Who is jah in reggae music

The dubplate box stays closed until about or in the morning. We promote all these labels around the world. We do promotion for labels, not just Shaka music. We promote all these other labels. So sometime I look at it to say, the people have helped my subject by making these music. Because when we started soundsystem, you must know that there was no radio station. Reggae was not being promoted on the radio like now. At that time, the only promotion you had was soundsystem and parties.

That was the only way people would know the records from Jamaica. Some are not with us now, like Gregory Isaacs, a good friend of mine. We were in Jamaica together. We were in London together. There is John Holt, a good friend of mine that maybe I can find a picture on the laptop to show you, John Holt and myself this year, Garance Festival.

A lot of people have played a big part in reggae. Sugar Minott, people like this have played a big part. So we hope that the companies that sell reggae sometime will look back and look at these artists and able to help their families. We give thanks that Red Bull was able to set up this Academy in Japan. Not recent? We just play any part, right? You want me to start it from the beginning? This is a live dance in a place named Scotland in Great Britain. The soundsystem we were playing on that night is Messenger from Edinburgh.

The club is the Bongo Club in Scotland. One thing we have to mention is, as we were just talking about, the famous Shaka last tune. My bad. I feel bad now. But the Shaka last tune is always a special moment.

Where are you playing on Saturday? Have we got any questions, because time is running out and I want to make sure that you get a chance to ask questions to Mighty Shaka?

Oh, there you go. This is quite a humbling experience. This is kind of a delicate question but I wondered how yourself and the early British black community responded to white people wanting to integrate with your scene and from David Rodigan wanting to do his own soundsystem in Kingston and things like that.

Did it flatter you or did you want to protect it? You know that ska was a music that existed long time ago, the music of ska. One of the famous people in it was Prince Buster in Jamaica. Blue Beat Records. When he came to England, it was white people that met him, not black, at the airport.

It was white people. We call them at that time skinheads. They wore small pork pie hats, Crombie coats, Doctor Marten boots. They were meeting Prince Buster. So you had a lot of people that recognized from ska music and came in.

Even the punk music, they recognized it from the early ska. Many groups like Madness and all these groups that exist, they learned from reggae.

For them to know, their parents were playing them. I knew David Rodigan before he was famous. He used to come and listen to soundsystem. We are playing now for 49 years. Five decades. When Rodigan came, he saw us, sound systems, to know about music. He study about music and some early people in music business. John and Felicity Hassell.

They used to cut dubplates on the machine in a place named Barnes in England. We used to meet David Rodigan there with these people. It was very tight community at that time in reggae. When you had somebody like [mastering engineer] John Hassell, a man named Graeme Goodall , and a man named [producer and arranger] Tony Ashfield, [who was] able to go to Jamaica and put strings, violins and things onto John Holt music.

There is no color barrier within our function in our playing of music. It was very difficult for black people, but when you was good at something, the white people recognized you. If you was playing football in school and they said the white guy should pick the team and they knew you were a good footballer, he would pick you first because he wants to win, not because of color.

He wants to win. Because you have got that skill, he would put you in his team. You had to work hard to be recognized in those early days. How frequencies and that kind of approach to your tools with which you work have informed you. Well, as you have said in that word spiritual, spiritual around us and to accept spiritual understanding and put it into action, not just to know, to put it into action. The topic of Africa, the topic of the Almighty, the most high, Jah, Rastafari, these things are topics which we pass onto people which is very important to me.

We are just a tool God uses to get to the people. All of us is tools. You have gifts and you have talent. Link it with nature. Nature is a very important subject to link music. Receive, transfer. Spiritually, that is what gives us the inspiration and the knowledge and the understanding.

Yeah, make sure your mind is clear that you can receive spiritual message to enlighten you, that you can make changes where changes are necessary.

OK, so we talked about how bass is good for your body and how you have a message in the lyrics in the music. I was wondering about the role of the siren in your music. Is it something in the likes? It causes the mind to reflect. Very important. In fact, we were playing with a soundsystem in Brixton before when some speaker was on fire, in Brixton Town Hall.

It worked. I was wondering, at the time, how conscious were you of that, and how much did you really see the development happening, or did it seem to arrive in its fully fledged form?

People were happy dancing. Not American songs like you see on the radio and sing back. You have certain artists that come with messages like Burning Spear, coming from the north coast, like Twinkle Brothers.

You have singers what are message singers and you have singers what sing reggae. So you have different branches of reggae, different branches. Now you have dancehall. When you have a tree and you break off all the branches, break off all, the root is still there. The roots. Do we have to wrap it up?

Students of university or college? Two subjects are very important otherwise than music. There are two important subjects; geography and history. You can find out where it happened, when it happened, how it happened and who did it. We can find out these things by studying history and geography to find out where the countries are.

Like, when they say Christ came from Bethlehem. Do you know where Bethlehem is on the map? Do we know where the Nile began, the river Nile, that people used to use as a road to transport ships to bring to other countries?

