VA • Ready Steady Boogaloo

Prince Buster • Dance Cleopatra Dance

  

Cleopatra Dance Review
by Jo-Ann Greene
"Oh great Caesar, could you come and let Cleopatra dance this dance? Dance Cleopatra, dance," Prince Buster commands, and the Egyptian queen obeys, to a simmering set of songs drawn from the rocksteady and early reggae era. That includes "Madness" and "Al Capone," HRH's ska hits, now deftly recut for the new musical climes. The former is positively sultry, the latter appears in a five-minute-plus extended extravaganza. No longer a brass showcase, the horns now have to share the stage with flashy guitar, although Val Bennett grabs the spotlight for a solo at one point. The new loping rhythm is superb, the musicians in top form, with Buster excitedly the gangster king gunning the listener down one more time. Not content with covering his own hits, the singing producer also versions others. A trio are grabbed straight from the Jamaican charts -- a splendid western-flavored take on Hopeton Lewis' "Take It Easy," a less successful stab at the Paragons' "On the Beach," and a magnificent cover of Desmond Dekker's "007 (Shanty Town)" boasting both brass and surf guitar. And in keeping with the rudie theme of that latter number, "Waiting for My Rude Girl," is an inspired version of Lee Dorsey's classic chestnut "Ya-Ya." Of the Prince's compositions, the stand-outs are the R&B-flavored "Sounds and Pressure," the funky "Move Over" (mistitled "More Over" on the set), and the sizzling, brass-driven instrumental "Cincinnati Kid," although all the tracks are worthy of note.

Modern critics have shown little interest in Buster's work during this period, beyond the almighty "Judge Dread," but as this set, initially released in 1972, well illustrated, the Prince was unleashing a stream of royal singles throughout the era.
https://www.allmusic.com/album/dance-cleopatra-dance-mw0001441309

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Reseña de la danza de Cleopatra
por Jo-Ann Greene
"Oh, gran César, ¿podrías venir y dejar que Cleopatra baile esta danza? Baila Cleopatra, baila", ordena el Príncipe Buster, y la reina egipcia obedece, al ritmo de un conjunto de canciones extraídas de la era del rocksteady y del primer reggae. Esto incluye "Madness" y "Al Capone", éxitos del ska de SAR, ahora hábilmente recortados para los nuevos climas musicales. El primero es muy sensual, el segundo aparece en una extravagancia extendida de más de cinco minutos. Ya no se trata de una exhibición de metales, sino que las trompetas tienen que compartir el escenario con una guitarra llamativa, aunque Val Bennett acapara el protagonismo para un solo en un momento dado. El nuevo ritmo es magnífico, los músicos están en plena forma, y Buster, excitado, es el rey de los gángsters, que vuelve a disparar al oyente. No contento con versionar sus propios éxitos, el productor cantante también versiona otros. Un trío de ellos están sacados directamente de las listas de éxitos jamaicanas: una espléndida versión con sabor a western de "Take It Easy" de Hopeton Lewis, un intento menos exitoso de "On the Beach" de los Paragons, y una magnífica versión de "007 (Shanty Town)" de Desmond Dekker, con metales y guitarra surf. Y siguiendo con la temática rudista de este último número, "Waiting for My Rude Girl", es una inspirada versión de la clásica castaña de Lee Dorsey "Ya-Ya". De las composiciones de Prince, destacan "Sounds and Pressure", con sabor a R&B, la funky "Move Over" (mal titulada "More Over" en el disco), y la abrasadora "Cincinnati Kid", aunque todos los temas son dignos de mención.

Los críticos modernos han mostrado poco interés en el trabajo de Buster durante este período, más allá del todopoderoso "Judge Dread", pero como este conjunto, publicado inicialmente en 1972, ilustra bien, el Príncipe estaba desatando una corriente de singles reales a lo largo de la época.
https://www.allmusic.com/album/dance-cleopatra-dance-mw0001441309

Rico Rodriguez • Roots to the bone

  

Jackie Mittoo • Champion In The Arena 1976-1977

 

Jackie Mittoo (3 March 1948 – 16 December 1990) was a Jamaican keyboardist, songwriter and musical director. He was a member of The Skatalites and musical director of the Studio One record label.

He was born Donat Roy Mittoo in Browns Town, Saint Ann Parish, Jamaica, and began learning to play the piano when he was four under the tutelage of his grandmother.

In the 1960s he was a member of The Skatalites, The Sheiks, The Soul Brothers, The Soul Vendors and Sound Dimension. Mittoo's compositions in this period included "Darker Shade of Black", "Feel Like Jumping", and "Baby Why". He played with Lloyd "Matador" Daley in 1968 and 1969.

He emigrated to Toronto, Canada at the end of the 1960s. There he recorded three albums, Wishbone (Summus), Reggae Magic (CTL) and Let's Put It All Together (CTL). He also set up the Stine-Jac record label, as well as running a record store.

In 1970, his song "Peanie Wallie" was reworked into a song called "Duppy Conqueror" and recorded by The Wailers. Mittoo's song Wishbone was a hit in 1971. He performed in local Toronto lounges throughout the 1970s. Mittoo assisted Toronto-area reggae musicians, including Earth, Roots and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, The Sattalites, Jackie James and Jason Wilson. Mittoo continued to record for Jamaican producers in the 1970s, mostly Bunny Lee. He co-wrote "Armagideon Time" (later recorded by The Clash) with Willi Williams, release in 1980.

In the 1980s, he often worked with Sugar Minott. In 1989, he briefly rejoined the Skatalites, but left when his health started to deteriorate. In 1989 and 1990 he recorded Wild Jockey for Lloyd Barnes’ Wackies label.

