Skatalites

Skatalites’ Tragic Show

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I was combing through some copies of Star Newspapers that I had made a few years back at the library in Kingston, and lo and behold, I found an advertisement from December 28, 1964 for the Skatalites’ show that ended in tragedy–Don Drummond murdering his girlfriend, the Rhumba Queen, Margarita (Anita Mahfood).

On the same page appears an advertisement for a show the night before, New Year’s Eve:

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Just to be clear, the dancer in this advertisement above is not Margarita–it is Princess Zandra, who was also a popular rhumba and floor show entertainer. Rhumba dancers were a draw for many live bands during this time, so Zandra was a popular performer, as was Margarita, Madame Wasp, and others.

If you wish to read more on the murder of Margarita at the hands of Don Drummond, you can read my book, Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist, or if you want a quicker read, you can click this link to my blog post on the topic:

http://old.skabook.com/foundationska/2015/08/don-drummond-and-the-murder-of-margarita/

Here is a close up of the two Skatalites logos on this advertisements, which I think are super cool:

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You can see the names of the members (though a few are spelled incorrectly) clockwise from left, Lloyd Brevett, Dizzy Johnny Moore, Jackie Mittoo, Roland Alphonso, Lord Tanamo, Lester Sterling, Harold McKenzie, Lloyd Knibb, and Don Drummond.

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More on Margarita:

http://old.skabook.com/foundationska/tag/margarita-mahfood/

http://old.skabook.com/foundationska/2013/08/margarita-mahfood/

http://old.skabook.com/foundationska/2015/02/margarita-domestic-violence/

http://old.skabook.com/foundationska/2015/07/more-margarita/

Alpha Boys School

Alpha Boys’ School: Cradle of Jamaican Music by Heather Augustyn and Adam Reeves is now available!

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CLICK HERE TO ORDER!

After three years of intensive research, visits to Alpha, writing, rewriting, editing, layout and design, and countless Skype conversations, Alpha Boys’ School: Cradle of Jamaican Music is finally here! Perhaps one day, Adam, my co-author, and I will actually meet! Yes, you got that right–we’ve never actually met! That’s modern technology for you. We were able to bring together work that we had already done–Adam on a documentary on Alpha some years back, and me with my work researching and interviewing and visiting Alpha, and yet we live across a big pond from one another. Adam hails from Brighton, U.K. and I am just outside of Chicago.

Adam and I had known each other, albeit virtually, for years so when he approached me to ask me about writing this book, I jumped at the chance. I had long envisioned writing this book, and had even asked officials at Alpha to work with me on this book, but they have limited resources, limited time, and much bigger missions, like the boys themselves! Thankfully Adam came along with a similar vision and we began planning this book at the end of 2013. We started writing the following year.

Adam had worked on a documentary on Alpha musicians many years ago. In fact, he traveled to Alpha in Kingston with a film crew and that film is now in the hands of two capable directors and will hopefully see the light of day soon, but as anyone in film will tell you, funding is always an obstacle. Adam is still involved, but tangentially. So he had access to the audio of the interviews he conducted during this time, which included quite a few Alpha Boys in the U.K. who came for a reunion concert in 2007.

I had done a number of interviews of Alpha Boys over the course of my work and so I utilized those, and both Adam and I conducted a whole batch of new interviews. Needless to say, a number of Alpha Boys have died and so for those we were able to utilize newspaper and magazine archives, genealogy archives, and interviews with family members. For all of these interviews, Adam and I are most grateful.

I want to also mention that there is a chapter written by guest author Roberto Moore. He penned a spectacular chapter on Sammy Ismay which includes exclusive photos and even notations of Sammy’s musical scores! We are tremendously thankful to Roberto who is an expert in early Jamaican music and a hell of a writer and researcher.

The cover is by the incredibly talented Jean-Christophe Molinéris who painted the beautiful cover of my Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist. He lives in Paris and we have also never met! One day. The cover design was done by Chris “Sick Moore.

David “Ram Jam” Rodigan wrote the foreword for the book, and there are reviews from a number of notable people in the book, which I have posted below. Thanks to these people for their time and thoughts.

Adam and I hope that this book will both enhance the listening pleasure of fans, bring new ears to this music, and preserve the history of these important musicians for generations to come.

Who is in this book? Well here’s the list of the chapters in this 400-page comprehensive book, which includes a large section on the history of the band and the bandmasters, a suggested listening section, and hundreds of photos, many from private family collections:

