Name: Trimoth Emmons

Lecturer: Dr. Jeannine Remy

Student ID: 814003975

Course Code: MUSC 2008

Course Title: Steelpan History and Development

Assignment: Field Research Assignment

Date: 10/04/19
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Table of Contents

1. The Permission Signature Page

2. Transcription of Oral Interview

3. Research Paper: Invaders Steel Orchestra & Ricardo Jones History

4. Appendices

5. Bibliography

6. Resume of Ricardo Jones.

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THE UNIVERSITY OF THE WEST INDIES

ST. AUGUSTINE, TRINIDAD AND TOBAGO, WEST INDIES
Department for Creative and Festival Arts
Faculty of Humanities and Education
CODE: MUSC 2008
COURSE TITLE: STEELPAN HISTORY AND DEVELOPMENT

Permission/Contract for Interview.

I ________________________hereby give Trimoth Emmons, permission to place a copy of the

materials collected in this interview on _______________________. The interview will
surround your career in Pan and the interview will be conducted for educational purposes, for a
coursework grade in Steelpan History and Development in the Department of Creative and
Festival Arts. The materials will be housed in the West Indiana Collection located in the Alma
Jordan Library at the University of the West Indies, St. Augustine campus.

I authorize________________________________________ to conduct an interview.

SIGNATURE: ___________________________ DATE: __________________________

FOR OFFICIAL USE ONLY
 Page |3

Oral Interview Transcription

Interview with Ricardo “Ricky” Jones at his residence, March 24th 2019.

Trimoth Emmons: All right. Hi Mr. James.

Ricardo Jones: Greetings to you, sir!

Trimoth Emmons: Oh wow! We just introduced, well we have met. So, can you please

introduce yourself by giving me a full name and a brief introduction?

Okay and your place at the invaders band during your time with them.

Ricardo Jones: All right. My name is Ricardo. And the Pan world know me as "Ricky"

Jones so it's Ricardo, Ricky Jones. Alright. Born on the 6th of October

1958, I married. Sharon Marshall Jones, my mother is still alive. Petrolyn

"Pet" Jones. I was born and bred in Laventille, East Dry River. I attended

Rosary Boy's R.C school and from there I went to Belmont intermediate,

which is now Belmont Secondary. Number 34 Belmont Circular Rd.

Right? In that area I was born in that area where there were several steel-

bands within that time, and during that time what we know, call gangs,

Trimoth Emmons: Gangs?

Ricardo Jones: The weapons would have been cutlass, knives, axes. And what we would

call we'd call the fat poke too. A pipe with a nail. So that was the era of

that and within which you had bands like Coco Cola, which is not Witco

Coca-cola, Desperadoes. You had a band, which is now a Single-pan

 Page |4

called Syncopators right. They were a big band, they were Sandbach City

Syncopators. Well, BP, Renegades, they were paramount renegades and

Trinidad All-stars within that era. So actually playing pan was a burning

desire for me, notwithstanding the fact certain members of my family

never wanted me to play pan because of the stigma of being a hooligan, at

my age, I was still in school. And to the best of my ability actually when I

understand it would have been 1971, I was going to the pan yard like

around the pan yard in the 60s just teaching yourself, And actually when I

really understand would have been 1971.

Trimoth Emmons: Okay so, can you please explain the circumstances behind the formation of

the band Invaders? Best to your knowledge.

Ricardo Jones: Alright, nice. In the year 1937 The breadfruit tree at the Mannette family

at #147 Tragarete Road, opposite the Queens Park Oval Sporting ground.

Was a meeting place for an unusual group of musicians. History will show

you namely Stanley Hunte, Ellie Mannette, you had Irving Arthur Taylor,

Kelvin Dove called 'Shack Shack', Francis Witcome, Anton Stevens, Cyril

Forde, Also called [inauidible], Louis Pearson called 'Papa' Stingley.

Alright. they'd usually meet and talk about forming their own band with

their own steel drums. During that era, they were also described as gangs.

But in the neighborhood. With their focus on music and playing steelpan

as an instrument. They decided to call themselves the Oval Boys. After

their first panyard they was located, under the stands at the Queen's Park
 Page |5

Oval. The group usually would have collected discarded paint pans,

biscuits tins, and other empty metal containers to be used as instruments.

One day, Or one night, the group. The group went to a cinema show and

having seen a picture, US movie "The Night Invaders", they changed their

name from Oval Boys to Invaders, and they made their permanent

structure or home under the breadfruit tree at #147 Tragarete Road, on that

present day.

Trimoth Emmons: Well that is a nice anecdote of how the band Invaders came about. Cause,

I've heard it but I've never heard, it told like that. Let's continue, [Nods] In

the research, You've played for the ban Invaders during the 1980s and the

1990s and other bands, can you give me some insight into this?