Mittoo entered a hospital on 12 December 1990 and died of cancer on 16 December at the age of 42. His funeral was held at the National Arena in Kingston, Jamaica, on 2 January 1991. Hortense Ellis, Neville 'Tinga' Stewart, Desmond "Desi Roots" Young, Ruddy Thomas, Tommy Cowan, Clement "Coxsone" Dodd were among the attendees. A memorial concert was held around the same time, with performances by Vin Gordon, Leroy "Horsemouth" Wallace, Glen 'Bagga' Fagan, Pablo Black, Robbie Lyn, Michael "Ibo" Cooper, Ken Boothe, Delroy Wilson, Carlene Davis, Tinga Stewart and others.

 

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Jackie Mittoo (3 de marzo de 1948 - 16 de diciembre de 1990) fue un tecladista, compositor y director musical jamaicano. Fue miembro de The Skatalites y director musical del sello discográfico Studio One.

Nació Donat Roy Mittoo en Browns Town, Saint Ann Parish, Jamaica, y comenzó a aprender a tocar el piano cuando tenía cuatro años bajo la tutela de su abuela.

En la década de 1960 fue miembro de The Skatalites, The Sheiks, The Soul Brothers, The Soul Vendors y Sound Dimension. Las composiciones de Mittoo en este período incluyen "Darker Shade of Black", "Feel Like Jumping" y "Baby Why". Jugó con Lloyd "Matador" Daley en 1968 y 1969.

Emigró a Toronto, Canadá a fines de los años sesenta. Allí grabó tres álbumes, Wishbone (Summus), Reggae Magic (CTL) y Let's Put It All Together (CTL). También instaló el sello discográfico Stine-Jac, además de dirigir una tienda de discos.

En 1970, su canción "Peanie Wallie" fue reelaborada en una canción llamada "Duppy Conqueror" y grabada por The Wailers. La canción Wishbone de Mittoo fue un éxito en 1971. Tocó en salones locales de Toronto durante la década de 1970. Mittoo ayudó a los músicos de reggae del área de Toronto, incluyendo Earth, Roots and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, The Sattalites, Jackie James y Jason Wilson. Mittoo continuó grabando para los productores jamaiquinos en la década de 1970, principalmente Bunny Lee. Él co-escribió "Armagideon Time" (más tarde grabado por The Clash) con Willi Williams, lanzado en 1980.

En la década de 1980, a menudo trabajaba con Sugar Minott. En 1989, se reincorporó brevemente a los Skatalites, pero se fue cuando su salud comenzó a deteriorarse. En 1989 y 1990 grabó Wild Jockey para el sello Wackies de Lloyd Barnes.

Mittoo ingresó en un hospital el 12 de diciembre de 1990 y murió de cáncer el 16 de diciembre a la edad de 42 años. Su funeral se celebró en el National Arena en Kingston, Jamaica, el 2 de enero de 1991. Hortense Ellis, Neville 'Tinga' Stewart, Desmond " Desi Roots "Young, Ruddy Thomas, Tommy Cowan, Clement" Coxsone "Dodd estuvieron entre los asistentes. Un concierto conmemorativo se llevó a cabo casi al mismo tiempo, con actuaciones de Vin Gordon, Leroy "Horsemouth" Wallace, Glen 'Bagga' Fagan, Pablo Black, Robbie Lyn, Michael "Ibo" Cooper, Ken Boothe, Delroy Wilson, Carlene Davis, Tinga Stewart y otros.

 

 

 

Ernest Ranglin • In Search of the Lost Riddim

 

Jamaican jazz guitarist Ernest Ranglin, at 66 years old, is more adventurous than most musicians half his age. Few could travel to Senegal and record with Baaba Maal and his band, Daande Lenol. Fewer still could make such a successful melding of styles. The secret is that Ranglin becomes a part of the band, trading licks with the kora, letting the others speak loudly, then adding his own distinctive voice to the proceedings. This is very definitely an "African" album, highlighted by some wonderful writing (Maal's "Minuit," in particular, is a standout) and marvelous playing. Ranglin is at the top of his form; he doesn't need long solos to make his point. He's taken his music to the roots, and in doing so, has invigorated himself. An unadulterated delight.
      

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Jamaican jazz guitarist Ernest Ranglin, at 66 years old, is more adventurous than most musicians half his age. Few could travel to Senegal and record with Baaba Maal and his band, Daande Lenol. Fewer still could make such a successful melding of styles. The secret is that Ranglin becomes a part of the band, trading licks with the kora, letting the others speak loudly, then adding his own distinctive voice to the proceedings. This is very definitely an "African" album, highlighted by some wonderful writing (Maal's "Minuit," in particular, is a standout) and marvelous playing. Ranglin is at the top of his form; he doesn't need long solos to make his point. He's taken his music to the roots, and in doing so, has invigorated himself. An unadulterated delight.

 

www.facebook.com/ranglinernest ...

Colaborador / Contributor:  peer57

The Skatalites • Ska Boo-Da-Ba

Review by Stephen Cook

Although they cut many a fine session with superstar producers Clement Dodd and Duke Reid, the Skatalites' work for relatively unknown knob-twiddler Justin Yap has been especially revered. Why? Well, because the songs have often been very hard to track down and Yap -- unlike either Reid or Dodd -- gave the legendary ska outfit the time and money to really dig into a set of songs. Those reasons and the fact he allowed ganja smoking in house all made for the ideal recording atmosphere. This West Side roundup of Yap titles proves the point. Resplendent with supple arrangements, fine sound, and a bevy of top-notch solos, Ska Boo-Da-Ba delivers with classic original ska ("Confucius," "Ringo Rides") and singular takes on Duke Ellington's "Caravan" ("Ska-Ra-Van") and "In a Mellow Tone" ("Surftide Seven"). Topped off with a handful of incredible trombone statements by the late Don Drummond, this 14-track import makes for some rarefied listening.

