Tag Archives: Jamaican music

Artist Profiles: Havana Meets Kingston

Back in the closing years of the 20th century, when the Buena Vista Social Club ruled the international roost, Cuban music was all the rage. Now, two decades on, an Australian musician/producer is not only following the footsteps of the great American facilitator Ry Cooder, who guided that collective’s high-selling Havana-recorded album, award-winning documentary and sell-out overseas tour, but he’s also taking an extra bound by blending son, salsa and rumba with reggae, dancehall and dub from Cuba’s Caribbean island neighbour, Jamaica.

In what is a mighty musical and logistical achievement that he’s claiming as a world-first, Melburnian Jake “Mista” Savona has amassed a star-studded cast that includes both lauded Buena Vista players and reggae royalty. His Havana Meets Kingston concept has already yielded an album and several world tours.

Various Artists – Mista Savona Presents Havana Meets Kingston

Surprisingly, Savona says no master plan is involved, and he insists it is all the better for that. “To be honest, the whole project hasn’t been quite as pre-meditated as it may seem from the outside … and I believe this is actually what makes it so special. It evolved step-by-step over many years. The seeds were planted well before I had even envisioned the possibility of bringing together Jamaican and Cuban musicians in Havana.”

The project had its genesis back in 2004 when Savona made his inaugural visit to Jamaica to record Melbourne Meets Kingston, the first album-length collaboration between Australian musicians and Jamaican vocalists. That led to a series of return trips between 2004 and 2013 for further recordings.

He says the turning point came after a friend returned from a 2014 trip to Havana with some persuasive photos, and he realised a visit to Cuba was well overdue. “When I looked at the map I couldn’t believe how close the two islands are — literally only a few hundred miles apart. I was heading to Jamaica in April that year for a quick promotional trip, so I decided to visit Cuba for ten days or so.”

Savona fell in love with the people, music and culture. “Towards the end of the trip, I was sitting in a cafe in Havana, a great place called Chanchurello. They were playing a CD of traditional Cuban rumba, mainly percussion based. I was daydreaming and imagining how the sounds of Nyabinghi drums from Jamaica would sound mixed with the rumba. I realized it would be very special to mix the two styles, and wondered if it had ever been done before.”

Jake Savona with Sly & Robbie

After returning to Kingston a few days later, he bumped into the veteran Jamaican percussionist Bongo Herman, who convinced him to setup a recording session that night at Tuff Gong, Bob Marley’s studio in Kingston. Drummer Sly Dunbar was there, of the world-famous rhythm section, Sly & Robbie. They ended up recording until sunrise. “He loved my piano playing, and I, of course, was amazed by his musicianship.”

Following some research on his return to Australia, Savona realised there had never been a project bringing Jamaican musicians into Cuba or vice versa. “I started to think how it could be done. I called Sly and he loved the idea, and he gave me Robbie’s phone number in Miami.” He also called Bongo Herman and Winston ‘Bopee’ Bowen, one of his favourite Jamaican guitarists. “Everyone was saying ‘yes’ without hesitation, and it just felt like a project that wanted and needed to happen.” So Savona started to look at how it might be organised.

A year later — in June 2015 — the producer flew seven Jamaican musicians into Havana. They had 10 days booked at the famous Egrem Studios, where the Buena Vista Social Club recorded their famous album.

As word spread about the initial sessions, Savona says over 30 Cuban musicians came through the studio, including members of Buena Vista, Los Van Van, the Afro-Cuban All Stars, Irakere and Havana Cultura.

It was an incredible 10 days,” he recalls. “I hoped to record one or two tracks a day to complete a fifteen-track album, but we actually recorded enough material in that time for almost three albums. The energy and inspiration was incredible. I had prepared sketches for all the songs, and these master musicians took the arrangements into hyperspace.”

Havana Meets Kingston has continued to exceed Savona’s expectations. “This project is so much bigger now than just my initial vision. It’s a joyful celebration of Caribbean music and culture that’s opening new doors for everyone involved. With our introductory music video going viral earlier this year, it’s also inspiring a lot of new tourism to the Caribbean.”

Looking back at the logistics of the exercise, Savona says the knowledge he gained from previous trips to survey Kingston’s music scene gave him the confidence to organize the Jamaican side of things. With his Cuban experience limited, he enlisted the help of Melbourne percussionist Javier Fredes, a master conga player, who, having lived in Cuba, had a deep knowledge of the musical landscape there.