Ricardo Jones: I played during that era with Harold and Kendrick Headley, those were

two brothers who were also instrumental in playing with Exodus. I also

played with Exodus under those same two brothers. And I had been

invited by Mr Vernon 'Birdie' Mannette because he wanted the two

brothers as the arrangers, I migrated. Alright, I also played with my

mentor Ray 'Mr Woodbrook' Holman and Mr Mervyn 'Teach' Saunders.

Trimoth Emmons: Okay. So you got quite the list, each year it probably wasn't different 'feel'

sometimes.

Ricardo Jones: Yeah well, you have to learn arrangers, You know. If you can't learn

arrangers well some people stay under one arranger but if you learn it,
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what they can do, what they wanna do. So it's all in all. It's not like, you

know, you're being greedy. If you love something, you have to get out

there and there are many other ways to get at it and you have to try and

explore it.

Trimoth Emmons: Yeah, and I feel like why don't we get into the composing aspect. It's

going to, all of this is going to tie into how it helped you become and

achieve everything you've been able to achieve. So now we're going to

talk about the initiation process of what it was like during the 1980s in

1990s for getting into a band like Invaders.

Ricardo Jones: At the time then Mr. Vernon 'Birdie' Mannette always had an open door

policy? Invaders pan yard. For anyone that was interested in playing in the

pan. The fact that you were now beginning or you may not be a good

player. But one of his aspects, was that you be well mannered, well

disciplined between yourself and and the rules bylaws of the band. So he

was a man with discipline and no nonsense.

Trimoth Emmons: So was that like a manifesto or something with rules that you followed?

Ricardo Jones: No well some bands always have their rules and their bye-rules if you

don't do that you'll be running ship, ruin. Hmm. And you could have been

the best player but if you weren't disciplined they'd tell you to leave.

Trimoth Emmons: Oh, okay.

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Ricardo Jones: He was a very nice chap to me.

Trimoth Emmons: Well then, I mean, you're well mannered so. [chuckles] So what would

you say influenced you to grow as a player and become a composer? For a

band like Invaders?

Ricardo Jones: Initially, right. In the 80s and the 90s I played for several bands, several

bands, and when I say several it was several, eh because. Well what's

happening presently. We can't see it. I was part of it and during the

Carnival season mostly and the panorama. I remember one day the late

pan pioneer Mr Oscar Pyle called me out that night as I was jumping from

band to band changing jerseys.

Trimoth Emmons: Oh you were?

Ricardo Jones: Yeah, because at least I might perform performing more than one band.

[laughs] It was like, yeah, right. At the time I was also a member of the

Trinidad and Tobago Police Steelband; and during that time

notwithstanding the fact, the bug bit me in 1972 whilst I was at the Queens

Park Savannah started fast playing on one composition, the Ray Holman

compostion. And when whew, I have to play with that man before he

dead. Becuase the course structure, the phrase of the tune, it was totally,

totally amazing to me because at the time you and I was just playing

normal. Then you know when I saw those composition that aroused me, I

said I must. I end up by pandemonium also. So I was in the Police steel

 Page |8

band now and I used to compose with short verse and chorus, give

sections and we fool around and it was like nice. But then the turning

point came with National semi-finals 2009 at the Queens Park Savannah, I

was in Caribbean Airlines Invaders, I went and spoke to Arddin Herbet, I

hadn't seen him for a long time, he usually was outside studying and I was

quite pleased that he came to arrange for the band too and the arrangement

of to my collection, Caribbean woman was arranged by Arddin and when,

the results came out, and I did realise the band didn't make the finals. The

results came out, the band didn't make the finals. I was BEWILDERED. I

was real bewildered. So what I did, I made contact with Ardinn sometime

in the year. Yeah, I spoke to him, concerning the tune 'Tell Dem' 2010 is

now history. Well Yeah, the band actually accepted mine, So I played the

tune and well it's history, right and I'm very thankful for it. I'm thankful

for the band, I'm thankful for Arddin and I'm thankful for the Almighty

too because the little secret in this all whole thing is before Clive Bradley

died, Clive heard the tune and he said Ricky hold on to that tune, and your

day will come and my prayers was answered.

Trimoth Emmons: Are there any, former pan players, composers that you know that inspire

you and if so, can you elaborate on them?

