Paying a fitting tribute to the career of Alton Nehemiah Ellis in just a few paragraphs is an impossible task. For well over forty years, his inimitable voice has thrilled hundreds of thousands worldwide on countless classic Ska, Soul, Rock Steady and Reggae recordings, many of which he also happened to have penned. His passing last night in Hammersmith Hospital is a terrible loss not just the world of music, but the world at large, for, as all who came to meet him can testify, he was truly a prince among men.
Born on 1st September 1938 in Kingston, Jamaica, Alton was raised in the city’s Trenchtown district, where he attended Ebeneezer School and Boys’ Town schools, excelling in both music and sports, particularly cricket, table-tennis and boxing. He also illustrated a natural talent for dancing, frequently placing first at local dance contests, although as time went by, singing gradually took precedence over his fancy footwork, especially after impressing his fellow students at a school concert with a selection of Mario Lanza songs from the motion picture, ‘The Student Prince‘.
After completing his education in 1955, Alton found work as a labourer on a building site in Stony Hill and encouraged by his workmates, auditioned for ‘Vere John’s Opportunity Hour‘, but intimidated by the competition, which included Wilfred Jackie Edwards, Owen Gray and Lascelles Perkins, he withdrew from the contest, giving up on any thoughts of making it as a solo act in the process.
After putting all thoughts of becoming a full-time singer behind him for some two years, he was finally talked into reviving the ambition by his friend, Eddie Parkins, the pair forming the aptly named duo, Alton & Eddy.
It was also around this time he composed a plaintive ballad about a girl named ‘Muriel’ that promptly became a part of Alton & Eddy’s repertoire. Soon after the duo auditioned for leading local producer, Clement ‘Coxson’ Dodd, who wasted no time arranging for the young singers to cut the song at Federal Studios, issuing the subsequent recording on his recently launched Worldisc label. The single swiftly made its way the top of the local charts spurring Dodd to produced further material by the pair, including ‘My Heaven’, ‘Lullaby Angel’, ‘I Know It All’, I’m Never Gonna Cry’ and ‘Yours’.
After their sojourn with Dodd, Alton & Eddy cut a handful of songs for Vincent Chin of Randy’s Records, before Parkins left Jamaica for America after winning first prize in the talent contest, ’A Star Is Born‘. Alton remained in Kingston where he began earning regular money working at a local printing works, although the job proved short-lived, the wanna-be singer laid off by his employers after a matter of months. The development sparked Alton into re-launching his singing career and after finding a new partner in the talented young John Holt, he was soon back at Randy’s, recording a number of impressive sides for Randy’s, most notably the excellent ‘Rum Bumper’. His partnership with Holt proved short-lived, but Alton remained determined to remain in the music business, forming a vocal group initially consisting of his brother Leslie and Noel ’Scully‘ Simms, along with two friends, Baby G and Ronnie – among those to join later were Lloyd Charmers and Winston Jarrett.
Soon after Alton and the newly named ‘Flames’, commenced what proved to be an extremely fruitful relationship with Arthur ‘Duke’ Reid, the union spawning a series of Ska and Rocksteady hits commencing with an original composition entitled ‘Dance Crasher’. A number of similarly themed anti-Rude Boy songs followed, most notably ‘Don’t Trouble People’, ‘Cry Tough’, ‘Blessings Of Love’ and ‘The Preacher’, all of which had been penned by Alton.
As Rock Steady superseded Ska, Alton and the Flames continued to enjoy major successes, with ‘Girl I’ve Got A Date’, topping the national radio charts at the close of 1966. ‘Rock Steady’, the title of which was adopted as the generic name of the new style, followed in the spring, along with a fine cover of Gene Chandler’s 1962 neo-Doo Wop hit, ‘Duke Of Earl’, ‘All My Tears (Come Rolling)’, ‘Why Birds Follow Spring’ and a sublime interpretation of Johnny Taylor’s ‘Ain’t That Lovin’ You (For More Reasons Than One)’.
Now firmly established as one of Jamaica’s most popular vocalists, Alton suddenly found himself in a tug of war between Reid and his bitter rival, Coxson Dodd. And it was the latter who proved victorious, securing the singer for a UK tour and a series of recordings that included such enduring works as ‘I Am Just A Guy’, ‘Mad, Mad’, a wonderful version of Rosco Gordon’s ‘Let Him Try’ and ‘I’m Still In Love’, the rhythm of which later provided the basis for Althea & Donna’s international number one hit, ‘Uptown Top Ranking’. Dodd also released Alton’s debut album, ‘Alton Ellis Sings Rock & Soul’, although it was not enough to persuade the singer to stay long-term at Studio One and early the following year, he returned to Treasure Isle and reunited with the Flames.