  • Sister Mary Ignatius Davies
  • Leslie Thompson
  • Bertie King
  • Sonny Grey
  • Dudley Farrier
  • Tommy McCook
  • Wilton “Bogey” Gaynair
  • Ferdinand “Bobby” Gaynair
  • Joe Harriott
  • Vernon “Von Mullo” Möller
  • Harold “Little G” McNair
  • Alphonso “Dizzy” Reece
  • The Skatalites
  • “Deadly” Headley Bennett
  • Edward “Tan Tan” Thornton
  • Bobby Ellis
  • Don Drummond
  • Emmanuel “Rico” Rodriguez
  • Lester Sterling
  • Karl “Cannonball” Bryan
  • Raymond Harper
  • Samuel “Sammy” Ismay
  • Johnny “Dizzy” Moore
  • Owen Gray
  • Winston “Sparrow” Martin
  • Kenneth “Mutt” Davy
  • Ron Wilson
  • Leslie Samuels
  • Joseph “Jo Jo” Bennett
  • Glen DaCosta
  • Cedric “IM” Brooks
  • David Madden
  • Tony Gregory
  • Johnny Osbourne
  • “Floyd” Lloyd Seivright
  • Uriah Johnson
  • Vincent Gordon “Don Drummond Jr.”
  • Jackie Willacy
  • Leroy “Horsemouth” Wallace
  • Albert “Apple Gabriel” Craig
  • Leroy Smart
  • Albert Malawi “Ilawi”
  • Vernal Kelly, AKA Charlie “Eskimo” Fox
  • Winston “Yellowman” Foster
  • Tony Greene
  • Osbert Maddo, AKA Papa Madoo
  • Tafane Buchsaecab
  • Nicholas Laraque
  • Denver Smith, AKA Feluke

Praise for Alpha Boys School: Cradle of Jamaican Music

The Alpha Boys’ School is at the roots of the explosion of Jamaican music which has circled the world, starting in the late fifties and still evolving right up to today. There are only three countries whose popular music is played all over the world—American music, British music, and Jamaican music. We owe maximum respect and thanks to the Alpha Boys’ School for its contribution to this fact. Chris Blackwell, founder of Island Records

The Alpha Boys School has produced more major musical talents than any other Jamaican institution, with legendary faculty led by pugnacious Sister Ignatius who had her own legendary sound system. The rambunctious history of the school is now revealed in its fullness by the tireless research of Heather Augustyn and Adam Reeves in a book filled with riotous and rootical ramblings in its hallowed halls. Roger Steffens, author of So Much Things to Say: The Oral History of Bob Marley

A significant history of popular Jamaican music has been documented by this book. It tells how monumental Alpha Boys’ School has been and is without parallel. The testimony of the Alpharians interviewed bears witness to this, as their revelations are insightful and deep. Coming through the narrative is the towering humanity of Sister Ignatius. Dermot Hussey, on-air host, SiriusXM Satellite Radio

The story of the Alpha Boys’ School is a tale of amazing love and care, the transformation of young lives, and the creation of the music for which Jamaica is known across the world. To understand the development, reach and power of Jamaican popular music is to understand the legacy of Alpha and its impact on Jamaica’s creative community. Alpha’s story must be told and retold. The Honourable Olivia Grange, CD, MP, Minister of Culture, Gender, Entertainment and Sport, Government of Jamaica

Under the auspices of the benign taskmistress that was Sister Mary Ignatius Davies, Kingston’s Alpha Boys School was the seed-ground for much of Jamaica’s very greatest music. Among its alumni were Rico Rodriguez, Cedric Brooks, Vin Gordon, Eddie ‘Tan Tan’ Thornton, Joe Harriott, Harold McNair, and Leroy ‘Horsemouth’ Wallace. Alpha was an extraordinary educational establishment that literally saved the lives—and directed the first steps of their careers—for many of these artists. There was never a school like it. Chris Salewicz, acclaimed music writer

The progressive role played by Alpha in Jamaican music history can never be underestimated. From the days of Jamaican jazz stars like Bertie King, Joe Harriott, Dizzy Reece, Harold McNair and Wilton Gaynair, through the ska period of Don Drummond, Johnny Moore and Tommy McCook and into the period of roots reggae and dancehall with such prominent artists as Leroy Smart and Winston ‘Yellowman’ Foster, Alpha has provided stability, schooling and musical skills to generations of young men, who owed their success to this wonderful institution. Steve Barrow, former director of Blood and Fire Records and author of The Rough Guide to Reggae

“These are some of my boys,” said Sister Ignatius proudly, gesturing towards the portraits lining the walls. It was my first visit to Kingston’s famed Alpha School, and looking back at us were some of the most gifted and influential musicians that Jamaica has ever produced—all of whom learnt their craft at Alpha, and would make timeless contributions to ska, rocksteady and early reggae music. This invaluable book is the first such tribute to these pioneers, many of whom came from deprived backgrounds, and also those who taught and encouraged them. John Masouri, reggae journalist and author of Steppin’ Razor: The Life of Peter Tosh

It is impossible to overstate the importance of Alpha Boys School. By providing opportunity to young talents who wouldn’t normally have access to musical instruments and training, Alpha vastly enriched the culture within Jamaica, and by extension, the world. Simply put, without Alpha there wouldn’t be Jamaican music as we know it. Respect is due to Alpha for a gift that is as immense as it is immeasurable, and continues to this day. Beth Lesser, reggae photographer and author of Dancehall: The Rise of Jamaican Dancehall Culture

Alpha was formed in 1880 and from that time until now, every musical event that come out of Jamaica, Alpha Boys were involved with it, either playing in a band or production. Alpha is the backbone of Jamaican music today. Tony Greene, Alpha graduate, formerly with the Roots Radics Band and We the People Band

Lord Tanamo, Skatalites

Tribute to Lord Tanamo

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Lord Tanamo and his rhumba box

The music world received the news that yet another Jamaica legend had recently passed away, and so Foundation Ska pays tribute to this musical master, Lord Tanamo, who died on April 12th at the age of 82 in Toronto, Canada. He was former member of the legendary Skatalites and the Jamaica Observer wrote of him:

The singer/percussionist, who was born Joseph Abraham Gordon, combined ska with mento and calypso on several of his songs including Japanese Invasion. He led the Skatalites on songs like Come Down and I’m In The Mood For Ska.

