NOTES
Introduction
1. In reference to the English- speaking Caribbean: for reggae music, numerous
book- length biographies focus on Bob Marley. The other artists who have been
the object of in- depth studies include Peter Tosh and Jimmy Cliff. Many other
reggae and dance hall singers are referred to in book chapters, but often in refer-
ence to something else—to make arguments in relation to national and gender
politics, to analyze lyrics, or to examine the workings of the music industries in
which these singers circulate. While, to my knowledge, no study of the musi-
cians accompanying these artists yet exists, the musical experiments involved in
dub music have attracted scholars and journalists to focus on the music makers.
See, for example, the richly detailed studies of Michael Veal (2007) and Christo-
pher Partridge (2010) on dub. In calypso music, small books locally produced
focus on a few individual artists. Most calypsonians and soca artists, however,
have only been the object of biographies in book chapters or articles. The only
publications that exist on instrumentalists in the calypso and soca music scene
focus on pan players. See Stuempfle (1995) and Dudley (2001, 2002, 2003, 2008).
In spite of the many yearly jazz festivals in many Caribbean islands (Barbados,
Trinidad, and St. Lucia, to name only those few), no publications yet exist on
Caribbean jazz musicians.
2. One particularly eloquent story that has been told by a musician and bandleader
(music director, arranger, and trombone player of James Brown’s band) is that
of Fred Wesley Jr. (2002) in Hit Me, Fred.
3. The expression “public intimacies,” which I coined to refer to the cultural work
of soca live performances, is here applied to a wide range of musical practices. I
use it not only “to speak about the spatial proximity soca [read, music] helps cre-
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