Reggae & Caribbean    COUNT OSSIE AND THE MYSTIC REVELATION OF RASTAFARI    World Music at Global Rhythm - The Destination for World Music


Reggae & Caribbean    COUNT OSSIE AND THE MYSTIC REVELATION OF RASTAFARI    World Music at Global Rhythm - The Destination for World Music
IRIS

Search

WORLD MUSIC NEWS
WorldMusicFeatures
WORLD MUSIC Profiles
  Artist Features
  World Music Legends
  Reggae Legends
  African Legends
Live Music Events
  World Music Concerts
  World Music Festivals
  World Music Clubs
Global Lifestile
  Travel
  Food
  Film
reviews
  Books
  DVD
  Live Music
WorldMusicFeatures
WORLD MUSIC CD ReVIEW
  Africa
  Asia & Far East
  Australia & Oceania
  Celtic & Irish
  Electronica
  Europe
  Greater Latin America
  Jazz
  Middle East & North Africa
  New Age & Avant Garde
  North American
  Reggae & Caribbean
  South Asia
  World Fusion
WORLD MUSIC links
back issues
 

Deutsch
Franais
Espa ol
Italiano
Portuguese
Japanese
Chinese





World Music CD Reviews Reggae & Caribbean

Print Page
E-mail to Friend E-mail to Editor
Count Ossie and The Mystic Revelation Of Rastafari
Tales Of Mozambique
Dynamic Sounds

By Michael Stone

Published September 8, 2005

Singer, drummer and Rastafari mystic Count Ossie (Oswald Williams) broke in with his burru drumming on “Oh, Carolina” (1960), converting a traditional mento tune into the ska hit by the Folkes Brothers. But his epic Grounation (1973) and Tales Of Mozambique (1975) represent his most enduring contribution to Jamaican music. Indeed, his work is synonymous with the sound of ska, rock steady and reggae, especially crystallizing the Garveyite back-to-Africa compass of reggae’s most politicized expressions. In the early 1960s a loose group of nyabinghi drummers convened around Ossie in the hills outside Kingston. Joined by members of tenor saxophonist Cedric Brooks’ Mystics band, the resulting Mystic Revelation of Rastafari produced a unique combination of spiritually inspired vocals, hand percussion, horns, organ and bass. Mozambique combines spare chanting-and-drum songs and narratives (“Mozambique,” “Ah Ji Wah Wah,” “I Am a Warrior”) with free-form numbers (“Sam’s Intro,” “Lock Stock And Barrel,” “No Night In Zion,” “Wicked Babylon,” “Let Freedom Reign,” Nigerian Reggae,” “Run One Mile”). Thirty years later, Tales Of Mozambique retains its seminal vitality, and remains essential to comprehending the Jamaican sound.

RSS Feeds

ADVERTISING LINKS

Roland
Fes Festival
Lawson Sideblock
Globe Trekker 120 150
emusicsideblock

GoNomad
sonicbids

Contact us | Press Room | Contests | About Global Rhythm magazine | Advertise / Media Kit
Privacy Statement | Terms of Use
| Global Rhythm Contributors | Link to Us | Back Issues

Copyright © 2008 Zenbu Media. All rights reserved.

Powered by Ecomsolutions.net