Musicologist Kingsley Goodison remembers Lord Tanamo as a very influential member of the Skatalites.

“In addition to having his own songs, he was a percussionist as well as a back-up vocalist. He acted as emcee for the band and introduced the songs before they were played,” Goodison told the Jamaica Observer.

Raised in Denham Town, West Kingston, Lord Tanamo was strongly influenced by the legendary Trinidadian calypsonian Lord Kitchener, who lived in Jamaica during the 1940s.

At the dawn of the 1970s, when calypso and mento waned among Jamaican artistes, he kept the beat alive with songs like Rainy Night In Georgia, originally done by Tony Joe White.

He migrated to Canada during the mid-1970s but continued to record singles and albums for producers in Jamaica, most notably Bunny Lee and Sonia Pottinger.

“He left and went to Canada with keyboardist Jackie Mittoo. They performed together and became a big hit there,” Goodison added.

In 2008, Lord Tanamo suffered a stroke that left him unable to talk.

tanamo-6-26-69-calypsoniansLord Tanamo and his Calypsonians, from the Daily Gleaner, June 26, 1969.

A 2002 article in NOW magazine out of Toronto includes words from Tanamo himself. The article states: The Kingston, Jamaica-born Joseph “Lord Tanamo” Gordon, who has made Toronto his home for over 35 years, helped create the sound we now know as ska by combining elements of calypso gleaned from Lord Kitchener with the lilting mento rhythms of his childhood.

“When I was about four years old,” recalls Tanamo from his home at Dufferin and Eglinton, “a fella, Cecil Lawes, came into my yard with a rumba box, which is similar to a marimba. I liked the sound from the first time I heard it. That’s where it all came from.

“Later, when I was a teenager, I began performing on the corner with Cecil and his rumba box. In the day I’d put on torn pants and a straw hat and sing calypso to hustle the tourists, and then at night I’d put on my suit and tie and sing ballads with a band. It was all just music to me.”

It was a few years later, in the spring of 64, that Tanamo would make his most notable mark in ska history, following a fateful recording session with some of Jamaica’s top young studio talent.

“When we did recordings, the musicians were usually paid individually, but for some reason on this date Mr. Khoury made out only one cheque payable to me. So I said, “Gentlemen, since we have this bulk payment, why don’t we form a band?’

“When they asked me what we should call it, I thought, well, we’re playing this way-out music and the Americans were sending satellites into space after the Russian Sputnik. So I said, “Let’s call it the Skatallites,’ because ska was the thing everyone was doing.”

Along with naming the Skatalites, Tanamo is also credited with being among the first of many popular Jamaican artists to take up residence in Toronto, where he opened the Record Nook, the city’s first record shop selling the exciting new music coming out of the Caribbean.

“I think it was in 64 that the Eaton’s company sent for me, through the Jamaican Tourism Board, to come to play some shows in Canada with the rumba box. When I arrived in Toronto, I liked the multicultural atmosphere and I guess I fell in love.

“It happened at a show,” he remembers wistfully. “I saw a young girl crying at the front and I asked if my music was making her sad. She told me that it was actually making her happy. For some reason, I married her, and I’ve been trapped here ever since.”

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tanamoarticle

This article in the Jamaica Star, June 5, 1964, noted how Lord Tanamo had switched from calypso to ska. What a dapper young Tanamo! Handsome fellow! In case you don’t want to get out your glasses, here’s what the article says:

Big name in the world of ska today is Joseph Gordon, alias Lord Tanamo. The 28-year-old Kingtonian entered show business 13 years ago as a calypso singer appearing at leading hotels in the city with his small band before moving to the North coast to perform at hotels. After two years on the north Coast, where he appeared at such hotels as the Royal Caribbean, Tower Isle, Casa Montego and Casa Blanca, Tanamo began recording calypsoes, his first one being “Crinoline.” In 1962, however, he switched from calypso singing to ska and today his first ska recording, “Come Down” is still a favourite with radio, juke box and sound system fans. Tanamo now claims hit parade tunes “Iron Bar” and “Matty Rag,” both of which are old Jamaican folk songs done up in ska style. His popular “Ol’ Fowl” recently finished a long stay on the hit parade, but is still riding high in juke boxes and on sound systems. Apart from thrilling thousands of record fans, Lord Tanamo has long been a favourite with stage and nightclub audiences.

tanamo-9-14-57From the Daily Gleaner, 9-14-1957

Lord Tanamo is photographed below during the Legends of Ska Concert back in 2002 in Toronto. Tanamo is on the far right next to Johnny “Dizzy” Moore, Justin Hinds, and Stranger Cole.

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And of course, here is the great Lord Tanamo here with the Skatalites, as one of the four vocalists for the legendary group. Lord Tanamo is to the right of Doreen Shaffer.

