Joseph "Jo-Jo" Bennett RIP (1940-2021)

It's safe to say that the world will never host another gem of a person quite like Kingston, Jamaica-born Joseph "Jo-Jo" Bennett, who, according to family, passed away in his sleep on August 3rd. Jo-Jo was a musician, teacher, family man, Rasta man, bandleader, connector, entertainer, and a true force of nature. With help from the man himself, I pieced together the following bio of Jo-Jo's musical migration for 2004's Jamaica to Toronto compilation. There is a very good reason why "Fugitive Song" was the album's first track... Bennett will always lead the way...

"Joseph “Jo-Jo” Bennett began his musical career at the esteemed Alpha Boys’ School in Kingston, Jamaica, over sixty-five years ago. His mastery of the trumpet, jubilant stage presence, and eagle eye soon caught the attention of prominent bandleader Byron Lee who quickly snapped up the young player for his busy group, The Dragonaires. Performing all over the Caribbean, it wasn’t long before Lee offered Bennett and long-time friend, lyricist, and business partner Owen “Bunny” Stone an opportunity that they couldn't refuse, a small label of their own where the duo could develop talent and release their own material. The label was named Fugitive in tribute to the popular American television show starring actor David Janssen which aired from 1963-1967.

The original “Fugitive Song”—there are two separate recording sessions of the song released on vinyl—was captured in 1967 with Stone and members of The Dragonaires during the same sessions that produced “The Lecture” and a rocksteady version of Herbie Hancock’s “Cantaloupe Island” dubbed “Cantelope Rock.” “I came up with the lyrics inside of the studio,” explained Stone. “They go, ‘All over the country I work and I live and that's why, that’s why they call Jo-Jo, the Fugitive.’ That was describing a lifestyle which was his and partially mine.” Leaving Jamaica to travel with The Dragonaires to Montreal for Expo 67, the trumpet dynamo decided to remain in Canada after the world’s fair. He sought out potential work in Toronto (542 kilometers south-west), and immediately befriended Kermit and Kingsley Lyn of the West Indian Federation [W.I.F] Club. After a short stint with The Cougars, Bennett was given the challenge to assemble his own group, and he drafted in a gang of players from Montego Bay, including guitarist and songwriter Wayne McGhie, who all shared a house on Temple Avenue in Toronto while getting acclimatized to life in a new country.

By 1968, the Fugitives had also recorded McGhie’s “Chips-Chicken-Banana Split,” which was released on the Cobra label. “Chips and chicken go together, and the dessert was banana split,” explained Bennett with his trademark laughter. As for the flavour-filled sound, the song is a wildly animated R&B shouter with utterly raw vocals by McGhie and the unique brand of contagious playing that typified the explosive energy that the crew delivered on-stage. Jo-Jo And The Fugitives pushed in along in Toronto until their namesake leader’s short-lived return to Jamaica in 1969 where he recorded the Groovy Joe LP for producer Harry A. Mudie, which included the all-time classic "Leaving Rome." Under heavy pressure and without solid guidance from Bennett, the Fugitives collapsed and its members pursued other avenues."

Of course, this was just the beginning of Jo-Jo's life in Canada, which later saw him launch a music school w/ drummer Joe Isaacs (The Soul Brothers, Sound Dimension, Lynn Taitt & the Jets, Frank Motley and the Hitch-Hikers, Risco Connections), launch his own Bunjo record label, and help to form the Canadian reggae institution The Sattalites ("Wild," "Easier Said Than Done," "Gimme Some Kinda Sign" to name a few) along w/ veteran Canadian singer-songwriter Fergus Hambleton, winning two Juno Awards in the process. 

In the early 1990s, The Sattalites were showcased in an hour-long MuchMusic special entitled "10 Years of Roots, Reality & Culture," celebrating the band's many achievements up until that point. As a music loving and playing teenager with my own roots in Toronto, I cherished the program, which I recorded onto a VHS tape, as well as the songs and warm personalities of Hambleton and Bennett, who took us back to Sister Mary Ignatius Davies [1921-2003] and the Alpha Boy's School in Jamaica and recapped their legendary Reggae Sunsplash performance. In other words, it influenced me greatly. 

