Laurel Aitken's career remains an example for the development of Jamaican music from it's roots in Jamaica to the world wide interest. Rico Rodriguez worked regularly with Laurel Aitken during the 1960s and 1970s. They came together during the so-called 3rd wave ska revival, e.g. for Laurel's The Story So Far (1995), or with Gaz Mayall's Ska Island project and the two had a kind of reunion in 2000 playing at Club Ska in London. Both are very different in type and character, but they have a common history as people developing Jamaican music in England, and both have - as far as we know - family origins in Cuba.
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| - Laurel Aitken's career remains an example for the development of Jamaican music from it's roots in Jamaica to the world wide interest. Rico Rodriguez worked regularly with Laurel Aitken during the 1960s and 1970s. They came together during the so-called 3rd wave ska revival, e.g. for Laurel's The Story So Far (1995), or with Gaz Mayall's Ska Island project and the two had a kind of reunion in 2000 playing at Club Ska in London. Both are very different in type and character, but they have a common history as people developing Jamaican music in England, and both have - as far as we know - family origins in Cuba.
- b. 1927 in Cuba - d. July 17, 2005 Laurel Aitken's career remains an example for the development of Jamaican music from it's roots in Jamaica to the world wide interest. Rico Rodriguez worked regularly with Laurel Aitken during the 1960s and 1970s. They came together during the so-called 3rd wave ska revival, e.g. for Laurel's The Story So Far (1995), or with Gaz Mayall's Ska Island project and the two had a kind of reunion in 2000 playing at Club Ska in London. Both are very different in type and character, but they have a common history as people developing Jamaican music in England, and both have - as far as we know - family origins in Cuba.
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| - b. 1927 in Cuba - d. July 17, 2005 Laurel Aitken's career remains an example for the development of Jamaican music from it's roots in Jamaica to the world wide interest. Rico Rodriguez worked regularly with Laurel Aitken during the 1960s and 1970s. They came together during the so-called 3rd wave ska revival, e.g. for Laurel's The Story So Far (1995), or with Gaz Mayall's Ska Island project and the two had a kind of reunion in 2000 playing at Club Ska in London. Both are very different in type and character, but they have a common history as people developing Jamaican music in England, and both have - as far as we know - family origins in Cuba. Several of those old tracks with solos by Rico have been re-issued over the years, e.g. "Daniel Saw The Stone" "This Great Day" and "Jenny, Jenny" on various volumes of a series called The Godfather Of Ska and released on the German Grover label and on The Pioneer Of Jamaican Music (by Reggae Retro) ... Laurel Aitken "described himself as a river. During the good times and the bad times it just keeps flowing. And even when you don't hear about him he's still somewhere making good music." (George Marshall, 1989)
- Laurel Aitken's career remains an example for the development of Jamaican music from it's roots in Jamaica to the world wide interest. Rico Rodriguez worked regularly with Laurel Aitken during the 1960s and 1970s. They came together during the so-called 3rd wave ska revival, e.g. for Laurel's The Story So Far (1995), or with Gaz Mayall's Ska Island project and the two had a kind of reunion in 2000 playing at Club Ska in London. Both are very different in type and character, but they have a common history as people developing Jamaican music in England, and both have - as far as we know - family origins in Cuba. Several of those old tracks with solos by Rico have been re-issued over the years, e.g. "Daniel Saw The Stone" "This Great Day" and "Jenny, Jenny" on various volumes of a series called The Godfather Of Ska and released on the German Grover label and on The Pioneer Of Jamaican Music (by Reggae Retro) ... Laurel Aitken "described himself as a river. During the good times and the bad times it just keeps flowing. And even when you don't hear about him he's still somewhere making good music." (George Marshall, 1989)
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