Mento is also often compared to the rumba music of the Caribbean. The terms mento and calypso became almost interchangeable. Mento is a combination of African and European popular music and is similar in sound to the fun and upbeat calypso music of Trinidad, and its influence affected Jamaica tremendously.
From these early forms of music, the groundwork for what would sprout into the buds of a uniquely Jamaican sound would soon emerge. Count Ossie and his Nyabinghi drumming were also influential during this early period of musical development (Dalton 23). Steve Barrow and Peter Dalton, in their book The Rough Guide to Reggae, characterize Revival Zion and Pocomania as a combination of “African and Christian religious elements, handclapping, foot-stamping and the use of the bass drum, side drum, cymbals and rattle” (Dalton 5). Revival Zion, as well, played a part in the development of the Jamaican sound, possessing what would soon become traditional inclusions of instruments and styles.
During a period known as the Great Revival when religious practices were flourishing, music of the Pocomania church, quadrille bands, Kumina and Jonkanoo all contributed to the early stages of Jamaican music. This led to the merging of prior cultural influences with European styles of music. Slaves were formerly taught to play European instruments, further encouraging their thirst for musical expression. The conception of early Jamaican musicįrom the abolition of slavery in Jamaica in 1838 came not only a long-awaited sense of independence and freedom, but also a well-ingrained concept of music and religion. These things shape the sound of the music, and regardless of international popularity, the island never fails to keep the music inherently Jamaican. It refuses to be static and for the few decades that the music has existed, it has continued to evolve into an even more structured and diverse sound, all the while remaining essentially Jamaican and upholding to past traditions even in the face of newer compositions. Jamaican music is anything but predictable. The social commentary, political upheaval, unique music styles of the entertainers, dancehall and sound system excitement: all of these things shape the mold of Jamaican music, but it is the composition of the music itself that makes it definitively Jamaican. Jamaican music, along with the extremely important contributions of the artists, musicians, producers and engineers, has a special combination of qualities: a spirit of the people, one that evolves with the population and culture over time and contributes to the diverse nature of the music, becoming deeply rooted in the essence of Jamaica. Yet Jamaica possesses something deep down inside of the music, whether it’s a richly diverse bass line or the mingling of instruments that weave themselves in and out of sound.
What is it, exactly, about Jamaican music that makes it stand out when lined up against the likes of R&B, salsa, or other forms of music from across the globe? Do these styles not have their own particular sound that makes them equally attractive to their lovers and listeners? Of course. Yet it can be argued that hearing what comes from Jamaica is the most appealing sense of them all: allowing the rhythmic uniqueness that is Jamaican music to become more than listening to it, allowing it to transform into a feeling. The senses come to life when visiting or surrounded by the mere concept of Jamaica, whether imagining Dunn’s River Falls, tasting ackee and salt fish, or smelling saltwater on the shores of Negril. In surveying the development and contribution of various musical styles, perhaps nothing is as prominent in recent history as the musical creations that stem from the tiny Caribbean island of Jamaica. Enjoy! (Last updated in 2007.) Introduction
As Jamaican music continues to evolve, I’ll update this post to reflect new developments to the genre. This is an essay that I wrote in March 2007 for an independent study music class at Cornell.