A decade later, it was such an honour to connect w/ Jo-Jo (and Fergus) while producing the Jamaica to Toronto compilation. Both were very kind to me and I will cherish the moments that we connected. Included below are a photo of Jo-Jo (right) blowing his trumpet alongside Bobby Gaynair (left) courtesy of the Mullings family, Jo-Jo's "Fugitive Song," Jo-Jo hanging out w/ Noel Ellis at a gathering to honour Wayne McGhie at the Aura Club in Toronto in 2003, and a clip from MuchMusic's 1990s Sattalites special... 

Though Jo-Jo wasn't the first to make the trip from Jamaica to Toronto, the legacy of his trailblazing journey and life should be celebrated FOREVER... PEACE, VIN

GIVING THANKS FOR THE INCREDIBLE JO-JO BENNETT

(MOR) Wayne McGhie/LITA/Cratery/Sipreano

Toronto-based Cratery was birthed in 2009 as a podcast/monthly dig diary. Five years later, selectors Arcee, Kaewonder, and DJ Serious have released 68 action packed episodes of musical madness into the vortex (available on cratery.com or via iTunes) with guests ranging from yours truly Sipreano to Seattle hip-hop mastermind Jake One, Canadian beat maker legend Mr. Attic to super producer Frank Dukes. Dig even deeper and you’ll find episodes featuring the mysterious MoSS (Strawberry Rain), Birdapres, 180 Proof Records’ Amir Abdullah (Kon and Amir), Jason Palma (Play De Record), Aki Abe from Cosmos Records, Skratch Bastid, and many more—a crate diggers who’s who for those in the know. Songs are played in a round robin style and range from funk, soul, rock and roll, reggae, Latin, and beyond. For any lucky souls who have attended one of the Cratery recording sessions, you’ll know that this event is simply another excuse for a good time. There is drink, there is smoke, there are definitely tunes, and sometimes, there’s even food. All this fun can tire a brother or sister out, ya hear? Well, sit back and give Cratery a spin!

On November 28, Cratery are joining forces with Light in the Attic and Sipreano to celebrate the 10 year anniversary of LITA’s Wayne McGhie and the Sounds of Joy reissue in the town of the original album’s creation. The occasion will coincide with a special gold vinyl expanded gatefold edition (the debut release in LITA’s six-album Jamaica-Toronto series) and available worldwide as part of Record Store Day (also on November 28). Originally released in 1970 on the minor Birchmount imprint, The Sounds of Joy was a trailblazing album by a recent Jamaican immigrant and his talented musical friends. While The Sounds of Joy fell to mostly deaf ears at the time of release, over the years, Studio One alumni McGhie has garnered respect for his work with the likes of keyboard king Jackie Mittoo, rock steady icon Alton Ellis, the Hitch-Hikers, and Jo-Jo Bennett (Byron Lee & the Dragonaires, Jo-Jo & the Fugitives), before falling on troubled times. In the early 1980s, Wayne went underground and was thought dead by many. During McGhie’s lost years, his debut album grew to legendary status and coveted by funk and soul hounds worldwide for it’s tough break beats and Island groove sound. NOW Magazine recently awarded the album as one of the top Toronto albums of all time and though McGhie no longer plays music, he is appreciative of all of the love and support he’s received since the 2004 reissue. We are honoured to host the following event in Wayne’s honour.

Wayne McGhie and the Sounds of Joy listening session

Featuring Cratery (Arcee, Kaewonder, DJ Serious) and Sipreano (Voluntary in Nature)

November 28, 2014

The Bristol

1087 Queen Street West, Toronto, Ontario

11 pm till late

Here’s a lil’ Q and A with Cratery to help set the mood:

Q: Toronto is one of the most diverse cities in the world. What’s it like living there?