I couldn’t have organized the sessions in Havana without his help,” Savona admits. “The biggest unknown for me was Cuban immigration, which is somewhat of a mystery. Did we have the right visas for the Jamaican musicians? Would Cuban customs mind that we were bringing so much musical and studio equipment into Havana? Thankfully, this side of things went smoothly, and once we had everyone safely in Havana, I knew we were good to go.”

The only real issue that Savona encountered in the studio was that the Jamaicans didn’t speak Spanish, and the Cubans had very little English. However, once the musicians were sitting with their instruments, he says the language barrier simply melted away.

Havana Meets Kingston

When the Jamaican musicians returned to Kingston, there were more sessions in both Havana, Santiago de Cuba and later on in Kingston to complete the recording. Savona also later travel led to London to record with one of his favorite reggae artists, singer Randy Valentine.

The project leader spent close to a year on the arrangements and mix downs, utilizing this time to also find the right record labels for his album. “Although at times I realized I was working quite slowly, I didn’t want to rush anything. Now, I have no regrets because we needed this time to actually fit all the right pieces of the puzzle together.”

All up just over 60 musicians were used on Havana Meets Kingston. “Famous older legendary musicians are playing alongside young new talent, some of who had never been in a recording studio before,” he points out.

I had no idea in the beginning that I would be able to work with such legends as [Jamaican guitarist] Ernest Ranglin, or Barbarito Torres of Buena Vista fame. Recording at Egrem Studios, he says, gave his album some of the same unique, “warm woody-room sound” that helped the eponymous Buena Vista Social Club release to become a huge seller around the world in the late 1990s.

Savona strongly refutes any notion that revamping songs such as ‘Chan Chan’, ‘El Cuarto de Tula’ and ‘Candela’from the revered Buena Vista album with beats, raps and manifestations of reggae amounts to any disrespect.

“That album is incredible; it was recorded over twenty years ago but stands the test of time. However, roam the streets of Old Havana today and all you’ll hear are Cuban bands in the bars and hotels mostly rehashing the ‘same old’ classics. Although this is what many tourists want to hear, it’s not great for the evolution of Cuban music. Music will lose its relevance and passion if it’s frozen in time. We made the Havana Meets Kingston album with so much respect for the roots music of both islands, involving many of the same legends that play on these old classic recordings.”

In order to blend together rhythms as diverse as Jamaican reggae/dancehall and Cuban son/rumba, Savona prepared sketches of all the songs, focusing on what he describes as interesting chord changes and strong funky riffs.

“I left them quite open, rather than preparing overly complicated charts. This, in hindsight, is the best thing I could have done, because it meant the musicians could really get inside these songs and breathe, rather then being glued to the written music. It also meant they could easily imbue the music with their own style and touch.” As a result, he says, the songs evolved quickly and came alive in unexpected and exciting ways.

One goal was to bring the sounds of Jamaican soundsystem culture together with the virtuosic Afro-Cuban jazz traditions. “Robbie Shakespeare’s incredible rolling bass lines made this possible,” says Savona. “His playing mixed with the Cuban percussion of Yaroldy Abreu, Oliver Valdés and Changuito to really bring the sounds of the Kingston and Havana streets together in a way never heard before.”

Savona reports that both Sly and Robbie were fantastic to work with: “They’re very relaxed and confident in the studio. They were happy to take my musical direction, and at the same time bring their own style and sound to my arrangements. They’re an integral part of the album for so many reasons — no one plays like them.”

The first Havana Meets Kingston album, which comprises predominantly fresh original compositions, presents a bona fide mix of musical cultures that’s relatively free of studio artifice. As Savona says: “It’s all about the performances, and less about the post-production, which I’ve kept as simple and natural as possible. You could argue that contemporary music is becoming increasingly sterile, with the focus in pretty much all genres now on post-production and auto-tuned, synthesised vocal performances, which I believe actually stifle and repress deeper human expression. For me music should be about uplifting people, not brainwashing them.”

