Cleveland Watkiss will be performing at the Market hall stage on Friday 8th August
Can you tell me about the inspiration behind The Great Jamaican Songbook?
My career started within the sound system culture of the 70s, particularly the reggae and dub music that developed in East London, where I grew up. My parents are from Jamaica, and I recently found out that my dad was connected with Duke Reed, one of the founding fathers of Jamaican ska and rocksteady music.
I’ve always wanted to do something that honored my roots and the music I grew up with — singers like Gregory Isaacs, Dennis Brown, Bob Marley, and Peter Tosh. Around 2014 or 2015, during a conversation with my friend Ulfie Robinson, he mentioned the idea of creating ‘The Great Jamaican Songbook’. As soon as I heard those words, it all clicked. It was about paying tribute to that period of Jamaican roots reggae and dub.
Once I had the concept, everything fell into place. We even managed to record an album live, capturing that authentic energy of how music was made back in the 70s. All my vocals were recorded in single takes, with no overdubs. I wanted to keep the process raw and organic, just like how those great Jamaican artists used to do it.
What can audiences expect from your live performance of The Great Jamaican Songbook?
If you’re not familiar with this music, you’re going to get a wonderful introduction. It’s joyous music that invites you to be free and dance. We’re all about having a good time and we want everyone in the audience to feel that. It’s not about sitting down and analyzing complex chord changes; it’s about letting go, enjoying yourself, and connecting with the music. We want the good vibes to resonate with everyone.
Do you have any personal connections to Brecon or Wales? What does performing at Brecon Jazz Festival mean to you?
I know about Paul Robeson’s connection to Wales, particularly his fight for civil rights and workers’ rights, and how much he was loved and respected by the Welsh community. I also have some friends living in Wales and have worked with promoters and artists from there. It’s a special place with a rich musical history, and I’m excited to be part of that.
Was jazz your first musical journey? How did you find your path to jazz?
Cleveland Watkiss:
Jazz wasn’t my first musical adventure. My introduction to music came from my dad, who was a big lover of Oscar Peterson, blues, ska, reggae, and Ray Charles. He passed away when I was nine years old, so I’m still piecing together that history. I think a lot of it comes through the DNA. It was hearing all these different sounds on the radio as a child that pulled me into music and singing.
What’s your take on radio today, given your own radio show?
Cleveland Watkiss:
I find commercial radio stations difficult to listen to these days because everything is so heavily compressed and harsh. It’s not like back in the 70s when you could hear such a variety of artists and instantly recognize their sound. That’s one of the reasons I love doing my own show. I get to play whatever inspires me from my huge record collection. It’s not about genres; it’s about what moves me at the moment.
How have your musical influences evolved over the years?
I enjoy being able to do all these different things, whether it’s working with classical musicians like Nigel Kennedy, collaborating with drum and bass artists like Fabio and Goldie, or exploring free improv with people like Orphy Robinson and Pat Thomas. It’s all connected to my upbringing and my openness to different sounds.
These days, I’m focused a lot on my solo voice projects where I can bring everything into the voice — singing, beatboxing, looping, layering, creating all these sonic textures. It’s where I feel most creative.
You’ve mentioned spirituality as a part of your music. How do they connect for you?
Spirituality is very much connected to the music I grew up with, like dub and reggae, which has deep spiritual undertones. That connection has only grown stronger over time. For me, spirituality, music, and the arts are all connected. It’s all about realigning ourselves with those things because society tends to separate them. To me, it’s all one.
What’s your favorite jazz record of all time?
The first artists that come to mind are Duke Ellington, Louis Armstrong, and Billie Holiday. Those three are the first names that pop into my head when I think about jazz.
Do you feel jazz is becoming more popular with young people?
Yes, absolutely. I teach at Trinity Laban Conservatoire of Music and Dance, and I’ve been involved with British jazz since the 80s with the Jazz Warriors. Today, I see more young musicians and singers coming through than ever. With social media, we can see things on a broader scale, and I think British jazz is more popular and more visible now than it’s ever been.
Catch Cleveland Watkiss at Brecon Jazz Festival, celebrating the rich legacy of Jamaican music with The Great Jamaican Songbook. Don’t miss this powerful, soulful performance!