ska, Jamaica’s first indigenous urban pop style.
Pioneered by the operators of powerful mobile discos called sound systems, ska evolved in the late 1950s from an early Jamaican form of rhythm and blues that emulated American rhythm and blues, especially that produced in New Orleans, Louisiana. A new beat emerged that mixed the shuffling rhythm of American pianist Rosco Gordon with Caribbean folk influences, most notably the mambo of Cuba and the mento, a Jamaican dance music that provided the new music’s core rhythm. The boogie-woogie piano vamp characteristic of New Orleans-style rhythm and blues was simulated by a guitar chop on the offbeat and onomatopoeically became known as ska. The beat was made more locomotive by the horns, saxophones, trumpet, trombone, and piano that played the same riff on the offbeat. All the while the drums kept a beat with bass drum accents on the second and fourth beats.
Because the history of Jamaican popular music is largely oral, contending claims of authorship were inevitable, but guitarist Ernie Ranglin’s claim that he invented the ska chop is generally regarded as plausible. Singers Derrick Morgan, Prince Buster, Toots Hibbert (of Toots and the Maytals), Justin Hinds, and the Dominoes became stars, but ska was primarily an instrumental music. Jamaica’s independence from British rule in 1962 left the country and ska in a celebratory mood. The music’s dominant exponents were a group of leading studio musicians—Don Drummond, Roland Alphonso, Dizzy Johnny Moore, Tommy McCook, Lester Sterling, Jackie Mittoo, Lloyd Brevette, Jah Jerry, and Lloyd Knibbs—and under McCook’s leadership they became known as the Skatalites in 1963, making several seminal recordings for leading producers and backing many prominent singers, as well as the fledgling Bob Marley and the Wailers. The Skatalites’ most distinctive musical presence was trombonist, composer, and arranger Drummond. A colourful figure who grappled with mental instability (he was institutionalized after murdering his girlfriend and died in confinement), Drummond was the central musician of the era, as essential to the development of ska as Marley was to reggae.
Ska has had several international waves. The first began in the early 1960s and is remembered for “My Boy Lollipop” by Millie Small, a Jamaican singer based in London, and for hits by Prince Buster and by Desmond Dekker and the Aces. In the 1970s ska was a significant influence on British pop culture, and so-called groups (whose name derived from both the suits they wore and their often integrated lineups) such as the Specials, Selector, and Madness brought punk and more pop into ska. Madness’s music crossed the Atlantic Ocean and contributed to the success of ska’s third wave of popularity, in the mid-1980s in the United States, where another British group, General Public, had hits. The music’s fourth wave came in the mid-1990s as American groups such as No Doubt, Sublime, and the Mighty Mighty Bosstones brought ska into the mainstream of pop music, and ska pioneers such as the Skatalites and Derrick Morgan found a new audience.