Exodus Steel Orchestra Panorama Semi Final 2013
Source: Kats Imai
2006 – 2014
Even among the most forensic of steelband music critics, the name Exodus is spoken in tones of reverence, that level of respect inspired not by the biblical reference, but earned through the band’s resolve to the untiring pursuit of excellence.
Since their first rehearsal in May 1981, those who have followed the music of the Exodus Steel Orchestra agree that there is something special about this band, an intangible quality that sets it apart from the others, even those of longer standing.
From their inaugural outing in Trinidad and Tobago’s annual national competition, Exodus was able to gain a place in the finals, fighting against overwhelming odds (including the fact that the band is not from the capital city of Port of Spain) and with instruments loaned by the internationally acclaimed WITCO Desperadoes Steel Orchestra.
In the nineties, Exodus has made the leap to the top and has remained within the top three consistently since copping the national title in 1992. Last year’s victory makes it four in a row for the band from St. Augustine and chalks up nine notches overall as East Zone Champs. On four other occasions, they have come in second in the eastern region.
Founded by Amin Mohammed, Exodus has not only honed itself into a winning machine, but has brought to the steelband movement one of its most prestigious competitions, the Pan Ramajay competition, a free-form jazz event, which revolutionised the entertainment options available to steelbands.
Not content to be just a band that operates at Carnival time, Exodus has adopted a deliberate policy of maximum participation; attending every pan event for which the band is eligible.
While other bands may just be playing pan, Exodus has organised itself into a winning machine and an orchestra that delivers a quality of sound that is distinctive and rich in entertainment value.
The Band’s international engagements took them to
Europe, U.S.A., Korea, Canada and several Caribbean islands.
Notes by Terry Joseph