Music Review: Afro Blossom West

Andre Tanker Five released Afro Blossom West in Trinidad and Tobago at the end of their ‘60s combo-era. This was a brief but fascinating and transitional time for music in Trinidad, where combo groups played mostly guitar-driven instrumental versions of Top 40 and Afro-Latin dance music with that striking Calypso strum. While bands all over the world were emulating the Shadows and/or the Ventures, the guitar-oriented combo groups in Trinidad also set themselves apart with an underlying and churning Latin rhythm section somewhat akin to Peruvian Cumbia Beat/Chicha. The combo-era of the ‘60s overlapped with the more well-known Steelband movement. In fact, it was customary for parties in Trinidad to feature both a Steelband and a combo.

Andre Tanker Five’s sounds are vibrant, warm, and sea-floor deep. Further, the Five achieve an elusive musical balance that is propelled forward by Tanker’s shimmering vibraphone playing and the rhythmic guitar of Clarence Wears. The quintet immediately strikes a musical confluence that is brimming, buoyant and adventurous. Listen to Clarence Wears’ guitar on “Old Lady Walk a Mile.” Wears’ jazz-chorded rhythm guitar establishes what can be described as a Calypso drone tone with its gritty clang up against the polished round sound of Tanker's vibraphone playing. The song dates to 1953 and was composed by the Calypso King - Lord Kitchener. 

“Hamburg” is whip smart and delivered with prominent congas. The locale of the song title may have got me subconsciously thinking of where the early Beatles were said to have played more than 5 hours per night. “Hamburg” does seem to float along with the underlying melodic and ubiquitous currents of the Beatles. However, I didn’t previously know the number was originally done by Procol Harum as the follow-up single to their big 1967 hit “A Whiter Shade of Pale.” The original composition “Lena” shoots out of the gates like “For Your Love” by the Yardbirds and features the resolute vocals of Tanker that could go punch with punch with the Equals. The album concludes on a rousing note with “Swahili.” The quintet demonstrates how highly conversant they are with each other on this original. The conga drums race away as the other instruments latch to each and move in unison. 

Afro Blossom West captures the group at the peak of their powers. The quintet proved they were not only talented, but knew how to combine their talents for this top level performance. Their overflowing sound continues to stretch over the Trinidadian horizon and connect to listeners in nearby islands and distant lands. All in all, the album presents their distinctive style that will appeal not only to those who enjoy Afro-Caribbean Latin Jazz like Brazilian Octopus, Emil Richards, Freddie McCoy, Willie Bobo, Mongo Santamaría, and the Afro Blues Quintet Plus One, but possibly anyone ever moved by the alluring sounds of the tropics. - Ted (Downtown)

Afro Blossom West on Freegal

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