What Aussie festivalgoers saw on stage at WOMADelaide and elsewhere on the 2018 tour was the core band that played on the initial Havana sessions. Besides key vocalists, English-Jamaican Randy Valentine and Cuban Francisco ‘Solis’ Robert and Brenda Navarette, one of Cuba’s rising singers, the 15-piece line-up in Adelaide included Sly & Robbie, Jamaican guitarist Bopee, the legendary Cuban percussionists Yaroldy Abreu and Oliver Valdés and the great trumpeter Julito Padrón. Laud player Barbarito Torres and virtuoso pianist Rolando Luna of Buena Vista fame were other world-renowned Cuban musicians in the line-up.

Savona is justifiably proud of the fact that it was his stewardship that facilitated Jamaican musicians flying into Cuba to record and collaborate with Cuban musicians for the first time. He says a combination of political, social, economic and linguistic reasons conspired to prevent that in the past. “Additionally, both islands have such potent and unique music scenes that they’re really captivated by their own music to a large degree. Until two years ago, there were no exchange programs between the islands. Jamaica’s music industry is its biggest export, and yet the government still doesn’t invest in it properly. There’s not even a museum in Jamaica dedicated to their incredible contributions to the world’s music.”

The financing of such an expensive and ambitious project as Havana Meets Kingston was problematic: “As a full-time musician, with a variable income to say the least, there was no way I could have financed this on my own,” he concedes. “But, I was very fortunate to have so much assistance along the way to bring this dream to life.” Savona managed to submit what turned out to be a successful application for an Australia Council ‘International Pathways’ grant in the nick of time. That, he indicates was pivotal. A Kickstarter campaign raised funds to take a film and photographic crew to document the project in Havana. “A few generous friends of mine were also happy to lend me money to help with the final mixing and mastering stages later on.”

Savona concedes there are still some outstanding debts from Havana Meets Kingston, but he’s confident in time that his project will become fully self-sufficient. He plans to tour the live show elsewhere around the world, including free outdoor concerts in Jamaica and Cuba. The second volume of the album is on the drawing board, along with a documentary, and a third installment of the record is expected to follow at a later date.

What amazes me about this project,” says Savona “are the synchronicities that kept happening, again and again. Looking back, I can see these countless little miracles that happened along the way that made it all possible. It just felt like an idea that wanted to happen, a project that wanted to be born. And all these great musicians loved the idea of the project. That’s what made it all possible.”

While there’s understandable pride in local music circles that an Australian is behind a project as bold as Havana Meets Kingston, Jake Savona stresses that it’s first and foremost an international collaboration. “This is an album by Jamaican and Cuban musicians, and it is an album for the people of Jamaica and Cuba, first and foremost. This is the real strength of the project.

• The above interview first appeared in Rhythms, Australia’s only dedicated roots music magazine.

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Heartfelt Romantic Reggae by Sadiki

Sadiki – Blue Mountain Acoustic

Sadiki – Blue Mountain Acoustic (Skinny Bwoy Records, 2018)

Blue Mountain Acoustic is the fifth album by Sadiki, a popular Jamaican vocalist, songwriter and producer. Although he’s been involved with various forms of reggae, Blue Mountain Acoustic leans much closer to romantic pop. It’s a fine acoustic performance with a combination of lover’s rock, American soul, pop and a little reggae that has great commercial appeal.

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Artist Profiles: Queen Ifrica

Queen Ifrica – Photo by Marco Di Florio

Queen Ifrica, born Ventrice Morgan on March 25, 1975 in Montego Bay, Jamaica, began her career in 1995 after attracting attention at a local talent contest in her hometown of Montego Bay. This eye-opening experience eventually led to major stage performances in her country including the famed Reggae Sumfest as well as a union with Tony Rebel’s Flames Crew in 1998.

With roots firmly grounded in the Rastafarian faith, she blossomed as one of the top cultural artists in reggae, appearing frequently on radio with hits like “Randy”, “Jus my Brethren”, “Below the Waist” and “Daddy” and performing at major festivals and shows around the world (Summer Jam in Germany, Sierra Nevada World Music Festival, Bob Marley Festival, Reggae on the River in California and Reggae Sundance Festival in Holland).

Despite her busyc schedule, Ifrica is involved in several youth outreach programs in Jamaica’s inner-city, counseling abuse victims and other disadvantaged individuals. She also performs at various charity events shows where proceeds are donated to the cause.

