So what actually defines a Skatalites record? Many of their recordings were understandably released under the vocalist's name, not theirs. But what of Prince Buster's U.K. smash "Al Capone"? Buster may have intoned the title across the track, but wasn't it the Skatalites who truly made the song? Even amongst the group's own repertoire, the records were credited to the composer, not the band. Thus, the seminal "Guns of Navarone" was originally released under Roland Alphonso’s name, not the Skatalites'. Modern archivists have attempted to address these injustices with compilations featuring the band, regardless of original accreditation. The West Side label's Skaravan - Top Sounds From The Top Deck, for example, is currently into the eighth CD of their Skatalites' compilations, all taken from their sessions for the Yap brothers, while Heartbeat's Foundation Ska bundles up a batch of Studio One cuts. Thankfully, the members' styles are so unique, as to be instantly recognizable within a few notes. In truth, most ska compilations are awash in the members' music, credited or not. That bouncy swing tempo, the jazzy brass, and the steady, skanking beat, all shout the Skatalites louder than any written credit, as easily heard on the vocal releases as on their own instrumentals. But the instrumentals were the group's glory. Songs like "Guns of Navarone," "Phoenix City," "Addis Ababa," "Silver Dollar," "Corner Stone," and "Blackberry Brandy," to name just a small handful of their most seminal cuts, not only defined the island's sound, but created a whole new genre of music — ska. The group have often been quoted as saying their invention of ska was never intentional, but merely the byproduct of their flawed attempts at American R&B. But this self-deprecating explanation neglects the jazz and big band swing sound that was also crucial to ska in its original form. And anyone good enough to play in those styles would have little problem mastering R&B. What the Skatalites actually did was drag these older styles into the contemporary scene, merge it with modern R&B, and propel it into the mainstream via a faster syncopated island beat. And with it, the group's musical legacy spread around the world and across generations.

 

But that must have seemed ridiculous at the very end of 1964. The Skatalites were playing at the La Parisienne club in Harbour View for New Year's Eve, a show that went on without Drummond. The trombonist had a history of mental illness and late that night, in a fit of rage, he stabbed his common-law wife and band vocalist, Marguerita, to death. Drummond was arrested and sent to Bellevue Sanitarium, where he died in 1969. The Skatalites continued on for six more months after this tragedy, but the spark was dying with it, and finally in July 1965, the members called it quits.

Several from the group continued playing together. Alphonso, Moore, Mitton and Brevett eventually formed the Soul Brothers, which later become the Soul Vendors. McCook formed the Supersonics, which was virtually Reid's house band at Treasure Isle Studio, and Sterling went off to work with producer Sir Clancy Collins. As their session work continued apace, inevitably many of the former members found themselves back working together. Then in 1975, most of the Skatalites reunited to record Brevett's solo album, African Roots. McCook, Alphonso, Sterling, Ranglin, Mittoo and Knibbs  all took part in the proceedings. Two years later, the Hot Lava album appeared, credited to Tommy McCook & the Skatalites, but in contrast to Brevett's "solo" album, this really was one. 1978's Jackie Mittoo may sound like a solo outing by the pianist, but actually features a clutch of former Skatalites. That same year, Island head Chris Blackwell convinced the members to reconvene again and recorded the Big Guns album. However, due to discord between the label man and McCook, the record sat on the shelf until 1984, when it was finally released as Return of The Big Guns. The previous year, the group had again reunited under the aegis of producer Bunny Lee for the Skatalites with Sly and Robbie and the Taxi Gang.

It took a few more years for the members to finally agree they were a band again; in 1986 they made it official and began gigging regularly. In 1989, they toured the world as Bunny Wailer’s  backing band, and the next year performed the same service for Prince Buster. In 1993, an album of new material, Skayooyee, finally appeared. Now boasting a core lineup of McCook, Brevett, Sterling and Knibbs, the album was highly acclaimed. Their timing was perfect as the U.S. was in the grips of ska fever, and the band's constant touring abroad had cemented a worldwide following. Over the intervening years the Skatalites had returned to their jazz roots. Alphonso now permanently rejoined the Skatalites for 1994's Hi- Bop Ska: The 30th Anniversary Recording, which also featured such illustrious guests as former vocalist Doreen Schaeffer, Prince Buster and Toots Hibbert, and an all-star gathering of jazz musicians. The album deservedly earned the band their first Grammy nomination.

 

Even McCook's heart attack in 1995 barely slowed the group down. The band continued their hectic touring schedule without him until the tenor saxophonist rejoined them early the next year. However, even though he was forced off the road for good due to health problems a few weeks later, he was still able to record, and 1996's excellent Greetins From Skamania remains a tribute to his determination, and earned the group a second Grammy nomination. On May 5, 1998, the legendary saxophonist passed away; he was 71. Later that year, the Skatalites released Ball of Fire, on which the band re-created many of their old ska hits in their newer jazz style. That autumn, Alphonso collapsed on-stage at Hollywood's Key Club. He slipped into a coma soon after, and on November 20, he, too, died. But no matter how great the contributions of individual members, the Skatalites were always greater than the sum of their parts, and thus the band carried on. In 2000, they released Bashaka and their touring schedule continues unabated. Each year brings another slew of compilations of their recordings from labels around the world. Decades on, their music remains timeless.

Hear Audio & Buy CDs

See also:

	ska2soul
	Skatalites Website