 

 

 

Laurel Aitken • Woppi King

 

 

Artist Biography by Steve Huey

Known as "the Godfather of Ska," Laurel Aitken was Jamaica's first real recording star. He was a pioneer in many other respects as well: he was one of the first artists ever to release a ska record, the first to work at promoting his music in the U.K., and one of the first to record for the seminal Island label, itself a major force in the international popularity of Jamaican music. Cutting his teeth on the sort of jump blues and boogie shuffles popular during the early days of American R&B, Aitken recorded numerous hits for a variety of labels over the years, enjoying his heyday during the '60s. His continued presence in the U.K. made him an elder statesman to the Two Tone ska revival movement of the punk era, and he continued to tour even into the new millennium.

Aitken was born in Cuba on April 22, 1927, and moved to his father's homeland of Jamaica in 1938. At age 15, he won a prominent talent competition with his rendition of "Pennies From Heaven"; around the same time, he also sang as part of a calypso group that performed for tourists arriving on the island from cruise ships. Aitken developed his singing and songwriting chops on a wide variety of material: jump blues (especially those of Louis Jordan and the young Nat King Cole), New Orleans R&B, calypso, and the indigenous Jamaican folk style mento. He became a popular nightclub performer around Kingston, and officially joined the nascent Jamaican recording industry in 1957, when he recorded (and produced) the R&B/calypso spiritual "Roll Jordan Roll." The following year, he began recording for producer Chris Blackwell's fledgling Island label; his double-A-sided "Little Sheila"/"Boogie in My Bones" was the first single ever released on Island, as well as one of the earliest ska records. It was also a massive hit in Jamaica, topping the charts for nearly three months, and went on to become the first Jamaican record ever issued in the U.K.

Aitken scored another hit with 1959's gospel-informed "Judgement Day," an early production by the legendary Duke Reid, and repeated his success with 1960's "Boogie Rock." In the meantime, he recorded for several prominent producers, including Reid, Leslie Kong, and Ken Khouri. In 1960, spurred by the popularity of his records in England, Aitken moved to London, specifically the heavily West Indian area of Brixton. There he began recording for Blue Beat, the first British-based label to cater to Jamaican immigrant tastes. Blue Beat's first single was a reissue of "Boogie Rock," and not long after, "Mary Lee" became the first song Aitken recorded specifically for the label. As a prominent Jamaican who'd chosen to make his home in Brixton, Aitken's popularity among the U.K.'s West Indian immigrants soon exceeded the stardom he'd enjoyed back home.

Aitken cut more than 15 singles for Blue Beat, then temporarily returned to Jamaica in 1963 for a recording binge that often found him backed by the Skatalites. Some tracks, like "Weary Wanderer" and "Zion," were produced by Reid; another, the hit "Bad Minded Woman," was released by Aitken's new U.K. label, Rio. Aitken remained with Rio through 1966, issuing around 20 singles and also recording for several other small labels. Rio went bankrupt, and during the late '60s, Aitken signed a new deal with the Pama family of labels (Nu Beat, Doctor Bird, etc.), partly because the company helped him out with his overdue child support payments. This arrangement resulted in some of his biggest U.K. hits, many of which he penned himself: "Fire in Mi Wire," "Pussy Price" (both early slack numbers), "Landlord and Tenants," "It's Too Late," "Jesse James," "Rise & Fall," "Woppi King," and "Skinhead Train," to name the biggest. This material was among Aitken's most enduring, and broadened his appeal to white audiences (mostly skinheads and mods).

Labour of Love

The ascent of Bob Marley and the new Rastafarian emphasis on culturally relevant reggae made Aitken's music seem somewhat outdated in the '70s. He moved to Leicester, well outside of London, and while he performed occasionally, he was effectively retired from recording. However, the Two Tone ska revival of the late '70s made Aitken's style hip all over again, and the English Beat rewrote the lyrics of "Pussy Price" for their own "Ranking Full Stop." Aitken returned to the recording studio and came up with "Rudy Got Married," which became his first ever U.K. chart single in 1981. Aitken resumed his regular U.K. tours during the '80s, and spent a year and a half working with a band called the Potato 5, with whom he recorded on Gaz's Rockin' Records. In 1986, he appeared alongside David Bowie in the mod film Absolute Beginners; additionally, UB40 covered Aitken's single "Guilty" (recorded under the name Tiger) on their hit Labour of Love album, further increasing his visibility. Aitken performed with several third wave ska bands over the '80s and '90s, and although his recording activity dropped off substantially, he continued to tour into the new millennium, even documenting and releasing a performance titled Live at Club Ska, issued in 2004. After six decades of recording and performing, Laurel Aitken's reign as the Godfather of Ska came to an end on July 17, 2005 when at the age of 87 the singer suffered a heart attack and passed way.

https://www.allmusic.com/artist/laurel-aitken-mn0000138792/biography

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 Biografía del artista por Steve Huey

Conocido como "el Padrino de Ska", Laurel Aitken fue la primera estrella de la grabación de Jamaica. Fue pionero en muchos otros aspectos también: fue uno de los primeros artistas en lanzar un disco de ska, el primero en trabajar en la promoción de su música en el Reino Unido, y uno de los primeros en grabar para el seminal sello Island, que en sí mismo es una fuerza importante en la popularidad internacional de la música jamaicana. Aitken grabó numerosos éxitos para una variedad de sellos discográficos a lo largo de los años, disfrutando de su apogeo durante los años sesenta. Su presencia continua en el Reino Unido lo convirtió en un anciano estadista del movimiento de renacimiento del ska Two Tone de la era punk, y continuó su gira incluso en el nuevo milenio.

Aitken nació en Cuba el 22 de abril de 1927 y se mudó a la patria de su padre, Jamaica, en 1938. A la edad de 15 años, ganó un concurso de talentos prominentes con su interpretación de "Pennies From Heaven"; más o menos al mismo tiempo, también cantó como parte de un grupo de calipso que actuaba para los turistas que llegaban a la isla en cruceros. Aitken desarrolló sus chuletas de canto y composición sobre una amplia variedad de materiales: jump blues (especialmente los de Louis Jordan y el joven Nat King Cole), New Orleans R&B, calypso, y el mento de estilo folklórico jamaicano. Se convirtió en un popular artista de clubes nocturnos en Kingston, y se unió oficialmente a la naciente industria discográfica jamaicana en 1957, cuando grabó (y produjo) el espiritual "Roll Jordan Roll" de R&B/calypso. Al año siguiente, comenzó a grabar para el incipiente sello Island del productor Chris Blackwell; su doble cara "Little Sheila"/"Boogie in My Bones" fue el primer sencillo publicado en Island, así como uno de los primeros discos de ska. También fue un gran éxito en Jamaica, encabezando las listas de éxitos durante casi tres meses, y se convirtió en el primer disco jamaiquino jamás publicado en el Reino Unido.

