Tag: drumming

On distant drums

On By Jah BillahIn Dub Culture DepartmentLeave a comment
The Drums of Count Ossie

We need to give proper consideration specifically to the Buru (or Burru) tradition as well.

Among the Buru drummers of the first half of the twentieth century was one outstanding and very influential musician who, like Babu Bryan, remains unknown to most Jamaicans, not to mention the rest of the world. The man I am referring to is Watta King. Not to be confused with the notorious West Kingston bad man Woppy King, nor with the Rastafarian patriarch known as Bongo Watto, who were two entirely different individuals, Watta King was a Buru master drummer of Kongo descent who migrated to West Kingston from Clarendon parish.

Although he made his living as a barber, and was not himself a Rasta, Watta gained renown as a drum-builder during the 1940s and 1950s – the very time that Rasta consciousness was beginning to gather force in West Kingston. During these formative years of the Rasta faith, Watta King was the owner of the most sought-after set of African-style drums in the area, and he and his fellow Buru players became the main drummers for the earliest grounations, or ceremonial gatherings, in the Rasta hotbeds of Salt Lane and Back-o-Wall.


It appears that Watta King represents the crucial link between the rural Buru tradition of St Catherine and Clarendon, and the nascent Nyabinghi tradition of West Kingston. His playing appears to have served as a model for many in the first generation of Rasta drummers, and his great influence can be traced through at least four important drummers of later years (and likely several others).
Baba Job (also known as Brother Job), who was to become Count Ossie‘s mentor, and Seeco Patterson, Bob Marley‘s percussionist who I mentioned earlier, both spoke to me of Watta King as their “teacher” – the man most responsible for their early development as drummers.
And Skully Simms, one of the most important session hand drummers from the 1970s on, told me in considerable detail about the influence Watta King had on him.
…

NOEL “ZOOT” SIMMS aka SCULLY(1935-2017). Here with LEE “MILO” SPENCE at Jack Ruby’s in Ocho Rios, Kingston, Jamaica, March ’76 © David Burnett

Excerpt from:

Distant Drums: The Unsung Contribution of African-Jamaican Percussion to Popular Music at Home and Abroad
Author: KENNETH BILBY
Source: Caribbean Quarterly, Vol. 56, No. 4, Pioneering Icons of Jamaican Popular Music, Part II (December 2010)

ON GHETTO NYABINGHI

On By Jah BillahIn Dub Culture DepartmentLeave a comment

It was in the late 1930s that the Rastafarians began to gain a significant presence in Kingston, and by this time the pre-Rasta Burru peoples (a culture of people in rural Jamaica who were known for their drumming rituals a century ago) had fully settled in the slums.
Unlike the scenario in America, drumming in the Jamaican plantation system was officially tolerated, and the Burru-men, in addition to their role as timekeepers for slave labor, were keepers of African sound. In their search for “anciency” and cultural roots, the Rastafari knelt at the feet of the Burrus, appropriated their looks, style, and musics and, in return, imparted to them a political theology of race. But what was most important to this union of the Burrus and the early Rastafari were the rituals of sound that both communities instituted in the colonial ghettos of Kingston.
Saakana has traced the Burru drumming ritual back to a Ghanaian ceremony that took place around Christmastime. In the 1930s, the ritual of drumming was a customary way of welcoming discharged prisoners back into the folds of the ghetto community.

When the Rastafarians took over the ritual, they modified it, adding their own thematic obsessions to the African songs of insult and praise. From this came the ritual of the nyabinghi, which was said to mean “death to black and white oppressors” and became a term also used to describe the most orthodox members of the Rastafarian creed. In the sacred space of ritual, members of the faith meditated, reasoned with each other, debated Old Testament doctrine, and soundly criticized the exploitative and racist system they were living in. And they beat the drums, chanting down Babylon and conjuring up an alternate space of black community called “Africa.“

They did this in the yards of West Kingston, the same spaces that decades later would provide the genesis of the Jamaican sound systems.

Found in Bass History from 

The Sound of Culture: Dread Discourse and Jamaican Sound Systems by LOUIS CHUDE-SOKEI 

(Language, Rhythm, and Sound: Black Popular Cultures into the Twenty-first Century, 1997)