Westchester Reggae Festival Presents 'Legends In Concert'
Westchester Reggae Festival Presents 'Legends In Concert'
DateMay 29, 2022 / Sunday
Doors Open7:00 PM
Ticket Prices$49.50 - $79.50
VenueThe Capitol Theatre
Port Chester, NY
On SaleOn Sale Now
Please Note18+ unless accompanied by a parent or legal guardian. Children under 8 years of age are not permitted. Proof of vaccination and/or a negative COVID-19 test is NOT required for this event. Thank you for your continued patience and support.
Westchester Reggae Festival Presents 'Legends In Concert'
All COVID-19 protocols have been removed. Thank you for your continued patience and support.
VIP Ticket Details: (5PM - 7PM in Garcia's)
- Premium Seat in Front Orchestra
- Pre-Show Exclusive VIP Party in Garcia's from 5pm - 7pm for limited guests
- Mingle with entertainers, sponsors, celebrities, elected officials
- Photo Op with Celebrity Guest
- Exclusive Gift Bag (not available to the general public)
- Artist CDs
- Sponsor Giveaways
- Signed Poster
- Commemorative Event Laminate
Leroy Sibbles is one of the founders of reggae music and is often referred to as a ‘living legend’. Born in Kingston, Jamaica Leroy began his career as the lead singer of the rock steady group, The Heptones. While playing with The Heptones, he recorded many classic reggae tunes including Party Time, Fattie Fattie, Book Of Rules, Baby Be True, Equal Rights, Cool Rasta, Guiding Star and Heptones Gonna Fight. Leroy also played an integral role in the creation of many of the famous ‘Studio One’ rhythm tracks that are still sampled and re-recorded by reggae artists today. He wrote and arranged many of the early ‘classics’, worked as the Studio One A&R Rep as well as played bass and provided harmony for many of the famous reggae classics. His 2009 CD entitled Reggae Hit Basslines Volume 1 includes classic basslines that all reggae fans would recognize; for example, “Satta Massagana”, “Queen Of The Minstrel”, “Pass The Kutchie” “Baby Why, “Stars” and “Love I Can Feel” are just some of the titles Leroy Sibbles wrote the basslines for.
Leroy moved to Toronto in the mid-70's where he lived for over 20 years. During this time, Leroy helped establish reggae music in Canada and was often described as ‘the Godfather of reggae in Canada’ and the ‘sweetest singer in the business’. He also released 6 solo albums while residing in Toronto. They are: Now, Strictly Roots, On Top, The Best (Micron Music), Meanwhile (Attic) and Evidence (A&M).
Leroy returned to Jamaica in 1994 and now spends most of his time there when not touring throughout the world. He has also released new CD’s entitled It’s Not Over, Rock and Come On, Leroy Sibbles Reggae Hit Baselines as well as many new singles. His later work illustrates once again, Leroy’s unique ability to create fresh and powerful music with a ‘timeless’ quality. He has also co-authored tunes with the many reggae sensations including Buju Banton and Beenie Man. Leroy has also participated in various documentaries on reggae including “Rock Steady, the Roots Of Reggae’ released in 2009. When you see Leroy perform it is immediately evident that you are in watching a living legend. His mastery of the stage is second to none in the business. He has the unique ability to engage audiences of all age groups and his repertoire of hits spans over five decades.
What a year 2019 is for Marcia Griffiths! Not only does she celebrate her 55th anniversary as an artist, the reggae queen continues to be recognized for her sterling contribution to Jamaican music.
In February and March, she received the Gold Award and Icon Award from the Jamaican government and Jamaica Reggae Industry Association (JaRIA), respectively. The latter she accepted as a member of the I Three, along with Rita Marley and Judy Mowatt.
Her new album, “Timeless”, produced by Donovan Germain and distributed by Tad’s International Record, is slated for release in June. Marcia is booked for major festivals and shows in Europe ---including Rototom Sunsplash in Spain and Boomtown Festival in London.
The Honorable Marcia Linnet Griffiths, OD, CD, was born to working-class parents Joseph and Beatrice Griffiths in West Kingston. Though the family faced economic challenges, Marcia considers her early days glorious, because there was always one thing in abundance ---- Love. That, she said, made them the wealthiest family in the world.
Marcia attended Kingston Senior School and was a committed member of her church choir. She started singing professionally in 1964 with Byron Lee and the Dragonaires and recalls performing soul singer Carla Thomas’ “No Time To Lose” to phenomenal response from the audience.
From there, she moved to Studio One where she found mentors in producer Clement “Coxson” Dodd and singer/songwriter Bob Andy. It was there that she recorded her first hit song, “Feel Like Jumping”, followed by “Really Together” with Bob Andy which sparked a personal and professional relationship.
“Luckily for me, Bob Andy was always a strong and wise person. He was there for me in the early days and that gave me confidence,” Marcia said.
The duo moved to the Harry J Label, hitting the British as well as international charts with “Young Gifted and Black” and “The Pied Piper”. They also recorded two albums with those titles.
Marcia continued her solo career on the High Note label with Sonia Pottinger, reggae’s sole established female producer. Her hits for Miss Pottinger include “Stepping Outa Babylon”, as well as two albums, “Naturally” and “Stepping”.
To date, Marcia has released 18 solo albums; five duet albums with Bob Andy (including the live double CD, “An Evening with Bob & Marcia), a duet album with various artists called “Marcia Griffiths and Friends,” and two albums with The I-Three.
Her career has evolved with reggae. In the 1970s, she recorded and toured with Bob Marley as a member of the I Three; in the 1980s, she had a massive hit with the funky Electric Boogie which was a strong seller in the United States where it sparked a dance craze of the same name.