Aitken obtuvo otro éxito con el "Día del Juicio" de 1959, una producción temprana del legendario Duque Reid, y repitió su éxito con el "Boogie Rock" de los años 60. Mientras tanto, grabó para varios productores prominentes, incluyendo Reid, Leslie Kong y Ken Khouri. En 1960, impulsado por la popularidad de sus discos en Inglaterra, Aitken se trasladó a Londres, concretamente a la zona de Brixton, una zona densamente poblada por las Indias Occidentales. Allí comenzó a grabar para Blue Beat, el primer sello con sede en Gran Bretaña que satisface los gustos de los inmigrantes jamaiquinos. El primer sencillo de Blue Beat fue una reedición de "Boogie Rock", y poco después, "Mary Lee" se convirtió en la primera canción de Aitken grabada específicamente para el sello. Como prominente jamaiquino que había decidido establecerse en Brixton, la popularidad de Aitken entre los inmigrantes de las Indias Occidentales del Reino Unido pronto superó el estrellato que había disfrutado en su país.

Aitken grabó más de 15 sencillos para Blue Beat, y luego regresó temporalmente a Jamaica en 1963 para una juerga discográfica que a menudo lo encontró respaldado por los Skatalites. Algunos temas, como "Weary Wanderer" y "Zion", fueron producidos por Reid; otro, el éxito "Bad Minded Woman", fue lanzado por el nuevo sello británico de Aitken, Rio. Aitken permaneció con Rio hasta 1966, emitiendo alrededor de 20 sencillos y también grabando para varios otros sellos pequeños. Río se fue a la bancarrota, y a finales de los años 60, Aitken firmó un nuevo acuerdo con la familia de etiquetas Pama (Nu Beat, Doctor Bird, etc.), en parte porque la compañía le ayudó con sus pagos atrasados de manutención infantil. Este arreglo resultó en algunos de sus mayores éxitos en el Reino Unido, muchos de los cuales él mismo escribió: "Fire in Mi Wire", "Pussy Price" (ambos números iniciales), "Landlord and Tenants", "It's Too Late", "Jesse James", "Rise & Fall", "Woppi King" y "Skinhead Train", por nombrar los más grandes. Este material fue uno de los más duraderos de Aitken, y amplió su atractivo para el público blanco (principalmente skinheads y mods).

El ascenso de Bob Marley y el nuevo énfasis rastafariano en el reggae culturalmente relevante hicieron que la música de Aitken pareciera algo anticuada en los años 70. Se mudó a Leicester, en las afueras de Londres, y aunque tocaba ocasionalmente, fue retirado de la grabación. Sin embargo, el renacimiento del ska Two Tone de finales de los 70 hizo que el estilo de Aitken volviera a estar de moda, y el English Beat reescribió la letra de "Pussy Price" para su propio "Ranking Full Stop". Aitken regresó al estudio de grabación y se le ocurrió "Rudy Got Married", que se convirtió en su primer single en el Reino Unido en 1981. Aitken reanudó sus giras regulares por el Reino Unido durante los años 80, y pasó un año y medio trabajando con una banda llamada The Potato 5, con la que grabó en Gaz's Rockin' Records. En 1986, apareció junto a David Bowie en la película "Absolute Beginners"; además, UB40 cubrió el sencillo de Aitken "Guilty" (grabado bajo el nombre de Tiger) en su exitoso álbum "Labour of Love", aumentando aún más su visibilidad. Aitken tocó con varias bandas de ska de tercera ola durante los'80 y'90, y aunque su actividad discográfica se redujo sustancialmente, continuó girando en el nuevo milenio, incluso documentando y lanzando una actuación titulada Live at Club Ska, publicada en 2004. Después de seis décadas de grabar y tocar, el reinado de Laurel Aitken como el Padrino de Ska terminó el 17 de julio de 2005, cuando a la edad de 87 años el cantante sufrió un ataque al corazón y se fue.

https://www.allmusic.com/artist/laurel-aitken-mn0000138792/biography

Rico & The Rudies • Blow Your Horn & Brixton Cat

 

Artist Biography by Jason Ankeny

One of the most prolific session players of Jamaica's pre-ska era, trombonist Rico Rodriguez later emerged as a catalyst behind the UK's 2-Tone movement of the late 1970s, recording both as a solo artist and as a member of the legendary Specials. While attending Kingston's Alpha Cottage School, an institution for wayward boys, he studied trombone under the legendary Don Drummond. In the years to follow, Rodriguez emerged as one of Jamaica's most highly regarded session musicians, often working under the direction of the renowned producer Duke Reid. While his forte remained jazz, he adapted brilliantly to any environment, and applied his improvisational skills to productions from notables including Sly & Robbie. In 1977, Rodriguez also cut a solo LP, Man from Wareika, credited to simply "Rico; " it was followed a year later by Midnight in Ethiopia. In 1979, he appeared on the Specials' cover of "A Message to You Rudy," and soon joined the band as a full-time member; for the group's 2-Tone label, Rodriguez also helmed his own outfit, Rico and the Rudies, to yield the albums Blow Your Horn and Brixton Cat.

https://www.allmusic.com/artist/rico-rodriguez-mn0000215140/biography

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Biografía del artista por Jason Ankeny

