This is a tribute to my friend Carlos Garnett, who above all, was a lover of calypso music.
Carlos loved calypso, I cannot say that enough. Especially, calypso music from Panama. It has a distinct vibe and style when compared to calypso from other areas of the Caribbean. The muti-lingual nature of it has a different impact on listeners, and more so if you happen to be a Panamanian with West Indian heritage as Carlos was.
Carlos Garnett was born in Red Tank, a town in the old Panama Canal Zone that seised to exist around half ways through the 20th century. Pretty much everyone who lived there was from West Indian heritage. Spanish, English, local island dialects and sometimes even french could be heard in and around those old towns, so naturally music had those influences.
I’m not going to give out too much information on Carlos’ upbringing, as that will be presented for the 1st time to his fans and the general public in the autobiographical work that is getting finalized sometime soon. What I can say, is that Carlos always had a ukelele with him. It seems he was almost born with one between his arms and he passed away with a ukelele by his side. When he started playing saxophone, Carlos was already a big fan of calypso music. As he started getting his 1st gigs around Panama, he got picked up by the great Black Majesty and his Mighty Bamboo Band, who already had a few “hits” on Panamanian radio. Carlos was a huge fan of Black Majesty’s, and he couldn’t be happier when Majesty asked him to record on his next session. That particular session yielded “Mon Cherrie” and “The Pony” where you can hear Carlos’ first recorded solos!
"He couldn't be happier when Majesty asked him to record on his next session"
Black Majesty enjoyed his playing so much, that he called him back for two more sessions. The 1st one was also for the Grecha label and produced “The Last Day of Carnaval” and “The Good Advice”. As mentioned on this post I made for the Panama 45s instagram page, Carlos really loved “The Last Day of Carnaval”. I would go over to his house many times and he would ask me to play for it him. I ripped the song off my 45 record just for him! He would pull out his ukelele and play over it while singing. You could see how he would get really pumped up when listening to all those old calypso recordings. He would tell me time and time again: “Jota, calypso runs in my veins!”
Black Majesty was his favorite calypsonian.
The next recording he did, was for the Tropelco label. It would turn out to be that last one he did along with Black Majesty. Not only was Carlos’ mind already looking forward to leaving Panama to try his luck in New York, but Majesty also left the entertainment business as he was very disappointed with how the labels treated him and his music. The Tropelco release included the songs “Black Majesty” and “Miriam”, where Carlos would also play some nice stuff on his alto.
Carlos’ love for calypso was always present in his life. Many years later, when he was already recording for Muse Records, Carlos would incorporate multiple ukeleles into his jazz fusion explorations. You can see from the photo I used for the blog post how he and 2 of his Panamanian friends were using multiple “uke’s” (as he loved to call the instrument). He was probably the only heavy jazz guy in New York channeling his emotions through that particular instrument.
You can hear some of his jazz & funk explorations using the ukelele on compositions such as “Ghetto Jungle” which in an obvious account of his life as a youth in Panama. Another example is “Wise Old Man” from his album “Cosmos Nucleus”. On these songs, Carlos adopted a different role as a lead singer, putting his “calypsonian” hat on.
Panama was always in his heart (Panama Roots anyone?) and the best way for him to reminisce while being so far away was through his music. A perfect example of his love for calypso and his feelings of nostalgia for his beloved Panama is the composition “Caribbean Sun” off his 2nd album for Muse, the legendary “Journey To Enlightenment”.
In the latter stages of his life, Carlos suffered a mild stroke which made it very difficult for him to blow his horn in the same manner as he had previously. Not only was his vision permanently impaired, but he also had difficulties with hand coordination and performing certain movements. Playing his tenor required too much effort, so he played solely his soprano sax. Jazz interpretation was a bit out of the question, as it required faster playing so Carlos relied on playing calypso to bring his chops back. In a way, calypso kept his inner musician flame burning. He had a calypso group called the Diggers’ Descendants (name that he came up with) and he enjoyed a lot performing with them.
So farewell my brother Carlos. You must be barefoot by now walking in the sandy beaches of another realm and hanging out with Victor Boa and your brother Ron Warwell. A uke in one hand and your tenor in the other.
I am so grateful to have been a part of your life and to help keep your spirit alive on this earth. I promise I will do my best to share your incredible story with the rest of the world. I know that one day, your fellow Panamanians will learn more and more about you. Your efforts will have a bigger impact on our isthmian culture and society as time goes by. Love you.
Carlos Alfredo Garnett 1/12/1938 – 3/3/2023