My second post is an overview of one the most important musical studies to come out of the Caribbean in the past twenty-five to thirty years. Jah Music explores the evolution of reggae music from the plantations and freed slave settlements through the politically turbulent 60s, 70s and 80s. The writer, Sebastien Clarke is a Trinidadian journalist, born in 1946 and came to London in 1965. He has written for magazines such as Crawdaddy, Rock and Changes. In 1970, he wrote the first ever documentary on Reggae which was shown on BBC TV, and in 1976 he co-wrote a London Weekend show on Jamaican music. The book demonstrates the stylistic links with Africa and the different forms of expression in popular Jamaican music. It covers the imitation of Afro-American R & B in the 1950s, through the popularisation of this music by the sound systems, and its indigenization as Ska-the first professional expression of a Jamaican popular musical identity.
It should be noted that Jamaican music has changed drastically from the art form it was thirty-one years ago. Whether that change has been for the better is up to the listener. These changes have occurred as a result of several factors. These are explored in the book Many people wrongly believe that Jamaican music is one dimensional and can be identified by a singular guitar strum of a keyboard stab. This is also a fallacy.
It should be noted that Jamaican music has evolved from several corners of the world. African Rhythms and European cadences combine to form the art forms we know today. Calypso from Trinidad is also a major influence although no journalist can say this without agitating a hornets nest. Clarke explores all these connections. Also covered is reggae and it's various precursors(ska, rocksteady etc) connection to the religious sect Pocomania and it's use of traditional drumming techniques that survived the middle passage. These rhythms have been assimilated into reggae.
Reggae music in Jamaica seems to be more of a movement similar to Tropicalia in Brazil. It is not simply a genre of music. It is a whole sphere of artistic expressions encompassing dub poetry, paintings, music. It is not only the music of suffering and discontent as some journalists project it to be. Rather it is highly romantic and poetic.
Also discussed are the social upheavals that have fashioned Jamaican music. Byron lee in an interview with Clarke speaks about the things taking place before independence. Specifically,The Dragonaires being used at several World Fair expos before and after independence. At one of these expos, Edward Seaga was the overseer. It should also be noted that in the sixties and to some extent now,the differences between urban and rural Jamaicans and wealthy Jamaicans extends into the sphere of music also. In the sixties, home grown art forms were viewed as outdated and even shamefully primitive. This attitude has led to extreme resentment by the poor and middle class(if such a thing even exists there).Another social ill that has shaped Jamaican music and is covered by Clarke, is that of political violence. Clarke investigates this and interviews members of the two leading parties, the JLP and the PNP. Serious allegations against one in particular was made by a PNP activist who stated that it was Seaga who brought political violence to Jamaica to win the West Kingston seat. Also, the PNP is charged with invading the JLP headquarters. All these events were noted by the musicians of the time.
The most important chapter however, entitled Three Modernisers, tells the story of The Wailers, reggae's most important group. He traces the start of the group in Trenchtown and the struggles of choosing music as a career path in the Third World. However,these trials, a rough neighborhood, vindictive and manipulative promoters and record label owners seemed to amplified the creative spirit of the group. The first half culminates in a record deal with Island records and international success. The group however, disintegrates because of allegations of favoritism to the lead singer, Bob Marley by managers. Clarke does not solely concentrate on the obvious star(Marley) after this. He tracks the musical and social development of the three artistes through two very important stages in Jamaican history: their first solo albums and the election violence(bordering on civil war) of 1976-1980. Tosh and Marley in particular are studied as they were the two most active at the time, politically(in the case of Tosh) and socially(Marley). In the Third World however, musicians are seldom left out of the politics of the day,as exemplified by the attack on Marley in 1976. A political speech at the Peace Concert by Tosh could have started a riot had he not arranged his musical programme in a certain way. It ends with a study of Bunny Wailer(the most mystical of the three) and the forecasting of further international success(although Marley was to pass away the year this was released and Tosh six years later).
The other chapters deal with the Reggae scene in London and the new trends in Jamaican music. Seminal figures in reggae and dub are featured here- Aswad, Culture, Black Uhuru, SteelePulse,King Tubby etc. The final chapter is about the challenges facing reggae musicians at home and abroad, namely manipulative and fickle record executives who sell reggae albums when it is in demand and drop their charges as soon as the 'boom' is over. They also copy the ideas of the local record dealers and therefore put these out of business. This is a fantastic book. It makes for harrowing but ultimately inspirational reading and is a must read. An index and short biography of all the artistes mentioned is included at the back of the book.
Reggae music in Jamaica seems to be more of a movement similar to Tropicalia in Brazil. It is not simply a genre of music. It is a whole sphere of artistic expressions encompassing dub poetry, paintings, music. It is not only the music of suffering and discontent as some journalists project it to be. Rather it is highly romantic and poetic.
Also discussed are the social upheavals that have fashioned Jamaican music. Byron lee in an interview with Clarke speaks about the things taking place before independence. Specifically,The Dragonaires being used at several World Fair expos before and after independence. At one of these expos, Edward Seaga was the overseer. It should also be noted that in the sixties and to some extent now,the differences between urban and rural Jamaicans and wealthy Jamaicans extends into the sphere of music also. In the sixties, home grown art forms were viewed as outdated and even shamefully primitive. This attitude has led to extreme resentment by the poor and middle class(if such a thing even exists there).Another social ill that has shaped Jamaican music and is covered by Clarke, is that of political violence. Clarke investigates this and interviews members of the two leading parties, the JLP and the PNP. Serious allegations against one in particular was made by a PNP activist who stated that it was Seaga who brought political violence to Jamaica to win the West Kingston seat. Also, the PNP is charged with invading the JLP headquarters. All these events were noted by the musicians of the time.
The most important chapter however, entitled Three Modernisers, tells the story of The Wailers, reggae's most important group. He traces the start of the group in Trenchtown and the struggles of choosing music as a career path in the Third World. However,these trials, a rough neighborhood, vindictive and manipulative promoters and record label owners seemed to amplified the creative spirit of the group. The first half culminates in a record deal with Island records and international success. The group however, disintegrates because of allegations of favoritism to the lead singer, Bob Marley by managers. Clarke does not solely concentrate on the obvious star(Marley) after this. He tracks the musical and social development of the three artistes through two very important stages in Jamaican history: their first solo albums and the election violence(bordering on civil war) of 1976-1980. Tosh and Marley in particular are studied as they were the two most active at the time, politically(in the case of Tosh) and socially(Marley). In the Third World however, musicians are seldom left out of the politics of the day,as exemplified by the attack on Marley in 1976. A political speech at the Peace Concert by Tosh could have started a riot had he not arranged his musical programme in a certain way. It ends with a study of Bunny Wailer(the most mystical of the three) and the forecasting of further international success(although Marley was to pass away the year this was released and Tosh six years later).
The other chapters deal with the Reggae scene in London and the new trends in Jamaican music. Seminal figures in reggae and dub are featured here- Aswad, Culture, Black Uhuru, SteelePulse,King Tubby etc. The final chapter is about the challenges facing reggae musicians at home and abroad, namely manipulative and fickle record executives who sell reggae albums when it is in demand and drop their charges as soon as the 'boom' is over. They also copy the ideas of the local record dealers and therefore put these out of business. This is a fantastic book. It makes for harrowing but ultimately inspirational reading and is a must read. An index and short biography of all the artistes mentioned is included at the back of the book.
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