Arcee: I grew up in the burbs, but I’ve spent a great deal of my adulthood in the city and I love it. Diversity is one of Toronto’s greatest gifts. You can see it in our restaurants, in our women and in the records. You only need to live somewhere else in Canada to appreciate the diversity of a place like T.O.

Kaewonder: *puts on Fela Kuti's "Expensive Shit"

DJ Serious: I love Toronto. It definitely is a diverse city and I think it’s best represented through its food. We have so many great food spots. Food from around the world. It’s amazing.

Q: Toronto has a massive Caribbean connection. Artists like Wayne McGhie and Jackie Mitoo moved from Jamaica to Toronto in the late 1960s as well as many others from different islands like Trinidad and Barbados (each area bringing their own culture into the mix). But as we all know, even musicians and DJs have to eat sometime, so what’s the best place in Toronto to hit for some tasty Caribbean food and what are you ordering?

A: My West Indian friends tend to argue more about Eglinton West versus Scarborough, but my first stop is always Ali’s Roti Shop in Parkdale. It’s an institution, and I’ve been hitting it since high school. I usually go for a boneless goat roti if I’m sitting down or 2 doubles if I’m on the go.

K: Ali's Roti. Hands down. It changes day to day, but sometimes I'm feeling for some oxtail, other days I want curry chicken on rice with extra pepper. I like my food SPICY.

D: This is a tough question; I can’t just lump Caribbean food all together (*very good point, Sip). For me, a Jamaican place may not be my first choice to get a roti from and like wise, I probably wouldn’t necessarily be craving Jerk from a Trinidadian Resto.  But some of my Top spots would be in no particular order, Ali’s Roti Shop, Roti Palace, The Jerk Spot, Drupatti’s, Pats Homestyle.  I don’t want to get into a fight here about which is the best, but there are a lot of great ones to choose from.

Q: What makes a good record store and does Toronto have any?

A: I used to think that the ideal store would be one that had all the records I was looking for. But then up pop boutiques like Cosmos Records in Toronto and although they’re great, it’s almost too easy, if that makes any sense. It kind of takes the fun out of digging when everything’s curated. You don’t have the same satisfaction finding a record at a boutique versus finding one at a thrift store or flea market. Then I thought my ideal store would be the kind of place where the owner is a Stones fanatic and doesn’t know anything about rare, soul, funk and jazz, so all the records are cheap. But I wouldn’t have much in common with the staff, so that would suck. Great selection, great staff and great prices are ideal, but I don’t think there’s a single record store in the world with all three. So I’d have to say my ideal record store is simply one that stays in business and doesn’t close.

K: I've always been of the mind that a good record store needs to have good stock, a dedicated buyer who stands behind said stock, and someone who's courageous enough to introduce people to new things, and be bold enough to usher in new ideas. I'm resisting the urge to go off on what makes a BAD store, but I digress.

D: There are definitely some good record stores in Toronto.  I like stores that have a good selection of random records.  I’m not into stores that seem over-curated.  Nothing beats that feeling of seeing records that you’ve never seen before or don’t see on the regular.

Q: What’s your favourite Light in the Attic release and why?

A: Selfishly, I have to say Jamaica to Toronto because it educated me on the history of my own city. I’ve always loved soul music, but I didn’t pay much attention to what was happening in my own backyard. Collections like that make you realize how foolish you can be by overlooking what’s right under your nose. And they make you respect the legacy of the locals who were recording that music at the time. Plus “Mr. Fortune” is such a banger. I still need an original copy of that!

K: Wheedle's Groove. Cause Kenny G was on it.

D: It’s gotta be Jamaica to Toronto.  It really helped open my eyes to my own city and the music coming out of here from that era.  Not only with the island sounds but with the funk too.  All lot of great tracks on that comp.

Q: What does “crate digging” mean to you in 2014?

