Harold “Little G” McNair (5 November 1931 – 7 March 1971)
Jazz Musician · Composer · Flautist · Saxophonist ·Arranger · Bandleader
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Harold “Little G” McNair stands among the most influential Jamaican jazz musicians of the twentieth century. Internationally recognised for his mastery of the flute and saxophone, McNair was also an innovative composer and arranger whose work bridged Caribbean rhythmic traditions with modern jazz improvisation. His career connected Jamaica, The Bahamas, the United Kingdom, Europe, and the United States, positioning him among the pioneering generation of Caribbean musicians who transformed British jazz during the Windrush era. Although his life was tragically short, his artistry left an enduring mark on jazz, film music, folk-rock, and fusion music. His lyrical flute playing, sophisticated harmonic language, and integration of Caribbean sensibilities into jazz established him as one of the most important Jamaican contributors to international jazz history.
Early Life and Education Harold McNair was born on 5 November 1931, in Kingston, Jamaica, during a period of significant musical and cultural transformation on the island. Kingston in the 1930s and 1940s was alive with the sounds of mento, church hymns, jazz, swing, rhythm and blues, and Caribbean folk traditions, all of which shaped the musical environment in which McNair was raised. It is evident that his upbringing in Kingston exposed him to a rich mixture of local and international musical influences that would later shape his artistic voice. McNair attended the renowned Alpha Boys School in Kingston, an institution celebrated for producing generations of influential Jamaican musicians. Under the guidance of respected musical educator Vincent Tulloch, he received rigorous musical training that combined classical foundations with practical ensemble performance. Alpha Boys School played a pivotal role in nurturing the talents of many future Jamaican jazz and ska pioneers, including Joe Harriott, Don Drummond, and Wilton Gaynair. Within this disciplined yet creatively vibrant environment, McNair developed his technical abilities on the saxophone while cultivating an appreciation for improvisation, musical expression, and performance discipline. As a young musician growing up in Kingston, McNair absorbed a wide range of sounds from dance halls, radio broadcasts, cinemas, and community gatherings. American jazz recordings by artists such as Charlie Parker, Duke Ellington, and Dizzy Gillespie circulated widely throughout the Caribbean during this period, influencing a generation of Jamaican musicians eager to engage with modern jazz. At the same time, the rhythms and melodic contours of Jamaican folk traditions remained deeply embedded in McNair’s musical sensibilities, contributing to the lyrical and rhythmic character that later distinguished his work. |
Musical Beginnings and Inspirations
Harold McNair’s professional musical career began to take shape during his years in The Bahamas, where he spent approximately a decade performing in clubs, hotels, and dance bands. During that period, he became known by the nickname “Little G” and gained valuable experience performing Caribbean dance music, calypso, jazz standards, and popular repertoire. Those formative years helped him to develop not only his technical skill as an instrumentalist but also his emerging identity as a composer and arranger.
One of his earliest significant recordings as a bandleader was Bahama Bash, released in 1960. The recording reflected his growing interest in blending Caribbean rhythms with jazz improvisation, an approach that would become central to his musical identity. The album demonstrated his ability to fuse calypso influences and Caribbean rhythmic structures with the harmonic sophistication and spontaneity of modern jazz.
Although McNair received formal musical training at Alpha Boys School, much of his development as a flautist was self-directed. After beginning studies on the flute around 1960, he reportedly received some instruction while in New York, but largely developed his own approach to the instrument through experimentation and performance. His self-taught journey contributed significantly to the originality of his sound. Unlike many classically trained flautists, McNair approached the flute with the expressive phrasing and improvisational instincts of a jazz saxophonist, creating a tone that was warm, fluid, and emotionally resonant.
Jazz became the primary language through which McNair expressed his artistic vision, yet Caribbean musical traditions remained deeply embedded within his work. Alongside fellow Jamaican musicians such as Joe Harriott and Wilton Gaynair, McNair represented a generation of Caribbean artistes who sought to redefine jazz through the lens of their own cultural experiences. His compositions and improvisations frequently incorporated Caribbean rhythmic ideas, melodic phrasing, and an openness to experimentation that reflected both his Jamaican roots and his engagement with international jazz movements.
International Career and Artistic Evolution
Like many Caribbean musicians of his generation, McNair left Jamaica in pursuit of greater professional opportunities and financial stability as a working musician. During the 1950s, he spent several years in The Bahamas performing in hotels, nightclubs, and dance orchestras, where he developed his versatility as both an instrumentalist and entertainer. Performing for tourists and local audiences required musicians to master a wide repertoire that included jazz standards, calypso, dance music, and popular songs. These years proved invaluable in shaping McNair’s discipline, adaptability, and stage presence, while also strengthening his understanding of Caribbean rhythmic traditions that would later become central to his musical identity.