Uno de los músicos de sesión más prolíficos de la era pre-ska de Jamaica, el trombonista Rico Rodríguez se convirtió más tarde en un catalizador del movimiento de los 2-Tonos del Reino Unido a finales de la década de 1970, grabando tanto como solista como miembro de los legendarios Specials. Mientras asistía a la Alpha Cottage School de Kingston, una institución para niños rebeldes, estudió trombón con el legendario Don Drummond. En los años siguientes, Rodríguez emergió como uno de los músicos de estudio más respetados de Jamaica, a menudo trabajando bajo la dirección del renombrado productor Duke Reid. Mientras su fuerte seguía siendo el jazz, se adaptó brillantemente a cualquier ambiente, y aplicó sus habilidades de improvisación a producciones de notables como Sly & Robbie. En 1977, Rodríguez también grabó un LP en solitario, Man from Wareika, al que se le atribuye simplemente "Rico", al que siguió un año más tarde Midnight en Etiopía. En 1979, apareció en la portada de los Specials de "A Message to You Rudy", y pronto se unió a la banda como miembro de tiempo completo; para el sello 2-Tone del grupo, Rodríguez también dirigió su propio equipo, Rico and the Rudies, para producir los álbumes Blow Your Horn y Brixton Cat.

https://www.allmusic.com/artist/rico-rodriguez-mn0000215140/biography

Rico Rodriguez • Man From Wareika

 

 

 

Artist Biography by Jason Ankeny

One of the most prolific session players of Jamaica's pre-ska era, trombonist Rico Rodriguez later emerged as a catalyst behind the UK's 2-Tone movement of the late 1970s, recording both as a solo artist and as a member of the legendary Specials. While attending Kingston's Alpha Cottage School, an institution for wayward boys, he studied trombone under the legendary Don Drummond. In the years to follow, Rodriguez emerged as one of Jamaica's most highly regarded session musicians, often working under the direction of the renowned producer Duke Reid. While his forte remained jazz, he adapted brilliantly to any environment, and applied his improvisational skills to productions from notables including Sly & Robbie. In 1977, Rodriguez also cut a solo LP, Man from Wareika, credited to simply "Rico; " it was followed a year later by Midnight in Ethiopia. In 1979, he appeared on the Specials' cover of "A Message to You Rudy," and soon joined the band as a full-time member; for the group's 2-Tone label, Rodriguez also helmed his own outfit, Rico and the Rudies, to yield the albums Blow Your Horn and Brixton Cat.

https://www.allmusic.com/artist/rico-rodriguez-mn0000215140/biography

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Biografía del artista por Jason Ankeny

Uno de los músicos de sesión más prolíficos de la era pre-ska de Jamaica, el trombonista Rico Rodríguez se convirtió más tarde en un catalizador del movimiento de los 2-Tonos del Reino Unido a finales de la década de 1970, grabando tanto como solista como miembro de los legendarios Specials. Mientras asistía a la Alpha Cottage School de Kingston, una institución para niños rebeldes, estudió trombón con el legendario Don Drummond. En los años siguientes, Rodríguez emergió como uno de los músicos de estudio más respetados de Jamaica, a menudo trabajando bajo la dirección del renombrado productor Duke Reid. Mientras su fuerte seguía siendo el jazz, se adaptó brillantemente a cualquier ambiente, y aplicó sus habilidades de improvisación a producciones de notables como Sly & Robbie. En 1977, Rodríguez también grabó un LP en solitario, Man from Wareika, al que se le atribuye simplemente "Rico", al que siguió un año más tarde Midnight en Etiopía. En 1979, apareció en la portada de los Specials de "A Message to You Rudy", y pronto se unió a la banda como miembro de tiempo completo; para el sello 2-Tone del grupo, Rodríguez también dirigió su propio equipo, Rico and the Rudies, para producir los álbumes Blow Your Horn y Brixton Cat.

https://www.allmusic.com/artist/rico-rodriguez-mn0000215140/biography

 

 

Colaborador / Contributor:  Michel

 

 

Jackie Mittoo And The Soul Vendors • Evening Time

 

 

Jackie Mittoo (3 March 1948 – 16 December 1990) was a Jamaican keyboardist, songwriter and musical director. He was a member of The Skatalites and musical director of the Studio One record label.

He was born Donat Roy Mittoo in Browns Town, Saint Ann Parish, Jamaica, and began learning to play the piano when he was four under the tutelage of his grandmother.

In the 1960s he was a member of The Skatalites, The Sheiks, The Soul Brothers, The Soul Vendors and Sound Dimension. Mittoo's compositions in this period included "Darker Shade of Black", "Feel Like Jumping", and "Baby Why". He played with Lloyd "Matador" Daley in 1968 and 1969.

He emigrated to Toronto, Canada at the end of the 1960s. There he recorded three albums, Wishbone (Summus), Reggae Magic (CTL) and Let's Put It All Together (CTL). He also set up the Stine-Jac record label, as well as running a record store.

In 1970, his song "Peanie Wallie" was reworked into a song called "Duppy Conqueror" and recorded by The Wailers. Mittoo's song Wishbone was a hit in 1971. He performed in local Toronto lounges throughout the 1970s. Mittoo assisted Toronto-area reggae musicians, including Earth, Roots and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, The Sattalites, Jackie James and Jason Wilson. Mittoo continued to record for Jamaican producers in the 1970s, mostly Bunny Lee. He co-wrote "Armagideon Time" (later recorded by The Clash) with Willi Williams, release in 1980.

In the 1980s, he often worked with Sugar Minott. In 1989, he briefly rejoined the Skatalites, but left when his health started to deteriorate. In 1989 and 1990 he recorded Wild Jockey for Lloyd Barnes’ Wackies label.

Mittoo entered a hospital on 12 December 1990 and died of cancer on 16 December at the age of 42. His funeral was held at the National Arena in Kingston, Jamaica, on 2 January 1991. Hortense Ellis, Neville 'Tinga' Stewart, Desmond "Desi Roots" Young, Ruddy Thomas, Tommy Cowan, Clement "Coxsone" Dodd were among the attendees. A memorial concert was held around the same time, with performances by Vin Gordon, Leroy "Horsemouth" Wallace, Glen 'Bagga' Fagan, Pablo Black, Robbie Lyn, Michael "Ibo" Cooper, Ken Boothe, Delroy Wilson, Carlene Davis, Tinga Stewart and others.

