Much of our rich cultural identity comes from our music, drawn from diverse influences that continue to reinvent themselves with changing trends.
Musical icon – vocalist, multi-instrumentalist and entrepreneur – Carl Jacobs is one whose contributions have developed, not only our music, but the craft of generations that have followed him.
Together with veteran sound engineer, music producer and musician Robin Imamshah, Jacobs formed the band Shandileer in 1979, which was the vehicle through which he pioneered the art of mixing soca with other styles, redefining the sound and changing the way in which it can be played and enjoyed.
Along with the late Ancil Forde as bassist and musical director, drummer Mervyn Jackman, guitarist Mike “Psycho” Logan, percussionist Gary De Souza and vocalist Carol Jacobs were among the band’s original lineup. Ronnie McIntosh soon joined on vocals.
“We were very innovative in changing musical trends,” explained Jacobs. “We started merging rhythms – disco rhythms with calypso rhythms, rock rhythms with calypso rhythms. The intention was to make the music more marketable to the rest of the world,” he said.
Jacobs and Imamshah worked to create a sound that would have a wider, more international appeal, staying true to the original feel and essence of the music and the place where it was created, before the arrival of island pop and groovy soca, this the latter of which would eventually dominate the genre.
Referring to the duets “We Wanna Live” and “From Now On” performed with long-time collaborator, bandmate Shandileer and wife, Carol, he said that some of his early compositions, which people love now, were not were really accepted at the time.
Jacobs said that Shandileer was not only a pioneer in his style of the genre, but also in his use of audio technology that was advanced for the time. They were the first major band to use massive sound systems and lots of electronics on stage, much to Imamshah’s credit.
The original lineup for Shandileer
Driven by a desire to strike out on their own while still pursuing the performance and business of spreading soca and calypso music overseas, Carl and Carol parted ways with the band and left Trinidad and Tobago in the 1980s, settling in Miami , where they forged a lucrative performing career touring the US and Canada.
Admitting that living abroad as artists wasn’t always easy, Jacobs said it was the passion for their craft and the desire to find the success they eventually achieved that kept them motivated.
“Being outdoors opened up a whole new world to us,” he said. “When you have the ambition to achieve, you don’t stop. We left Trinidad to go forward; to take the music we were writing to a wider audience, we needed to go beyond the shores of Trinidad,” he said.
After three decades immersed in American culture, Jacobs said he and Carol stayed close to their roots, not just through their music, but in their personal lives and loyalties.
“In Miami, we never accepted that culture,” he recalls. “We engaged so we could learn more, but we were always Trinidadian. Our intention was never to stay.”
That’s the sentiment Jacobs expressed in the lifelong patriot’s anthem, “Trini 2 D Bone,” his 2003 duet with David Rudder, whose lyrics reflect his longing for home.
“All these years I’ve spent abroad in the cold, longing to be home/Trenched to the bone, Trined to the bone/God, I pray that one sweet day, I don’t have to wander anymore”, Jacobs sang.
“Everyone should have an opportunity to learn different cultures and find different ways of doing things,” he said. “Even though we were learning and achieving a lot, we never really felt like we belonged there.”
With the idea of returning to learn all the experience that was gathered, the couple’s return came a little sooner than planned when Jacobs was diagnosed with throat cancer in 2012.
Despite making a full recovery, Jacob’s ability to sing was unfortunately affected by the cancer. Ever the optimist, he regrets no part of his journey and expressed gratitude for the success he has experienced.
“We have spent a lifetime educating, singing and presenting our sound, our music [to others]feeling really good about it,” he said. “We had a great career; we were very successful.”
Jacobs said that even without contracting the disease, he would have remained committed to his original plan to make mentoring and education a part of his return home, and so far, that’s what has anchored him. during most of the last decade.
Jacobs offered some insight into his creative background and explained that he attributes much of his musical knowledge to his exposure to music, musical training and performance as a child and youth.
“Music has always been good to me,” he said, recalling his time in the choir at St Mary’s College, which he described as “the learning part – lots of vocal exercises” and practical experience of being in rock bands before going on to work as a background vocalist for legendary artists such as Lord Kitchener, The Mighty Sparrow and King Swallow.
This sound formal and practical education contributed to Jacob’s development as a musician and he has always been keen to pass this on.
“When I came back to deal with the cancer situation, I also came back wanting to do something more,” Jacobs said. “Cancer didn’t make me want to stop making music. I wanted to find a way to help and support our industry.”
Carl Jacobs
It was in this spirit that Kafe Blue (formerly Kaiso Blues Cafe) opened its doors in 2015. The restaurant and bar doubles as an intimate concert venue with state-of-the-art sound equipment and a stage where something exciting is always happening.
From themed open mic nights to jam sessions and full concerts with a variety of musical acts from different genres, Kafe Blue is constantly alive, buzzing with rich and creative energy fueled by a growing community of enthusiastic artists who can easily benefit from Jacobs advice and expertise.
“I always dreamed of opening an institution where we could be part of a support group,” Jacobs said.
Adding that he and Carol are still learning a lot from the younger generation, he explained that they are now in teaching mode.
He said: “We don’t have all the answers, but we have a lot of experience… traveling and seeing how things work on another platform. I want to show how much better it can be if we do it the right way.”
Affectionately known to many young musicians as “Uncle Carl,” Jacobs has certainly lived up to his personal promise to serve up-and-coming performers as they develop their craft and chart their path in an industry in which has changed a lot since then. Jacob’s debut.
“Cafe Blue is an institution; it’s not a rum shop,” Jacobs said. “It’s a place where artists and musicians can come…any hour, any day and be mentored, get a platform to perform while we continue to support our culture. We mentor them…we bring veterans on stage with them so that each can teach the other — it’s a win-win.”
When asked how it feels to be recognized as an icon, Jacobs shrugged off the title, saying that for him, the real reward, for which he is very grateful, is the recognition and appreciation of his creative contribution, which, in turn, it has given him a platform that he can use to support others.
“I don’t walk around the country feeling like an icon,” he said, “but I know what it means to be a respected musician that other people will always look to ask a question. being accepted and understood in our music community gives me an opportunity to share what I’ve learned to help people who need that kind of help. It’s not about winning awards; it’s about getting the job done.”
Emphasizing that they lead with integrity in what they do, Jacobs said, “We appreciate the respect given to them because it allows us to now have their say. We are Trinidadian artists – we love our culture and will always support it.”