In the 1990s, Marcia found a new dancehall audience as a member of Penthouse Records. Teaming with Germain, head of that label, she scored with songs like “I Shall Sing” and a cover of Andy’s “Fire Burning”.
As for her opinion on female reggae vocalists, Marcia said: “It been a rough, tough job standing up as a woman in this male-dominated business, that’s why my album before “Land of Love” I chose to call it “Indomitable”, which means not easily discouraged or defeated. My views on women in reggae are positive; most of the new or upcoming female singers in reggae have publicly declared that I have been their inspiration, and I was their role model; I am in awe! I feel very good about that; to know that I have influenced my people positively.”
The “Godfather of Dancehall” is a well-deserved moniker for Errol “Johnny” Osbourne describing his contribution to reggae music as it has evolved from the local Jamaican community to the international arena.
His song “Sing Jay Stylee” is viewed by many as the precursor to the dancehall phenomenon evidenced in popular Jamaican music culture today. The evolution of this aspect in the 80’s prompted an increase in sound systems around the globe and necessitated the need for “dubs”. As sound system selectors in every crevice and corner of the world craved to establish dominancy, the demand for “dubs” escalated immensely. Such were the requests for Johnny’s services as no selector wanted to enter into a clash without a “special” from the “Dub Doctor”. Today, it is the same.
A string of hits dating from the late 60’s through the 90’s defines Johnny's longevity and artistic ability. During this period and subsequently, Johnny’s aptitude to adapt to changes while preserving the quality of his musical output illustrates the depth of talent in his musical arsenal. Johnny’s legendary status was not acquired as a result of the years he’s been in the business, in essence it emanates from his penmanship as a lyricist, creative ingenuity as a “hit-maker” and intrinsic proficiency to do so repetitively.
Born and raised in Jones Town, the “Mecca” of dancehalls in Kingston, Jamaica, Johnny is a part of the musical fraternity that established the foundation upon which Reggae music exists today. A protégé of Alpha Boy’s School, like many of its musical scholars, Johnny’s penchant for the art was the driving force that kept him focused while honing his musical skills. Like a magnet, Johnny was pulled to the dancehalls in West Kingston where he could enjoy the latest local hits while displaying his dancing proficiency. Alternately, the local radio stations provided an opportunity for him to listen to some of his favorite artists, notably, the late great Nat King Cole, Sam Cooke, Johnny Ace, Billy Eckstine and Johnny Mathis, vocalists that inspired him the most.
With fervor Johnny worked at his craft, and this passion is exemplified in his many hits. No wonder songs such as, Come Back Darling, Truth & Rights, Reasons, Jah Promise, Sing Jay Stylee, Water Pumping, Ice Cream Love, All I have Is Love, Warrior, Yo-Yo, Buda Bye, In Your Eyes, Give A Little Love, Fally Lover, Love Is Universal, We Need Love, Purify Your Heart, Nightfall, Grooving, Sexy Thing, Little Sound Boy and many other songs are ever present in the minds of reggae music lovers irrespective of which side of the equator they reside.
Johnny Osbourne’s classic songs, “See & Blind” and “Warrior” were rehashed by the legendary Bunny Wailer, while Reggae songstress Marcia Griffiths covered the latter. British Reggae group, UB40 reworked Come Back Darling, which peaked at #10 on the UK Charts in 1998. Johnny's songs have also been sampled by: Zero 7, Bim Sherman, The Beastie Boys and many others. His five star rated album “Truth & Rights” on Clement "Coxsone" Dodd's Studio One Label, is ranked as one of reggae's all time classic albums.
Blessed with an eclectic voice, and a consummate style, Johnny's music transcends genres and generations. In the 90’s Reggae historian Roger Steffens affirmed, "A 25-year career that shows no signs of letting up, from soulful Reggae to a massive dancehall catalog, Osbourne's warm voice filled with conviction and yearning, is one of the island's best". More than 5 decades that sound has not diminished - it is as distinct and as fresh as ever.
In 1998, Johnny took a hiatus from the Jamaican music scene. More than a decade later, he re-emerged with a celebrated performance on Rebel Salute 2012 in St. Elizabeth. Since then he has graced the stages of major festivals and concerts in the United States, Belgium, France, Germany, Canada, Spain and Brazil,
Russia, India, Australia, to name but a few! He also performed at Britain’s flagship venue the 02 Arena during Jamaica’s 50thIndependence festivities! A dream tour of Japan with the rhythm twins Sly Dunbar and Robbie Shakespeare was another outstanding highlight of his career in 2014, and more recently throughout Europe in 2018 with British sensation Bitty McLean.
The greatness of this veteran artist has not gone unnoticed - Johnny himself is humbled by the appreciation and the participation of the audience, especially the youths whenever and wherever he performs. The familiarity of his songs is testament to the potency of his catalogue, the timelessness of his music, and the artistic capabilities he possesses are still relevant today! Dub Step Kings Major Lazer used Johnny’s “Mr. Marshall as the core for their smash “Jah No Partial” introducing him to a whole other legion of fans!
The love for this legend and his music has spurred an even greater demand for more live performances globally including The Barbados Music Festival and the lauded Welcome to Jamrock Reggae Cruise! Recently back from his second European tour of 2019, this “Dancehall Godfather” will be continuing to keep his adoring fans musically satisfied for the foreseeable future - Let me hear you say “Wooiiy”
Prior to the global quarantine in March, 2020 Johnny was in the midst of a European tour before all shows were abruptly cancelled! However, he was still a major player in the music arena, where once again his talents were in demand on a slew of virtual sound clashes where his coveted dub-plates were highly in demand.