By Brian O’Camb
Daily Bruin Senior Staff
Under a cloud of smoke, barbecue and bubbles, thousands turned
out for Day Two of the 14th annual UCLA JazzReggae Festival to
revel in the sun and listen to reggae music.
This year’s festival, however, boasted more vendors and
corporate sponsors than years past. Farouk Gandhi, a third-year
economics student and director of the student-run festival, said
tremendous facilities costs made it necessary to “seek
sources outside of the school.”
The day began at noon with L.A.-based Rub a Dub. Blending
funk-soul keyboards and spacey guitars, the reggae group took
several detours in their sound, exploring trip-hop, Arabic and jazz
styles.
Eventually the band ventured back into familiar terrain, briefly
covering Musical Youth’s “Pass the Dutchie”
before heading off into their own tune. At one point the lyrics
grew muddled due to the sound system, but the result was a series
of hypnotic vocalizations which kept heads bobbing.
Up next was Detour Posse. Led by a tag-team saxophone and
trumpet section, the band brought the stage to life with punchy
horn bursts.
But ultimately, it was the band’s vocal harmonies that
bought the audience. With sensuous vocals best suited to R&B
gospel, the group bridged the bright horn shots with the repetitive
guitar and bass.
After a brief break, Detour Posse (minus the horns) came back to
play with Frankie Paul, roots reggae extraordinaire. Receiving his
microphone backstage, Paul began singing and rocking in the
sunshine for a few minutes before finally taking the stage.
With the crowd growing, Paul gave a shout out to the audience as
synthesized laser gun sounds echoed behind him. Muted guitar crept
behind the keyboard clamor, inspiring people to dance.
Paul took particular pains to interact with the crowd, thanking
them for participating in his call-response interludes. As synth
xylophone sounds and thumping bass anchored one song, clean piano
danced alongside Paul’s roll call to Latinos, Africans and
Jamaicans.
Concluding with a sweet piano ballad, Paul lent his husky vocals
to serenading the enthusiastic crowd before heading off the
stage.
After the set, guest MC Junior Francis, a DJ for KXLU 88.9,
offered to comment on his enthusiasm for the festival.
“People associate reggae music with violence and
drugs,” he said. “But this is a family day.”
Detour Posse remained on stage, this time to be accompanied by
reggae singer Yami Bolo in what was later announced as the
group’s sixth set of the weekend. Beginning with ska-flavored
keyboards, the group got the crowd excited all over again as Bolo
took the mic.
As the band blended whining guitars with muted bass and hopping
keyboards, Bolo threw his finger in the air, dancing onstage with
his mic to the bouncy reggae tunes.
After several songs, all instruments but the kick drum dropped
out. Bolo began singing over the heartbeat drum, calling for an end
to violence in our society.
Bolo later concluded his set with a call-response chorus to the
crowd to stop “worldwide pollution, confusion,
corruption.” Asking only the children in the crowd to sing
along, Bolo cemented his message of peace.
Between the two sets, Dredd, reggae DJ for 92.3 the Beat and a
UCLA student, reminded the crowd of why the festival was assembled.
“This day has a larger purpose. It’s to remember those
that fought for our freedom. Reggae artists fight for equal rights,
so let’s not forget them.”
With the help of Francis, Dredd celebrated the memories of
reggae legends such as Jacob Miller, Peter Tosh, Bob Marley and Joe
Higgs.
After the intercession came dancehall sensation Spragga Benz.
Aided by synthesizers and stutter step percussion, Benz brought his
rapid- fire lyrics to life, walking out onto the speakers, and
reaching into the crowd.
Trying to contain himself, Benz crouched over a speaker on
stage, captured in the throws of the pounding keyboards behind
him.
Taking towel in hand Benz got the crowd pumping their fists in
the air as the keyboards took a decidedly dark turn. Skanking on
stage, Benz was uncontrollable as he growled a call and response
sequence to the hyped festival-goers.
Eventually, the sound of reed flutes carried Benz into a barrage
of flowing lyrics. Pummeling the hollow recorders into submission
with his growls, Benz was visibly enjoying himself, dancing,
running and jumping all over the stage.
As the echo hall organs regained dominance over the piping
recorders, honking saxophone and distorted guitar samples pierced
the sky, as the crowd pushed themselves to keep up with Benz’
smokin’ set.
As the afternoon wore on, the crowd grew restless for Mr. Vegas,
who ended the day on a high note. But many tired souls marched off
of the Intramural Field, tired but content for the 14th year in a
row.
With questions over the future of the IM field still unanswered,
the future of UCLA JazzReggae also remains vague.
“If the IM field is gone, then we’ll be looking for
a new venue, possibly Drake Stadium or Janss Plaza,” Gandhi
said.
But rather than worrying about the future, Gandhi seized the
day.
“This is the best event on campus,” he continued.
“If students don’t come, then they’re missing
out.”