Rototom 2012

[Don Drummond Inocente]

Hoy han confirmado a Tanya Stephens.

[Don Drummond Inocente]

Y esta mañana a Max Romeo, me parece correcto ya que no puede verle en 2010. A ver si llevan también a Dr. Calypso, que el año pasado se cayeron del cartel y me sigo preguntando por que? POR QUE?

[El Cartero]

Segun tengo entendido Maximo Romero pasa bastante de su repertorio Oldies...

[Bwoy]

Segun tengo entendido Maximo Romero pasa bastante de su repertorio Oldies...

Así es.

Máximo reniega de temas de su primera época como "Wet Dreams", aunque sí se marca un medley de temas ska -recuerdo entre otros "Wings of a dove", "Jamaica ska" o "Sammy dead"- en directo que merece mucho la pena.

No se suele dejar en directo -afortunadamente- clásicazos del calibre de "Chase the devil", "One step forward", "War inna babylon" o "My Jamaica collie".

Una gran noticia su confirmación.

[Don Drummond Inocente]

Anunciaron hace unos días a Sly & Robbie, Ernest Ranglin & Monty Alexander ft. Bitty McLean, lo que no sé es si por separado o tocando juntos.

[Bwoy]

Anunciaron hace unos días a Sly & Robbie, Ernest Ranglin & Monty Alexander ft. Bitty McLean, lo que no sé es si por separado o tocando juntos.

Juntos.

El cuarteto se hace llamar "Jazz in Reggae" (¿os suena?) y lo novedoso es que en la próxima gira se les suma el genial vocalista Bitty McLean.

Algunas muestras de su repertorio:

Surfin´

Ram Jam

Big Yellow

[hickey]

Que alucine! sabes si tienen algo grabado aparte del directo este?
De que bandas proceden estos musicazos?

[El Cartero]

De que bandas proceden estos musicazos?

Te refieres a Alexander y Ranglin?

[Bwoy]

Que alucine! sabes si tienen algo grabado aparte del directo este?
De que bandas proceden estos musicazos?

Esto es lo que dice de ellos la enciclopedia Allmusic.com

BITTY MCLEAN

With a series of reggae-pop hits in the mid-'90s, Britain's Bitty McLean's smooth and classic vocal approach helped offset the gangster ragga approach then prevalent in reggae and dancehall. Born in 1972, McLean was drawn to classic reggae at an early age, and by his teens he was performing in front of Birmingham's biggest sound systems. After enrolling in a sound and engineering class at a local college, McLean began working with U.K. roots reggae legends UB40, first as an engineer and eventually as a producer and occasional singer with the band. Behind the scenes he kept working on his own recordings, which paid off in 1994 when he placed three songs in the U.K. charts, including covers of the Shirelles' "Dedicated to the One I Love" and Fats Domino's "It Keeps Rainin'." In 2004 he released the intriguing On Bond Street KGN. JA., which featured McLean singing his own melodies and lyrics over classic rocksteady backing tracks recorded by Tommy McCook at Duke Reid's legendary Treasure Isle studio some 30 years earlier.

ERNEST RANGLIN

A pioneering force behind the rise of Caribbean music, guitar virtuoso Ernest Ranglin was born in Manchester, Jamaica, in 1932. He began playing ukulele as a boy, soon graduating to guitar; while in his teens he began performing live both locally and in the Bahamas, often in tandem with the young Monty Alexander. Ranglin's session work at the famed Studio One helped give birth to the ska phenomenon, which during the late '50s began taking Jamaica by storm. He finally began attracting international notice in 1964 when he traveled to London to perform at Ronnie Scott's jazz club, so impressing its owner that he remained on as the venue's resident guitarist for the next nine months. There he made a number of solo records for the fledgling Island label, and also collaborated with Prince Buster; additionally, Ranglin teamed with Jamaican singer Millie Small to cut the international smash "My Boy Lollipop." He soon returned to session work, arranging classics including the Melodians' majestic "Rivers of Babylon"; with his guitar leads on the Wailers' "It Hurts to Be Alone," he also laid the foundation for the rise of rockers reggae. Though remaining perhaps best known for his jazz prowess, in the 1970s Ranglin toured with Jimmy Cliff; in 1973 he was awarded the Order of Distinction from the Jamaican Government for his contributions to music, and continued touring and recording regularly throughout the decades to follow, most notably signing to Chris Blackwell's newly formed Palm Pictures label to issue 1998's In Search of the Lost Riddim. E.B. @ Noon and Modern Answers to Old Problems arrived two years later, Grooving appeared in early 2001, and Alextown and Surfin' followed in 2005.

