Winifred Atwell’s honour in order

Now that we are in a season of seeking to brush aside the colonial past and recognising our own, there is no one more deserving of a recognition than international concert pianist Winifred Atwell. As announced, the concert space at Queen’s Hall is to become the Winifred Atwell Auditorium.

Unfortunately, there is a paucity of information about her contribution, especially amongst the post-Independence generation.

This newspaper carried a shortened outline of the career and accomplishments of the Tunapuna-born concert pianist, who played in Britain, the USA and Australia.

While she may have gone to England with her Trinidadian sense of music, she learnt the technical aspects of her chosen profession at the Royal Academy of Music in Britain to become an internationally recognised musician.

But in true Trini fashion, she extemporised in Britain to meet her living and schooling needs. She played the popular boogie-woogie and ragtime hits of the period in the nightclubs and the British version of the American “Speak Easies.” It was a real challenge for a black woman from the colonies in that post-WWII period in Britain to get by in London in recovery from Hitler’s bombing.

But Ms Atwell, having established her international reputation as a concert pianist, did not leave her past behind. When she left home in the 1940s, the steelpan and steelband were in their infancy. Twenty-odd years later on a visit here, she encountered first-hand the steelband, in particular, the Pan Am North Stars led by the renowned Anthony “Muff Man” Williams. She invited the leader and his band to join her in New York for a series of Pan-Piano concerts; a unique aggregation of the time.

Among other resulting consequences were concerts here by the Atwell-Williams North Stars team to play at the said Queen’s Hall and in Woodford Square in downtown Port-of-Spain.

In addition to the memories left behind from the Atwell-North Stars concerts amongst a fading generation, is the “Ivory and Steel” on “wax,” which brought together the twin talents of piano virtuoso and a great steelband, its leader and arranger.

Of special importance on the vinyl disc of the time, is Ms Atwell’s composition, co-arranged with Williams, of the Devil’s Daughter. The thrilling Atwell runs along the keyboard and the deep background rumbling bass of the North Stars in depiction of the temptress’ daughter, are part of the national heritage.

Typically, though, we are a little late (but not too late) in the honouring of Ms Atwell. That was done four years ago through a Blue Plaque in Railton Road, London, a place where the Trinidad-born international pianist frequently featured.

In the meantime, no lasting honour and displayed love for the great Anthony “Muff Man” Williams, tuner/arranger and great innovator of the steelband. For those not aware, it was the Muff Man who put the pans on wheels and created the 28-note spider-web tenor, won the first two steelband competitions with Dan is the Man and Mamma Dis is Mas at the Grand Stand and the steelband Music Festival with Johann Straus’ Voices of Spring.

The small opening where Williams created and nurtured North Stars is now overrun with wild grass at Upper Brunton Road in St James. Anthony Williams and Pan Am North Stars are also deserving of our recognition and honour.

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