Ricardo Jones: All right. They are Mr Ray Holman and The late Clive Bradley. As I said

when I started playing pan. I love, I guess it was verse and chorus. I

wanted to dig up in the tune create your own arrangement but sometimes
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it's antagonizing to the arrangers putting down the tune, I can tell for sure

and Ray. When Ray catch me doing that he used to be critical, Right that

is not what he give a verse and chorus and he sometimes and you're

thinging. and you play in between the tune and Ray being a soloist and

ping pong champion it and it usually it would throw off the arranger if he's

trying to get ideas, He used to be critical, but one day he spoke to me and

he coached me into the composing of the steel band. The techniques and

what to look for and I'm thankful. And Mr. Bradley, on the other hand, I

don't know what he saw in me but he said 'Ricky you could rell play you

know', You could play, your phrasing are different and what he liked was

that I was willing to learn and I'm real thankful for that. Very, very

thankful. It's just as simple as that.

Trimoth Emmons: That's good. Did you feel any pressure given the long legacy in history of

the band to live up to a certain standard or was it just a natural progression

from growing as a player for so many years to composing?

Ricardo Jones: Right, No, not really and I didn't feel pressure given history of the band

because some of us, if we go to the play with a band and we understand it

is you had to find out what the strengths are. Find out the strengths of the

players and players and whilst I was there, I found out a lot because where

I found out like, Ray. When we Ray left he went by Stalif. [inaudible] So,

which showing you that here, hear what is happening here. It's a mother-

band. When Stalif he come to pandemonium. So there would have been

 P a g e | 10

growth and there were a lot of growth in the West, coming out west

coming out from Invaders, Phase 2, Third World, Nestle ambassadors so

was so it wasn't much of a pressure as I understand what's happening and

this is it. Yeah.

Trimoth Emmons: So it was very much natural just for you to. Yeah, Okay. Now we are

getting into the composing aspect a little bit. Can you tell me what it was

like to have a song you can pause, be played by such a huge orchestra and

maybe you could tell me about the first time you experienced that too. Just

if you remember.

Ricardo Jones: No, that was a dream come true for me. I felt elated for myself and the

entire band I said, earlier on Mr Clive Bradley spoke to me concerning

that. I had to sit on it and wait. I had the tune there and I sat down and I

wait. Yeah. And after complimented by Arddin Herbet too a wonderful

arranger/composer. I thank God, I was good enough to bless both of us

and also the person who sang the tune, Mr Rebunction. It was a dream

come true for us.

Trimoth Emmons: This is, can you tell me what it was like being part of the band Invaders

and what it was like to be a part of that legacy. I can see what it means to

you.

Ricardo Jones: It's simple, I'm very proud to be a member.

 P a g e | 11

Trimoth Emmons: Are you aware of the people who were involved in the formation of

Invaders? And I know this is going to be a good story.

Ricardo Jones: Well that one learns that before. Yeah, it was, it was answered before. If

you go back to The Oval boys, in Question #2. There were other persons

who I may have redacted but.

Trimoth Emmons: Well it was answered. So now this is just getting back on to, cause we

were talking composing. So this is what is the main objective of the band,

Invaders.

Ricardo Jones: All right. What do you mean is still to win the National Panorama finals

and to continue the legacy, of the fore runners as the mother band of most

steel bands in the West. Okay.

Trimoth Emmons: When you say the west?

Ricardo Jones: The western peninsula. Yeah. Beause there are other chaps would have

played with Stalif and other bands in the east and gone South. Actually the

embryo or the nucleus of it is the Western peninsula.

Trimoth Emmons: Are you aware of any sponsor that foreign invaders. During your time

composing or playing for them.

Ricardo Jones: History has shown, since I know myself there was Shell Invaders. First

time I went to play it was Trintoc Invaders, then in transition it became

 P a g e | 12

Petrotrin Invaders, Transition it became BWIA, Invaders Caribbean

Airline Invaders and presently, Shell Invaders.

Trimoth Emmons: So when you were composing which was it exactly?

Ricardo Jones: Caribbean Airline, Invaders.

Trimoth Emmons: Do you think given the legacy that Invaders had sponsors expected this

sound of the bands to follow a specific direction?

Ricardo Jones: Yes. And [inaudible]. It was music I'd been evolving almost every day.

Old. Yeah. Competing. You're talking about culture. Yeah. Should be

improvement.

Trimoth: Yeah, that's true. Well, I think you already answered this question, but

we'll just touch on it quickly again. How old were you when you were first

introduced to the steel band and can you, well, this is a tiny bit different.

Can you explain the steel pan significance to your life? What you already

did? So, all right.

Ricardo Jones: I remember correctly sometime early sixties all right, that's fair. Again, a

fella his name is Joseph Franklin Gerad. He in the history a pan today,

because in 1974 that was the first man to play nine base for Desperadoes.

Okay. Right. He took me up to Desperadoes panyard. That at the time, the

bug wasn't there you know It as just feeling out yourself, you know.

Feeling out yourself. 1971 I remember will All Stars all the way, that is
 P a g e | 13

Trinidad All Stars. I was sent to play there for two years, and then I said

1971 the bug bit me. The bug bit me and I found myself falling in West

and the style of the West and the style of Ray Holman and the phrases of

so and so. That, what's it. As a matter of fact, boy. I said boy you live in,

the belly of Laventille and playing West music and that's how it is, you

follow your heart's desire.