The Skatalites
The Skatalites

From the Daily Gleaner, June 26, 1969: Calypso Group in Montreal–MONTREAL, June 16. Terres-des-Homes (or Man and his World) 1969 got off to a roaring start with a huge fireworks display on Thursday June 12th. Total attendance for the first three days was 297,000 visitors. Feature attraction at the Jamaica Pavilion this year is the Jamaican Group of Lord Tanamo and his Calypsonians. This group is already an early favourite and has drawn special attention with its unique Jamaican musical instrument— a rhumba box and a bamboo saxophone, with a fork and grater occasionally thrown in. When asked about the durability of his saxophone, Wilbert Stephenson replied that he keeps it in a cool place to avoid possible splitting of the bamboo due to heat and as an added precaution he brought an extra one with him. The group will play daily at the Pavilion until the Fair closes in September. Personnel of the group is as follows: Lord Tanamo (Joseph Gordon), guitar; Carlton Lewis, maracas and bongo drum; Cecil Laws (rhumba box); Cecil Largie (congo drum); Wilbert Stephenson (bamboo saxophone).

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Mike Garnice has substantial information on Lord Tanamo and his mento career which can be found HERE

So raise a Red Stripe in toast to Lord Tanamo, and enjoy these fine chunes from Mr. Gordon!

Iron Bar

Come Down

Dash of the Sunshine

Watch him perform in 2003 at the Glastonbury Festival with Lester Sterling, Lloyd Knibb, and of course, Ken Stewart on keyboard and band manager for decades! I’m in the Mood for Ska

One of my favorites, a tribute that Lord Tanamo did as a tribute for Don Drummond, Big Trombone

tanamo-skatalites-ad-6-21-64From the Daily Gleaner, June 21, 1964.

Uncategorized

Skatalites Go Into Orbit

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The following article appeared in the June 27, 1964 issue of the Star Newspaper with the headline, “Skatalites Go Into Orbit.” The article by Lloyd Davis states, “Whether it was ska-ing ‘On Broadway,’ painting a ‘Ska-trait of my love’ or just plain ‘I’m in the mood for Ska’ there was something for every taste at Bournemouth on Wednesday night when Tommy McCook and the Ska-Talites went into orbit. It was just the shot in the arm the Bournemouth needed to revive this once popular night spot. The dance floor was a sea of heads bobbing up and down in ska tempo. Any physical training instructor would have been proud of the hand movements. It seems as if diets will be out soon, for the Ska could well pull that extra pound from the tummy area. Jamaicans all know of ‘Carry go, bring come’ but wait until you hear it set to music in the Ska beat. It’s a different kettle of fish. For the past few weeks, the band have taken over Bournemouth and have kept the place alive. Roland Alphonso on tenor sax, Don Drummond on trombone (when he sits in), leader Tommy McCook on tenor sax, Lloyd Brivett [sic.] bass, Lloyd Knibbs [sic.] drums, Johnny Moore trumpet, and Lester Sterling, alto sax and trumpet combine to produce a sound that’s great.”

Tommy McCook is the man who launched them:

“In 1962 a young musician returned to his island home after spending a few years in England and the United States. This young man, having wide experience in jazz music, linked up with a local group of jazzmen and started to make a name for himself. He was Tommy McCook. Tommy, who was then an authentic jazz musician and an increasingly popular artist, was invited by Messrs. Coxon [sic.] and Randy, to do recording for them, but for McCook, jazz was not to be given second place for SKA (which at the time was of very little significance). Roland Alfonso [sic.], who was doing recording for Coxon [sic.] and Randy left the island and also a vacant space for a recording artist which could only be filled by someone as proficient as Tommy McCook. It was at this stage that he decided to enter the recording scene and he did so with terrific force. One of his first record releases was ‘DOWNBEAT’ which was a hit, and he then went on to make his next hit ‘Road Block,’ a Ska instrumental. This release projected McCook to the front rank of leading recording artists where he was in constant demand by Ska Lords like Randy, Tip Top, Duke Kid [sic.], and Prince Buster. Today Ska as it should be played is produced by the talented musicians who are not attached to any particular band. Tommy McCook is one of these musicians. He realised that the Ska boom was being heard all over Jamaica and in other parts of the world and he organised his fellow musicians and formed a new Group called the SKATALITES. The SKATALITES have made four public appearances so far and have made a good impression.”

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This article, which appeared in the Star Newspaper just two days later on June 29, 1964, provided a photographic account of one of those performances that the Ska-Talites made at the University of the West Indies, presumably at Mona. The top left photo shows Tommy McCook performing with the caption, “Tommy McCook, leader of the Ska-Talites, intent on his interpretation as the Skatalites play for the University’s undergrads.” The next photo bears the caption, “Press along, in various stances, ska-ites ‘dig the hot beat’ of Tommy McCook and the ‘Ska-talites.'” Below a photograph of a woman doing the “Wash Wash” appears, the song that Prince Buster made famous at the 1964 World’s Fair with the dance moves to correspond. Two ska dancers appear above the caption, “Getting With It, two respond to the ‘Skatalites’ keen sound during ‘Ska-talites Night’ at the University Students’ Union.” The two photos at the bottom feature a group shot of the band with the caption, “The men with the big sound: ‘The Skatalites’ at the Students’ Union of the University of the West Indies on Wednesday night last ‘Skatalites Night’ during the University’s ‘Festival Week.’ From left Johnny Moore (trumpet) Lord Tanamo (guitar), Roland Alphonso (Tenor Saxophone), Loyd Knibbs [sic.] (drums), Lester Sterling (alto saxophone), Lloyd Brevet [sic.] (bass), and leader Tommy McCook. Absent on the night was Don Drummond.” The next photo features a dancer with the caption, “‘Oh, Ah Can’t Take No More,’ this ska-ite seems to say.”