Alton wasted little time in providing Reid with more hits, cutting a number of fine originals, including ‘Oowee Baby, I Love You’, ‘How Can I’ and ‘I Can’t Stand It’, along with a magnificent rendering of Chuck Jackson’s ‘My Willow Tree’. Reid was also instrumental in also arranging for the singer to perform a number of concerts in New York, although the tour had to be cut-short to the sudden death of his mother in March.
A three week tour of Nassau and Freeport in the Bahamas followed and upon its completion Alton resumed his recording career in earnest. It was around this time he first turned his hand to producing, initially assisted by leading session trumpeter, the late Johnny ‘Dizzy’ Moore. Among his self-produced sides from this period were ‘My Time Is The Right Time’ and ‘The Message’, although the corrupt system of record distribution on the island did nothing to help his cause as an independent record maker.
Another producer with whom Alton worked during 1968 was a Mr C. Bough, who like Reid was a former policeman who had experience as a sound system operator, albeit to a much lesser extent than the Treasure Isle boss. Among the songs cut for the enigmatic producer were ‘I Can’t Stand It’, ‘Tonight’ (aka ‘Feeling Inside’) and ‘Give Me Your Love’ on which Alton was partnered by singer, David Isaacs.
Throughout the remainder of the year, Alton worked primarily with both Dodd and Reid, his popularity unaffected by the developing style of Reggae. For Dodd, he cut a number of superb sides (most notably his seminal version of Tyrone Davis’ ‘Can I Change My Mind’) many of which were included on the singer’s second album, ‘The Best Of Alton Ellis’, issued early in 1969, while his recordings for Reid were equally as accomplished, with ‘Breaking Up’ the stand-out track from the period. In addition to his studio work, he continued to tour extensively, spending four months performing in clubs around Canada with Jo Jo Bennett & the Fugitives in the spring.
Alton continued to record for both Dodd and Reid well into 1970, with the former releasing the singer’s third album, ‘Sunday Coming’ later that year. Among his output for Reid was a fine duet with Phyllis Dillon, ‘Remember That Sunday’, and sublime re-workings of Junior Walker &; The All Stars’ ‘What Does It Take (To Win Your Love)’ and the Brenda Holloway classic, ‘You’ve Made Me So Very Happy’, a song which also provided major hits for Blood, Sweat &; Tears and Lou Rawls.
Around this time Alton also enjoyed success with a variety of other Kingston-based producers, including Winston Riley, for whom he cut ‘I’ll Be Waiting’, ‘It’s Your Thing’ and ‘Soul Groove’. He also worked with Lloyd Daley, who produced the immensely popular ‘Back to Africa’ and ‘(Lord) Deliver Us’, Prince Buster, Phil Pratt and Sid Bucknor, as well sides for his own All-Tone label.
In 1971, Alton travelled to England, where he cut material for London-based producers Clancy Collins and Sylvan Bryan, while upon his return to Jamaica he continued to produce his own works for All-Tone, using the money from sessions for others to finance the label. Among those with whom he recorded for this purpose were Dodd, Pete Weston, Bunny Lee, Lloyd Charmers, Keith Hudson, Herman Chin-Loy, Joe Gibbs and Randy’s.
Alton then returned to England, spending his time there to work with London-based producers, Dave Hadfield and Lloyd Coxsone. Meanwhile, back in Jamaica, Duke Reid took a clutch of the singer’s best-known Treasure Isle sides and over-dubbed percussion to up-date the sound, releasing the re-mixed versions on the singer’s fourth album, ‘Mr Soul Of Jamaica’.
After his spell in the UK, Alton spent time in Jamaica, New York and Canada before returning to Britain where he decided to settle permanently. He remained active throughout the remainder of the decade, proving instrumental in launching Janet Kay’s career and the subsequent Lover’s Rock scene. In the eighties he launched his own Alltone Record shop in Brixton and continued to record on a regular basis, releasing a series of albums that included ‘Mr Skabena’, ‘A New Day’, ‘Daydreaming’, ‘Continuation’ and two ‘25th Jubilee Collections’. During this time he worked with a number of those who led a new wave of Reggae producers, most notably Henry ‘Junjo’ Lawes, King Jammy and Tapper Zukie.