MONTY ALEXANDER

Monty Alexander long ago combined together the influence of Oscar Peterson with the soul of Gene Harris and Nat "King" Cole to form his own appealing and personable style. Long a bit underrated (due to the shadow of Peterson), Alexander has recorded more than a score of excellent albums. Monty Alexander began piano lessons when he was six and he played professionally in Jamaican clubs while still a teenager; his band, Monty and the Cyclones, was quite popular locally during 1958-1960. He first played in the U.S. when he appeared in Las Vegas with Art Mooney's Orchestra. Soon he was accompanying a variety of top singers, formed a friendship with vibraphonist Milt Jackson, and began gigging with bassist Ray Brown. With the recording of a pair of Pacific Jazz albums in 1965, an RCA date in 1967, and a Verve session in 1969, Alexander began to gain a strong reputation. His series of exciting albums for MPS during 1971-1977 found him in prime form, and his recordings in the '80s, '90s, and 2000s found him building on his original style. Alexander, who often pays tribute to his Jamaican heritage, performs regularly with his own trio and swings hard in his own voice.

SLY & ROBBIE

Theirs is the ultimate musical marriage, a partnership that, once formed, re-etched the very landscape of not just Jamaican music, but the entire world's. Such hyperbole is oftentimes rolled out by publicity machines whenever two musical talents come together, but in the case of drummer Sly Dunbar and bassist Robbie Shakespeare, it really was an earth-shattering union. Their rhythms have been the driving force behind innumerable songs -- one statistician estimated that together they've played on approximately 200,000 tracks, and that doesn't count remixes, versions, and dubs. As a production team, the pair has been the equivalent of a creative storm, the cutting edge of modern dub, ragga, and dancehall.

Dunbar and Shakespeare linked in 1975, but by then they'd already become established figures on the Jamaican scene. Lowell Charles Dunbar was nicknamed Sly for his adoration of Sly Stone, and in his teens had begun his career in the late '60s playing in studio bands. For a while he was a member of the RHT Invincibles, a group led by Father Good'un that included such talents as Lloyd Parks, Bertram McLean, and Ansell Collins. The group cut several singles, but none were particularly successful. Dunbar would have better luck with his studio work and made his recorded debut with the Upsetters on the single "Night Doctor." Producer Lee Perry was obviously impressed with the young drummer and consistently used him in the studio. Even so, Dunbar continued with his outside interests, joining Skin, Flesh & Bones, a group led by Al Brown that boasted the drummer's old compatriot Lloyd Parks. In 1974, the drummer and fellow bandmember Ranchie McLean launched a short-lived label, Taxi, which focused mainly on the group's and its members' own material. Meanwhile, Shakespeare was also making a name for himself. He too had launched his career as a sessionman in his teens and by the early '70s was a member of producer Bunny Lee's house band the Aggrovators.

Inevitably, the two youths had crossed paths during this period -- both were born and bred in Kingston and were only a year apart in age (Dunbar is the elder). Over time, both had worked with virtually all the major (and minor) artists on the island. It was producer JoJo Hookim who eventually brought them together when the two separately joined his studio band the Revolutionaries in 1975. Their partnership grew slowly and their first work together was on Jimmy Cliff's Follow My Mind that same year. The duo then, oddly enough, was also asked to produce the established French singer Serge Gainsbourg's 1975 album Aux Armes et Cætera. It was a bizarre pairing for all concerned, but the sessions went so well that the duo not only produced the singer's next album, they also agreed to accompany him on his French tour.

1976 was even more dramatic. Sly & Robbie oversaw Culture's seminal Two Sevens Clash album, one of the greatest albums of the roots age. The pair's productions were slowly beginning to gain international acclaim, and joining superstar DJ U-Roy's backing band for his U.K. tour brought them further recognition. Before the year was out, the duo had also appeared on Peter Tosh's Natty Rebel album, inaugurating a four-year relationship that saw them accompany the former Wailer on tours around the States and Europe. Meanwhile, their session work back in Jamaica with Hookim continued apace, while Shakespeare also continued playing with the Aggrovators. However, their rising prominence is made clear by Leroy Smart's 1977 Super Star album, whose musician credits proudly boast Robbie Shakespeare & the Aggrovators and Sly Dunbar & the Revolutionaries. The Heartbeat label has released two compilations that feature the Revolutionaries' phenomenal work for Hookim's Channel One label. 1989's Hitbound! The Revolutionary Sound of Channel One features some of their most legendary work, with artists like Horace Andy, Junior Byles, the Mighty Diamonds, the Meditations, and Black Uhuru. The Mighty Two, ostensibly a compilation of Errol Thompson's and Joe Gibbs' greatest productions, also features the group at their best, backing the likes of Peter Tosh, Dennis Brown, Prince Far I, Culture, and many more. 1978 brought the legendary One Love Peace Festival, where the Revolutionaries accompanied Tosh's electrifying performance. The set was recorded for posterity and released in 2000 by the JAD label.