Don Drummond’s absence, incidentally, could be due to a number of circumstances. One, he could have been struggling with mental health issues, though he was not likely in Bellevue at this time, but more likely is a second scenario–while Don Drummond was certainly a member of the Skatalites, and a crucial member at that, he was also a widely recognized solo performer as well. In fact, that same month he headlined as a solo performer at Johnson’s Drive-Inn where he was billed as “Mr. Ska himself.” He appeared that same night with Margarita “Rhumba Queen,” so the point is that it is possible that Drummond may have had another engagement, or he simply turned this engagement down. We can only speculate with educated guesses at this point. Six months after this performance, Margarita would be dead, murdered at the hands of Don Drummond.

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The following article appeared in the Star Newspaper the following month on August 20, 1964 with the headline, “The Ska-talites to tour Island.” The article reads, “Tommy McCook and the Ska-Talites will be performing in a series of stage shows at the Appleton ‘SKA-TA-RAMA’ presented by J. Wray & Nephew Ltd. at certain theatres. The Ska-Talites will be accompanied on the tour by The Maytals (with their theme song ‘Pain in My Belly’) and Maria Cordero, Dominican Republican rhumba dancer. Opening in St. Ann’s Bay in the Seville Theatre Monday August 31; Highgate, Movies Theatre, Tuesday, September 1; Port Antonio, Delmar Theatre, Wednesday, September 2; Old Harbour, Reo Theatre, Thursday, September 3. Kingston, Majestic Theatre. Sunday, September 6; Duncans, Crest Theatrem, Monday, September 7; Santa Cruz, Santa Theatre, Tuesday, September 8; Mandeville Tudor Theatre, Wednesday, September 9; Linstead, Theatre Royal, Thursday, September 10; and into Kingston at the Ritz Theatre Sunday, September 13. Other supporting artistes will be Hortense Ellis, Pluggy and Beryl, Ranny Willians, Alton Ellis, Don Drummond, Roland Alfonso [sic.], Sonny Bair, Delroy Wilson and other top local artistes. There will be free bottles of Appleton Rum given away to lucky ticket holders at each theatre.”

Below are two advertisements from these Ska-Ta-Rama shows.

Daily Gleaner, September 2, 1964:

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Daily Gleaner, September 3, 1964:

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Anita Mahfood - Margarita, Don Drummond

Don Drummond and the Murder of Margarita

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I have heard over the years, read in books, and still hear today that on that fateful night, January 1, 1965, that Margarita did not give Don Drummond his medication, or gave it to him late, thus causing him to sleep through his Skatalites gig and, in anger, stab her when she returned on January 2nd in the wee hours of the morning. I want to take a moment to address this myth because I think what this argument does is very subtly places blame on Margarita for her demise, takes away some of the responsibility from Don, and gives some sort of justification or reason where there is no reason other than untreated insanity.

First on this matter, an excerpt from my book, Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist.

But many have thought over the years that Drummond became upset when he finally awoke to find he had not only slept through his performance, but that Margarita was gone. His defenders claim that Margarita manipulated his medication dosage or gave it to him late so she could go dance at the Baby Grand on Crossroads for her first show, and at Club Havana in Rockfort where she had her residency to dance the rumba for wealthy gawking men. There is no way to prove such a claim that Margarita somehow altered Drummond’s medicine he took to treat his schizophrenia, nor is there any way that anyone would know such information. Zola Buckland Sergi, Margarita’s niece, feels that many fans, band mates, or Rastafarians are skeptical of the events and merely looking for an explanation, looking to put the onus on Margarita for Drummond’s actions. She dispels this myth saying, “People say she must have given him his medication improperly and so he slept through it. She didn’t give him his medication! He took his own medication! My mom said it was impossible and people are looking for a reason why he killed her. The reason is, he was nuts!”

Now, let’s take a moment to think logically about this argument. How would anyone know that Margarita gave Don his medication late or not at all? Don never showed up at his gig that night, so he never left the house and was asleep. Margarita, the only person involved in the interchange, was dead, so was unable to tell anyone that she had done such a thing. If Don later told someone that Margarita had given him his medication late, that would be an excuse offered by the murderer, so is suspect, and has never been stated by any of the musicians. Instead, what we have are musicians or friends of Don who offer this as a sequence of events, as a way to provide reasoning. It is blaming the victim of abuse and it simply defies logic. But it speaks to the love for Don, that his friends and musicians would want to protect him, give him a reason. The reason, as Zola says, is he was insane and it was untreated properly. That is the reason, the only reason, and it is sad and horrible, but time that we accept it.

