The Music Of Jamaica:  
The Birth Of The 'Rock Steady', Reggae . . .

With the advent of Don Drummond, the finest "session" musicians came together and formed a band which eventually established itself as one of the greatest "Ska" bands the era ever produced.

The "Skatalites" band featured some of the finest innovators and exponents of that music, which its name embodies: Don Drummond, (tronbone), Tommy McCook (sax), Jackie Mitto (Keyboard), Roland Alphanso (sax), Johnny Moore, Lester Sterling, Lloyd Brevett (bass) and Lloyd Knibbs, (drums).

The styles of most of these instrumentalists were to have far reaching influences on generations of Jamaican musicians.

There were other good musicians at the time such as Rico Rodriques and Baba Brooks but this did not prevent the "Skatalites" from establishing themselves as the main beat behind the music emanating from Duke Reid and Coxsone studios and systems and remained in the vanguard until they were disbanded in the mid-1960’s.

It was then, that the society realised the importance of what was happening at the grassroots and reluctantly began to appreciate and display a measure of pride. Existing then was a great pioneering spirit in the air and this was heightened by something very valuable and potent.

There was an abundance of stage shows during the 1960’s. The recording industry, night clubs and radio stations began taking an active interest in the new music and made it an active period for Jamaican Musicians.

Commercial Viability

Surprisingly, the music managed to preserve its integrity in light of growing commercial viability. This was so, because the two most prolific and vibrant recording studios were almost identical; mainly because both began as extensions of the two major sound system – Duke Reid and Sir Coxsone’s and had retained their close contact with their roots, the public.

This welcomed activity, provided many young persons with the opportunity to make a "name" for him or herself and an escape for the hopelessness caused by the badly ran down innercity communities or ghettos.

During this period a number of young singers appeared and soon grew to international fame. Bob Marley, Jimmy Cliff, Ken Boothe and Toots Hibbert are fine examples.

The Rastafarian philosophy provided the spiritual undercurrent, which kept the cultural movement alive. This was greatly influenced by the Marcus Garvey movement of the 1930’s, although the Rasta farina movement had put down deep roots in areas of western Kingston.

At the time when all this was taking place, the older and more orthodox Rastafarians had to a great extent achieved their status as spiritual leaders. While the Christian Church controlled the more conservative elements of the working class, especially in the rural areas. However, Rastafarianism seemed to appeal to the younger and often more aggressive male of the urban depressed communities.

The music created then, was heavily influenced by Rastafarianism. The chanting and synocpatic drumming and spiritual preoccupation exerted much influence on both rhythm and lyrical content. The "Ska" era produced many instrumental heroes. The great Don Drummond topped the list, but came to a tragic end in 1969, when he died at the Bellevue Asylum, having being committed there for killing his common law wife.

At this point the "Skatalites" had been disbanded and the "Ska" was on the decline. And young musicians, especially, began searching for new directions; and singers pressed for tempo more suited as a vehicle for their skills.

With this in mind the "Rock Steady" came into being.

This new music came in at a time when the sound system was facing competition from the middle class oriented "disco". Many new clubs sprang up and soon become the main outlet for "disco" music. Musicians who worked with the big bands had to be content with working on stage shows and doing "session" work, because private house parties and dances were dominated by "disco" music.

Some degree of progress was evident as catchy dances were created to go along with the music. During this renaissance the singers enjoyed the spotlight: foremost among them were, Ken Boothe, Bob Andy, Alton Ellis, Heptones and Slim Smith.

The Rock Steady was much slower in tempo and more synocopated in its rhythm than the "Ska"; and proved at time constricting for full improvisation and comfortable development.

And so the Reggae was born!

It came out of the rock steady, mento, and ska rhythms. And so, Jamaica’s pop music entered the era of the 1970’s with reggae in full swing.

Music and recording became big business and several new studios sprung up which featured the very latest and the most sophisticated equipment available. People from all over came to Jamaica to record and enjoy the new music. And so, Jamaica carved out a niche in the international recording industry.

Jamaicans overseas, in particular Great Britain, one of the world’s most lucrative pop music centre caused labels: "Island and Trojan" to capitalized on this and broadened the scope of the Jamaica music industry.

Prolific soloists as Millie Small with her hit song "My Boy Lollipop" and Desmond Dekker with "Poor Me Israelite" were forerunners of Jamaican music overseas. They were successfully followed Jimmy Cliff and others.

And so, this new Jamaican music was taken by the second "Messiah", Bob Marley to deeper Europe and other continents.