Trimoth Emmons: What major competitions with Invaders did you experience?

Ricardo Jones: Actually National Steel band Panorama? One thing I still full question. I

see and am barring that Pan is not my full time job. Well I played

stateside, as a serious player. I played stateside, for years. When it comes

around to the...

Trimoth Emmons: Do you know who the first arrangers and composers were for the band

Invaders?

Ricardo Jones: All right. Um, I did some research. Right. So what I can tell you here. I

know 1960 and 1962 for the music festival, right it was Mr. Lennox

Pierre. Right and the band finished second 1960 and 1962 and the music

festival, right? 1960 in a Monastery Garden garden, 1962 was from

Serenade [inaudible]. All right. 1970 and 1971 in, in the national

Panorama band Finished third. 1970...

Trimoth Emmons: Is third the the highest?

 P a g e | 14

Ricardo Jones: At 1970 we played with [inaudible] 1971 mas in Madison Square Garden

and the tune was arranged by at the time, Mr Boyce, Mackie Boyce was a

sergeant a corporal sergeant the police band itself. And what was most

significant about his arrangement? The chello pans, He used to make the

chello pans sing. [musical beat] Very distinct and very, very, very, very,

very distinct. And people would tell you the metal pans with Invaders in

those days, were very, very distinct, I say to the best of my recollection.

Trimoth Emmons: Okay. That's nice. This is just, this is again about composers. Over the

years, many Invaders composers for Invaders has changed. Composers

and arrangers, are you aware of who they are?

Ricardo Jones: All right. Well from doing some of the research, you'll go back there.

Lennox Pierre. You heard, Ellie Manette. They did music, Mackie Boyce

as I said Ray Holman, Geraldine Connor, and she was one of the first

ladies to arranger National Panorama, she used to play base. Mervyn

"Teach" Saunders, Len "Boosie" Sharpe.

Ricardo Jones: How would you say, well, how are composers or arrangers chosen for the

band Invaders?

Ricardo Jones: Alright, to the best of my ability, the band being run by committee and of

of their main functions, after Carnival, You have your post sponsor

meetings and the members of the band and the supporters. And you would
 P a g e | 15

get your feedback from there and decision have to be made, whether good

or bad. Whether good of bad, they have to be made. So that is one of them.

Trimoth Emmons: How would you describe the growth of the band from beginning to present

day? Well, not beginning actually let's not go beginning. Let's talk about

your time there.

Ricardo Jones: I'd say, Enormous. And I'm going to give it to you in a way. You have

from small size, to XXL. Smallest size to XXL. But I remember there was

an era and really, nobody wasn't following Invaders again, you know?

There was that era that nobody wasn't following Invaders, I can tell you

about that. Invaders as just you know, go Savannah, well J'ouvert morning

when you on the road and thing but the band had to be energized.

Trimoth Emmons: And what do you think it was like during the era when you were arranging

it?

Ricardo Jones: Probably it could have something to do with it. Yes. But let's look at who

is in the band now. Who runs the band and how energized are these

players today, towards the music itself. And for me it was a homecoming

for Arddin Herbert to come back. Becuase I played with Arddin and Yeah,

Arddin and I played pan when Invaders, Arddin one side, I on the next

side, and it was a homecoming for me, because sometimes I was

questioning like when is Arddin coming back and I'm very thankful for

that.
 P a g e | 16

Trimoth Emmons: What challenges would you say the Band faced history its time and

growth?

Ricardo Jones: As all bands as family, there are challenges right? But one I can recall was

this thing in 1979, When the owners, #147 Tragarete rd, decided they

wanted the band to move and they made plans to cut down the breadfruit

tree. Certain persons like [inauidible] he was a historian and they love

culture and No you cannot do this to a mother band. What you gonna do?

You gonna evict the mother from her home? So Presently that was one of

the challenges and it was sorted out and the band is still there today, thank

God.

Trimoth Emmons: Do you think the band has achieved all of the goals it set out to achieve?

Ricardo Jones: Most of it at present, alright, most of it. If I recall I think am, sometime the

band went i think Barbados and the won a competition in the Caribbean,

but one of the most important is winning National Panorama in Trinidad.

That is of paramount importance.

Trimoth Emmons: So you still want to see that be done?

Ricardo Jones: Yeah yeah Yes sir!

Trimoth Emmons: Well that actually gets into the next one, What do you wish to see next for

the band Invaders?

 P a g e | 17

Ricardo Jones: Presently there are good people there running the band and once they hand

it to responsible and dedicated individuals who has the band in their best

interest.