Here’s a similar blog post I wrote in October 2013. Still the myth persists, so I write it again.

http://old.skabook.com/foundationska/tag/anita-mahfood/

Uncategorized

Sound Systems at the Jamaica Festival

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I stumbled across this advertisement from the Daily Gleaner, July 31, 1965 and noticed that a number of sound systems were playing for this celebratory street festival parade, and guests were encouraged to join in the parade at the end. Yes please! Can you even imagine? King Edward “the Giant,” Prince Buster, Lloyd the Matador, and even the Skatalites were in this parade! Geez Louise! If they ever invent a time machine in my lifetime, here’s my first stop! Below are a few stills from that now-famous footage of the Skatalites performing in this parade.

The Festival was founded by Eddie Seaga who pushed hard to promote ska with a deliberate strategy because he saw that ska was connected to the newly independent Jamaica and the nation’s cultural identity, although there are other reasons too. He founded the Jamaica Independence Festival, a showcase of Jamaican arts, which included an all-island ska and mento competition. At the first annual festival, Byron Lee & the Dragonaires performed, of course, and the festival was hosted and funded by the Ministry of Development & Welfare, Seaga’s department. The first festival began in 1962 to celebrate and coincide with the independence. Seaga continued the festival each year after and in 1966 brought the Popular Song Competition into the offerings. Seaga’s meetings of the Parish Festival Committee were broadcast on JBC and RJR so the public was aware of his agenda to promote ska. And he was photographed and appeared in the newspaper as he cut checks to artists like Prince Buster for their help in promoting ska.

In case you don’t have a magnifying glass to see the performers at this Festival, here are the closeups, which I think are immensely interesting:

JA-street-parade3

Drumbago

Drumbago

drumbago

Every good musician has a nickname. Well, maybe not every musician, but many of them. And Jamaican culture is certainly known for dishing out some pretty fantastic nicknames, like Bunny and Wingy and Chicken. And I always love Jamaican musician nicknames, like Trommie for the trombonist, Drummie for the drummer, Saxa for saxophonist in the case of the Beat, and other classics—Tan Tan, Ribs, Cannonball, Sparrow, Clue J, Scully, Junior, Stranger, and one I wrote about last week—White Rum. Of course all of the royal monikers like Sir and Duke and Prince and Lord were ways to take back colonial power. Heck, Jamaica itself has a nickname—Jamrock. When I was on the Kingston waterfront one day and saw a huge black bird, I asked my taxi driver what the name of the specie was and he said, “We call them Old Man Joe.” Same thing happened when I saw a fish—“black fish.” Nicknames are so much a part of Jamaican culture, in many cases they take over the birth name.

So it got me thinking, there was a man I always heard of by his nickname and rarely his real name, and I wanted to find out a bit more about him. It’s easy to figure out which instrument he plays, with a name like Drumbago, and it turns out he had quite an important career, helping to shape the ska rhythm.

Drumbago’s real name is Arkland Parkes, although the only two articles that the Daily Gleaner ran on him, when he died, name him as Auckland Parkes. That’s probably not accurate, and perhaps comes from a mix up with Auckland Park, which is a suburb of Johannesburg, South Africa. Either that, or Auckland is just a typo, which is also likely.

Prince Buster asserts that it was he who created the ska style and claims to have asked Drumbago to play a march, a style of song that Prince Buster favored even as a young child, the same march-style of music that was played during carnival and in processions, heavy with drums. Prince Buster says he asked Drumbago to stress the offbeat and asked guitarist Jah Jerry to perform a guitar strum and Dennis Campbell to perform saxophone syncopation to accent the rhythm, thus creating the ska sound. As we know, there are many versions of the birth of ska, but there is no question that Drumbago was there at the beginning. In fact, he performed on what is widely accepted as the first recorded ska song, “Easy Snapping.”

drumbago-jan-14-1967

Drumbago performed drums for a number of musicians in the studios during the early days, including Justin Hinds & the Dominoes, Don Drummond, Jah Jerry, Rico Rodriguez, Deadley Headley Bennett, Baba Brooks, Clancy Eccles, Derrick Morgan, Karl Bryan, Eric Monty Morris, Roy Panton, Roland Alphonso, Stranger Cole, and with the Skatalites. Drumbago even performed with the Gaylettes fronting on vocals—Judy Mowatt, Beryl Lawson, and Merle Clemonson before Mowatt went on to perform with the I-Threes.

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He had his own groups, or whatever producers wanted to call the lineup on the record label, including D Bird and The Drumbago Band, Drumbago and His Harmonizers, Drumbago’s All Stars, Drumbago and Jazz Beat, Drumbago and Prince Buster All Stars, Drumbago and The Blenders, Drumbago and Soul Rhythms, Drumbago and The Dynamites, Drumbago’s Orchestra, Magic Notes and Drumbago, Monarchs and Drumbago All Stars, The Drumbago Ska Band, Raymond Harper with the Drumbago Band, and he also did producing for musicians as well.

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The following are the two articles that the Daily Gleaner ran when Drumbago died—one announcing his death and recapping his life, and the other on his burial. Take note of some of the mourners at his funeral which includes many musicians.

Mr. Auckland Parkes, musician, dies

From the Daily Gleaner, January 23, 1969

Mr. Auckland Alvin (Drumbago) Parkes, leader of the Drumbago Orchestra, died on Sunday [January 19, 1969] in the Maxfield Medical Centre Hospital, after a short illness. He was living at 8 Crescent Road, Kingston 13. He was regarded as one of the best drummers in Jamaica and in addition played the flute. Mr. Parkes was also a pioneer in local recording when he began making recorded music back in 1959.