By 1960, McNair relocated to Europe, settling primarily in London during a period when the city’s jazz scene was becoming increasingly vibrant and internationally connected. London had emerged as an important cultural centre for Caribbean musicians, many of whom migrated in search of artistic freedom and economic opportunity unavailable in the colonial Caribbean. McNair quickly became immersed in this environment and established himself as one of the most respected jazz musicians within Britain’s modern jazz movement. His performances at Ronnie Scott’s Jazz Club and other leading venues earned him recognition for his technical brilliance, lyrical improvisation, and distinctive tone.
Throughout the 1960s, McNair worked extensively as both a bandleader and session musician. His reputation for versatility allowed him to move comfortably between straight-ahead jazz, folk, film music, rhythm and blues, and the emerging jazz-rock fusion scene. Unlike many jazz musicians who remained confined to one stylistic tradition, McNair embraced experimentation and collaboration, becoming part of the broader musical transformations taking place internationally during the decade.
His recording career flourished during this period, producing a catalogue that reflected his artistic growth and expanding musical interests. Early albums such as Bahama Bash revealed his grounding in Caribbean rhythms and calypso influences, while later recordings demonstrated increasingly sophisticated explorations of jazz harmony, modal improvisation, and fusion aesthetics. Albums such as Affectionate Fink, Up in the Air with Harold McNair, Flute and Nut, and The Fence showcased his ability to blend Caribbean rhythmic ideas with jazz improvisation, folk influences, and atmospheric arrangements. His recordings were often marked by lyrical melodies, spacious improvisation, and emotional warmth, qualities that distinguished him from many of his contemporaries.
Although McNair was proficient on alto and tenor saxophone, the flute became the instrument most closely associated with his artistic identity. At a time when the flute was still relatively uncommon as a lead instrument in jazz, McNair helped to expand its expressive possibilities within both jazz and popular music. His playing was characterised by breath-like phrasing, flowing melodic lines, rhythmic subtlety, and a deeply vocal quality. Rather than treating the flute purely as a technical instrument, McNair approached it as a vehicle for storytelling and emotional communication.
As his reputation grew, McNair collaborated with many influential musicians across several genres. One of the most important relationships of his career was with legendary bassist and composer Charles Mingus, who reportedly greatly admired McNair’s musicianship. Mingus invited him to rehearse and perform in London, recognising the Jamaican musician’s originality and improvisational sensitivity. McNair’s association with Mingus elevated his profile within international jazz circles and affirmed his standing among elite jazz musicians of the era.
McNair also became closely associated with the British folk and progressive music scenes of the late 1960s. His collaborations with Donovan introduced his flute playing to international mainstream audiences, particularly through his contributions to songs such as “There Is a Mountain.” These recordings exposed McNair’s artistry to listeners beyond jazz audiences and demonstrated his ability to integrate improvisational jazz elements into commercially successful popular music. His collaborations with Ginger Baker, John Martyn, Blossom Dearie, Philly Joe Jones, and Zoot Sims further reflected the breadth of his musical interests and the high regard in which he was held by fellow musicians.
During this period, McNair also contributed to film and television soundtrack recordings, broadening the scope of his career even further. His performances appeared in productions linked to films such as Dr. No and Kes, where his expressive flute and saxophone playing added emotional atmosphere and dramatic depth. His work in soundtrack music highlighted his ability to communicate mood and narrative through instrumental performance, further demonstrating his versatility as both composer and performer.
By the late 1960s, Harold McNair had established himself as one of the most innovative Caribbean musicians working in Europe. His ability to merge Jamaican and Caribbean musical sensibilities with modern jazz, folk, fusion, and soundtrack music positioned him as a pioneering figure within international music culture. His career reflected not only the migration of Caribbean musicians abroad, but also the growing global influence of Caribbean creativity during the twentieth century. Through his recordings, collaborations, and performances, McNair helped to redefine the possibilities of jazz while carrying the rhythms, spirit, and musical heritage of Jamaica onto the world stage.
Compositional Style and Creative Process
Harold McNair’s compositions reflected a deep commitment to melody, atmosphere, and rhythmic flow. His jazz works often balanced modal improvisation with lyrical melodic structures, creating music that was emotionally expressive while remaining harmonically adventurous. Rather than relying on excessive technical display, McNair prioritised emotional communication and ensemble interaction.
