Q: But the specific reason for 'avoiding' horns, when you had less horn arrangements in the rock steady or early reggae era, it wasn't totally of financial reasons. I don't know, was there enough 'space' to use horn players extensively within that fast beat of the early reggae sound at the time? Organs and keyboards took over those parts, because it was kind of new and fresh to use that instead, wasn't it?
A: There was space, always space there. Yeah. Always space there for the horn lines, right, but they never use to pay. That's why, you see, if you notice with Lynn Taitt, he did a lot of time if you notice it, he always have horns in most of the tunes that he plays on, especially with his band. It's a lot of horn lines with Lynn Taitt, because his was a smooth dance band and a session band, he always get the horns with the Jets.
Q: But no-one in the Jets took over when Taitt decided to migrate to Canada?
A: No, no, no. When Lynn decide fe leave for Canada, we hear long before about it, right. He never went right away, yunno. (Coughs) Because they sent for him from I think around the Easter, and he never leave until after the independence, because he had so many jobs. And he tell them seh he can't afford that, that's how it went with him.
Q: But when you worked with Jackie and Taitt, who took care of the horn arrangements? You had the input between those two and the other horn players in the band, a collective effort.
A: No, most of the time - when I was at Coxson, with Jackie Mittoo, how the whole development went, when these guys dem come in, they went to Jackie first. And then now Jackie he made the riddim for the song, and if they want horns, if they would need horns, they'd tell him. And then he send me them - I had an office, he just come round deh... send them round to me and they would blow. He'd tell them what key the song, yunno, recorded the background, and then now when they come to my office them tell me the key, I pitch a key on my trumpet and they start sing it and then I record the horn arrangement.
Q: So you took care of most of those arrangements without the involvement of others like Jackie and Lynn for that?
A: Yes, I used to do the horn arrangements. I find that mystic but I think I was the first person Coxson ever give an office as (chuckles) an arranger at 13 Brentford Road. Yeah, I think I was. I wouldn't say I'm the only one but I think I was among the first one to get that. And that's how it used to work. Jackie did the riddim and I did the horn arrangements. Well, with Lynn Taitt now, we're just going into the studio, and I was in charge. Not to really say get up or off the line, but wheresoever him put it in the song, yunno, I would listen and relate it back to the rest of the horn people; when they are to come in, which phrase and what of what is what. I was in charge (chuckles) of the horn section for him, and in so doing get true impressions, very good. And still all I had was to play a part, but it never matter to me, yunno. But I was workin' well. But I think Taitt should have gotten, or should get...
Q: More credit.
A: A lot of credit. And also Jackie Mittoo, because I have worked with those guys and I have seen what they have done to our music.