Having worked ceaselessly over the last couple of years, Sly & Robbie had carefully put aside every penny they could. Now they finally had enough to open their own label, Taxi, the name nicked from Dunbar's long-defunct first co-effort. A studio needs a house band, and the men built it logically enough around members of the Revolutionaries. The Taxi All Stars (aka the Roots Radics) included guitarist Rad Bryan, percussionist Sticky Thompson, and keyboardists Ansel Collins and Winston Wright. The label was inaugurated with Black Uhuru's "Observe Life," the start of another crucial relationship. Taxi quickly garnered its first chart hit with Gregory Isaacs' classic "Soon Forward." From thereon, Taxi was an unstoppable force on the Jamaican scene. The Island compilation Present Taxi showcases a dozen of the label's early singles and includes Junior Delgado's masterpiece "Fort Augustus" and the hit "Merry Go Round" as well as the Wailing Souls' "Sweet Sugar Plum" and "Old Broom," alongside crucial cuts from Dennis Brown, Gregory Isaacs, the Tamlins, former Unique Jimmy Riley, DJ General Echo, and more. Notable omissions include the duo's work with Max Romeo and Prince Far I.

Sly & Robbie weren't content to merely produce other artist's work, however, and the pair continued their outside session work. Before the decade was out, the Riddim Twins, as they were now being called, were providing the pulsing rhythms for albums from such legendary vocalists as Bunny Wailer, the Mighty Diamonds, Jacob Miller, and myriad DJ stars including General Echo, Ranking Dread, and Barrington Levy. And this still wasn't enough for Dunbar, who also released several solo singles and a pair of solo albums, Simple Sly Man and Sly, Wicked and Slick. However, their most crucial work was in conjunction with Black Uhuru, who, throughout this period, had recorded a stream of seminal singles for Taxi -- "Shine Eye Girl" and "Plastic Smile" among them -- which would be gathered up for the group's Showcase album. Across the group's powerful albums -- Sinsemilla, Red, and Tear It Up -- Dunbar's heavy beats and Shakespeare's sinuous bass, the heart and soul of the Revolutionaries' sound, lie at the core of Black Uhuru's music, while the duo's throbbing, deeply dread production perfectly twined round the group's own phenomenal vocal performance. This partnership reached an epiphany on 1982's Chill Out, the album that rocketed the Riddim Twins to international renown and took them on a tour opening for the Rolling Stones as part of Black Uhuru's backing band.

Meanwhile, as the new decade had dawned, Sly & Robbie inked a Taxi distribution deal with the Island label. Island head Chris Blackwell then hired the Jamaicans to work with avant-garde singer Grace Jones. The results -- a sparse, funky, dubby, but robotic sound, led by Dunbar's fascination with the new Syndrums -- set fire to dance clubs around the world and impacted across the new wave scene. The pair's fascination with dub was also growing, with their first excursions into the genre appearing on the flip sides of singles released in 1981. The following year's Crucial Reggae: Driven by Sly & Robbie compiled an album's worth of instrumentals and deadly dubs onto one convenient disc. This was followed in 1985 by the equally devastating A Dub Experience, another bundle of earth-shattering rhythms. Across the early part of the decade, Sly & Robbie worked with a dizzying array of artists, including the cream of the DJ crowd. Frankie Paul, Sugar Minott, Charlie Chaplin, and Half Pint all released seminal cuts overseen by the duo, while their work on Johnny Osbourne's 1983 Osbourne in Dub is of particular note.

In 1984, the U.K. CSA label brought together this set with Black Sound Uhuru's Love Crisis dub companion, Jammy's in Lion Dub Style, which was also remixed by the duo. Even the re-formed Skatalites came knocking at their door and the end result was The Skatalites with Sly and Robbie and the Taxi Gang. Sounds of Taxi, Vol. 1 arrived in 1984, a label sampler of Taxi singles, B-sides, and dubs; a second and third volume would follow over the next two years. The Heartbeat label would later release the Taxi Fare compilation, an excellent entry into the world of Sly & Robbie, while Sonic Sounds' Many Moods Of focuses the spotlight on the duo's dubs from this period. The pair's close connection to the dancehalls and their ever more experimental electronic sounds, coupled with Dunbar's virtual desertion of his drum kit for Syndrums, foreshadowed the rise of ragga, and in reality, Sly & Robbie's productions provided the blueprint for the eventual rise of ragga and the digital revolution. This was particularly evident on the pair's own instrumentals, credited to either Sly & Robbie or the Taxi Gang and often titled in reference to Taxi itself -- "Unmetered Taxi," "Taxi Connection," "Maxi Taxi," and the witty "Rent a Car." Here the pair show off their genius, perfectly welding together rocksteady tempos to a totally contemporary sound. Dunbar's mechanized beats were so far afield from what others were creating as to be off the map entirely, while Shakespeare's sinuous bass adds a rich organic feel to the sound. Together the two created a style utterly unique, with rhythms taut and menacing enough to rampage through the dancehalls, but still so organic as to hold the roots crowd in its thrall.