He started his musical career at the age of 15 playing the drums in his brother’s  (Mr. Luther Parkes) orchestra. After leaving his brother’s band he appeared in night clubs and on stages throughout the Island with other top orchestras which included Eric Deans orchestra, Val Bennett and his All-Stars and Frankie Bonitto Combo.

Weekend shows

Sometime in the late 40’s he formed his own orchestra and had regular weekend shows at the then Silver Slipper Club, Cross Roads, where his versatility on the drums earned him the name “Drumbago.”

He then took on a contract at the Baby Grand Club, Cross Roads, and played there on weekends for seven years before leaving and entering the recording field.

He also did a two-year stint in the United States and for a period he was top drummer in orchestras on tourist cruise ships. On his return to Jamaica he continued his performances to many capacity audiences at theatres and night clubs.

After giving up the Baby Grand engagement he continued with the orchestra but concentrated more on records and playing at street dances at all the independence festivals.

Recordings

Some of his earlier recordings were “Second Fiddle,” “Chariot Rock,” “Betrayers Downfall,” “Easy Snapping,” “Humpty Dumpty” sung by Eric Morris; and was featured musician for Prince Buster’s All-Stars.

In the 1962 independence celebrations he was the drummer in Derrick Morgan’s hit tune “Forward March,” and his band figured at the street dances.

He continued making records up to the time of his death and in the latter part of 1968 he recorded tunes such as “Mary Poppins,” “Dulcimina,” and his latest hit which was released a few weeks ago is the current No. 1 tune “Everything- Crash.” He also has a lot of tunes which are complete but not yet released on the recording market.

Survivors are his brothers Luther, and Pastor Arnold Parkes, sister, Olive (Mrs. McCatty), nieces, Mrs. Vera Hanson, Dahlia and Marjorie, adopted daughter, Jennifer, nephews, Ernie, Michael and John, and other relatives. Funeral services for Mr. Parkes will be held on Sunday at Sam Isaacs Funeral Parlour, 44 Hanover Street, at 3 p.m. Interment will be at the May Pen Cemetery.

Mr. Auckland Parkes Buried

from the Daily Gleaner, January 28, 1969

Funeral services for Mr. Auckland (Drumbago) Parkes, leader of the Drumbago Orchestra, who died recently in the Maxfield Medical Centre Hospital after a short illness, were held at Sam Isaacs Funeral Parlour, Hanover Street, on Sunday afternoon. Interment followed in the May Pen Cemetery. The services were conducted by the Rev. S. E. Johnson of the New Testament Church of God, who eulogized Mr. Parkes as a good family man and a person who was loved by all who knew him.

Mr. Parkes, who died at 50, was regarded as one of the best drummers In Jamaica and in addition played the flute. He was also a pioneer in local recording when he began making recorded music back In 1959.

Pallbearers were: Mr. Luther Parkes and Pastor Arnold Parkes (brothers), Mr. Ernest Hanson, Mr. Bill Campbell, Mr. Richard Williams and Mr. Boysie Stewart.

Family mourners were- Mr. John Hanson and C. Hanson (grandnephews). Misses Dahlia Hanson and Majorie Hanson (grandnieces), Olive Parkes (sister). Mr. Albert Parkes, (son) and Master Richard Parkes (grandson).

Among the many other mourners were: Mr. Cleveland Webber, Mr. Stanley Notice, Mr. C. Campbell, Mr. Percival Dillon, Mr. Alvin Wilson, Mr. A. O’Brian, Mr. Claude Gobonrne, Mr. Alphonso Dockett. Miss Shirley Thompson, Miss Monica Paige, Messrs Arthur Lee, Clifton Thompson, Clancy Eccles, C. O Brian, Percy Myers, Val Bennett and Mr. Clifton Bailey. _Mr. Hedley  Walker, Mrs. I. Miller. Mr. Eric Phillips Mr. Mapletoft Poulle, Mr. Alfred O’Brian, Mr. J. Coleman, Mr. P. Cole, Mr. R. Patterson, Mr. J. Thompson, Mr. Cecil Savery Mr. D. Saunders, Mr. V. Anderson, Mr. A. J. Stephenson, Mr. George Tucker, Mr. L. Malabre, Miss P. Anderson, Miss I. Stuart, Mrs. I. Francis, Mr. Ernest McGann and Mr. V. Wallace.

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9 Rusden Road

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This is 9 Rusden Road, the house where Don Drummond lived with and murdered Anita Mahfood, Margarita in the Rockfort neighborhood at the foot of the Wareika Hills. I took this photo last February and it was my second time visiting the home which a lovely woman named Carmen still lives in. These are her grandchildren sitting on the front steps, the same steps that Margarita climbed early in the morning on January 2, 1965. Don Drummond had fallen asleep earlier in the night and missed his gig with the Skatalites at the La Parisienne Club in Harbour View, a club near the Palisadoes Airport in east Kingston. He never made it to that performance. It was not the first time he missed a gig. He frequently missed performances or was late for a gig. Tommy McCook has said that he went to pick up Don at 8 p.m., prior to the gig, and found him asleep so he left without him and returned after their first set during intermission to try again. Still, Don was asleep, a side effect of the medicine he took, said McCook.

