Category Archives: ReggaeReport.com Exclusives!

Morgan Heritage at LA’s Key Club 2008

Morgan Heritage Rocks the Key Club on Sunset Strip

Photos and Review by Jan Salzman

Una and Peter Morgan

June 18, 2008 – Los Angeles, CA – I arrived early, around 3 PM, at The Key Club. I thought it was sound check time, but it was actually load in time. A few of the Morgan brothers and sister Una were mingling with local family members. Mr. Mojo came over and said, “You’re early!” I explained that I would love to listen to sound check, if possible, and Mojo agreed. I think he had problems with a digital percussion machine that he bought. He had to run it back to the shop.

After a wonderful sound check, Mr. Mojo arranged for me to interview Una and Gramps also. I went for a bite to eat and returned about 9:30 to catch the opening act, Hooliganz. They were a surprisingly good roots Reggae band that raps, too. Continue reading Morgan Heritage at LA’s Key Club 2008

MPQ’s Letter to JA Editors – June 2008

Greetings!  I sent this letter, twice actually, to the editors and writers of the Jamaica Gleaner and Observer after reading Prime Minister Golding’s official statement declaring that ‘it is time for a comprehensive reggae marketing plan.’ I enthusiastically replied as a member of the reggae community, a fan, and a concerned world citizen. Since they didn’t publish it, and in order to share these thoughts and suggestions with the global community, here is my letter. If you would like to respond or comment, please write me.

Dear Editor:
As a 27-year Reggae industry veteran, I was ecstatic to read Prime Minister Golding’s acknowledgement that it is “time for a comprehensive marketing plan for Reggae music.” In recognizing Reggae’s importance on a level equal to tourism, I commend his initiative to create a strategy that will not only positively promote Reggae, but also address the negativity that has pervaded the world stage. The prime minister’s official May 26 release appeared on websites in the USA, France, Czechoslovakia, Japan, and Thailand, attesting to Jamaica and Reggae’s international interest. Nearly 40 years old, Reggae is recognized as “Jamaica’s greatest musical export,” and the time to protect its hard-earned reputation is now.

From 1996 to 2007, several studies, written locally and abroad, have addressed Reggae, Jamaica, and the importance of global marketing. The link between the two is undeniable; Reggae is part of Jamaica’s image in the tourist market. The plan is already there, studied and presented by scholars, music professionals, politicians, and journalists. Central to the solution is the Internet. The possibilities for e-commerce, digital download, creativity, and wide-ranging national and cultural promotion – when well organized and managed – will create extensive employment opportunities and contribute considerably to Jamaica’s economy.

I commend all foundation Reggae artists and professionals who achieved success and shaped a world sensation before the Internet. Young artists have benefited from this groundwork, and any action on their part to dishonor such achievement must, and will be, addressed. Although abundant, “talent alone is not sufficient to build a competitive music industry.” Effective business organization requires entrepreneurs, intellectual property protection, access to financing, education, training, new technology, and the expertise of the private and public sectors.

Today, negativity surrounding Dancehall artists who endorse homosexual violence or degrade women has marked a decline in creative talent. The positive message of 70s and 80s Reggae is being overshadowed by the recent era of negative lyrics. Citing Bible passages as the reason for this rhetoric is narrow-minded and selective. Unfortunately, this phenom has left Jamaica, where fans may enjoy or encourage such talk, and travelled abroad where large numbers of fans – gay or not – find the content offensive. Dancehall artists who endorse or participate in ‘gay bashing’ are bringing great global harm to Reggae’s reputation and 40-year history. How will it stop? Education. Opportunity. Cooperation. Action. Addressing this problem is the beginning of a solution. Get up, stand up. To plan for Reggae’s future, we must first believe in Reggae’s future.

