Leon “Foster” Thomas - Drumming for 2013 Steelband Panorama Champion Phase II Pan Groove
A When Steel Talks Exclusive
© 2013 When Steel Talks - All Rights Reserved
Global - He is one of the most dynamic talents out of the Caribbean. Hailing from Trinidad and Tobago, Leon “Foster” Thomas has already left an indelible mark in the music arena as a performer, recording artist and songwriter. Today, When Steel Talks (WST) has an exclusive interview with Leon as the world-class steel orchestra Panorama drummer for the recently-crowned 2013 Panorama Champion Phase II Pan Groove. Leon shares with us the mindset that has him revered as one of the best steelband panorama drummers ever.
WST - “Congratulations - What was different this year (Panorama 2013)?”
Leon “Foster” Thomas
Leon - “Thank you. It’s hard to pinpoint the difference between last year and this year: maybe it’s the year, the judges, the tune (even though last year’s tune “Archbishop of Pan” was excellent), or really it could be that now is our time.”
WST - “The panorama season can be long and grueling on a drummer. What are some of your routines to get in shape physically? Did you come into this season in shape or did you use the runway to Panorama and practices to get in shape?”
Leon - “Drumming for panorama is very tough, but enjoyable. It requires a lot of stamina and will power. I have to make sure that I am physically and mentally fit. I don’t play much drums during the year, so once I know that I am drumming for Panorama, I try to do a bit of conditioning like jogging, squats, sit-ups etc. This year, I really did not have that opportunity to get into proper shape due to my schedule, so I had to use the “runway to panorama” as you put it, to get myself into shape. This year’s final night we played for pretty much the entire time on the track before our performance on stage. I had to find some extra energy for the stage. Also, on stage there are a lot of mind games that go on during the performance, hence your mental state is very important.”
WST - “What is your mental approach to being such a critical cog in the wheel and fortunes Phase II?”
Leon - “Phase II is a big band and of enormous reputation. My goal is to add to that reputation rather than take away from it. I always have to bring my “A” game.”
WST - “Len “Boogsie” Sharpe makes no bones about his appreciation and reliance on what you bring to the table. Is there an added pressure knowing that the legend (“Boogsie”) expects you to deliver every time?”
Leon - “No, there is no pressure. I have worked very hard to be where I am today. I don’t have that so-called “Ah reach” syndrome to start being lazy and just live on my name and my past. I expect Sharpe, and anyone else that hires me, to expect my best at all times, but under one condition: Do not take advantage of my hard work and professionalism… ever.”
WST -“You are a successful arranger, composer and performing artist in your own right - in addition to being considered one of the best panorama drummers ever - are these other hats assets or sublime distractions, when you are the anchor for Phase II?”
Leon - “Wow! It’s cool and humbling to be considered one of the best panorama drummers ever. My other “hats” help me to understand the music that is composed and arranged. By understanding the music, I know what to add or take away, enabling me to play my part towards the band’s success. The only distraction is that I can’t commit the time I really would like towards the drums for Panorama mainly because of these other hats aforementioned. However, I love and embrace the challenge.”
WST - “The rhythm section is usually made up of an eclectic bunch with dynamic personalities, who sometimes compete with each other in a manner of speaking; this amounts to sitting on an explosive powder keg situation. Beyond your own drumming responsibilities, how do you manage these strong-willed but extremely valued percussionists in the engine room?”
Leon - “Throughout my drumming career I have been blessed with really great personalities within the rhythm section; from Fonclaire, to Invaders, Laventille Sound Specialists and others. I must give special mention to the rhythm section of Phase II, we really pulled it off this year. We are a close-knit family within the band. We have tremendous respect for each other. They put a lot of trust in all my ideas and suggestions on what I think should be played to enhance the music. Also, they help set up and break down my drums every night. This year we were fortunate to have drum legend Richard Bailey in our rhythm section. He’s one of those guys I looked up to when I started playing for Panorama. If you want to learn drumming and the culture of Phase II’s rhythm section, check out the videos and recordings when he was drumming.”