Trimoth Emmons: Now we're going to talk about, have you ever composed or train or played

for any other bands? So let's get into that because I know it's quite a lot.

Ricardo Jones: But like I said, one of the first bands I stayed two years with was Catelli

(Massy) All Stars from there I went on to Huggins (Fertrin)

Pandemonium. I also played with Sand Bach (Hilton) Syncopators.

Worked, with Mr Bradley in Nutones. That was when Nutones won the

panorama. Well, yes! That was a celebration. Oh yes. Oh yes sir! Alright,

Shell Invaders, I played with Phase II Pangroove under 'Boogsie'.

Powerboats Scorpion Pan Reflection. Laventille Pan strummers,

arrangement for them. Nordstrom Symphony (arrangement), East Phonics

when the Valencia arrangement, played, I did arrangement in the Police,

Trinidad and Tobago Police steelband, payed with Humming Bird Pan

Groove and the Police Youth Club under the assistance of my dear friend

[inaudible] Willshire, who was also instrumental in forming the National

Steelband Orchestra, some people would not have known this. So with the

Police Youth Club, it was one of the first police youth club, that started to

take children off the street, talk to their parents about the time. I was a

police officer at the time. Right. So I worked [redacted] all those places

and sometimes when reports come in and you see where you could assist
 P a g e | 18

and you start to bring them in the police. I remember spoke to a very

senior officer said, all right, let, them use the pan and we formed police

youth club. One the persons that came out of that era would have been Mr.

Carlon Yearwood, Carlon Yearwood came out of that era and it was a joy,

you got off the streets and for me it was good. They won the music

festivals, cannot recall the year, our band did all the music and that was a

Great achievement. That's all in a nutshell.

Trimoth Emmons: So I have one last question and this may be putting you on the spot, but,

what do you think is in for the future of pan and what do you see for your

future?

Ricardo Jones: Well, there is a bright future for pan you know. There is a bright future.

What I would like to see, more energy being placed, don't wait until

around Carnival, but some bands, have to market themselves, they cannot

wait until around Carnival to come to compete as a CPEP or a CPEP or

URP, because there are other bands who are running universities and

corporative and their players are seasonal and it would be a big

disadvantage, so if you can help yourself, try and help yourself. Trying

times can be difficult, because there are certain bands once panorama

finish they put away their bands and it's spider playing the pan, because

cobweb, The other bands that are active. So get advantages. Right. For me,

I am here. I am here enjoying life, if somebody say 'Ricky' give us a tune,

I'm willing! One of the things I'm not really looking for is pound, shilling
 P a g e | 19

and pence as you say, Looking at what I learn, what I was taught, I can

pass it on and I love to do that. I love to impart my knowledge and what I

love to see if, I train you I see progress, I see and say yes man! So pan has

a bright future but as I say you can't just go back to the yard and sit down.

Find something productive to do. Not all bands are financially viable but

there are ways and means to get around that.

Trimoth: Alright Mr. Jones, Thank you so much!

 P a g e | 20

Research Paper

Invaders

Steel Orchestra

The book Invaders Steel Orchestra, The History of a Legendary Trinidad steel-band by

Jeannine Remy & Ray Funk (2013), details the triumphs, successes, and long-life span of the

band Invaders which can be seen as a “mother-band” stated by Mr. Ricardo Jones in the oral

transcription of the interview. The significance of the interview and this project will be detailed

and like Dr. Elliott ‘Ellie’ Mannette stated I his speech at the Invaders pan yard in October 2000,

which was used and adapted as the foreword to the book by Remy & Funk (2013) he stated “One

of the things that we have to do… is write the history I have come home to get together Invaders

Elders because I know my part of the story and they, know theirs. I have a very vivid memory of

everything I have done in this yard. We need to sit down and rap about the art form. Tape

everything! Document everything! In so doing, we will get a more candid picture of where the

history really stands. There are too many stories being told that need to be told correctly.” This

research paper and the collected documents, oral and visual interview, on Ricardo Jones who

was instrumental and a key character in arranging and composing for the band Invaders through

2009-2015 among various other accomplishments shall be discussed and delved into deeper in

this assignment.

Invaders is one of the oldest steel bands in Trinidad and a steel band that is legendary and

still active at its pan yard at 147 Tragarete Road in the heart of Woodbrook Port of Spain. The

history as provided by Elizabeth Mannette, Ricardo Jones & The Panyard under the breadfruit

tree by Jeannine Remy & Ray Funk, goes that in, 1937, The breadfruit tree at the Mannette
 P a g e | 21

family home on Tragarete Road, opposite the Queen's Park Oval sporting grounds, was the

meeting place for an unusual group of musicians. Stanley Hunte and Ellie Mannette were the

leaders of the youngsters who talked about their own band of steel drums.