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I want to take a moment to logically think about an argument that has been made over the years blaming Margarita for giving him his medication late, causing him to fall asleep, and then slipping out to dance against his wishes. How would we know that Margarita did that? She was dead so she couldn’t tell. Could Don have claimed that Margarita gave him his medication late? Not likely as Don was despondent and what talking he did do at the Rockfort Police Station was a lie since he claimed that Margarita stabbed herself and that was proven untrue. It simply defies logic to argue that Margarita administered Don’s medication that night, but it does put the blame on her so it is interesting that those in disbelief over the incident would want to shift the blame.

Margarita’s best friend, Faye Chin, remembers the murder which was easily overheard by the other tenants of the house. That’s right, there were other tenants in this small home. It was split into four rooms with Don and Anita occupying one. It was furnished with two single beds and a desk that contained Don’s compositions on paper. Faye says, “Now this place was like a house and you rent a room and another person rent a room and another person rent a room. So this woman that her room was behind their room, she said she heard when Anita came in and she laid down on her bed, she heard a scream and said, ‘Oh God, Don what are you doing?’ She’s screaming, ‘Don, what are you doing?’ And he stabbed her so badly. There was no blood. The knife stabbed her in the chest. I got a call early in the morning and I phoned Conchita, her sister, I tell her, ‘Okay, I’m coming to pick you up,’ and I drove over to Conchita’s house, pick her up and we went down to identify the body. She had on her jeans (sobbing) and she had on a shirt with a stain in the front at her waist and she was just laying on her bed on her back (sobbing uncontrollably).”

You can read all about the murder from the recollections of many fellow family, friends, and musicians, as well as the trial that ensued in my book Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist (click the “skabooks” link above for more info). I would love to hear your thoughts on this event that literally changed the course of music in Jamaica forever, for it was after this event that the Skatalites broke up without their master composer and it was after this event that the heat wave that summer ushered in slower rocksteady and subsequent reggae. How important do you think Don Drummond was to ska?

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Spies, Gun Slingers, and Gumshoes. American Film in Jamaican Ska.

guns-of-navarone

Here is an advertisement for Guns of Navarone from the Daily Gleaner, January 19, 1963. Certainly it inspired The Skatalites and Don Drummond to create their classic ska version of the American film’s soundtrack. American movies were incredibly popular in Jamaica during the 1950sand 1960s, as were all types of American culture and media, especially music. Spaghetti westerns with tough cowboy stereotypes, and spy movies were favorites. In addition to “The Guns of Navarone” which was a seminal hit for the Skatalites, so too was the James Bond theme, “Dick Tracy,” and “Lawless Street” which was made after the 1955 western movie, while “007 (Shanty Town)” became a big hit for Desmond Dekker in later years. “Bonanza Ska” was a ska version of the classic television theme song played by Carlos Malcolm and his outfit. “Duck Soup” by Baba Brooks was a song in honor of the Marx Brothers’ 1933 movie of the same name.

Byron Lee & the Dragonaires even appeared in the Bond movie Dr. No, the first James Bond movie, which came to film in Jamaica. The Dr. No soundtrack included Byron Lee & the Dragonaires tunes “Kingston Calypso” and “Jump Up,” which they performed in the film as the house band in a scene set in a club. The club in the Dr. No was known as Pussfeller’s bar but they were actually filmed at a hotel and yacht club at Morgan’s Harbour which was located on the main road to Palisadoes airport (renamed to Norman Manley International Airport).

The Daily Gleaner on January 16, 1962 boasts the headline, “Dr. No Team Arrives.” Ian Fleming had already visited the island as early as 1948 and fell in love with the land and its people, eventually calling it home, so it is no wonder that he chose Jamaica as setting for his first film. The film stared Sean Connery and Ursula Andress. The article stated, “Many Jamaican actors will be used in the film. They Include Reggie Carter, ‘Miss Jamaica’ Marguerite LeWara, Eaton Lee, and others. Monty Norman, who is to write the music for the film, will use local bands as far as possible. Director Terence Young will be interviewing local artists at the Copacabana club tomorrow evening, for the cabaret scene.”

As a side note, the following month, musician and orchestra leader Carlos Malcolm and guitarist Ernest Ranglin filed a monetary claim suit in the Supreme Court against the production team, claiming that “he was engaged to compose and write musical scores and supervise the recordings, while Mr. Ranglin claims he was engaged to look after the arrangements.” It is not known what the outcome of that suit was, but the film was premiered in Kingston at the Regal and Carib Theaters on September 17, 1963.

The role of American film in early Jamaica ska is important. Scholar Joseph Heathcott writes, “Such songs reveal the close affinities ska musicians felt to liminal male characters—tricksters, spies, cowboys, private dicks—as well as the ongoing media and commodity ties between Jamaica, Britain, and the United States.”  The incorporation of such imagery in ska and rocksteady only grew and evolved in the English and American incarnations of ska in the subsequent decades as they were interpreted through new eyes.

Can you think of more Jamaican-era ska or rocksteady references to American film? Comment here.