Discography

Montego Bay (VP Records, 2009)

Climb (VP Records, 2017)

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Artist Profiles: Damian Marley

Damian Marley

Damian Marley is the son of reggae icon Bob Marley and Jamaica’s 1977 Miss World, Cindy Breakspeare. He is the offspring of a union between two distinctive and disparate worlds.

Born in Kingston, Jamaica on July 21, 1978, Damian Robert Nesta Marley (a.k.a. ‘Junior Gong’), Bob’s youngest son, began performing as a child as the vocalist for a group called The Shepherds. Comprised of other well-known reggae artists’ children, including Shiah Coore (son of Third World guitarist Cat Coore) and Yashema Beth McGregor, the daughter of Freddie McGregor and Judy Mowatt, The Shepherds performed at several shows in Jamaica including the Reggae Sunsplash music festival in 1992.

After The Shepherds’ demise, Damian turned his vocal talents to deejaying (the Jamaican equivalent of rapping). In 1993 Damian’s debut single Deejay Degree was released on Tuff Gong Records (the label founded by Bob Marley) and the following year he released Sexy Girls On My Mind for the Main Street label.

Damian’s next release, 1995’s School Controversy, was featured on the Epic/Sony Wonder compilation, Positively Reggae with all sales proceeds going to Jamaica’s Leaf of Life Foundation, an organization which assists children who are HIV positive.

Although he was still a teenager, Damian was selected as the Positively Reggae spokesperson, a role that introduced him to the international press and record buying public. That same yea, Damian performed at select dates on the Shabba Ranks World Unity tour and with his brother Julian performed at Jamaica’s Reggae Sunfest and Sunsplash festivals.

Damian was a high school student when he began recording Mr. Marley at the Marley Music 48 track-recording studio. Produced by Stephen Marley (head of the Marley Boyz production team), Mr. Marley delivered a fusion of contemporary reggae grooves and infectious dancehall rhythms alongside tough edged hip-hop beats, an ideal complement for Damian’s versatile deejay-rap style.

The album included several updates of Bob Marley classics as well as the single ‘Me Name Junior Gong’ which went to the number one in Hawaii and held that position for several weeks. ‘When we went to Hawaii in 1997,’ Damian recalls, ‘we had three songs on the charts there: ‘Me Name Junior Gong,’ ‘One Cup of Coffee’ and ‘Now You Know,’ a tune from Julian’s debut album.’

Damian and Julian’s burgeoning popularity earned them featured appearances on the 1997 traveling alternative rock festival Lollapalooza which provided invaluable exposure among a new sector of music fans.

Five years after the release of Mr. Marley, Damian had matured as a performer, songwriter, recording artist and Rastafarian, his unwavering convictions reflected throughout his new album, Halfway Tree.

Stephen Marley produced Halfway Tree for Marley Boyz productions. Stephen’s innovative approach to Halfway Tree incorporates spoken word introductions and dramatic vignettes as song interludes, creating a conceptual cohesiveness lacking from most Jamaican albums. Stephen also adapts traditional reggae elements (forceful drum and bass lines, committed social commentary) to 21st century hip hop’s synthesized beats and sometimes defiant stances while utilizing the talents of Jamaican singers, deejays and musicians alongside American rappers, each underscoring Damian’s impassioned delivery.

Damian called the album Halfway Tree because ‘my father is from the country and the ghetto and my mother is from uptown so I come like a half way tree, like a bridge because I can relate to both sides.’

Discography


Mr. Marley (Ghetto Youths United, 1996)
Halfway Tree (Ghetto Youths United, 2001)
Welcome To Jamrock (Ghetto Youths United, 2005)
Distant Relatives (Ghetto Youths United, 2010)
Bonnaroo Live ’06 ‎(Modulor, 2014)
Stony Hill (Ghetto Youths International, 2017)

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VP Records to Release Strictly the Best Vol. 55

Various Artists - Strictly the Best Vol. 55
Various Artists – Strictly the Best Vol. 55

The anthology Strictly the Best Vol. 55 (VP Records) includes this year’s most popular dancehall reggae songs played at clubs and on Caribbean radio. Artists featured include Vershon, Alkaline, Vybz Kartel, Mr. Vegas, Spice, Chi Ching Ching, Masicka and Dexta Daps.

Vol. 55 contains a bonus disc with famous duets from significant deejays paired with reggae singers. Songs include “Twice Mt Age” by Shabba Ranks ft. Krystal, “Bonafide Love” by Wayne Wonder ft. Buju Banton and “Hot Gal Today” by Mr. Vegas & Sean Paul.

