Silvera Castro, Contributor

My earliest memory of Sonny Bradshaw dates back to the 1950s when I attended Half-Way Tree Primary. The image of a slim, dignified young Bradshaw riding his bicycle up and down Half-Way Tree Road is vivid. However, what I later discovered was that he rode from Harbour View and the daily journey to Half-Way Tree on a bicycle was no easy feat. But then, this was no ordinary human being.

Bradshaw was a visionary and his vision encompassed all spheres of music and the positive impact it could have on young people. In 1959 his dream of creating a programme on which talented youths would get the opportunity to show their prowess in music and dance became a reality. Teenage Dance Party, Bradshaw's brainchild, unfolded and youths got the opportunity to display their talents in dance. The show became one of the most monumental radio and television programmes of its era.

A dedicated inspiration

So dedicated was Bradshaw to the youths of Teenage Dance Party that his dedication became their inspiration. He and his youngsters worked assiduously and, through their tremendous talents and continuous efforts, they ensured the show was solidly placed on the map of radio broadcasting in Jamaica.

We can never fully express the gratitude we felt. Bradshaw gave us a chance to artistically express ourselves when no one else cared. It was not easy for him. I remember on many occasions he had to find bus fare for many of us. As young people tend to be, some of us were difficult but he had faith in us. Bradshaw was able to see the good in all of us. He understood the problems and the over-exuberance of youth and he continued to work with us. We so revered him that we were determined to succeed and, with Bradshaw as our mentor, we grew into worthy adults.

Music his passion

Music was his passion. As such, during the formative years of Jamaican music, especially ska and rocksteady, Bradshaw, Teenage Dance Party and the Jamaica Broadcasting Corporation (JBC) were instrumental in providing exposure which served to nurture and positively propel our music into a force to be reckoned with worldwide. He believed that music should be characterised by high moral standards. As such, he strongly rejected music which encouraged violence, promiscuity, indiscipline and the degradation and exploitation of women.

He was a music teacher and band leader par excellence. In the 1960s he was the resident musician for the Lou and Ranny Show. The '60s saw a friendly musical rivalry, never again experienced in Jamaica, among bands such as Sonny Bradshaw Seven, Byron Lee and the Dragonaires, Kes Chin, The Skatalites, Carlos Malcolm and Afro Jamaicans Rhythms. At the end of each year there was a 'vote-off'. Fans were given the opportunity to write the JBC and vote for their favourite band.

Bradshaw was also instrumental in organising Big Band shows on JBC, an entity in which he was one of the first employees.

Keeping band music alive

During the 1960s, discos like Merritone, Soul Shack, Thunderbird, Stan the Soul Merchant, Docs and the big giant sound systems like Duke Reid, Coxsone and King Edwards were creating waves in the dancing arenas. This form of music threatened to obliterate band music.

Bradshaw almost single-han-dedly kept band music alive. As president of the Jamaica Federation of Musicians (JFM) he fought relentlessly through his weekly columns to ensure the appreciation of live band music. His slogan, 'Let live music live', was on the lips of every musician in those days.

Bradshaw was a man who, by virtue of his dignified staunch on critical issues, commanded respect but, most importantly, he believed that all people should be treated with respect. Prior to Bradshaw becoming president of the JFM, live-band musicians were treated with scant regard. He worked tirelessly to ensure every band member was treated with respect.

He ensured musicians got proper seating areas, regular breaks and were provided with refreshments. He ensured there were proper changing room facilities. If these amenities were not present at a venue, the band would be withdrawn and the venue declared unsuitable.

He was unequalled in the kind of recognition and respect he got for musicians. As president of the JFM, he stipulated that all clubs had to be registered with the association. These clubs were later named bandstands.

Conversely, he encouraged band members to regard their profession with pride. He demanded the highest standards from the bands. Band members had to be immaculately dressed and punctual for their work.

In the 1980s, in an effort to keep the big band sound alive, he summoned a group of us and, with the help of a few donors, every Christmas we would re-enact the famous clubs of the past. We transformed The Jamaica Pegasus ballroom into clubs like Shady Grove, Glass Bucket, Maracas, Sombero and Havana, to name a few. This brought back memories of the good old days.

This extraordinary man did not limit himself to only Jamaican music. He was a strong exponent of jazz and blues in the big band music. The man was a musical creative thinker.

A pillar of the music industry

In 1991 he was instrumental in the creation of the Ocho Rios Jazz Festival. Many persons may not know the strength of character this man possessed because he was a man of humility. At times he would simply relinquish the spotlight and work relentlessly in the background. However, his strong, quiet presence was undeniable.

Today we are enjoying the fruits of his labour. He was one of the pillars on which the music industry was built. I am sure he would often ask himself the question, "Will my country be stronger for the part I played in shaping the characters of the youth and music?"

He may not have answered the question but those of us whom he impacted answered and would like to answer again, with a resounding 'yes!', Sonny Bradshaw was a 'musician's musician', an icon and an unsung hero to whom the music industry owes a debt of gratitude. See you later my friend.