By Vinette K. Pryce

Basseterre, St. Kitts
Jamaicans delivered reggae in all varieties during the 11th annual St. Kitts Music Festival held at Warner Park Stadium in the capital city of Basseterre.
Billed on the second night of the three-night annual from June 21 to June 23 the marathon reggae feast began with a blast-off performance from vintage, veteran artist Pluto Shervington.

Delivering classic treasures, his appearance presented a wondrous mélange that retraced light-hearted comedy with melodious arrangements that fast forwarded blithe, joy and revelry.
Patrons waved Jamaican flags, Jamaicans boasted national pride and Kittitians either joined the sing-a-long or eyed enviously at the united celebration of visitors and individuals who considered themselves JaKitts.

Shervington looked dapper, confident and at ease with his audience.
Video screens flashed Jamaica’s flag inside the open-faced, circular stage imported from Trinidad & Tobago.
To see the Turnkey Production crew totally enamored by the overwhelming glee that permeated the venue was a testament to the Caribbean nation and its 45-year legacy since independence.

Burgeoning talent Tessanne Chin had a great lead-in. She added to the allure of the Jamdown showcase. Of all the names, Shervington seemed the least known with Chin a close associate. However, when the Miami-resident segued hits of the ‘70’s and ‘80’s the consensus proved Shervington the bearer of the best discography.

By the time he pleaded “Your Honor” the verdict was already in, Shervington is only guilty of remaining elusive to publicity minions.
Needless to say, Sean Paul was the decided headliner. Promoted in advance radio and TV campaigns on ZIZ medium, patrons expected the best from the Jamaican achiever.
Perhaps the hottest to now challenge the world stage, virtually every patron expected the best from the Grammy winner. And while reactions were mixed when he left the stage, spectators credited his collaborator Fahrenheit, his radio hits and dancers who accompanied the deejay while simultaneously bashing poor sound quality, over-modulated rhythms and a heavy emphasis on music that could be considered more reggaeton than reggae.

Crowds inside the acclaimed Sugar City venue discarded all reserve to truly embrace British reggae rockers Steel Pulse. Incorporating dub, culture and some righteous, Rasta vibes, the premiere ambassadors culled some of the best from their songbook presenting “Earth Crisis,” “Steppin’ Out,” “Rollerskates,” “Bodyguard,” “African Holocaust,” and the anthem of all anthems to unite the genre “Rally ‘round the Flag.”

Hinds seemed exceptionally lucid, free-wheeling and downright spirited.
Keyboardist Sidney Mills conquered the ivories.
And Selwyn “Bumbo” Brown ruled the keyboards doubling in deejay delivery.
“Check out C-Sharp banging those drums,” a patron announced mid-air an improvised danced he maneuvered in the middle of the crowd.
Two females harmonized melodiously.
And together they worked a gratefully energized patronage.
Prior to the start of the festival, representatives of the Ministry of Tourism said they anticipated a record Thursday night for their reputed native calypso/soca music. Traditionally, the first night signaled the biggest turnout and with a lineup reflecting the best of the Eastern Caribbean it was almost a done deal.

And although a respectable crowd greeted Barbados’ calypso queen Allison Hinds, Anguilla’s Better Band, Trinidad & Tobago’s Crazy and Machel Montano, Antigua’s Lejah Band and local heavy-weights Small Axe and Royalties Bands, the black, gold and green rallied thousands more to the World Cup Cricket headquarters on Friday.
First time visitor Richie Stephens won cheers, accolades and endorsements that continued days after his performance with radio jocks hailing his renditions, personality and presence.
“This is my first time but I hope you will invite me back to St. Kitts,” Stephens repeated throughout his appearance.

Surrendering to renditions first recorded by Luther Vandross, Beres Hammond and Dennis Brown, Stephens sured-up his invitations of return engagements.
“This guy is really good,” a Kittitian said as he swooned to ballads Stephens smoothly executed.
The mention of the name Lady Saw sparked curiosity, anxiety and caution.
Her young fans waited to hear raucous dancehall.
Detractors who had only heard of the deejay’s rambunctious approach to reggae laid-wait to assault any offensive mentions Saw might have featured.
But when Saw cautiously performed her lyrical compositions, there was a united approval of her total repertoire.

When urged to broach rancid and explicit renditions Saw politely said “mi nuh like police.”
Perhaps she had been warned that intolerant lawmen would repeat their handcuff procedure which put rapper DMX in custody on his last visit here.
Or maybe Saw has been keeping tabs on reports from Trinidad where Akon has been much maligned for inviting a minor to join him onstage during one of his suggestive dance sessions.
Before inviting patrons to join her onstage, Saw asked each volunteer if they were of legal age.
The scenario caused chatter throughout the crowd but earned the deejay props that she can now boast.

“’Nuff respect to Lady Saw,” echoed throughout her performance.
By the time she ended her performance, she had won approval from a total audience of media, ministry, and patronage.
To close she motivated the audience with a song engendering self-esteem.
It was a high-point of the early morning delivery.
From lover’s rock, culture, dub, dancehall, hybrids to traditional reggae, Jamaica delivered the very best from the very best.
Keeping the beat with all the imports was spectacular, tight and sound-perfect Gumption Band.
Also billed were US imports Ne-Yo, Big Boi (of Outcast) Michael Bolton and the local Cayon High School steel pan players.