 

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Jackie Mittoo (3 de marzo de 1948 - 16 de diciembre de 1990) fue un tecladista, compositor y director musical jamaicano. Fue miembro de The Skatalites y director musical del sello discográfico Studio One.

Nació Donat Roy Mittoo en Browns Town, Saint Ann Parish, Jamaica, y comenzó a aprender a tocar el piano cuando tenía cuatro años bajo la tutela de su abuela.

En la década de 1960 fue miembro de The Skatalites, The Sheiks, The Soul Brothers, The Soul Vendors y Sound Dimension. Las composiciones de Mittoo en este período incluyen "Darker Shade of Black", "Feel Like Jumping" y "Baby Why". Jugó con Lloyd "Matador" Daley en 1968 y 1969.

Emigró a Toronto, Canadá a fines de los años sesenta. Allí grabó tres álbumes, Wishbone (Summus), Reggae Magic (CTL) y Let's Put It All Together (CTL). También instaló el sello discográfico Stine-Jac, además de dirigir una tienda de discos.

En 1970, su canción "Peanie Wallie" fue reelaborada en una canción llamada "Duppy Conqueror" y grabada por The Wailers. La canción Wishbone de Mittoo fue un éxito en 1971. Tocó en salones locales de Toronto durante la década de 1970. Mittoo ayudó a los músicos de reggae del área de Toronto, incluyendo Earth, Roots and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, The Sattalites, Jackie James y Jason Wilson. Mittoo continuó grabando para los productores jamaiquinos en la década de 1970, principalmente Bunny Lee. Él co-escribió "Armagideon Time" (más tarde grabado por The Clash) con Willi Williams, lanzado en 1980.

En la década de 1980, a menudo trabajaba con Sugar Minott. En 1989, se reincorporó brevemente a los Skatalites, pero se fue cuando su salud comenzó a deteriorarse. En 1989 y 1990 grabó Wild Jockey para el sello Wackies de Lloyd Barnes.

Mittoo ingresó en un hospital el 12 de diciembre de 1990 y murió de cáncer el 16 de diciembre a la edad de 42 años. Su funeral se celebró en el National Arena en Kingston, Jamaica, el 2 de enero de 1991. Hortense Ellis, Neville 'Tinga' Stewart, Desmond " Desi Roots "Young, Ruddy Thomas, Tommy Cowan, Clement" Coxsone "Dodd estuvieron entre los asistentes. Un concierto conmemorativo se llevó a cabo casi al mismo tiempo, con actuaciones de Vin Gordon, Leroy "Horsemouth" Wallace, Glen 'Bagga' Fagan, Pablo Black, Robbie Lyn, Michael "Ibo" Cooper, Ken Boothe, Delroy Wilson, Carlene Davis, Tinga Stewart y otros.

 

 

Laurel Aitken with the Skatalites • The Long Hot Summer

 

Tommy McCook • The Best of Tommy McCook & The Skatalites

 

The instrumental riffs do have a certain sameness over a full-length disc, which makes some of the more unusual covers ("Exodus," a wacky "Goldfinger") and minor-key melodies ("Freedom Sounds," "Ska Ba") standouts. "Wheel and Turn" has an irresistibly smoky lilt, enhanced by strange, barely audible strains of what sounds like violin in the background. There are also a couple of atypical cuts showing that McCook's versatility covered more than ska; "Jazz Walking" has a jazz-soul arrangement with organ, and the seven-minute "The Answer" is pretty straight-ahead jazz.


 

Caribbean Popular Musicː An Encyclopedia of Reggae, Mento, Ska, Rock Steady, and Dancehall

Reggae music is more than just steel drum bands on white sand beaches. Its history is rich with culture and evolution, helping to tell the story of Jamaica's past. Due to its depth and extensive coverage, this book is the most complete and up to date encyclopedia about reggae, mento, ska, rocksteady, and dancehall music on the market today. Ideal for reggae lovers and college students studying music, this encyclopedia is comprehensive for high school students and non-music students as well. From Bob Marley to Wayne Wonder, this easy to use encyclopedia contains over 700 entries. Indices in both the front and back of the book make navigating through entries extremely user-friendly. Entries cover singers and songwriters, producers, record labels, and different styles of music that evolved from reggae. Moskowitz truly captures the history and evolution of Jamaican music in this extensive, illuminating encyclopedia, while all the while making it accessible to both high school and college students.

 

Ernest Ranglin • Memories of Barber Mack

 

Review by Leo Stanley
Memories of Barber Mack is Ernest Ranglin's energetic and moving tribute to the spirit of the late Jamaican saxophonist Barber Mack. Ranglin relies on original compositions, adding two Jamaican standards, "Fade Away" and "Stop That Train," for good measure. The result is an infectious, eclectic album, containing first-rate performances from Ranglin, drummer Sly Dunbar, pianist Jon Williams, bassist David Williams and percussionist Larry McDonald. 
https://www.allmusic.com/album/memories-of-barber-mack-mw0000031825

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Reseña de Leo Stanley
Memories of Barber Mack es el enérgico y conmovedor homenaje de Ernest Ranglin al espíritu del fallecido saxofonista jamaicano Barber Mack. Ranglin se apoya en composiciones originales, añadiendo dos clásicos jamaicanos, "Fade Away" y "Stop That Train", por si fuera poco. El resultado es un álbum contagioso y ecléctico, con interpretaciones de primera clase de Ranglin, el baterista Sly Dunbar, el pianista Jon Williams, el bajista David Williams y el percusionista Larry McDonald.
https://www.allmusic.com/album/memories-of-barber-mack-mw0000031825