The duo was quick to champion upcoming talent, notably Ini Kamoze, and were there to assist producer Bobby Digital's rise to stardom. Their generosity also helped launch George Phang to fame, for in return for a favor the Riddim Twins gifted the producer with a clutch of their own rhythms. With them, Phang would create such hits as Barrington Levy's "Money Move," Sugar Minott's "Rydim," Frankie Paul's "Winsome," and many more. Sly & Robbie threw their weight and rhythms behind many more producers during the latter part of the '80s. Gussie Clarke, Phil "Fatis" Burris, Clive Jarrett and Beswick "Bebo" Phillips, and Myrie Lewis and Erroll Marshall all owe much of their success to the duo's deadly rhythms, which helped their releases to flood the dancehalls and the charts. However, the pair continued to garner the attention of vocalists. Sly & Robbie were an integral element of Toots Hibbert's Toots in Memphis album and, with Bunny Wailer, co-produced Marcia Griffiths' "Fever" single. But their attention was not focused exclusively on Jamaicans, and over the years Sly & Robbie have consistently worked with artists far removed from the reggae scene. The duo has employed their talents with such unlikely artists as Joe Cocker, Joan Armatrading, Ian Dury, Bob Dylan, Robert Palmer, the Rolling Stones, and Herbie Hancock. The breadth of their productions and playing seemingly knows no boundaries. Arguably the best showcase for this diversity can be found on the Hip-O label's compilation Sly & Robbie in Good Company, part of the label's Ultimate Collection series. The album boasts 17 tracks that hit virtually all the pair's poles, from roots to dancehall, DJs to veteran vocalists, and on to their more unusual assignments over the years.

Meanwhile, even as the ragga scene gained steam, Dunbar continued to play live drums, but not for much longer. 1988's The Summit was the last album from the duo to do so. This was just one of a long line of albums of Sly & Robbie's own work that had spilled forth since the beginning of the decade. The duo's debut, Sixties, Seventies + Eighties = Taxi, appeared back in 1981. As its title slyly suggests, the album boasted a surprisingly eclectic batch of covers from the earlier two decades. Sly-Go-Ville and Kings of Reggae followed swiftly on its heels over the next two years. Both were excellent albums, but 1985's Language Barrier was a more acquired taste. Overseen by Bill Laswell, Sly & Robbie's integral rhythms clash unhappily with Laswell's creative productions, which offer little sympathy for beats. Better were The Sting and Electro Reggae, which followed Language over 1986 and 1987. The following year Sly & Robbie joined forces once again with Laswell in another masochistic studio exercise, which resulted in the very aptly titled Rhythm Killers. Much more entertaining was Taxi Connection Live in London, which arrived that same year. 1988 brought the aforementioned The Summit, overseen by Fattis Burrell, a game plan for the electronic revolution that was about to shake the entire dancehall scene. The next year's Silent Assassin was equally prescient, a deadly dub-rap hybrid that featured a guest appearance from hip-hop heroine Queen Latifah.

The new decade opened with DJ Riot, a title that accurately summed up the album's intent. In 1992, Dunbar formed a new production team with Peter Turner and Maureen Sheridan and a second one with Bedrose & Malvo. With the former pair, he would oversee such artists as Junior Reid and Sabre, while the latter grouping would work with the likes of such up-and-coming DJ stars as Spragga Benz, Mad Cobra, and Snagga Puss. In a very different vein, Dunbar would also oversee a clutch of revivalist religious recordings. But even with all this outside activity, Dunbar and Shakespeare's relationship remained solid and extremely active. The pair has produced some of dancehall's leading lights, overseeing hit singles and albums by Shabba Ranks, Chaka Demus & Pliers, Beenie Man, and Luciano, among many, many more. 1996's Hail Up the Taxi conveniently bundles up the best of the pair's productions and session work from the first half of the decade. Their own recordings have remained equally strong. Perhaps as a brief respite from the dancehalls, in 1992 the pair released Remember Precious Times, a sublime album of covers of roots and reggae classics. Still under the spell of Laswell, Sly & Robbie joined him yet again for Mysteries of Creation, but for those who have yet to acquire a taste for the producer, the mystery remains why the pair continue recording with him.

