane-the trumpet playing of miles Davis Bobby Hackette, Dizzy Gillespie and Louis Armstrong- the vibra harp musical style of Lionel Hampton- the rhythm performances of Gene Krupa and Max Roach on drumsand the Keyboard wizardry of Duke Ellington, Oscar Peterson, Thelonius Monk and Ignatius Quail. Other musical attractions like the jazz voices and scat singing of Ella Fitzgerald and Sarah Vaughn never escaped his attention. Last but the least the likes of Frank Sinatra, Nat King Cole and Billy Eckstein captivated his mind. Despite all his influences of lyrical style and Jazz and Blues Olsen could remember going to Shake and asking him for a couple of his music sheets this is when Olsen taught himself to read music. He read a lot of books to assist in this learning experience. The main reason why Mr. Olsen Peters was chosen for this particular aspect was because throughout the country their Isnt any musician that impacted our culture of music and had as much experiences the way he did he was far the best and most appropriate person to choose. Mr. Olsen Peters is now retired but still plays his horn. He is currently using Caribbean Pete as his to write articles throughout the Caribbean that impacted many people and musicians. He had always referred to himself as a third world musician. Olsen Peters also influence me, the writer, currently I am in band and I play saxophone and the bass guitar. As the manager of the band and a horn man I U seem to become fund of the style of blues and jazz especially blues which is my favorite intricate style of black American music. Olsen was a jack of all trades to me. He was a principal and teacher even for my former school the Questelles Government School. He was a 4 time winner of calypso Monarch, composer writer, arranger, teacher and my inspiring aspect a trumpeter of great talent to be reckon with and experience.,. He composed mainly Caribbean music which involves calypso and bolero a form Latin American music and meringue, there are similar difference in the way the bands played the music like the emphasis on the 3rd or second beat het got that particular style like calypso which originated in Trinidad. he a lot like me his favorite kind of music styles jazz and blues Olsen brought, rhythm and songs from a blast from

the past and coordinated then into the futuristic styles and up to date modern songs we played just ago. Nuff to be proud of My appraising of sample of arrangement e done by Oslen Peters are as follows: In this particular piece, the timbre of each individual instrument was a little complex but the instruments used were horns and brass section comprised of, trumpets, Saxophone (alto and tenor) , bass guitar, keyboard and drums. There were also back chorus/vocals and the lead vocalist. I find the melody of the chorus to be very memorable and catchy. I feel proud when I Lenten to the words of the song because the message is clear in what her person has to say to his audience and its related to our culture and historical background. The dynamics of the instruments in the introduction was very bold and sudden and eh ostinato of the instrumental introduction was repeated at the end of the chorus that led into the following verse. The instruments implemented their dynamics will on specific note for accents. This arrangement piece is thick in texture due to the variety of instruments. The temp seemed moderate, as to the rhythm it was like calypso piece. The singer or lead vocalist to me seemed struggle with the piece. Especially shown in the high of pitch when he go there. Rush Hour The instrument used for the following arrangement is as follows: Horn section composed of Trumpets, alto an tenor saxophone, and section the timbre of a trombone was used and noticed, bass guitar, keyboard and one lead singer because there were no presence of back chorus/vocals. In this particular piece, to me was very short of words the singer seemed limited at a point, then came the form, of a very long melodically that went for the rest of entire piece constantly repeating its at a point. The message in this song piece was not visible at all to me. I find it had a complex melody to follow along. In this piece its much thick than the previous song piece in instruments and sound in its texture. The instruments was easy to signify themselves to you when you when youre alert and respondent to the piece. Dynamics was a method used in the instrument especially in their harmonic melody. I could tell the rhythm o f the song is related to a calypso piece because the tempo was not fast not to slow (it has a moderate tempo). The signer sang well in this

arrangement but became short of words the calypso song suited the vocalist well. Tested Positive The instrument used in this the following arrangement piece are as noted: Trumpets, saxophones (alto and tenor) bass guitar and the trombone. There were back vocalist and lead vocalist. I was very pleased with song but not the name chosen. Then name used didnt fit the song because of the person hearing the name might suggest. The start of the introduction sound like a salsa rhythm or rumba beat, rhythmic in nature. The socio cutural significance was relating to politics and the Prime Minister of St. Vincent and the Grenadines which would be imparting to the public. The texture of this piece was not too thick; the instruments were dynamical in their orchestration as well as the vocalists. The instruments stuck to their form of melodical structure which sometimes went high in pitch. The genre of the music piece is calypso the horn and bass section was favorable to me very much a lot throughout the entire arrangement. The singer sang well and chorus was catchy as compared to e of the other arrangement.