VA • Jamaica Jazz From Federal Records - Carib Roots, Jazz, Mento, Latin, Merengue & Rhumba 1960-1968

 

Jackie Mittoo • Keep on Dancing

Review by Stephen Cook

By the time this 1969 solo record was released, organist/arranger Jackie Mittoo had already established his reputation as an important contributor to the Skatalites' catalog and Clement "Coxsone" Dodd's Studio One label. Under Dodd, Mittoo wrote a large chunk of the famous Brentford Road rhythms that would light up the charts, both in their original rocksteady form and as reworked gems for the dancehall crowd of the early '80s. Like many of his fellow session players, Mittoo channeled U.S. soul and funk influences to help concoct a unique Jamaican musical style in the '60s and '70s. And while recent retrospectives, like Hearbeat's admirable Tribute to Jackie Mittoo two-disc set, make a first-choice selection easy, this and other of the organists many solo releases on the Studio One imprint beg a listen. One soon discovers Mittoo and Dodd's various house bands (the Soul Vendors, Sound Dimension, and the Soul Brothers) produced more than enough prime shots to fill several roundups. A fine slice of rocksteady and reggae-soul instrumentals from one of reggae's brightest lights.

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Reseña de Stephen Cook

Para cuando este disco solista de 1969 fue lanzado, el organista/arreglista Jackie Mittoo ya había establecido su reputación como un importante contribuyente al catálogo de Skatalites y al sello Clement "Coxsone" Dodd's Studio One. Con Dodd, Mittoo escribió una gran parte de los famosos ritmos de Brentford Road que iluminarían las listas de éxitos, tanto en su forma original de rocksteady como en forma de joyas reelaboradas para el público del dancehall de principios de los 80. Como muchos de sus compañeros de sesión, Mittoo canalizó las influencias del soul y el funk estadounidenses para ayudar a crear un estilo musical jamaicano único en los años 60 y 70. Y mientras que recientes retrospectivas, como el admirable Tributo de Hearbeat al set de dos discos de Jackie Mittoo, facilitan la selección de la primera opción, este y otros de los organistas muchos lanzamientos en solitario en el sello Studio One piden ser escuchados. Pronto se descubre que las diversas bandas de Mittoo y Dodd (los Soul Vendors, Sound Dimension y los Soul Brothers) produjeron más que suficientes tomas de primera para llenar varias redadas. Una fina rebanada de rocksteady y de instrumentos de reggae-soul de una de las luces más brillantes del reggae.

Jackie Mittoo • Evening Time

Jackie Mittoo (3 March 1948 – 16 December 1990) was a Jamaican keyboardist, songwriter and musical director. He was a member of The Skatalites and musical director of the Studio One record label.

He was born Donat Roy Mittoo in Browns Town, Saint Ann Parish, Jamaica, and began learning to play the piano when he was four under the tutelage of his grandmother.

In the 1960s he was a member of The Skatalites, The Sheiks, The Soul Brothers, The Soul Vendors and Sound Dimension. Mittoo's compositions in this period included "Darker Shade of Black", "Feel Like Jumping", and "Baby Why". He played with Lloyd "Matador" Daley in 1968 and 1969.

He emigrated to Toronto, Canada at the end of the 1960s. There he recorded three albums, Wishbone (Summus), Reggae Magic (CTL) and Let's Put It All Together (CTL). He also set up the Stine-Jac record label, as well as running a record store.

In 1970, his song "Peanie Wallie" was reworked into a song called "Duppy Conqueror" and recorded by The Wailers. Mittoo's song Wishbone was a hit in 1971. He performed in local Toronto lounges throughout the 1970s. Mittoo assisted Toronto-area reggae musicians, including Earth, Roots and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, The Sattalites, Jackie James and Jason Wilson. Mittoo continued to record for Jamaican producers in the 1970s, mostly Bunny Lee. He co-wrote "Armagideon Time" (later recorded by The Clash) with Willi Williams, release in 1980.

In the 1980s, he often worked with Sugar Minott. In 1989, he briefly rejoined the Skatalites, but left when his health started to deteriorate. In 1989 and 1990 he recorded Wild Jockey for Lloyd Barnes’ Wackies label.

Mittoo entered a hospital on 12 December 1990 and died of cancer on 16 December at the age of 42. His funeral was held at the National Arena in Kingston, Jamaica, on 2 January 1991. Hortense Ellis, Neville 'Tinga' Stewart, Desmond "Desi Roots" Young, Ruddy Thomas, Tommy Cowan, Clement "Coxsone" Dodd were among the attendees. A memorial concert was held around the same time, with performances by Vin Gordon, Leroy "Horsemouth" Wallace, Glen 'Bagga' Fagan, Pablo Black, Robbie Lyn, Michael "Ibo" Cooper, Ken Boothe, Delroy Wilson, Carlene Davis, Tinga Stewart and others.

///////

Jackie Mittoo (3 de marzo de 1948 - 16 de diciembre de 1990) fue un tecladista, compositor y director musical jamaicano. Fue miembro de The Skatalites y director musical del sello discográfico Studio One.

Nació Donat Roy Mittoo en Browns Town, Saint Ann Parish, Jamaica, y comenzó a aprender a tocar el piano cuando tenía cuatro años bajo la tutela de su abuela.

En la década de 1960 fue miembro de The Skatalites, The Sheiks, The Soul Brothers, The Soul Vendors y Sound Dimension. Las composiciones de Mittoo en este período incluyen "Darker Shade of Black", "Feel Like Jumping" y "Baby Why". Jugó con Lloyd "Matador" Daley en 1968 y 1969.

Emigró a Toronto, Canadá a fines de los años sesenta. Allí grabó tres álbumes, Wishbone (Summus), Reggae Magic (CTL) y Let's Put It All Together (CTL). También instaló el sello discográfico Stine-Jac, además de dirigir una tienda de discos.