M. Peggy Quattro
ReggaeReport.com & Reggae Report Publisher
Miami, Florida
June 5, 2008

Interview with Una and Gramps – Morgan Heritage 2008

Morgan Heritage: Mission in Progress

Interview and Photos by Jan Salzman

July 1, 2008 – Los Angeles, CA – I am a huge fan of Morgan Heritage, the popular Reggae/Rock group of siblings, children of Reggae’s legendary singer, Denroy Morgan. My first exposure to the Morgan clan came during the 2007 Ragga Muffins Festival in Long Beach, CA, where their professionalism and expertise knocked me out! On June 18, 2008, they kicked off their summer tour at the Key Club on LA’s famed Sunset Strip. I caught up with them after sound check and took the opportunity to talk with brother and sister team, Una and Gramps Morgan. In this interview, the Morgan’s share their experiences growing up in Brooklyn, NY and Springfield, MA, as well as their musical influences, and what is important to this multi-talented family.

Morgan Heritage consists of Peter “Jahpetes” Morgan on vocals; Una Morgan—the sole female member—on vocals and keyboards; Roy “Gramps” Morgan on keyboards and vocals; Memmalatel “Mr. Mojo” Morgan on percussion, vocals, and rap; and Nakhamyah “Lukes” Morgan on guitar. As children, Morgan Heritage began performing in 1982. However, following two extraordinary performances at Montego Bay’s Sunsplash Festival in 1993, the group walked off the stage and into their first recording contract with MCA Records. Their journey is remarkable and their performances unforgettable. Here’s Una and Gramps, in their own words. Continue reading Interview with Una and Gramps – Morgan Heritage 2008

Camar – Yaard Soul 2008

Camar – Ready to Deliver ‘Yaard Soul’

By Melissa Gonzalez

A tired voice greets me on a Sunday night, sounding as if its owner has not slept in days. When asked how the weekend went, rather than stories of relaxing or partying, all that is said is, “busy, very busy, working.” Not the expected answer from a 24-year-old, even more surprising is the fact that his work has actually become easier lately. “I used to do it all. I was the manager, producer, everything,” says Jamaica-born Camar.

These days, work is simply putting out an album. The fun part comes when he is actually in the booth; it is the hours and responsibilities that have made it a job. Even with 13 songs recorded, this “job” doesn’t seem to be over anytime soon. Other than the raspy voice, there is no evidence of complaints coming from one of the newest names on the famed Slip-N-Slide roster. The multi-tasking artist is taking advantage of finally being signed to a label that will make it easier to profess his eclectic sound. Continue reading Camar – Yaard Soul 2008

SLY & ROBBIE – 20 YEARS STRONG 1995

Twenty Years Strong  – Sly and Robbie

by Howard Campbell
from V13 #01 1995

Sly Dunbar smiles when asked what he thinks about the inevitable comparison of himself and partner, Robbie Shakespeare, to the legendary Clement “Coxsone” Dodd as Reggae’s greatest producers. “He’s [Coxsone] the greatest man,” says the dreadlocked drummer. “I’m his biggest fan and he doesn’t even know it.”

While Dunbar’s modesty concedes that accolade to the Rocksteady great, he and Shakespeare have no equal in the endurance department. Their eclectic style has encompassed Reggae’s metamorphosis from the post-colonial Rocksteady sound and the Rasta culture of the Marley era to the present Dancehall phenomenon.

There’s no disputing Coxsone’s contribution as a pioneer and visionary, but the magnitude of the “Rhythm Twins'” success, both as internationally respected musicians and producers, is incomparable. Continue reading SLY & ROBBIE – 20 YEARS STRONG 1995

Junior Reid on Buju Fight Rumors 2008

Reid Denies Fight with Banton

by Kevin Jackson (reprinted from EURweb.com)

Junior Reid denies a fist fight with Buju Banton…..and tells his side of what really happened in Miami

Jr. Reid w/Alicia Keys – photo Kevork Djansezian (AP)

June 5, 2008 – Jamaican reggae artiste Junior Reid has denied media reports that he and Buju Banton were involved in a fist-throwing altercation backstage during the Best of the Best show at the Bicentennial Park in downtown Miami in late May.