Abyssinia, the place that it was called before it is called Africa. The place we now call Africa, that shape was Abyssinia before.

The history. When you study about these things, that is why now you have students that study in the universities. They are finding out the truth. Nowadays you have the internet and all these things where people can communicate and find out things. But it is how you use what you have found out because everyone has got a talent and a skill. The students going to college, it will be very important for the future of this country and the future of the world. Gandhi used to be in contact with Marcus Garvey.

Elijah Muhammad, which the Muslims speak of, was in contact with Marcus Garvey. The Marcus Garvey philosophy spread amongst many nations. Thousands of years of history. One love. Have you got one song you can play us out with?

Is that possible? Inaudible from audience member Yeah, and if not, maybe we can do something tomorrow. I need to hear some more music. Academy: Tokyo Benji B Could you explain what the Windrush was? Benji B You were born in Jamaica, but which year did you arrive in London?

Jah Shaka We came into England in Jah Shaka Very young, yeah. Benji B Yeah. What were your first experiences like at school? Benji B When was the first time that you were enchanted by a soundsystem, and when was the first time you were allowed to touch one? Jah Shaka I would speak, I think, before that. Benji B What kind of records did you have to play for them at that time?

Jah Shaka All kinds of… you got Nina Simone. Benji B Can you talk to us about the concept of soundsystem, having a soundsystem, and a little bit about the hierarchy within the soundsystem — starting off as a box boy and then learning the equipment and making the equipment? Jah Shaka From early childhood, I played as a musician. Benji B Do you want to play us a record, any record? Jah Shaka Give thanks. Benji B The video that we just watched, what year was that do you reckon?

Jah Shaka I believe, yes. Jah Shaka In the early days, we had ideas of earlier sounds, coming from Jamaican soundsystems, coming from Jamaica to England, and records coming. Benji B Talking of making the most of what you have, can you talk to us about the modifications that you used to make to your amplifiers? Jah Shaka In the early days, the equipment was very small. Jah Shaka Sometimes, but we try our best to do what we have. Jah Shaka Different than other sounds.

Jah Shaka Because soundsystem at that time was very competitive. Benji B Tell me about that competition. Jah Shaka You have all these soundsystems and on the night, everybody want to come out on top of a certain gig. Benji B Yeah, yeah.

Very good. Benji B And maybe the basic principles of versioning and of dub as well and your way of doing that. Jah Shaka We can work on it. No problem. Benji B Does that sound all right? Jah Shaka You can play. Benji B Because that was the first time that your system appeared on camera right?

Jah Shaka Yeah, Benji B What was it about? Jah Shaka Really the stories, our story really, but the people that lived nearby us saw things that we had done and was able to, [because] they live in the same area, to put something like this together. Benji B The whole story is? Jah Shaka Yeah, Apple has used our name on a product somehow.

Benji B Sure, but just finish that thought about the famous Shaka siren. Jah Shaka When we started. Benji B Are you feeding it into a delay and then another delay? Jah Shaka No, no, just straight into one delay. Benji B What else is in the stack? Jah Shaka You got the general pre-amp is the basic pre-amp, but you also have bass frequencies which you can adapt.

Benji B Tell me about the science of how you set up the room? Benji B Normally you have four? Jah Shaka Four. Jah Shaka You know that Young Warrior has his own soundsystem. Benji B All right. Jah Shaka Yeah, well, I always talk about this turntable in this way because that turntable, Garrard, is built during the war time.

Benji B You still use it? Jah Shaka Yeah, we still. Benji B Oh, really? Jah Shaka Yes, less feedback. You can put it on the floor and play it. Jah Shaka Not so much, no, like other turntables. Benji B And the syndrum? Jah Shaka If we make new amplifiers now, it has to be on a par with the old ones because the pre-amp is built to deliver a certain punch. Jah Shaka No. Benji B Right, right, right. Jah Shaka Yeah, this is produced by my son.

Applause Notice the reference on the bass. Jah Shaka We go to the studio with a clear mind and leave room for Jah to inspire. Benji B Bim Sherman. Benji B With that in mind, are there any selectors or sounds, young sounds, that you think are?

Jah Shaka We have a new generation of sounds, which play with my son and they play in England, like Iration [Steppas], and you have Earthquake, another soundsystem which is in that kind of genre, that kind of era. Benji B You mentioned community. Jah Shaka All night, yeah. Benji B All night. Jah Shaka Sometimes eight, nine hours, sometimes. Benji B One thing we have to mention is, as we were just talking about, the famous Shaka last tune. Jah Shaka Unit.

Benji B Perfect. Audience Member This is quite a humbling experience. Jah Shaka You know that ska was a music that existed long time ago, the music of ska. Jah Shaka It was very difficult for black people, but when you was good at something, the white people recognized you.