As time went on, he eased off a little from his studio work, but continued to regularly perform live and was instrumental in the organisation of the popular Rock Steady Gala shows, held annually at the Hammersmith Palais over the Easter Bank Holidays. In 1994, after over thirty years in the business, his considerable contribution to the Jamaican music industry was officially acknowledged by the Jamaican Government, who awarded him the Order of Distinction on National Heroes Day. Few individuals have been more deserving of the honour.
Alton remained actively musically throughout the years that followed and in 2006 was inducted into the International Reggae &; World Music Awards (IRAWMA) Hall of Fame at a ceremony held at the Apollo Theatre in Harlem, New York. But just over a year later, he fell ill and was diagnosed with cancer of the lymph glands. A course of chemotherapy followed and by the summer, he appeared to have overcome the disease. Sadly it was not the case and on August 10th, after performing half of his set at the Jazz Cafe in central London, he collapsed. He was taken immediately to hospital, but failed to make a full recovery and was re-admitted for treatment two weeks ago.
In the early hours of this morning, he finally passed away, leaving behind his large, loving family, many friends and a multitude of fans – and a legacy that few will ever equal. The great Alton Nehemiah Ellis, a man who brought great joy though both is music and his presence, Rest In Peace.
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I acknowledge the kindness of Mr. Laurence Cane-Honeysett of Trojan Records for giving his blessing for my use of the above Obituary
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It was a rousing, rollicking send-off to singer Alton Ellis that was staged at the Scots Kirk on Duke Street on Monday November 3.
Actually, Alton's funeral service was a two-part event, with Part one being a true celebration which had those in attendance caught up somewhere between a Heineken Startime and a gospel showcase. And, Alton's family and his peers in the business came out to be a part of this last hurrah, but so too did his numerous fans, music industry personnel, ministers of government, the curious and those who felt the need to be part of history.
The St Andrew Scots Kirk was draped in the colours of the Jamaica flag, an indication of the official nature of the funeral, and big screens were placed strategically outside the church to accommodate the overflow of visitors for whom tents and chairs were provided.
Although the official announcement had said that the funeral would start at 11:00 am, the tribute section got underway from 10:30 am and what a stage show that turned out to be.
When we arrived minutes to 11:00 am, Winston 'Fix It' Francis was on stage - backed by Fab Five - singing to a packed church of persons in various stages of unrest. Photographers and videographers were busy and in abundance; there were more attendees than programmes, and so those who didn't have were busy borrowing or trying to hijack the ushers who walked by at intervals with "a few" and those who didn't want to sit under the tents crowded the aisles and the exit, needing to have a real look at these vintage artistes rarely seen in public.
At this stage, there was nothing funereal about the proceedings inside the church; it was just a huge celebration, the tears would perhaps come later, after the body was taken in the church.
It was a singers' paradise and a youthful sounding Tinga Stewart, crooned After All Is Said and Done; George Nooks' offering came in the for of the blockbuster Bridge Over Troubled Waters and his anthem God Is Standing By, which the congregation totally took over - dancing and singing praises. Tony Gregoy, looking just like how I remembered him from an album cover years ago, calmed down the people a little with Amen, after which Ken Boothe, Judy Mowatt and Carlene Davis restored some measure of calm.
It was during this 'intermission' that one lady asked, "You know Alton son dem? When you see dem just point dem out to me," she ordered, as she hurriedly moved on to join her friends who were singing and dancing up a storm to Alcapone's "a dis yah a fire, a dis yah a sugar; a wha so El Paso, El Paso, a wha so".
Cool as the proverbial cucumber, Dennis Alcapone ignited the church with his lyrics and started off a celebration like no other. This was taken to a different high with the performances of Bongo Herman - whose tribute in song also saw him striking the Lightning Bolt pose - and the duo Bunny and Scully. Their rendition of Muriel turned the church upside down, much in the same way that Don Smart turned over Weddy Weddy a few weeks ago.
Quite frankly, after this performance, as they would say in the dancehall, St Andrew's Scots Kirk, established in 1813, "no good again".
The veteran foundation singer died in London on October 10, following a long battle with cancer.
(from Jamaica Observer newspaper)
Profile created and maintained by JIM OBASA (a close friend of Hortense for over 20 years) with the blessing and encouragement of the Ellis family
To view the ALTON ELLIS Tribute CLICK HERE ****
To view the HORTENSE ELLIS Tribute CLICK HERE
Brand new Alton/Hortense video - July 25 2009 People Make The World Go Round
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Hortense Mahalia Ellis, the younger sister of reggae superstar Alton Ellis, was born 18th April 1941 in Trench Town, Jamaica. Her father worked on the railways while her mother ran a fruit stall.
