Musically, a Solid Alibi: Kathy Brown & Friends

Even if the Barron's courtyard in Kingston was filled to overflowing Sunday night, there was certainly and appreciative spirit among the faithful who gathered for the most recent renewal of the Alibi 4th Sunday Jazz Jam.

And there was lots of good music to appreciate. Keyboardist-composer Dr Kathy Brown liberally sprinkled her own fine tunes (Spirit, By Sunday) amongst some equally tasteful covers. "Satta A Massa Gana" segued neatly but robustly into "I Shot The Sheriff" There is of course a trend for Jamaican instrumentalists to put their spin on Bob Marley Tunes (indeed, he remains a global musical preoccupation) and several Bob Marley gems went down, this time in the (appreciative) presence of long time Bob Marley engineer Dennis De Menace Thompson.

And Brown had plenty of help in her quest. Drummer Desi Jones and the always improving Paul Smiley Madden rounded out a robust rhythm section that was further strengthened by the addition of Stephan on percussion and - all too briefly - trombonist Pesso - who did a nifty vocal turn on Fly Me To The Moon.

In between sets there was the always impeccable selections of Merritone's Monte Blake, who remains a fount of knowledge and a supreme encourager of quality.

vocal fans were also in for a further treat later in the night. The CyberSka man, David Madden, normally heard on both trumpet and vocals, was time out content to add lyrics to a sprightly arrangement of eastern Standard Time. He then made way for the evening's highlight. Ellan Edwards-Neil, very much with child, who delivered a silky Besame Mucho in tribute to former colleague and well-known bon vivant Walter Campbell. Her pinnacle however, came with an exquisite delivery (musical and vocal) of Jimmy Cliff's I Can See Clearly - with the bridge especially setting a new standard for intelligent and inventive interpretation.

The music went on for a wee bit after that, but this writer was already sated (and with a young one of my own to help raise) departed a very happy camper, hoping the series my have the longevity and the popularity it deserves.

Courtney John, The Future: Taking Reggae into the Theatre of Ideas

There's no serious listener of Jamaican music who would contest that the idiom has gone into a prolonged and unhealthy stasis over the last 25 years. Its not that not good music ha been released over that period, but rather that the few worthy tunes have been bowled over by the tide of mediocrity and even excrement that has prevailed. Simply put, Jamaican music has run out of ideas.

Barely a minute into Courtney John's rendering of Errol Dunkley's "Black Cinderella" one gets the first thrilling jolts of hope; the track is one off his latest project entitled "The Future" - the album's been out for months now and the music's been worked on for even longer but - with material this good - the public may forgive us for being a bit tardy in covering it.

For The Future - notwithstanding that it references the past in covering a decades-old classic (among other tunes) - is Courtney John's theatre of ideas, and those ideas are very powerful, especially from the sonic viewpoint. For the fuss that has been made about "riddims" in the dancehall space since their 90s heyday, only handful of those have proven to be truly transcendent. Onr of that handful is the "Diwali"  the handiwork of keyboard ace Steve "Lenky" Marsden, who is one of John's recording and producing cohorts on this project which he has dubbed "Rootstronic".

On the "Cinderella" track, John's spare yet urgent vocals form a cool counterpoint to the super -spaced-out dub and ambient sounds that form the backdrop, addin

g even greater urgency to the question of the title. But this is far from the album's only stellar offering. Cue up "Soul of A Man" and an even more marvelous contrast emerges, this time with John employing the more familiar falsetto. If "Cinderella" is an homage to the classics, "Soul of a Man" is a torpedo - John, Marsden and drummer-performer Wizzard have put together a sonic storm that sounds not only perfectly logical, but entirely heart-felt and, in fact........human. Similalr effects are realized on "Rain Like Gold" and "Nothing For free"

this is indeed the great virtue of this entire project. john and his partners have managed to  sincerely reinvigorate the Jamaican sound and make it more globally accessible but without robbing it of the warmth and spontaneity for which it deservedly grabbed world attention in the first place. This sounds easier said than done and may come off as casual praise, but if one patiently takes in this album and allows the sounds to simply find their way and wash over one's consciousness, the simplicity and daring within them becomes apparent - in most cases wonderfully so. this is an album which will elicit many an unintentional smile and a nod of the head - not simply in time with the often staccato beat, but in recognition that one is witnessing the evolution of an artist who is intent on pushing the sound forward on his own terms.

it's about time.

For Ansel Collins… DOUBLE BARRLE A DOUBLE-EDGED SWORD

It is one of those songs  Its spoken word intro (“I am the magnificent!!”) is among the most recognizeable lines in pop music. Both that intro and the fluid melody lines have been sampled and cited innumerable times by artistes in virtually every sub-genre of pop music.

But even as the Jamaican classic “Double Barrel” notches its 40^th anniversary of  release this year, keyboardist Ansel Collins still has mixed feelings about the tune which has essentially immortalized him among music aficionados.  It is a conundrum that’s heightened as he prepares to reunite with Dave Barker (born David John Crooks ), at the upcoming LONDON INTL SKA FESTIVAL, scheduled for April 21-24 in the British capital.  

Speaking by telephone, Collins recounted the genesis of the song, which he said was actually recorded back in 1969. “Well is me really put that tune together, you know” he recalls. “We went into what they then called Dynamic Sounds and the idea for the tune just come to me. Sly (that is reggae drumming legend Sly Dunbar, then a mere 14 years old) play on it, and From we set it I knew it was gonna be big,”  That prescience however, did not extend to him securing full rights to his creation, a fact which today dampens any celebratory feelings he may have given the song’s reach and longevity.  In fact, he states that barker’s now renowned vocal was added after the initial record was made. The song was credited to Winston Riley, of the Techniques fame.

Double Barrel, released on Techniques Records, part of the Trojan Records label, topped the Jamaican charts, and went on to further success overseas. The single reached #1 on the UK Singles Charts for two weeks in April 1971 and reached the top 30 of the Billboard Hot 100, peaking at #22. A sequel of sorts, “Monkey Spanner” also enjoyed some international success, but Collins says he and Barker never again recorded thereafter. He has written nad recorded a considerable amount of new material. As a sessions musician, he has contributed to many of the biggest rocksteady and reggae tracks.

 The London International Ska Festival will be held at The Clapham Grand Theatre,  and will feature 37 bands & DJs from 11 countries, showcasing the very best of the music form that is the precursor to reggae. The festival will in fact encompass the whole spectrum of  Jamaican pop music, progressing from the  classic ska sound through rocksteady and reggae, and coming right up to today’s contemporary interpretations of Ska sounds. 

The headliners include Jamaican legends Ken Boothe, Bob Andy and Marcia Griffiths as well as Collins. It will also feature bands from the UK, Italy and other countries.