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If you're a fan of Old School, original, classic Jamaican Ska, then you probably know all about the legendary sessions at Coxsone Dodd's Studio One, with the Skatalites in full force, banging out all those tracks that fill your compilations and various Classic Ska collections. You probably also know that, even though Dodd certainly ruled the scene back in Kingston in the early 60s, he had some heavy competition from other start-up producers who followed his model. The most recognized competitor was Duke Reid's Treasure Island studios. And maybe you even know the irony of all this competition: whether it was Studio One, any of Dodd's sublabels, Leslie Kong's Beverly Records, or Treasure Island, invariably these producers were competing with tracks by the same core of musicians, the Skatalites. One other young player on the production scene back was Justin Yap, a Chinese-Jamaican who set up in the back of Top Deck, his parents' restaurant and ice cream parlor. Although he started out, at 18 years of age, simply wanting to record a love song for his girlfriend, he quickly made contacts and soon began steady business with the Skatalites and many noted vocalists. It was Jamaican ska trumpeter Baba Brooks who became Justin's first mentor and connection to other prominent musicians. Brooks let Justin record his ska-swing arrangement "Distant Drums" (patterned after Artie Shaw's "Jungle Drums") which brought recognition to this young producer. He recorded many popular ska tracks with less prominent musicians, but eventually was introduced to The Skatalites. Justin Yap was the producer behind one of the most legendary recording sessions in Jamaican music. In November, 1964, the Skatalites gathered once again at Coxsone's Studio One. The session lasted a blistering 18 hours with the band laying down classic takes of "Skaravan," "Confucious," "Chinatown," and "The Reburial." Justin Yap recollected recently: "One night session, one long jam session; it was like a party - it was A party!" Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.