Hortense was just 18 years old when she made her first appearance on Vere Johns Opportunity Hour - then Jamaica's foremost showcase for young undiscovered talent. Her version of Frankie Lymon's "I'm Not Saying No At All" so impressed both audience and panel, she was invited back the following week. Hortense went on to enter many other talent competitions and showcases; managing to reach six semi-finals and four finals.
Hortense's earliest recordings include "Eddie My Love" in 1961 for producer Clement "Coxsone" Dodd and "Midnight" in 1962 for Duke Reid swiftly followed by "I'll Come Softly" and "I Am In Love" (both of which are among my most treasured possessions). It was around this time that Hortense was also recording duets with her brother Alton. Although Hortense remained primarily a solo performer, she recorded many duets over the years with stars such as Derrick Morgan, Jackie Edwards, Stranger Cole along with Jackie Opel.
By the late sixties, Hortense had acquired extensive experience both in live performance and also in the studio. She toured Jamaica with Byron Lee and The Dragonaires and was recording with some of the island's top producers. Among these were Ken Lack ("I Shall Sing" and "Hell And Sorrow"), Coxsone Dodd ("Twelve Minutes To Go" and "I'll Come Softly") and also the great Duke Reid.
Clement "Coxsone" Dodd was, of course, the genius behind the Studio One record label - described by Marcia Griffiths in the television documentary "Stir It Up" as Jamaica's Motown. The street, Brentford Road, on which Dodd's studio was sited has recently been renamed Studio One Boulevard in his memory. In the early days, Alton Ellis was also recording for Dodd who cleverly exploited the family connection by producing "female" adaptions of some of Alton's hits for Hortense to record. One example "I'm Just A Guy" recorded by Alton became "I'm Just A Girl" some years later for Hortense.
Alton and Hortense toured Canada in 1970, but the following year Hortense was back in Jamaica. She married Mikey Saunders with whom she had five children in quick succession. Although her live performances suffered as a result, Hortense remained busy in the studio. Recording as Mahalia Saunders for Lee "Scratch" Perry, she cut several sides including "Right On The Tip Of My Tongue" and "Piece Of My Heart".
Hortense's biggest success came in the late seventies with a song recorded for Augustus "Gussie" Clarke. "Unexpected Places" became popular all over the world. In my humble opinion, Hortense well deserved the same UK Top 40 success enjoyed by Dawn Penn and Ken Boothe. However, Hortense never managed to "cross over" in this way.
For producer Bunny "Striker" Lee, Hortense became Queen Tiney for her "Down Town Ting" - an answer record to Althea & Donna's "Up Town Top Ranking" which had itself been sung over Alton's "I'm Still In Love With You" rhythm.
It was in the seventies Hortense recut many of her Studio One sides with other producers - "Secretly" for Dudley "Manzie" Swaby and "Sitting In The Park" for Martin Williams. In addition, she was also recording with Soul Syndicate and the up and coming team of Sly & Robbie.
The rise of the Lovers Rock genre in the late seventies and early eighties resulted in Hortense cutting cover versions of several popular soul classics such as "Down The Aisle" (Patti Labelle) and "Young Hearts Run Free" (Candi Staton).
Following her divorce from Mikey Saunders, Hortense spent much of the eighties living in Brooklyn NY and Miami. On her return to Jamaica in 1989, Hortense began suffering ill health. Despite often being in considerable pain, she somehow managed to continue with local live performances. Performing - especially for a local crowd - was something Hortense enjoyed immensely. She lived for her children as a devoted loving mother and for her music as a talented dedicated performer.
Following a private visit to New York in the summer of 1999 - the last time I would see my Hortense alive - she went to Miami where ill health finally caught up with her. Instead of seeking immediate treatment, she insisted on struggling home to her beloved Jamaica where she was immediately hospitalised.
Hortense died peacefully in her sleep, aged just 59, in Kingston Public Hospital on 19th October 2000. She left nine children, 26 grandchildren and two great-grandchildren.
Her funeral took place at Andrews Seventh Day Adventist Church in Hope Road, Kingston on 9th November.
Suffering is a blessing, only when we suffer for the Truth. As it was in the Beginning so in the End. For it is Eve that first went from the Truth (spirit) to be lead by her eyes (flesh) that she govern over. This must fulfill itself so that the Spoken Words remain True. Samson is our example, to know that if man follow his weakness again, there will be no hope for the Human Race. Paul explained it in the letter to the Corinthians that Jesus is the second Adam. Jesus is the way, the truth and the life, he shows us the way back. Eve showed Adam the fruit of the tree of knowledge, now the second Adam, Jesus shows Eve (Mother Nature) the way back to the roots - spirit. Then we will nurish us from the fruit of the tree of life again, but only those who are born out of the spirit. Flesh remains flesh and will die, spirit will be alive!