A flood of albums appeared during the rest of the decade: The Punishers, Mambo Taxi, Babylon I Rebel, Reggae Dancehall, Friends, and Present Taxi Christmas were all released between 1996 and 1998, as Sly & Robbie took on movie and TV themes, dub, and dancehall, brought their mates into the studio, and celebrated Christmas to boot. In 1999, they entered a strip club videocam in hand for Strip to the Bone, which married striptease to devastating dub. Dub was also the point of entry for Massive and Dub Fire. From there it was into jazz, when the pair collaborated with Monty Alexander for the Monty Meets Sly & Robbie album. The Riddim Twins have also continued to record on a regular basis, both as the crucial bottom end for others' work as well as their own music. Another slew of Sly & Robbie releases followed in the early 2000s, culminating with 2006's Rhythm Doubles, which was nominated for a Best Reggae Album Grammy. The rest of the decade was collaboration-heavy, seeing the duo working with reggae tenets like Horace Andy as well as fits as odd as Britney Spears or Paul McCartney. In the early part of 2012 Sly & Robbie returned with Blackwood Dub, their first traditional dub album in years. Recorded in 2011 and produced in collaboration with Alberto Blackwood and Gilroy Stewart the album was marketed with the slogan ?Strictly dub ? no vocals?.

[hickey]

Me referia a los 4 en general,
Mil Gracias Bwoy

Otra vez, cacho de temazos

[Bwoy]

Es que me resultaba complicado vincularlos a una banda en concreto, ya que todos ellos han sido excepcionales músicos de sesión en distintas épocas y han emprendido carreras en solitarios que han sobrepasado, en relevancia, sus intervenciones en proyectos grupales.

[Don Drummond Inocente]

La verdad es que lo que he podido escuchar de ellos en youtube suena increible...

[Don Drummond Inocente]

La última confirmación ha sido Etana.

[Bwoy]

La última confirmación ha sido Etana.

Extraordinario talento el suyo.

[Don Drummond Inocente]

No sé cuando lo habrán dicho, pero Calle 13 también irá.

No pop no style, are strictly roots.

[Bwoy]

No sé cuando lo habrán dicho, pero Calle 13 también irá.

No pop no style, are strictly roots.

Aprovecharé su actuación para cenar tranquilamente.

[Don Drummond Inocente]

No sé cuando lo habrán dicho, pero Calle 13 también irá.

No pop no style, are strictly roots.

Aprovecharé su actuación para cenar tranquilamente.

Seguro que hay multitud de féminas, deberías dejar la cena para otro momento

[Bwoy]

No sé cuando lo habrán dicho, pero Calle 13 también irá.

No pop no style, are strictly roots.

Aprovecharé su actuación para cenar tranquilamente.

Seguro que hay multitud de féminas, deberías dejar la cena para otro momento

Toma nota Don.

Quizá encuentra alguna bailarina como Marguerita que me convenga.

[Don Drummond Inocente]

Jajaja si pero ten cuidao que a mi una como esa me llevó directo al manicomio! Esa gyal me volvió loco!

[Don Drummond Inocente]

Se me olvidó comentar que también va Barrington Levy.

[Don Drummond Inocente]

Ayer confirmaron a los grandes, grandísimos Granadians del Espacio Exterior. Tocarán en el Ska Club. No sé si en ediciones anteriores les habían ofrecido ir y no habían podido o lo que sea, pero son grandes representantes de la música jamicana en España y me gusta verles allí.

Por cierto, por no abrir otro hilo, que os pareció el concierto de Granadians del pasado viernes 18? Me pareció uno de los más flojitos que les he visto, probablemente por falta de ensayo especialmente con el nuevo teclista, que estaba un poco "fuera".

[El Cartero]

Yo no creo que estuvieran flojos por falta de ensayo, pues el disco lo han grabado ya con este teclista. Si es cierto que sacar a Manolo de la banda resta muchos pero muchos enteros, y unido a un set con un monton de temas desconocidos, te deja un poco de aquella manera

[Don Drummond Inocente]

Hubo un par de canciones de las de los discos anteriores, en momentos en que se para la banda y sólo suena el teclado que la cagó, eso es un poco falta de ensayo y no saberse las canciones como se las sabría Teddy, lo cual es bastante lógico. Creo tanto en calidad como en show han perdido un poco con la marcha de Manolo...