Like so many sons of the soil, however, the same footsteps which took Keith Caisey to places as diverse as the French Riviera, Algeria and Australia have also brought him back home to Bermuda, where he can now be found passing on his vast knowledge of a host of exotic instruments from many cultures to anyone willing to learn.

It would take a book to do justice to Mr. Caisey's long and exciting career, but one thing is certain: over the years he has wasted no opportunity to develop and share his considerable talents, and learn the invaluable life lessons that no book could teach.

Like so many local musicians, Keith Caisey's professional story begins in childhood when his father, percussionist `Tilly' Caisey, began teaching him the secrets of his art. He also got to know many of his father's fellow musicians and entertainers, all of whom influenced and inspired him - so much so, in fact, that by the time he was 13 he was playing in a band at various night spots.

Mr. Caisey's first opportunity to travel came when he joined the National Black Theatre as its top drummer, and headed for New York. In all, he would be with them for seven years, during which time his eyes were opened by many fascinating new experiences.

"Everything was based on the African culture," he says.

Attending a major African congress at Moorhouse College in Atlanta, Mr. Caisey witnessed first hand some of the leading African-American personalities of the day: Louis Farrakhan, Jesse Jackson, Malcolm X, Huey Newton and Angela Davis among them.

"It was my first experience of black leaders of the world. They knew a lot of history and had a lot of information about what was happening to people generally throughout the world. It was a great time to be there," he says.

After seven years, however, the young Bermudian "got sick of America".

"The American Dream did not impress me," he says. "What comes easy goes quick. When I realised it wasn't for me, and Trinidad and Jamaica didn't entice me, I decided to go to Africa and other places which were far more civilised."

Thus began a world odyssey which spanned decades.

"Other places" included touring England for three years playing funky soul music with the group Electric Soul People, whose members included fellow Bermudians `Big Daddy' Gates, guitarist John Burch, bassist Dennis Joell, drummer Tony Cox, keyboardist Dewey Jones, singer `Tiny' Ray, and manager Bill Stovell.

"We worked everywhere from Ronnie Scott's and the Q Club to seaports," Mr. Caisey says.

As much fun as it was, however, the day came when the percussionist decided he'd had enough.

"One day I just unpacked all my stuff off the truck and said, `See you later. I thank you for the experience'," he recalls. "Touring really toughened you up though. You really had to suffer and endure to remain loyal to your band, but I was the one who never came back to Bermuda."

Instead, Mr. Caisey went on to work at London's famed Talk of the Town with Gladys Knight and the Pips ("She was terrific to work for. Entertainers from the old school treated you like a human being. It was `The Knight family'.") and then at the London Palladium with Arthur Connolly.

Maintaining contact with Dewey Jones led the duo to fulfil a variety of gigs, including entertaining US troops in Europe and North Africa, in the process of which they underwent some hair-raising experiences.

"In Algeria they held on to our passports and at one point I thought we would never get out of there," Mr. Caisey says. "In Bahrain our group included twin Israeli musicians, a bassist and a guitarist. By the time the plane landed all we could hear were jackboots coming up the metal steps. The military came on board, pointed their machine guns into the chests of the Israelis, and told them they weren't allowed to touch the tarmac. They were shipped back to England, and we did the tour without them."

In Spain the tour ended at Palma de Majorca and the group flew back to England. Despite the fact that they had lived in England for three years, the UK authorities barred the two Bermudians' re-entry into the country and they were deported back to Spain.

"We sat up in the UK airport all night with no baggage, no money and no instruments, and we ended up back in Spain with nothing," Mr. Caisey remembers. "It took one and a half months to get our money, clothes and equipment out of England."

As with all artists, however, when one door closes another opens. Soon Mr.Caisey was working on cruise ships, and then joined up with the acoustic guitarist from the group Marmalade and for the next eighteen months the duo played on all of the Spanish islands as well as in Barcelona.

Then it was back to New York, followed by some time in Bermuda, then on to Canada and Boston with a newly-formed local group calling themselves Bermuda New Life, whose members included Rudy Ford, Albert Caisey, Randy Lambert and Rick Butterfield. Keith Caisey then spent a few more years in Bermuda performing with the group Home Cooking.

Space precludes chronicling all of the international adventures, gigs and experiences the multi-percussionist underwent in the ensuing decades, but highlights include exciting stints in France and Spain, playing at prestigious locations and hobnobbing with a host of celebrities and even royalty.

"We were invited to play for the Prince of Morocco, and on the Riviera we worked at the Jet Club, where big stars like Claudia Cardinale, Omar Sharif and Brigitte Bardot hung out. In France I worked all over with the Rolling Stones tour, `Tour de Force'. I really respected being giving an opportunity to work with those icons."

Drawing a veil over the details of life behind such scenes, Mr. Caisey will only sum up the Stones experience as "off the hook", and is equally circumspect about playing at the St. Tropez wedding of Mick and Bianca Jagger, whose guests included Paul McCartney, Sting, Rod Stewart and Stuart Copeland of the Police.