The story follows as repeated by Ricardo Jones in the oral interview and Remy & Funk

that They could have been described as "gang." But the neighborhood boys were going to focus

on music and steelpan, an instrument that was still being shaped. They decided to call themselves

"Oval Boys," after their first panyard located under the stands of the Queen's Park Oval. They

collected discarded paint cans, biscuit tins and other empty metal containers to be used as

instruments. The Oval Boys changed their name to "Invaders" after seeing the US war movie,

"Night Invaders." Soon their permanent home was under the breadfruit tree at 147 Tragarete

Road, where the band resides to this day. Through experimentation with materials available on

the street, they started to bridge the gap between the earlier, rhythmic beat of the tam-boo-

bamboo and the harmonies that would soon emanate from the steelpan.

Those were days of rivalry, innovation and excitement. The rivalry between bands of

Laventille and John John in East Port of Spain and those in Woodbrook and the West, often led

to violent clashes. During the 1940's, Invaders was one of the most feared steelbands on the road.

The sight of their battleflag was enough to frighten the faint-hearted. Lord Blakie's (Carlton

Joseph) calypso, "Steelband Clash", documented a confrontation between Invaders and Tokyo, a

band from the East Dry River.

Ellie Mannette remained pivotal in his role in Invaders, despite leaving to share pan with

the world, and is seen as a founding father. In those days Ellie Manentte was the creative force,

designing and tuning the pans for which he earned the title "Father of the Modem Steel Drum.

His job in an iron foundry gave him a special feel and skill for steel and other metals. Mannette
 P a g e | 22

experimented with the 50-gallon oil drums in place of biscuit tins. He sank the playing surface

downward into a concave shape instead of the convex shape used at the time, then went on to

create six of the nine instruments in the steel drum family. He also discovered, through trial and

error, the uniqueness of the note blend on each pan; and that the sweetness of the music could be

brought out with sticks wrapped with rubber.

Invaders' growth and change were due, in part, to its Woodbrook location where a local

theatre was established in 1949 with Invaders as the resident steel band. It may have been a

factor in the 1960's when Shell Oil Company became one of the first steel band sponsors. Shell

later changed its name to Trintoc and then Petrotrin, retaining sponsorship until 1998. Invaders

produced many fine pannists and tuners who add to the musical legacy created by the founders.

The youngest Manette brother, Vernon"Birdie", was Tuner and Captain for 25 years, maintaining

the Invaders' reputation for "sweet" pan. Ray Holman, the prolific composer and arranger started

with Invaders when he was only 13 years of age. His work with pan jazz arrangements gives him

a unique position in pan history. Mr Ricardo Jones worked under and Mr Holman, Vernon and

various other influential people at Invaders throughout the years.

 P a g e | 23

Achievements

 Started in 1940, Invaders is the World’s Oldest Existing Steelband.

 The Holder of The Chaconia Medal (Gold) - Trinidad and Tobago’s premium national

award (Saturday 31st August 1996)

 A Proclamation from New York City,

 An Award from the Port of Spain Co-operation in recognition of the band’s contribution

to the development of steelband  

 Award in recognition of the band’s contribution to the development of the steelpan from

The Northern Region of Pantrinbago on August 19th 2007

 Through its founder Ellie Mannette, converted the drum shape from convex to concave

which is used today,

 Experimented with the 55 gallon oil drum in place of biscuit tins

 Created six of the nine instruments in the steel pan family, perfected the uniqueness of

note blends on each pan, first to wrap rubber on pan sticks

 Was the first band to burn the steel pan as a step in its creation which is standard

procedure today

 Renowned for having the sweetest sounding pans especially a with a middle range with a

distinct sound

 Considered the top J’Ouvert Steel Band

 Winner of the first-ever Sagicor seven-a-side pan competition in Barbados held in May

2005 with 346 points -  a lead of 29 points.

 Performed at every single Panorama Competition since the competition’s inception in

1963
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 Invaders was the First Steelband to receive corporate sponsorship (Shell, Trintoc,

Petrotrin, BWIA, Caribbean Airlines).

 One of the only steelbands that currently occupies its original home.

 Getting the Trinidad Tobago Government to designate their home a national heritage site.

Information gathered about the current name Shell Invaders Steel Orchestra gathered from

invader-tt.com (2019).

Ricardo “Ricky” Jones History

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Ricardo ‘Ricky’ Jones was born 6th October 1958 and born and bred in Laventille East

Dry River. He is a player, composer and arranger for various bands throught the 70s,80s,90s and

noughties and 10s. Ricardo stated that pan ‘bug’ bit him in 1971 and since then he has never

looked back and it is his passion and life mission to share his love of pan along with composing,

arranging and playing, with anyone who is willing to listen, learn and appreciate it. Ricardo grew

up during a difficult period in the history of pan when playing the pan was seen as rebellious act

and he was advised against it or risk being seen as hooligan by his family members, but once the

pan bug ‘bit’ him there was no turning back. Ricardo become so eager to learn, play that during

his time as a player in the 80s he would jump from band to band switching t-shirts with each

arrangement that came up so much so that Mr Oscar Pyle once called and gave him the nickname

the “Pan Pirate”.

