Denise Sullivan

Author, Journalist, Culture Worker

For Earth Day: The Story of Van Dyke Parks & The Esso Trinidad Steel Band

For Earth Day, I invite you to read the story of how composer and arranger Van Dyke Parks came to produce the 16-man steel pan band,  Esso Trinidad, following the Santa Barbara oil spill of 1969. Thanks and congratulations to both Parks and Esso: Not only is their album a foundational contribution to the catalog of music that matters to the earth, the post you will be directed to is the number one most-read on this site, receiving daily views. Thanks for your readership and if you are able, please do something today as a steward of the ground beneath our feet (Mr. Parks suggests planting milkweed, to save the Monarch butterflies).

When 80,000 barrels of oil spilled into the waters of the Santa Barbara Channel in January of 1969, the crude-splattered water, beaches, and birds along the California coast in its aftermath became the symbols of modern eco-disaster. While the ensuing public outcry helped hasten the formalization of the environmental movement as we now know it, for musician Van Dyke Parks, the spill and “the revelation of ecology,” as he calls it, was a very personal, life-altering occasion. “It changed my M.O. and changed my very reason for being,” he says. The Union Oil rig rupture in Santa Barbara made Parks go calypso.

“When I saw the Esso Trinidad Steel Band, I saw myself in a Trojan Horse,” he says. “We were going to expose the oil industry. That’s what my agenda was. I felt it was absolutely essential.” From 1970 to 1975, Parks waged awareness of environmental and race matters through the music and culture of the West Indies, though in the end, “You don’t know whether to laugh or cry. That’s what makes Van Gogh go,” he says, “That’s what great art does.” Though Parks is referring directly to Esso Trinidad’s happy/sad steel drum sounds, he could just as easily be talking about his own experience during his Calypso Years. Read the full story here:

 

Filed under: Arts and Culture, Bob Marley, Calypso, Civil Rights, cross cultural musical experimentation, Earth Day Music, Environmental Justice, Georgia, Harry Belafonte, Interview, Reggae, video, , , , , ,

For National Poetry and Jazz Appreciation Month: Gil Scott-Heron

April marks National Poetry Month and Jazz Appreciation Month. This month’s posts will attempt to shine a light on great moments and people in jazz and poetry history, specifically where the two forms meet and get real. Gil Scott-Heron is a timeless poet and performer who published poems and prose, in addition to performing songs on piano–often classified as jazz–but with an emphasis on words. Truth was, there were echoes of blues and gospel, rock’n’soul in his grooves, though if ever you go and seek his work in the record bins, cross-check the jazz or “miscellaneous” sections and you’re likely to find discs there. Come April 19, Record Store Day, there will actually be a new slab of wax in the stacks by Scott-Heron: Nothing New is a collection of stripped down tracks, recorded in 2005.  This sample cut, “Alien (Hold On To Your Dreams),” was originally released on the 1980 Gil Scott-Heron and Brian Jackson album, 1980. Amazing how timely the song and its sentiments remain, though that is of course the nature of visionary poetry–and jazz. 

In 1970, Gil Scott-Heron was barely 21 when his first novel, The Vulture, was published and his startling, spoken-word record, Small Talk at 125th and Lenox, caught his incisive cool on tape. “I consider myself neither poet, composer, or musician. These are merely tools used by sensitive men to carve out a piece of beauty or truth that they hope may lead to peace and salvation,” he wrote in the album’s liner notes. Accompanied only by conga drums and percussion, Small Talk at 125th and Lenox featured a reading of “The Revolution Will Not Be Televised”, Scott-Heron’s most enduring work and an early masterpiece, its flow combining elements of both poetry and jazz.

“The revolution will not be brought to you by Xerox

In four parts without commercial interruptions.”

Excoriating the media and marketing, the song’s structure burrowed its way into the collective consciousness of musicians—both mainstream and underground—and listeners alike; it is referenced throughout music, and rather un-ironically the title phrase has been repurposed to advertise consumer goods, from sneakers to television itself. The piece is also, of course, foundational to hip-hop, its words potent and direct, even if some of the allusions and references may be lost on those uneducated in ‘60s or ‘70s culture. It also sounds great, which explains why it’s a standard-bearer for all music, whether it be politicized rock’n’soul, funk or jazz. Pulsing throughout the piece is Scott-Heron’s projection, a foreshadowing of the realities of global connectivity and the pacifying effect on the brain produced by viewing from a small screen. Heron’s vision was a word to the wise:

“The revolution will not give your mouth sex appeal…
The revolution will not make you look five pounds
thinner, because the revolution will not be televised.”

