When Clarence Bean was small, his sister likened him to the famous American confection, the Tootsie Roll, and in the Bermudian tradition nicknamed him `Tootsie'. People have called him that ever since, but more importantly, they call him regularly for gigs in and around New York City and Long Island, where he makes his home, and that is because his musicianship is so good.

Born and raised at Government Gate on the North Shore in Pembroke, little `Tootsie' took an early interest in music and by the time he was six or seven he was playing the gombey beat on a drum.

"I loved the gombeys, and we kids used to get our own gombey groups together. We even made our own costumes out of crocus bags and danced around the street. We had our own little things going," Mr. Bean remembers.

Later, when he went to stay with his sister Erminie and her husband Maxwell Simmons, they realised his talent was special and sent him to drummer and saxophonist Ernie Leader for formal lessons. Later, the couple surprised him with a full drum set, and thus laid the foundation stone of his professional career.

At the age of 13 young Clarence made his public debut in Mr. Leader's band at a gig on Band Room Lane. He remembers being frightened and reluctant to go, but fortunately his elders prevailed and the rest is history. Soon, the teen was juggling his studies at Central School with regular gigs at the US bases here.

"The Americans would send a big bus to pick me up, and they'd throw the drums in with me behind them," Mr. Bean says. "It wasn't easy because I missed a lot of child's play. My mates would say, `Tootsie, here comes your bus', and off I'd go."

He also studied the theory of music with Berkeley Institute music teacher Mr. Joseph Richards and piano with Ms Olivette Morris to enhance what he calls his "God-given gift".

In 1950 Mr. Bean went to New York to study drums and vibraphone, and upon his return joined the Lance Hayward Quartet as a professional drummer. It was the beginning of a happy association that included overseas tours to the Caribbean, and recordings with Island Records.

For decades the man they call `Tootsie' was an integral part of Bermuda's vibrant nightlife scene. It was a time when every hotel had a nightclub; there were nightclubs all over Hamilton and throughout the Island, and every Bermudian musician and entertainer worth his or her salt was fully employed. As a result, the names of those with whom the drummer performed read like a who's who of Bermuda's best.

"Freddy Matthews, Al Davis, Winslow Fox, Hubert Smith, Kingsley Smith, Sidney Bean, the Talbots, the Four Deuces, Milt Robinson, Winkie Tatem ... I played alongside all those guys," he says. "In fact, I owe a lot to all of them because they gave me different ideas on how I should do this and not do that. I just sopped it all up and used it. They were so impressive. They had a lot of talent, were so sincere, and loved what they were doing."

Mr. Bean also remembers playing "all the dance halls" including the Colonial Opera House, Alexandrina Hall, No. 1 shed, and the Unity and `Chili' Simons patios. He played for College Weeks and in every major hotel. In fact, there probably wasn't a spot on this Island where he didn't play, such was his reputation not only as a drummer but also as a guitarist, conga player and even a vibrophonist on occasion. Together with Milt Robinson and Maxwell Smith he formed a calypso trio which played around the major hotels and also toured the Caribbean. In fact, he remains a great admirer of Mr. Robinson's talent.

"I have played with a lot of guitarists, but I always think about Milt," he says. "He is a very fine player, and as matter of fact when I brought down an organist and sax player to participate in one of Charlie Bascome's jazz shows, I specifically requested Milt as my guitarist, and also Gita Blakeney as the singer."

Continued on Page 41