Audience Member Thank you. Jah Shaka OK. Audience Member Hi. Jah Shaka Well, as you have said in that word spiritual, spiritual around us and to accept spiritual understanding and put it into action, not just to know, to put it into action.

Audience Member OK, so we talked about how bass is good for your body and how you have a message in the lyrics in the music. Jah Shaka Definitely. Laughter Audience Member Thank you. Jah Shaka Yeah. Audience Member Thanks, man.

Benji B Do we have to wrap it up? Benji B Have you got one song you can play us out with? Steffens analyzes the doctrine associated with Reggae music. Rasta men give life advice based on their philosophy. Horsemouth explains Rasta is not a religion, "Rasta is love.

For additional digital leasing and purchase options contact a media consultant at press option 3 or sales films.

The Rastafarians share personal stories of the merging of the Rasta ideology with music that combined island and African rhythms, and how songs from people like Bob Marley, The Congos, Israel Vibration, Culture, and others, have brought forth a positive message.

The film takes viewers on a journey to the heart of the Rasta movement and shows us how a message of salvation and redemption was born. Length: 97 minutes. Episode 2: The Use and Misuse of Me Episode 3: Nationalism and World Pe Opening Credits Opening Credits Brief History of Jamaica Reggae music plays in the background as images of Jamaica's landscape are displayed. Maroons Compromise with the British Steffens explains how Maroons escaped authorities and gained control of land outside the territory of Jamaica.

Independence Scam Jamaica experiences independence in , but Campbell claims this was a scam. Dying Tree without Roots Garvey lifted the spirit of black people and taught the importance of ancestors and culture. King of Kings Jah's song "Abyssinians" plays in the background as images of King Selassie are displayed. Italy Invades Ethiopia Moses discusses reasons behind the inability of foreign invaders to colonize Ethiopia.

Reggae Musical Influences Steffens explains the myth around Rasta men in the hills of Kingston. Heartbeat Rhythm of Reggae Steffens and Moses describe the evolution of music in Jamaica resulting in the Reggae style. Unity in Rasta Tosh's song "Equal Rights" plays in the background as images of Jamaican youth are displayed. Rasta Philosophy Rasta men give life advice based on their philosophy.

Description "Holding on to Jah" is a film about the history and culture of Reggae music and the Rastafarian movement in Jamaica, as told by Reggae musicians and historians.

Performance Rights Prices include public performance rights. Not available to Home Video customers. Rastafari: The Dreads Enter Babylon, is a fascinating document. But the compilation also presents a compelling socioeconomic tale of how the Rasta religion grew in profile and popularity in Jamaica from the s on. Haile Selassie was crowned emperor of Ethiopia in For the Rastas, Selassie was the man, the messiah who would lead them to the promised land of Zion, as predicted by such influential figures on Rastafari thinking and beliefs as Marcus Garvey and Leonard Howell.

They packed the airport and roads around Kingston to see this man, who was considered a god. Selassie was a Christian and was reportedly quite astonished by the Rasta belief in his powers, although this did not lessen their devotion to him. When the Rastafari movement first came to prominence on the island, it was against a backdrop of colonialism, economic depression and a growing awareness around the notion of independence led by figures such as Garvey.

For many years, the Rasta dream of a return to Africa mixed with ideas about cannabis, vegetarianism, meditation, an Ethiopian king, the Mau Mau fighters of Kenya and dreadlocks ensured the religion was marginalised and shunned by mainstream Jamaican society. In many ways it was music that brought the Rastas into the limelight. Be it the early days, when you had mento acts on the island, such as Lord Lebby , talking about Ethiopianism, or the s, when reggae hit the mainstream worldwide with acts and Rastas such as Bob Marley , Peter Tosh and others, reggae music has always had close links with the Rastas.

If you were to credit one man with bringing reggae and Rastas together, that would be Count Ossie. There were others who played a part in the early days — such as Laurel Aitken , who recorded many pro-Rasta songs early in his career — but Ossie was key because his drumming workshops were where many musicians first found out about the Rastafari movement. This sound turned Jamaican Kumina sounds and Congolese Bantu traditionals into Rastafari Nyabinghi rhythms through the use of the akete, fundue and bass drums.

In turn, these musicians spread the word in camps, compounds and yards all over Kingston. The subsequent commercial success of acts such as Burning Spear, Augustus Pablo , Max Romeo , Gregory Isaacs , U Roy , the Abyssinians, the Congos and hundreds more ensured reggae and the Rastas were inextricably linked in the public mind.

The most prominent exponent of this crossover were Bob Marley and The Wailers. The Soul Jazz compilation, possibly the most righteous record to be released to date by the label, is a good primer about the interplay between the music and religion. The Rastafari rhythms and the power of the percussion are to the fore on every track, while the beliefs about Ethiopia, Selassie, Garvey and the promised return to Zion, as well as highly distinctive lingo, are present and correct.

The Rastafari movement continued to influence Jamaican music long after the death of Bob Marley in and can be found in areas such as roots reggae and dancehall.