Paris became an interesting base for more memorable adventures and music-making, which ultimately led to a life Down Under. He worked for Sun Ra ("a strange man who would push me to the limit. It was great to play with him but he was crazy") and played with the group `Aphrodite's Child'; recording Dennis Rousso's album ` Lucky Man' with Pathionis Vangellis, composer of the `Chariots of Fire' theme. He composed `Walking in Space' for French singer Chantelle Sitrout's album, a number which became her single, and also worked for singer Johnny Halliday.

During this time Mr. Caisey also faced the challenge of smuggling all of his percussion instruments - 30 road cases worth, to be exact - out of confiscation in a hotel basement. Basically an employer disappeared leaving Mr. Caisey and others facing a $47,000 unpaid hotel bill, so the instruments were seized in lieu. Thanks to Bermudian ingenuity, however, the multi-percussionist persuaded the staff to let him "borrow" some items vital to recording the albums, as a result of which he reclaimed everything, piece by piece.

When the missing employer returned, the bill was paid and Mr. Caisey took up his suggestion to move to Australia, where he would remain for 24 years.

One of the first people he met was Joe Girch, a former employee of Mayne's Furniture in Bermuda, who owned a hotel and restaurant. Subsequent conversion turned the business into a nightclub in Sydney's trendy Kings Cross area.

"It was a watering hole for every entertainer in Australia," Mr. Caisey says.

Thereafter, the country become one of the most productive, fruitful and exciting chapters in the Bermudian's professional life. As a studio musician he participated in hundreds of recording sessions for such top Australian stars as Michael Hutchence, country singer Slim Dusty ("He's the man in Australia"), legendary bands Oz and Ayers Rock, and more.

"Studio work is a test of humility. You do what you are told," Mr. Caisey says. "It's not what you play but what you don't play that is important. I am like a chef. I have things in my bag that a keyboard player or drummer doesn't have. I am a soundscapist, so I am laying out all my stuff."

His fascination for learning unusual instruments led to him being taught the 32 dialects of the didgeridoo by the aboriginals, as well as learning to make instruments, including the koa, and six-string bass dusongoni.

The multi-percussionist also taught butucada (Brazilian) drumming, and organised big samba parties with a colourful cast of dancers and others for special events.

But it was a phone call from the 2000 Olympics committee in Australia that led to what will forever remain the pinnacle of his decades Down Under. They needed an "indigenous representation" in their big opening ceremony and heard the talented Bermudian was the man to provide it.

"I put together drummers that covered Brazilian, African, South Pacific log drumming, Fiji style drumming, as well as the costumes and more," Mr. Caisey says. "That was the jewel in the crown in Australia. I don't know how many Bermudians would ever get an opportunity to participate in something like that."

What, then, drew him back to little Bermuda?

"My parents were getting older and I wanted to spend time with them," he says.

Today, together with his stunning Brazilian wife, dance instructor Clara, the couple are imparting their knowledge and talents to others. While Mrs. Caisey teaches samba, olodum frevo, lambada and samba dances to her husband's accompaniment, he teaches a mind-boggling array of percussion instruments, many of them made by himself, as well as drumming styles from an array of lands and cultures.

"Our doors are open to everyone. Here you can learn circular breathing, dance and drumming, and how to make costumes and instruments. We also go out in the street and find children. We are teaching them global culture."

To step into their Dockyard studio (the former Sparky's indoor amusement centre) is an experience in itself. Here colourful, lifesize wooden animals, including zebras and giraffes, stand amid wooden banana and palm trees, colourful swathes, flags, feathers and more, all of which add up to a delightful fantasy world whose effects are immediate. Alcoves and mirrors denote dance and percussion training areas, and demonstrations of the instruments are available on request.

"The atmosphere is a destresser. It is attuned to mind and body as soon as you walk in," Mr. Caisey says. "The whole idea of the natural thing is to wake the sleeping giant inside you. We are all walking around waiting to be empowered."

Like all Bermudians who still remember the once-vibrant local entertainment scene, Mr. Caisey deplores its current parlous state and feels strongly that Government should put more financial resources into its redevelopment, which includes training the young. Without such support, he warns, "nothing is forever".

"Why not put the taxpayer's money back into the community?" he reasons. "We have qualified people here to teach and train Bermudians. We are saying to Government, `We are here to stay, but if we don't get your support everything is short-lived'."

Meanwhile, standing amid the colourful scene the couple have created at Rhythm Nation, Mr. Caisey says: "Whatever you do in your life that is your legacy. That is what people are going to remember, and I have set out to leave a legacy behind, hence the quality of exhibits and all the things you see around you. I have had a very fruitful life. I have travelled a lot and I have been very focused on what I have been doing."

@EDITRULE:

l For further information on Rhythm Nation ( 232-5408 or 238-6632.