Buy Strictly the Best Vol. 55

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Reggae Specialists VP Records to Release Strictly the Best Vol. 54

Various Artists - Strictly the Best Vol. 54
Various Artists – Strictly the Best Vol. 54

The reggae compilation Strictly the Best Vol. 54 (VP Records) features some of the best-known roots and lover’s rock singers. The set, scheduled for release in November, includes Ikaya, Tarrus Riley, Romain Virgo, MAGIC ft. Sean Paul. Alborosie feat. Protoje, Sizzla Ft. Jah Cure, Raging Fyah and Jah9.

Vol. 54 includes a bonus disc of classics from Jamaica’s celebrated vocal groups, including The Wailing Souls, The Heptones, The Mighty Diamonds, T.O.K, Morgan Heritage & others.

Buy Strictly the Best Vol. 54

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Length & Time: Max Romeo

I will be writing a column on Length & Time in music, in each presenting an album and its strategies that pertain to addressing Length & Time. 

There is no proof that music can influence the actors of a political economy. There are a certain amount of musical noblesse that asks of us to respect musicians who attempt to guide minds towards social peace and progress, often while advocating for social unrest, but though dissenters sing along to political songs in droves, it’s important to ask one’s self if dissenters pay attention to the actual ‘message.’

Max Romeo and many of his fellow Reggae artists seem to not care about proof if their music can influence and go for it. In order to achieve the effect that religious songs often have on the faithful, but also to spread revolutionary gospel through mass media, Rastafari Romeo  released the album War Ina Babylon in 1976.

Max Romeo is producing radio friendly songs here, though on the longer side of radio friendly so at five minutes; he must balance religious, revolution, and radio. He is producing his songs with The Upsetters, and he chooses to feature them richly, though not at a point where band members will improvise. The band focuses on aesthetics – on rhythm, on harmony, and melody, as he focuses on lyrical chant and some narrative like singing. We hear the coming together of expertise, not of ideology; sometimes melodies don’t convey chant. His chanting and exploring, along with a choir, political slogan on all 9 songs, and some scatting like ‘na na na na’ on “One Step Forward”, shapes these songs. We listeners listen to these slogans, over and again, as if the main attraction of these songs, dragged through the song contemplating a slogan like ‘war ina babylon’ on “War Ina Babylon.”

The songs are tight and don’t allow for much interpretation of the melodies, harmonies, or rhythms. Instead, the repetition of these slogans as chants drags along the songs’ melodies brilliantly, and do the same to the rhythms. Re-listening to these songs, one will realize that there are layers of beauty that one pushes aside as what accompanies the song’s lyrics. The instrumental beauty we hear almost signifies beautiful fight and it’s the case because of his repetition of the chants.

This album’s are essentially great at crafting and conveying slogans to the pathos of their time. They take the side and sing to labor and not to capital, articulating misery to those living complexity miserably. We are attending a beautiful rally here, a both perfect and religious rally as no  political rallies really are.

Though there is no proof about music can led to concrete social change, it’s almost impossible to negate music’s importance. Even the theorist Friedrich Engels, during the later part of his life, in his late letters on historical materialism, did write about a a “reciprocal interaction” between the infrastructure of a society, its economy, and the superstructure, which includes music. Romeo belongs to a those who believe that ‘spring’ in a beloved society can come about with a new consciousness. He attempts to educate with slogan, through the reasonable length allowed by his time, to his time of human beings living in a very complex society.

Buy War Ina Babylon in the Americas

Buy War Ina Babylon in Europe

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Jamaican Artist Randy Valentine to Perform at Africa Oyé 2016

Randy Valentine
Randy Valentine

Multifaceted Jamaican vocalist, songwriter and producer Randy Valentine is set to perform on June 19 at Africa Oyé 2016 music festival. Africa Oyé will take place on June 18-19 in Liverpool’s Sefton Park, from 12:30 p.m. until 9:30 p.m. both days. Admission is free.

Randy Valentine is a rising reggae talent. His R-V-Lution Summer Tour 2013 was one of the biggest ever tours for a debut reggae artist, seeing him perform over 20 shows in more than 10 different European countries. His second EP Still Pushing was released in 2015, and went straight to the top of the iTunes reggae charts.

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