WST - “Do you have creative control when working with “Boogsie” in Phase II?”
Leon - ““Boogsie” once told me, to do whatever I think is best for the music and if it doesn’t work he will let me know. So to answer your question…YES!”
WST - “Because of your background and upbringing the ancient rhythms come natural to you. It’s in your DNA. Although these rhythms remain the foundation of Panorama music, is enough being done to make sure our youth are properly exposed to them?”
Leon - “It’s hard for me to comment on this, mainly because I am not in Trinidad much, but I would say this: When I was growing up in Trinidad our folk music played a huge part in my upbringing. Events like Best Village, Folk Fair and Carifesta laid an enormous foundation in my soul and in my drumming. I have my father Loderick “Rollo” Foster to thank for that. I am not sure that the drummers these days are that fortunate to have that because Trinidad, in my opinion, has lost that sense of community togetherness. Steel Bands and cultural groups were all community-based. Desperadoes is a perfect example of that. It is said that when Desperadoes goes to the Savannah for Panorama the whole of Laventille would be there as well. It seems like we have lost our identity as Trinbagonians. Everything we do is based off of a foreign concept. We have let folks from outside of Trinidad dictate what our music should sound/be like and we embrace that, causing us to lose that “umph”, or that little spice that makes someone bawl out “Oh gwam this music sweet!” We need more guys like the late Ralph MacDonald, when he let Harry Belafonte know that he (Harry) really didn’t know what calypso was. If we continue on this path our music/culture will lose its uniqueness, soul and real roots.”
WST - “You clearly have a ‘less is more’ approach to your panorama drumming. Are you a fan of the recent approach where drummers use the snare as if they were tenor players?”
Leon - “I am totally not a fan of the overplaying and overcrowding of the music. Playing the snare like a tenor pan in the tune means that you’re not listening, and that you have no idea on how to create good music. It is disrespectful to the arranger, the band and takes away a lot from the music. It means that the individual is lacking a professional attitude. If a drummer is in it to show off his/her individual talents rather than being a part of the band then they need to have a show that features him/herself. Every musician must build their vocabulary; chops, lines, patterns etc… After you have built your vocabulary, then you have to learn to use it wisely in creating good, sensible music. There are experienced drummers out there that are willing to teach, all you got to do is reach out to us.”
WST - “What is the definitive role of the Panorama drummer as you see it?”
Leon - “Here’s a few points I think define the role of a Panorama drummer: The drummer is hired to accompany the band and not the other way around. The individual is also there to create a vibe and drive that the band solely depends on. Most importantly, the drummer is the time keeper/ backbone of the band.”
WST - “What was your approach to More Love?”
Leon - “More Love was not the typical Len “Boogsie” Sharpe composition that we’ve gotten accustomed to. It had a bit of a vintage flavor to it, real “rootsy.” So my approach was to play with that vintage, rootsy feel but at the same time keep the aggressive drive going which Sharpe and Phase II love so much.”
WST - “What changes did you make from a drumming stand point between the prelim (panyard), semi and finals rounds?”
Leon - “I would not say I made changes, it was more like improvements. As I mentioned earlier, I was not in full top shape for the season. Every performance was used as a platform to gauge my improvements.”
WST - “Oh - congratulations on your 2012 arrangement of “Action” in New York - it was truly one of the better arrangements we’ve heard in recent years. What is next for Leon “Foster” Thomas?”
Leon - “Thanks for the compliment on the arrangement of “Action.” As you all know, I took the band CrossFire from last place, to two 6th places and then eventually to a 2nd place last year. The players worked extremely hard to achieve that goal. It would have been great to work with the band again to get that hopeful 1st place, but it just was not to be. As for now, I am focusing more on my career in the Jazz world. I am currently preparing for the Cayman Islands Jazz Festival (March 2nd). If the opportunity comes for me to arrange in New York again, or in Trinidad, I would be happy to do so, once the situation is a good one. I would love to continue where I left off, for I haven’t reached my full potential yet. Arranging for a steel band is one of the most amazing things ever. So we will see.”
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