He told one876entertainment that the whole situation stemmed from an incident in which Buju Banton maligned his name in front of Reid’s 13 year-old daughter, Destiny.

“I was there holding a vibe for the show and my daughter and her friends went over to Buju Banton because she is a big fan of Buju. She introduced herself as Junior Reid’s daughter, and Buju said, ‘who Junior Greed?’ My daughter was very embarrassed, and she asked me, ‘daddy, what you and Buju Banton have?’  I told her ‘no worry yourself, him no approach me to my face in that way’,” he explained. Continue reading Junior Reid on Buju Fight Rumors 2008

Jimmy Cliff Interview 2008

Jimmy Cliff – Delivering Oneness on the Global Stage

Interview by Angus Taylor (reprinted from reggaenews.co.uk)
Perhaps the greatest living Reggae star, Jimmy Cliff was instrumental in introducing Reggae to an international audience. Not only famous for his memorable music and energetic performances, the Jamaican-born legend is also renowned for his producing and acting skills (starring in the international hit movie The Harder They Come, and work on his own record label. Angus Taylor speaks to him about his incredible career and his upcoming one-off live appearance in Bournemouth (UK).

AT: You started in music as a teenager – did you always plan to be a singer?

JC: I always wanted to work in the entertainment business. I didn’t know whether I wanted to be a singer or an actor. As a matter of fact I started out in school as an actor. But I always wanted to be close to the entertainment world.

AT: So if you weren’t a singer would you have taken that path?

JC: Yes. I think I am established in many parts of the world as an actor along with my music. But to tell you truth acting is my first love.

AT: What do you think of the Harder They Come musical?

JC: I have seen it. I was present at its first opening. I quite liked it. I was very surprised. The man playing my part did a great job.

AT: Where you a guest of honour?

JC: Yes, of course I was.

AT: Why do you think audiences still respond to well to the story after all these years?

JC: I think that movie captured the spirit of a point in time in our history and in life. That point in time and the character I played are still valid today and probably will be valid throughout all times. There are certain films that capture the essence of the time and that is one of those movies,

AT: There was talk of a sequel.

JC: (Laughs) It is still in the pipeline – yes – we are having hitches along the way – but I’m still confident that it will be done.

AT: You come to the UK to play in Bournemouth on Wednesday 16th April – what can your fans expect?

JC: Well a lot of the fans will be expecting the songs, the music they know, of Jimmy Cliff so of course I will have to do a lot of those songs. But at the same time – what does Jimmy Cliff have to offer that is new? So I will have an opportunity to do some of that.

AT: So will you unveil some brand new songs?

JC: Yes, I intend to because my last album which came out – maybe two years ago?

AT: Black Magic

JC: Yes Black Magic. (2004) I don’t think a lot of people have seen me perform any songs from it. Those songs are still valid for me to perform, and there is some new material that I am currently writing. (Laughs) Maybe I’ll just do those songs acapella!

AT: You’re well known for your faster paced early Reggae hits but your roots tunes are very underrated – such as “Lets Turn The Table” and “Under Pressure”…

JC: That is true.

AT: Why?

JC: I think it is down to timing with certain songs timing and exposure. I think “Lets Turn The Table,” “Under Pressure,” a lot of songs like that didn’t get the exposure they needed. Part of it was my transition between record companies, for example.

AT: So it was mainly logistics. Do you think not being a Rasta affected your career during the Roots era?

JC: I didn’t wear dreadlocks but the concept of the Rasta… I don’t see how I could be a Jamaican and not embrace a sense of what is the concept of Rasta. Most people would say “oh he doesn’t have dreadlocks so he is not Rasta.” But my universal outlook on life means I couldn’t align myself with any one particular movement or religion so as to limit myself to anywhere or anything like that.