Positing a necessary parsing of media-generated “reality” from truth and setting his poem to music on his 1971 album, Pieces of a Man, Scott-Heron was caught in the chasm between jazz and soul, poetry and rock, and few knew just what to do with the new poet and big bass voice on the scene, though time would reveal his impact: As the years rolled by, this poet of vision would weigh in on matters environmental and racial, as well as political and social. Though Scott-Heron’s voice was too often a cry in wilderness, it served as a clarion for future generations of conscious writers and thinkers.

Born in Chicago April 1, 1949, Scott-Heron was raised in Tennessee by his grandmother until he and his single mother, a librarian, eventually moved north to New York City. As a teenager, he excelled at writing and earned enrollment at Fieldston, a progressive Ivy League preparatory school. Upon graduation, he chose to attend Lincoln University in Philadelphia, quite simply because it was the alma mater of poet Langston Hughes. As a musician, Scott-Heron’s style was conjoined with the word styles of Hughes, as well as those of talkers like Malcolm X and Huey Newton. But it was “musicians more than writers” who inspired him, and he used the rhythms of folk, blues, soul, and jazz to fulfill the intensity of his emotion. “Richie Havens—what he does with the images and themes, Coltrane—the time defiant nature and thrust of his work. Otis Redding—the way he sings lyrics so that they come through as sounds. You can really appreciate how close a saxophone is to the human voice when you hear Otis singing. I sometimes write poetry, in a way, like Otis sings. The sounds form shapes. Like clouds banging into each other. That’s how I get loud sounds in my poetry,” said Scott-Heron to Jazz and Pop‘s Nat Hentoff.

Read: More on Gil Scott-Heron in Keep on Pushing.

Filed under: Arts and Culture, cross cultural musical experimentation, Earth Day Music, Environmental Justice, Gil Scott-Heron, Immigration Reform, Poetry, Protest Songs, vinyl, , , , , , ,

RIP Musician-Activist Richie Havens (January 21, 1941–April 22, 2013)

Extraordinary musician and activist Richie Havens has passed today, Earth Day, following a heart attack. Havens was a performing songwriter, though by his own admission, specialized in performing the songs of other writers. Havens’ life and how he came to be an activist through song throughout his career was central to the narrative of my book, Keep on Pushing; starting as a Doo-wop singer in Bed-Stuy, his curiosity led him to the Greenwich Village clubs of the late ’50s where he was exposed to folk music and poetry, and was encouraged  by Allen Ginsberg to perform. His journey through the heart of the counter culture was the source of much inspiration as I wrote, and I will forever be grateful for the gift of our conversation, along with the beautiful songs he left us. Havens will be missed by music lovers and friends of the earth throughout the world.  I would like to send my condolences to his family, friends, and fans, and will take the rest of this precious day to honor his memory by doing something for the earth. Thank you, Richie Havens, for your soulful lifetime contributions to our planet, Earth.

Update: There will be a public memorial for Richie Havens on Monday, April 29, at City Winery in New York City.

Filed under: anti-war, Earth Day Music, Environmental Justice, Obituary, Poetry, video, ,

Earth Day and Esso

When 80,000 barrels of oil spilled into the waters of the Santa Barbara Channel in January of 1969, the crude-splattered water, beaches, and birds along the California coast in its aftermath became the symbols of modern eco-disaster. While the ensuing public outcry helped hasten the formalization of the environmental movement as we now know it, for musician Van Dyke Parks, the spill and “the revelation of ecology,” as he calls it, was a very personal, life-altering occasion. “It changed my M.O. and changed my very reason for being,” he says. The Union Oil rig rupture in Santa Barbara made Parks go calypso.

“When I saw the Esso Trinidad Steel band, I saw myself in a Trojan Horse,” he says. “We were going to expose the oil industry. That’s what my agenda was. I felt it was absolutely essential.” From 1970 to 1975, Parks waged awareness of environmental and race matters through the music and culture of the West Indies, though in the end, “You don’t know whether to laugh or cry. That’s what makes Van Gogh go,” he says, “That’s what great art does.” Though Parks is referring directly to Esso Trinidad’s happy/sad steel drum sounds, he could just as easily be talking about his own experience during his Calypso Years.

My interview with Van Dyke Parks originally appeared in the pages of Crawdaddy! in 2009. Four years later, the story of one man’s adventures in art and activism The Day Van Dyke Parks Went Calypso, remains the most most-read and most searched piece here at denisesullivan.com. Parks had a goal and an idea ahead of its time: To forge environmental healing through music made by instruments made of cast-off oil drums. Read the full story here or at the link above.  And happy Earth Day.

Filed under: Bob Dylan, Bob Marley, Calypso, Civil Rights, Earth Day Music, Environmental Justice, Protest Songs, video, , ,

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