Ricardo has played, arranged, composed for several bands namely, Shell Invaders

1980s,1990s (various years) and notably as an arranger and composer in the years 2010-2014

where the placement ranged from 4th-7th during his tenure. His resume and accomplishments in

these bands is robust. He also notably won panorama with Nutones, was instrumental in the

formation of the Police Youth club steelband, and played and/or arranged with Nordstand

Symphony, East Phonics Steelband, Trinidad and Tobago Police Steelband, Star Sapphire, Phase

II Pan Groove, Sanbach City Syncopators, Pandemonium among others.

One of his greatest accomplishments was working with Clive Bradley in 1998 with

Nutones Steelband and they won the national Panorama with David Rudder’s composition of

High Mas. Mr Jones credits, Mr Ray Holman as his mentor, ‘Boogsie’ Shape, Jit Samaroo,

Harold Headley, Clivey Bradley, Auburn Wiltshire and Arddin Herbert, Roland ‘Rembunction’

Yearwood, as influential people and inspirations to whom he credits. According to

 P a g e | 26

Panonthenet.com “This track,"Dat Is Lie"continues the fairly recent tradition by Woodbrook-

based Invaders Steel Orchestra in Trinidad, of performing the composition of their arranger,

Arddin Herbert, as the band’s tune of choice for the annual steelband music panorama

competition in Trinidad & Tobago. Vocalized by “Rembunction” Yearwood, the song is

composed by a trio which includes Yearwood, Herbert and Ricardo Jones. This is the fourth

consecutive year this threesome has collaborated to produce the song which takes Invaders to

“The Big Yard” aka the Panorama stage at the Queen’s Park Savannah. Starting out in 2010 with

"Tell Dem" the guys got together again in 2011 for "Doh Be On Dat"continued for 2012 on

"Know Ah Like It" and were back for 2013 with "Dat Is Lie".”

Dr. Jeannine Remy for Pan on the net also observed one of Ricardo’s plays in action in

2011 where she wrote “Invaders’ tune of choice was composed for the band by their arranger

Arddin Herbert and his friend Ricardo “Ricky” Jones. Invaders’ arrangement was full of musical

surprises, and included a very energetic performance by its members. Containing many

rhythmic punches and aggressive phrasings, there were only a few rolled sections that were

saved for the minor. There were two very effective chromatic scales that sent the arrangement

into a climax that seemed to please the crowd. In fact, the crowd’s response to Invaders

performance earned them the only standing ovation from both the North and Grand stands. They

were very clean in their articulations; as the arrangement unfolded, it featured almost all of the

sections in the band with the motifs. As the driller for Invaders, I left to join the band on the

track.”

His professional experiences included the year 2010 where he teamed up with Arddin

Herbet where they composed ‘Tell Dem’for the Caribbean Airline Invaders, 2011 ‘Doh be on

Dat’, 2012 ‘ Yuh know ah like it’, 2013 ‘Dat is life’ and 2014 ‘Jam it’ as well as 2016 ‘Take
 P a g e | 27

Dat’. Mr Jones is knowledgeable, passionate and humble with his accomplishments and stated

that he does not play for the money but for sharing his love of pan with the world so future

generations can appreciate what an impact it has made on his life.

Appendices
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Interview Questions

1. Can you please introduce yourself by giving me your full name and a brief introduction

into your place in the Invaders band?

2. Can you please explain the circumstances behind the formation of the band Invaders best

to your knowledge?

3. Given my research you’ve played for the band Invaders during the 1980s throughout the

1990s, can you give me some insight into this?

4. What was the initiation process like during the 1980s and 1990s for getting into a band

like Invaders?

5. What influenced you to grow as a player and become a composer for the band Invaders?

6. Can you tell me about the process of composing and how you go about composing a song

for Invaders?

7. Are there any former pan pioneers/players/composers that you know that inspire you if so

can you elaborate on how they shaped your career as a composer?

8. Did you feel any pressure given the long legacy and history of the band to live up to a

certain standard or was it the natural progression of things to begin composing after

playing for so long?

9. Can you tell me about what it was like to have a song you composed being played by

such a huge orchestra?

10. Can you tell me about the band Invaders from inception and what being a part of such a

legacy means to you?

11. Are you aware of the people were involved in the formation of Invaders?

12. What is the main objective of the band Invaders?

 P a g e | 29

13. Are you aware of any of the sponsors that funded Invaders during your time

composing/playing for them?