AT: You’ve seen Reggae from the very start – do you like where it’s going?Y

JC: Well it has two branches. It still has the roots branch… you know with a lot of the deejays and some singers,too, like Tarrus Riley and people like that, or Sizzla as a singjay as we say. So it still has the branch that sings about roots and culture and uplifting positive messages. And then there’s the other branch we call dancehall and that is really about… sex. I don’t condemn that part neither… I think there is a place for everything. I’m happy to see the two sides striving. But I would prefer and hope to see the roots and culture area getting more prominent but maybe we’re just going through that transition of time.

AT: Are you a fan of Tarrus?

JC: Yes. From a long time, even before he got popular.

AT: Who/what do you listen to these days?

JC: Well, I am the type of artist that likes to stay current. So I listen to every form of music that is going on that is current. So let’s say I’m in Peru or Mexico or Brazil. I will walk into a store and pick up things. I don’t really download because it is not easy to get stuff that is not popular. I often want to get things that are rare and not so popular. I especially like to pick up music that has the folklore, the roots, of that area of that country.

AT: That country’s own version of Reggae?

JC: That’s right.

AT: Not many acts play in England or the UK these days – or say it’s hard to play – do you find this?

JC: Personally I don’t. I don’t play a lot in England. In the old days I would do a British tour where I go up north, come down, do all over the country. I’ve not done that for a long time. Maybe today it is not economically viable with the big band that I travel with from Jamaica, to come to the UK to do a few shows – I don’t find it difficult. I have a few shows in the summer, including Glastonbury and other stuff.

AT: Your touring with a nine piece band – will there be a full horn section?

JC: Not a big horn section, we have just two horns – we have trumpet and tenor sax who will also double on alto.

AT: In terms of what UK fans are used to that is a big horn section!

JC: Yes. It’s a band that I’ve played with for quite a few years so I’ve bonded with them well and its good.

AT: Do you see yourself as more than just a Reggae singer?

JC: Well, first of all I see my self as an artist, a creative artist. And remember, when I came on the scene there was nothing called Reggae. So I had to help create that. I put in my energy, which is my own… a very upbeat part of the thing! And create what is now known as Reggae. But I’m a creative artist and I’ve put that into many different genres of music, but because my roots is Reggae, I will always be categorized as Reggae. But if you listen to a song like “Many Rivers To Cross,” can you classify that as Reggae?

AT: Do you have a message for your UK fans?

JC: Well I think we are a point in time of humanity where we have to become aware of ourselves and what is going on on our planet. I mean it has become a cliché word of sorts – global warming. But about seven or eight years ago I made an album called Save Our Planet Earth, just to show I was aware in those times. So I think there is something we can do about that and show our awareness. Then you have places like Darfur and Tibet that mean we have to become more aware of ourselves spiritually, some would say politically, globally. We are living in a global environment right now.

 

UCLA Jazz-Reggae Fest 2008

The 22nd UCLA Jazz-Reggae Festival ‘08

A Weekend of Peace, Love, and Music
Review and Photos by Jan Salzman

Reggae Day – May 26

Stephen Marley on tour in LA

June 1, 2008 – Los Angeles, CA  –  It was a beautiful Southern California afternoon–the temperature in the 70s, the warm sun shining and cool Pacific Ocean breezes filled the air. The Intramural Field at UCLA was filling up with blankets, drawn by the inviting aroma from the great food booths that surrounded this diver – se collection of fans. One of the largest student-run events in the country, the annual JazzReggae fest regularly sees tens of thousands flock to its Memorial Day weekend celebration.

Monday was Reggae Day, and first up on the main stage was Rebelution, who kicked off the day to a rocking Reggae riddim. With the crowd warmed up, fans were ready for Pangea Collective, a band that features Baba Ken Okulolo, from King Sunny Ade’s band, on bass and vocals, and Soji Odukogbe, guitar and vocals, from Fela Kuti’s band. Pangea Collective is huge group, with lots of percussion and a full horn section. They offer a wonderful blend of African rhythms with a jazzy overtone. The band, themselves dressed colorfully, brought out three very African-decorated and beautiful women to shake it up – and had the crowd doing so, too! Continue reading UCLA Jazz-Reggae Fest 2008