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By Brian O’Camb

Daily Bruin Senior Staff

Under a cloud of smoke, barbecue and bubbles, thousands turned out for Day Two of the 14th annual UCLA JazzReggae Festival to revel in the sun and listen to reggae music.

This year’s festival, however, boasted more vendors and corporate sponsors than years past. Farouk Gandhi, a third-year economics student and director of the student-run festival, said tremendous facilities costs made it necessary to “seek sources outside of the school.”

The day began at noon with L.A.-based Rub a Dub. Blending funk-soul keyboards and spacey guitars, the reggae group took several detours in their sound, exploring trip-hop, Arabic and jazz styles.

Eventually the band ventured back into familiar terrain, briefly covering Musical Youth’s “Pass the Dutchie” before heading off into their own tune. At one point the lyrics grew muddled due to the sound system, but the result was a series of hypnotic vocalizations which kept heads bobbing.

Up next was Detour Posse. Led by a tag-team saxophone and trumpet section, the band brought the stage to life with punchy horn bursts.

But ultimately, it was the band’s vocal harmonies that bought the audience. With sensuous vocals best suited to R&B gospel, the group bridged the bright horn shots with the repetitive guitar and bass.

After a brief break, Detour Posse (minus the horns) came back to play with Frankie Paul, roots reggae extraordinaire. Receiving his microphone backstage, Paul began singing and rocking in the sunshine for a few minutes before finally taking the stage.

With the crowd growing, Paul gave a shout out to the audience as synthesized laser gun sounds echoed behind him. Muted guitar crept behind the keyboard clamor, inspiring people to dance.

Paul took particular pains to interact with the crowd, thanking them for participating in his call-response interludes. As synth xylophone sounds and thumping bass anchored one song, clean piano danced alongside Paul’s roll call to Latinos, Africans and Jamaicans.

Concluding with a sweet piano ballad, Paul lent his husky vocals to serenading the enthusiastic crowd before heading off the stage.

After the set, guest MC Junior Francis, a DJ for KXLU 88.9, offered to comment on his enthusiasm for the festival.

“People associate reggae music with violence and drugs,” he said. “But this is a family day.”

Detour Posse remained on stage, this time to be accompanied by reggae singer Yami Bolo in what was later announced as the group’s sixth set of the weekend. Beginning with ska-flavored keyboards, the group got the crowd excited all over again as Bolo took the mic.

As the band blended whining guitars with muted bass and hopping keyboards, Bolo threw his finger in the air, dancing onstage with his mic to the bouncy reggae tunes.

After several songs, all instruments but the kick drum dropped out. Bolo began singing over the heartbeat drum, calling for an end to violence in our society.

Bolo later concluded his set with a call-response chorus to the crowd to stop “worldwide pollution, confusion, corruption.” Asking only the children in the crowd to sing along, Bolo cemented his message of peace.

Between the two sets, Dredd, reggae DJ for 92.3 the Beat and a UCLA student, reminded the crowd of why the festival was assembled. “This day has a larger purpose. It’s to remember those that fought for our freedom. Reggae artists fight for equal rights, so let’s not forget them.”

With the help of Francis, Dredd celebrated the memories of reggae legends such as Jacob Miller, Peter Tosh, Bob Marley and Joe Higgs.

After the intercession came dancehall sensation Spragga Benz. Aided by synthesizers and stutter step percussion, Benz brought his rapid- fire lyrics to life, walking out onto the speakers, and reaching into the crowd.

Trying to contain himself, Benz crouched over a speaker on stage, captured in the throws of the pounding keyboards behind him.

Taking towel in hand Benz got the crowd pumping their fists in the air as the keyboards took a decidedly dark turn. Skanking on stage, Benz was uncontrollable as he growled a call and response sequence to the hyped festival-goers.

Eventually, the sound of reed flutes carried Benz into a barrage of flowing lyrics. Pummeling the hollow recorders into submission with his growls, Benz was visibly enjoying himself, dancing, running and jumping all over the stage.

As the echo hall organs regained dominance over the piping recorders, honking saxophone and distorted guitar samples pierced the sky, as the crowd pushed themselves to keep up with Benz’ smokin’ set.

As the afternoon wore on, the crowd grew restless for Mr. Vegas, who ended the day on a high note. But many tired souls marched off of the Intramural Field, tired but content for the 14th year in a row.

With questions over the future of the IM field still unanswered, the future of UCLA JazzReggae also remains vague.

“If the IM field is gone, then we’ll be looking for a new venue, possibly Drake Stadium or Janss Plaza,” Gandhi said.

But rather than worrying about the future, Gandhi seized the day.

“This is the best event on campus,” he continued. “If students don’t come, then they’re missing out.”