14. Do you think that given the legacy, Sponsors expected the sound of the band to follow a

specific direction?

15. How old were you when you were introduced to the steelpan and can you please explain

its significance in your life?

16. What major competitions with Invaders did you experience?

17. Do you know who the first arrangers/composers were for the band Invaders?

18. Over the years many Invaders has changed composers/arrangers are you aware of who

they are?

19. How are composers/arrangers chosen for the band Invaders?

20. How would you describe the growth of the band from the beginning to present day?

21. What challenges has the band faced during it’s time and growth?

22. Do you think the band has achieved all of the objectives it set out to achieve?

23. What do you wish to see in the future for the band Invaders?

24. Have you composed/trained or played for any other bands?

IMAGES
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Ricardo “Ricky” Jones

Portrait Passport Sized photo of Mr. Ricardo Jones.

 P a g e | 31

Mr. Ricardo “Ricky” Jones at his residence.

Ricardo Jones & Interviewer wearing Invaders t-shirts at his residence on the interview date.
 P a g e | 32

Invaders Elders in the book Invaders Steel Orchestra the history of a Legendary Trinidad
Steelband by Jeannine Remy & Ray Funk.
 P a g e | 33

Dr. Ellie Mannette in an archive of Mr. Ricardo “Ricky” Jones.

 P a g e | 34

“Doh Be On Datt”
Sung by Rembunction, with composed by Arddin Herbet & Ricardo Jones.
http://www.panonthenet.com/tnt/2011/tunes/dat.htm

Screen capture of the song ‘Jam It’ sung by Roland “Rembunction” Yearwood composed by
A. Herbert, R. Jones & R. Yearwood from When Steel talks.

Invaders 75th
Anniversay
Logo 2015.
 P a g e | 35

Video Stills of Caribbean Airlines Invaders Steel Orchestra Playing 'You Know I Like It' Music
Composed by Arddin Herbert and Ricardo Jones and Lyrics and Rendition by Remy
'Rembunction' Yearwood. At the Queens Park Oval, for the National Panorama Preliminaries, on
31st January 2012. (youtube & whensteeltalks.ning.com)
 P a g e | 36

The Panyard original document, in Mr. Ricardo “Ricky” Jones archive.

 P a g e | 37

Original Handwritten Resume and Biography by Mr. Ricardo “Ricky” Jones

 P a g e | 38

Invaders captured from Best of Trinidad.com.

 P a g e | 39

Bibliography

Trinidad & Tobago (From the 20th Century Onward). Accessed 2019.
http://www.bestoftrinidad.com/groups/invaders.html.

Invaders Steel Orchestra. Accessed 2019. http://www.invaders-tt.com/achievements.html.

"'Doh Be On Dat'." Doh Be On Dat - 2011 Pan Tunes - Steelband Panorama - Roland
"Rembunction" Yearwood - Trinidad and Tobago. Accessed 2019.
http://www.panonthenet.com/tnt/2011/tunes/dat.htm.

Funk, Ray, and Jeannine Remy. "Invaders: The Pan Yard under the Breadfruit Tree." Caribbean
Beat Magazine. January 25, 2019. Accessed 2019. https://www.caribbean-beat.com/issue-
101/pan-yard-under-breadfruit-tree.

"Invaders Steel Orchestra." Invaders Steel Orchestra. Accessed 2019. http://www.invaders-tt.com/.

"Jam It - in the WST Panorama Enclave." When Steel Talks. Accessed April 02, 2019.
https://whensteeltalks.ning.com/page/jam-it.

Kumar, Dhanesh. "Caribbean Airlines Invaders - You Know I Like It - 2012 Panorama
Preliminaries at the QP Oval.AVI." When Steel Talks. Accessed 2019.
https://whensteeltalks.ning.com/video/caribbean-airlines-invaders-you-know-i-like-it-2012-
panorama.

Kumar, Dhanesh. YouTube. February 01, 2012. Accessed March 02, 2019.
https://www.youtube.com/watch?time_continue=174&v=2GGEXYAJKRM.

"Observations about Panorama 2011." Observations about Panorama 2011 - by Jeannine Remy -
Trinidad and Tobago Steelband Panorama. Accessed 2019.
http://www.panonthenet.com/tnt/2011/news/oped/panorama-observe-3-17-11.htm.

""Take Dat" from Invaders for Panorama 2016." Steelpan Authority. Accessed 2019.
http://www.steelpanauthority.com/take-dat-from-invaders-for-panorama-2016/.

Remy, Jeannine, Funk, Ray Author, and Invaders. Invaders Steel Orchestra : The History of a
Legendary Trinidad Steelband / by Jeannine Remy & Ray Funk.2013.