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JAMAICAN RHYTHM PATTERNS OF THE 60s (Hosted by Brian Dixon of the Aggrolites): Brian Dixon of the Aggrolites

Fri. July 9th 2010 1pm - 2pm doors at 12:45pm Long & McQuade Music Education Centre (All Ages) 1pm - 2pm doors at 12:45pm
Free FREE (Admission by advance sign up at Long & McQuade)
Friday, July 9, 2010
@ Long & McQuade Music Education Centre (2822 Nanaimo Street) #250-384-3629
1pm – 2pm (ALL AGES/FREE) Admission by advance sign-up at Long & McQuade

It’s been almost fifty years since the birth of ska in Jamaica. Since that time the music evolved and spread to all parts of the globe. Chronologically the music evolved from a faster 2/4 beat with emphasis on the offbeat to slower versions of the same rhythm pattern that became known as rocksteady and reggae.

There are many reasons as to why the beat pattern changed from the quicker ska offbeat that often used larger ensembles with full horn sections to smaller ensembles that often used smaller rhythm sections and back-up vocals. Some people say it was the political and social climate of Jamaica’s society. Some attribute these changes more to economics. But there may be other concrete reasons why the music rhythm pattern evolved into these other wonderful offshoots of ska we have grown to enjoy.

Brian Dixon – original guitar player in The Aggrolites has some theories he would like to share with us. As a young and passionate ska/reggae musician, Dixon and many of his colleagues have already worked closely with ska and rocksteady legends such as Desmond Dekker, Derrick Morgan, Alton Ellis, and Prince Buster. At this workshop Dixon will present some of his theories as to why the rhythm pattern of ska morphed into the slower forms such as rocksteady and reggae that even the most avid ska/rocksteady/reggae fans and musical historians may have overlooked.
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