En 1970, su canción "Peanie Wallie" fue reelaborada en una canción llamada "Duppy Conqueror" y grabada por The Wailers. La canción Wishbone de Mittoo fue un éxito en 1971. Tocó en salones locales de Toronto durante la década de 1970. Mittoo ayudó a los músicos de reggae del área de Toronto, incluyendo Earth, Roots and Water, Esso Jaxxon (R. Zee Jackson), Carl Harvey, Lord Tanamo, Boyo Hammond, Carl Otway, The Sattalites, Jackie James y Jason Wilson. Mittoo continuó grabando para los productores jamaiquinos en la década de 1970, principalmente Bunny Lee. Él co-escribió "Armagideon Time" (más tarde grabado por The Clash) con Willi Williams, lanzado en 1980.

En la década de 1980, a menudo trabajaba con Sugar Minott. En 1989, se reincorporó brevemente a los Skatalites, pero se fue cuando su salud comenzó a deteriorarse. En 1989 y 1990 grabó Wild Jockey para el sello Wackies de Lloyd Barnes.

Mittoo ingresó en un hospital el 12 de diciembre de 1990 y murió de cáncer el 16 de diciembre a la edad de 42 años. Su funeral se celebró en el National Arena en Kingston, Jamaica, el 2 de enero de 1991. Hortense Ellis, Neville 'Tinga' Stewart, Desmond " Desi Roots "Young, Ruddy Thomas, Tommy Cowan, Clement" Coxsone "Dodd estuvieron entre los asistentes. Un concierto conmemorativo se llevó a cabo casi al mismo tiempo, con actuaciones de Vin Gordon, Leroy "Horsemouth" Wallace, Glen 'Bagga' Fagan, Pablo Black, Robbie Lyn, Michael "Ibo" Cooper, Ken Boothe, Delroy Wilson, Carlene Davis, Tinga Stewart y otros.

Don Drummond • Don Cosmic

 

Don Drummond (Kingston, Jamaica 12 de marzo 1932 - 6 de mayo 1969) famoso trombonista de música Ska y compositor, fue uno de los miembros originales del grupo The Skatalites componiendo muchas de sus canciones.

Su carrera musical comenzó a mediados de los 50's con Eric Deans All-Stars. Continuó hacia 1960s con otros, entre ellos Kenny Williams.

Con el nacimiento del Ska, Don se unió a The Skatalites. Su nombre llegó a ser conocido en Jamaica, antes de comenzar con sus problemas mentales. El pianista George Shearing lo consideró como uno de los 5 mejores trombonistas del mundo.

El 1 de Enero de 1965 fue encarcelado por el asesinato de la bailarina exótica y cantante Anita "Margarita" Mahfood. Fue internado en el Asilo de Belle Vue en Kingston, donde permaneció hasta su muerte.

La causa oficial de su muerte fue suicidio, pero otras teorías establecen, que sus colegas creen que fue parte de un complot por parte del gobierno contra la escena musical en Kingston, otros creen que fue asesinado por gángsters como venganza por el asesinato de Mahfood.

///////

Automatic translation:

Don Drummond (Kingston, Jamaica March 12, 1932 - May 6, 1969) famous Ska trombonist and composer, was one of the original members of the group The Skatalites composing many of his songs.

His musical career began in the mid-50's with Eric Deans All-Stars. He continued to 1960s with others, including Kenny Williams.

With the birth of Ska, Don joined The Skatalites. His name came to be known in Jamaica, before he started with his mental problems. The pianist George Shearing considered him one of the 5 best trombonists in the world.

On January 1, 1965, he was imprisoned for the murder of the exotic dancer and singer Anita "Margarita" Mahfood. He was interned at Belle Vue's Asylum in Kingston, where he remained until his death.

The official cause of his death was suicide, but other theories establish, that his colleagues believe that he was part of a government plot against the music scene in Kingston, others believe he was killed by gangsters as revenge for the murder of Mahfood.

Tokyo Ska Paradise Orchestra • Diamond In Your Heart

 

 

 

tokyoska.net/tokyoskaen ...

 

Don Drummond • The Best of Don Drummond

Don Drummond (Kingston, Jamaica 12 de marzo 1932 - 6 de mayo 1969) famoso trombonista de música Ska y compositor, fue uno de los miembros originales del grupo The Skatalites componiendo muchas de sus canciones.

Su carrera musical comenzó a mediados de los 50's con Eric Deans All-Stars. Continuó hacia 1960s con otros, entre ellos Kenny Williams.

Con el nacimiento del Ska, Don se unió a The Skatalites. Su nombre llegó a ser conocido en Jamaica, antes de comenzar con sus problemas mentales. El pianista George Shearing lo consideró como uno de los 5 mejores trombonistas del mundo.

El 1 de Enero de 1965 fue encarcelado por el asesinato de la bailarina exótica y cantante Anita "Margarita" Mahfood. Fue internado en el Asilo de Belle Vue en Kingston, donde permaneció hasta su muerte.

La causa oficial de su muerte fue suicidio, pero otras teorías establecen, que sus colegas creen que fue parte de un complot por parte del gobierno contra la escena musical en Kingston, otros creen que fue asesinado por gángsters como venganza por el asesinato de Mahfood.

///////

Automatic translation:

Don Drummond (Kingston, Jamaica March 12, 1932 - May 6, 1969) famous Ska trombonist and composer, was one of the original members of the group The Skatalites composing many of his songs.

His musical career began in the mid-50's with Eric Deans All-Stars. He continued to 1960s with others, including Kenny Williams.

With the birth of Ska, Don joined The Skatalites. His name came to be known in Jamaica, before he started with his mental problems. The pianist George Shearing considered him one of the 5 best trombonists in the world.

On January 1, 1965, he was imprisoned for the murder of the exotic dancer and singer Anita "Margarita" Mahfood. He was interned at Belle Vue's Asylum in Kingston, where he remained until his death.

The official cause of his death was suicide, but other theories establish, that his colleagues believe that he was part of a government plot against the music scene in Kingston, others believe he was killed by gangsters as revenge for the murder of Mahfood.