To view the ALTON ELLIS Tribute 
..
Hortense Mahalia Ellis, the younger sister of reggae superstar Alton Ellis, was born 18th April 1941 in Trench Town, Jamaica. Her father worked on the railways while her mother ran a fruit stall.
Hortense was just 18 years old when she made her first appearance on Vere Johns Opportunity Hour - then Jamaica's foremost showcase for young undiscovered talent. Her version of Frankie Lymon's "I'm Not Saying No At All" so impressed both audience and panel, she was invited back the following week. Hortense went on to enter many other talent competitions and showcases; managing to reach six semi-finals and four finals.
Hortense's earliest recordings include "Eddie My Love" in 1961 for producer Clement "Coxsone" Dodd and "Midnight" in 1962 for Duke Reid swiftly followed by "I'll Come Softly" and "I Am In Love" (both of which are among my most treasured possessions). It was around this time that Hortense was also recording duets with her brother Alton. Although Hortense remained primarily a solo performer, she recorded many duets over the years with stars such as Derrick Morgan, Jackie Edwards, Stranger Cole along with Jackie Opel.
By the late sixties, Hortense had acquired extensive experience both in live performance and also in the studio. She toured Jamaica with Byron Lee and The Dragonaires and was recording with some of the island's top producers. Among these were Ken Lack ("I Shall Sing" and "Hell And Sorrow"), Coxsone Dodd ("Twelve Minutes To Go" and "I'll Come Softly") and also the great Duke Reid.
Clement "Coxsone" Dodd was, of course, the genius behind the Studio One record label - described by Marcia Griffiths in the television documentary "Stir It Up" as Jamaica's Motown. The street, Brentford Road, on which Dodd's studio was sited has recently been renamed Studio One Boulevard in his memory. In the early days, Alton Ellis was also recording for Dodd who cleverly exploited the family connection by producing "female" adaptions of some of Alton's hits for Hortense to record. One example "I'm Just A Guy" recorded by Alton became "I'm Just A Girl" some years later for Hortense.
Alton and Hortense toured Canada in 1970, but the following year Hortense was back in Jamaica. She married Mikey Saunders with whom she had five children in quick succession. Although her live performances suffered as a result, Hortense remained busy in the studio. Recording as Mahalia Saunders for Lee "Scratch" Perry, she cut several sides including "Right On The Tip Of My Tongue" and "Piece Of My Heart".
Hortense's biggest success came in the late seventies with a song recorded for Augustus "Gussie" Clarke. "Unexpected Places" became popular all over the world. In my humble opinion, Hortense well deserved the same UK Top 40 success enjoyed by Dawn Penn and Ken Boothe. However, Hortense never managed to "cross over" in this way.
For producer Bunny "Striker" Lee, Hortense became Queen Tiney for her "Down Town Ting" - an answer record to Althea & Donna's "Up Town Top Ranking" which had itself been sung over Alton's "I'm Still In Love With You" rhythm.
It was in the seventies Hortense recut many of her Studio One sides with other producers - "Secretly" for Dudley "Manzie" Swaby and "Sitting In The Park" for Martin Williams. In addition, she was also recording with Soul Syndicate and the up and coming team of Sly & Robbie.
The rise of the Lovers Rock genre in the late seventies and early eighties resulted in Hortense cutting cover versions of several popular soul classics such as "Down The Aisle" (Patti Labelle) and "Young Hearts Run Free" (Candi Staton).
Following her divorce from Mikey Saunders, Hortense spent much of the eighties living in Brooklyn NY and Miami. On her return to Jamaica in 1989, Hortense began suffering ill health. Despite often being in considerable pain, she somehow managed to continue with local live performances. Performing - especially for a local crowd - was something Hortense enjoyed immensely. She lived for her children as a devoted loving mother and for her music as a talented dedicated performer.
Following a private visit to New York in the summer of 1999 - the last time I would see my Hortense alive - she went to Miami where ill health finally caught up with her. Instead of seeking immediate treatment, she insisted on struggling home to her beloved Jamaica where she was immediately hospitalised.
Hortense died peacefully in her sleep, aged just 59, in Kingston Public Hospital on 19th October 2000. She left nine children, 26 grandchildren and two great-grandchildren.
Her funeral took place at Andrews Seventh Day Adventist Church in Hope Road, Kingston on 9th November.
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