100 years of pioneering Rasta drummer Count Ossie

In the history of Jamaican music, there have been some outstanding counts, among them Count Matuchie, Count Shelly, Count C, and Oswald ‘Count Ossie’ Williams. A seminal figure in the development of Rasta drumming, Count Ossie blended African-influenced Burru drumming with the Kumina rhythms of his youth in St Thomas and incorporated it into reggae. He made an indelible mark when he played the Nyabinghi drums on the Folkes Brothers 1958 song Oh Carolina, which was produced by Prince Buster. It is hailed as a landmark single in the development of modern Jamaican music and the first commercial recording to feature Rastafarian drumming.

March 26, 2026, marked 100 years since the birth of the pioneering Rastafarian drummer, and his family, who, collectively, use the title ‘Count Ossie Pickney Dem’, ensured that he was remembered in fine style. Drumming was at the heartbeat of the colourful, Centennial Grounation held in his honour at House of Dread, and the celebration was more than a tribute. It was a reawakening of a true appreciation for one of the founding fathers who established a Rasta community in Rockfort, near Wareika Hill, in the early ‘50s where several musicians learnt about the art of drumming and the Rastafari movement. Count Ossie, who founded the Mystic Revelation of Rastafari, passed away on National Heroes’ Day on October 18, 1976, nearly 50 years ago, at the age of 50.

On hand to join the family for the festive occasion and pay tribute were a host of Rastafarian musicians and singers including Earl ‘Chinna’ Smith and the Binghistra drummers; Sangie Davis; Prof-I; Congo Judah; East Man; Fred Locks; Julian Marley; Oku Onuora; Isha Bel; Mitzie Tafari, Chairwoman of the Nyabinghi Foundation; emcee Amina Blackwood Meeks, and others. Social media also lit up with tributes from persons across the globe who were inspired by Count Ossie. Shaggy, who covered Oh Carolina in 1993, also gave a shout-out to Count Ossie on Instagram.

Count Ossie’s youngest child with his wife, Mojiba, spoke glowingly of her father,

“My father is not celebrated enough as a cultural, musical, community man ... especially in Jamaica. And it being his centennial, there’s no way I could have made this opportunity pass and not push forth in honouring him. October coming is 50 years since his transition, so it was something that we had to do,” Mojiba told The Sunday Gleaner.

Mojiba described him as a “super spirited man” who was cherished by the community because of the love he gave to everybody’s children, who he treated as his own, and who was also willing to share what he had with others, from food to music and everything in between.

“My father was such an authentic person, and I think that is what made people really love him. His spirit guides me with everything ... all my designs. I remember my father as very gentle ... his eyes would always smile. He lived for his family, he lived for humanity,” Mojiba shared.

Count Ossie, she said with a chuckle, was also a charmer and in addition to the eight children he had with her mother, he had eight more with other women.

“The only thing I heard is when di woman dem cuss him because him was a woman’s man, but outside of that, I’ve never heard anyone speak a negative word about my father. When he passed, he was on his way to help somebody. He was always on the go ... always giving of himself. He didn’t do music for money. He did it out of love. It was a ‘spiritualness’. So I think that made it very, very special,” she added.

Legendary guitarist Earl ‘Chinna’ Smith, who played music with Bob Marley and the Wailers, told The Sunday Gleaner that Count Ossie was one of his inspirations. In a reflective mood, Chinna spoke the story of Count Ossie as if he were writing the textbook.

“I had to be here because of who Count Ossie is and what he represents ... the drum was before the guitar. I remember when I hear of his transition in a car accident, we were at Maxfield Park. I was playing with Ras Michael at the time ... Carifesta in ‘76 had just taken place,” Chinna recalled with context, adding that he was sorry that Ras Michael was not present, “but I heard his name mentioned a couple of times”.

“If Count was here, he would still be drumming. If yuh notice, the band continues, Mystic Revelation, and him son carry through the whole thing. But if yuh notice, their drumming kinda different. The drum from the East ... the East man dem play a little bit faster. Prof-I [drummer] spoke about it. Their drum coming from the Revival ting. Nyabinghi drumming is a slower ting ... like [Mortimer] Planno dem. And the Bobo dem have a different kind a drumming to. When Count was playing and the King [Haile Selassie] came here, his drumming was a real fast tempo ... high energy. Two album him mek before him move on, Grounation and Tales of Mozambique, and it’s really like serious African riddims ... totally different from our Nyabinghi style,” Chinna said as he simulated the sounds of the various beats that he mentioned.

Born on March 26, 1926, Count Ossie’s journey into drumming began when he started visiting the Rasta camp in Salt Lane in west Kingston. His bio states that he was guided by Bro Job, and with his natural ability, it was not long before he became a master at drumming. His first group was called Count Ossie & The Wareikas, and they later joined with Cedric ‘Im’ Brooks’ group, The Mystics, to form the Mystic Revelation of Rastafari. Among the members were Bro Sam Clayton, Brooks, Delroy ‘Putus Roots’ Williams, Jah Bop, Oswald Williams, Ronald ‘Nambo’ Robinson, Sam Williams, and Samuel Clayton Jr.

As the 50-year anniversary of his passing approaches on October 18, Count Ossie’s family is planning another Grounation in his honour.

yasmine.peru@gleanerjm.com