A: Sadly, crate digging in 2014 is very much a dick show. In the last 10 years, it’s gone from a bunch of dudes talking about records on Soul Strut to showing off records on Instagram. I can’t point fingers, because I’m one of the worst offenders. But no one seems to be excited about finding anything that isn’t rare. Unless it’s a 45 of a super common hip-hop song. Which is also “rare” since it’s on 45. Going into 2015, I’m trying to deprogram myself a little bit. I have to remind myself that records aren’t interesting because they’re rare. Records are interesting because they’re interesting. I’m trying to return to the real reason I started buying music: discovery.

K: I guess in hindsight it seems like a bit of a limited mindset, not to say it's not a mindset I don't relate to or haven't subscribed to in the past, but I feel like it's an entry level set of ideals, if you stay there it's a bit regressive and counterintuitive. “Hey, let's look for records EVERYONE wants!” kind of translates to “Look ma, no brain/flavor originality.” I love seeing someone's collection that is completely and utterly ORIGINAL and THEM. Lot of cats lacking original crates, especially with eBay and Youtubes and the kids with the radio playin’ the raps on the boom box.

D: Keep copping that woogie

PEACE

WAYNE listening session (Toronto)

eternal love (RIP val bent)

I got to know Jamaican singer-songwriter and guitarist Val Bent (born Rupert Valentine Bent) while producing the Jamaica to Toronto: Soul Funk & Reggae 1967-1974 compilation for Light in the Attic around 2004-5. He was back in Jamaica after living in Canada for many years, where he laid down some of the toughest soul and funk records this country has ever produced. Bent came to Toronto, Ontario, as a musician with the Sheiks in 1964, and decided to stay despite our chilly winters, a far cry the Jamaican sun. He became an important musical member of the city’s growing Caribbean community and a mentor to many young players. The Sheiks became the house band for Club Jamaica on Toronto’s busy Yonge Street, which acted as a second home to Bent. Manager Fitz Riley would cook up curry chicken for the patrons and musicians, which reminded Bent of his Jamaican roots. It was here that he first met another young Jamaican immigrant, Earle Heedram (aka The Mighty Pope), who quickly became the new lead vocalist for the Sheiks. Bent was knocked away by Heedram’s powerful voice and commanding stage presence. Together, they wrote and recorded “Eternal Love,” which was released as a 7” single on the Raymond Records label in 1967 (and subsequently featured on Jamaica to Toronto). Regardless of the record’s deep soul and passionate performances—listen for Bent’s twanging guitar and back up vocals—the record sank fast without radio or media support. Despite a lack of record sales, the Sheiks were trailblazing Jamaican-Canadians who brought their music throughout the provinces of Ontario and Quebec, even in the face of racism, which the group unfortunately encountered on occasion. After returning to Jamaica in the late 1960s for a series of performances (replete with “psychedelic light show”), both Bent and Heedram (along with Studio One alumni, drummer Joe Isaacs, and organ player Chris Scasserra) linked up with American transplant and rock and roll pioneer Frank Motley as the Hitch-Hikers featuring the Mighty Pope. Motley was active on Toronto’s bustling Yonge Street strip, which was filled with nightclubs, strip bars, and record stores, and where Bob Dylan first heard the Band, then performing as Levon and the Hawks. The Hitch-Hikers not only performed popular funk, soul, and pop covers by the like of Eddie Bo and the Beatles, but a series of Bent originals as well: “A Stranger in your Own World,” “Memory Lane,” “Smile Maria Smile,” “You Got the Green Light,” and his namesake “Hell Bent.” After Motley fell ill, the group gradually went their separate ways. Bent and Heedram picked up a couple of hippie musicians and formed the short-lived Wild Oats, but the unit never recorded. Apart from a series of minor regional recordings, Bent focused on live work and performed in Canada throughout the 1970s and into the 1980s. After returning to Jamaica, Bent suffered a stroke and retired from the business. He returned to Toronto in 2006 for the now legendary Jamaica to Toronto reunion concert and once again sang back ups behind his musical brother Heedram on the mighty “Eternal Love.” Bent reportedly passed away in his sleep last week in Jamaica and he will be missed by many the world over. We send our best regards to his family and loved ones and count ourselves very lucky to have met his acquaintance. Val, we will miss your laughter and words over the coming years, but will champion your sound forever!

Eternal love,

Sipreano

wilfred mcghie by lloyd raphael delpratt

spur tree jerk seasoning

*got a lovely little gift from the mighty pope and his partner linda recently and it has quickly become my new fave pre-made jamaican jerk seasoning. ash just mashed it up w/ some kale and cabbage and was hella delish... the brand is called spur tree and according to their informative website, have been around since 1996. curious what some of their other products taste like??? crushed scotch bonnet pepper sauce sounds HOT (and tasty), no doubt!@#$%!!! not sure if spur tree has made it to the west coast caribbean grocers, but i'll be on the lookout for sure... PEACE

DUB PLATE PRESSURE

rodigan

back in 2007, i had the somewhat surreal pleasure of hosting three red bull music academy information sessions in toronto, vancouver, and montreal. live on stage, i conducted a series of hour-long interviews w/ jurassic 5 DJ/producer cut chemist, soul-jazz drum icon bernard purdie, and electronic music producer/DJ tiga. while i still have conflicted feelings about corporate sponsorship of music and culture, the RBMA has endured as an incredibly loving and informative project for all involved, bringing together generations of musicians, artists, creators, journalists, students, fans (and documented as an invaluable resource). here is a recent link to a red bull lecture w/ UK reggae champion/DJ david rodigan. listen to the veteran broadcaster and sound clash supremo as he infectiously shares his lifelong passion w/ host benji B and an engaged studio audience. inspirational material (free of charge courtesy of red bull)... PEACE

lloyd knibb RIP

in my early club going days i was a ska disciple and to my good fortune, when i reached legal age, there was a bevy of boss shows in vancouver to peep, one of which was the legendary skavoovee tour of 1993. hosted at the fabulous commodore ballroom, it showcased not only the pioneers of the genre, the skatalites, but the special beat (featuring memebers of the specials and the english beat), the selecter, and US band, the toasters. basically, i was in ska heaven. dressed up in a rude boy fashion, i wandered the streets prior to the gig in hopes of some action. bussed in the from the suburbs, i was alone, young, and impressionable. nobody from my hood seemed to share my passion and i'd yet to make close friends on the scene. well, much to my excitement, i noticed skatalite drummer lloyd knibb walking aimlessly down the north side of granville, lost in the night amidst pizza joints and used CD shops. i'd recognized him from the attached video clip, the skatalites live at the church house inn, a fantastic VHS tape i'd copped in L.A. at rhino records a year or two prior. with nothing to loose, i approached knibb, told him i was a fan and fellow drummer and asked if he wanted to check out a jamaican restaurant not far from the venue on nelson street. he gladly accepted my invite and within a few minutes we were sitting down at the sorely missed p. gee's perusing the menu. knibb was a kind man and told me stories of days gone by. soon, the rest of the skatalites posse including tommy mccook and roland alphonso had entered the restaurant, likely being tipped to the spot via the concert promoters. knibb made a point of introducing me to the rest of the band, telling them that i'd directed him here. i ate my first bowl of oxtail soup that night and one of p. gee's delicious handmade patties. as we finished our meal, i reached for my wallet, but knibb insisted that he'd grab the bill... i was dumbfounded. not only was i about to catch the founding fathers of modern day jamaican music in live action, but i was able to break bread, learn some history, and share culture w/ the creator of the ska beat. needless to say, it's a day i will never forget and a supreme inspiration. rest in peace mr. knibb. your original freedom sound will last forever... eternal love and respect!!!

summer sound in canada

the following three posts comprise the 30-minute video, summer sound in canada. released as part of light in the attic records' summer records anthology 1974-1988 in 2007, the 2 LP, dual disc, and digital compilation documents producer, singer, bodyman, and studio head jerry brown's sonic, socio-political, and spiritual quest to establish a home for reggae in canada. SSIC was pieced together from an attic-dwelling cache of unedited early 1980's footage in 2006-7. it was such an honour to help shed light on this neglected corner stone of canadian history...