During the later years of his career, McNair increasingly explored folk, rock, and fusion influences. Albums such as The Fence reflected the experimental spirit of the late 1960s, incorporating elements of psychedelic folk and jazz-rock fusion while maintaining the improvisational integrity of jazz. His willingness to cross stylistic boundaries positioned him among the more adventurous musicians of his era. McNair appeared to approach music organically, often allowing melody and rhythmic feel to guide the creative process. His arrangements frequently emphasised space, mood, and expressive phrasing, qualities that continue to distinguish his recordings today.
Cultural and Musical Impact
Harold McNair occupies an important place within the history of Jamaican and international jazz. Alongside figures such as Joe Harriott, Dizzy Reece, and Wilton Gaynair, he helped to establish Jamaican musicians as significant contributors to modern jazz on the global stage. His work demonstrated that Caribbean musicians could engage with sophisticated jazz forms while retaining their cultural identity and rhythmic heritage.
McNair’s blending of Caribbean musical sensibilities with jazz improvisation anticipated later developments in Afro-Caribbean jazz and global fusion music. His artistry contributed to the multicultural transformation of British jazz during the post-war era, helping broaden understandings of what jazz could encompass culturally and stylistically.
Although he did not achieve widespread commercial fame during his lifetime, McNair earned deep respect among musicians, critics, and jazz audiences. His recordings became admired for their lyrical beauty, emotional sensitivity, and innovative blending of genres. Over time, jazz historians and collectors increasingly recognised his importance as one of the most distinctive voices to emerge from the Caribbean jazz tradition.
Internationally, McNair’s music travelled across Europe, North America, and the Caribbean through recordings, touring, and collaborations with prominent artists. His work continues to influence contemporary jazz musicians interested in Afro-diasporic musical traditions and cross-cultural experimentation.
Enduring Legacy and Personal Reflections
Although Harold McNair did not receive major state honours during his lifetime, his reputation has grown significantly in the decades following his passing. Today, jazz historians, musicians, and scholars increasingly recognise him as one of the pioneering Jamaican musicians who helped shape modern British jazz and Afro-Caribbean fusion music. His recordings continue to be reissued, studied, and celebrated by collectors, historians, and younger generations of musicians interested in the Caribbean’s contribution to international jazz history. Archives, jazz publications, and historical studies of British and Caribbean music frequently highlight McNair’s significance as an artist whose work transcended geographical and stylistic boundaries.
Contemporary Caribbean and British jazz musicians continue to draw inspiration from McNair’s seamless blending of jazz improvisation with Caribbean musical identity. His artistry anticipated many of the global jazz movements that later emerged during the twentieth and twenty-first centuries, making his work remarkably innovative and forward-thinking. His ability to move fluidly between jazz, folk, fusion, and soundtrack music demonstrated a creative openness that continues to resonate with musicians exploring cross-cultural forms of expression.
Those who knew and worked alongside Harold McNair often described him as warm, humble, thoughtful, and deeply committed to his craft. His friendship with fellow Jamaican jazz pioneer Joe Harriott reflected the close bonds shared among Jamaican musicians navigating the British jazz scene during the Windrush era. Together, they represented a generation of Black Caribbean artists whose creativity transformed British musical culture and expanded the possibilities of modern jazz. Critics and fellow musicians admired McNair not only for his technical brilliance, but also for the emotional sincerity and lyrical beauty of his performances. Many jazz writers later referred to him as one of the great unrealised figures of British jazz, noting that his life and career were tragically cut short just as his artistic vision was reaching full maturity.
Harold McNair remains one of the most important Jamaican jazz musicians of the twentieth century. Through his expressive flute playing, innovative compositions, and seamless integration of Caribbean and jazz traditions, he expanded the possibilities of modern jazz and helped establish Caribbean musicians as major contributors to international music culture. His artistry reflected the broader story of Jamaican and Caribbean migration, cultural exchange, and creative innovation during the Windrush period. Although he died of lung cancer in London on 7 March 1971, at only thirty-nine years of age, McNair’s recordings continue to inspire musicians and scholars around the world. His music stands as a testament to the richness of Jamaican musical creativity and the enduring power of jazz as a global art form. Today, Harold McNair is increasingly recognised not merely as a talented Jamaican musician abroad, but as a pioneering architect of Caribbean jazz modernism whose legacy continues to shape contemporary understandings of jazz, identity, and cultural fusion.
Written by Janine Coombs
Edited by Charmaine Limonius
Albums
1960 — Bahama Bash
1961 — Little G and the Islanders
1964 — Up in the Air with Harold McNair
1965 — Affectionate Fink
1968 — Harold McNair
1970 — Flute and Nut
1970 — The Fence
1972 — Harold McNair (Posthumous Release)
Selected Original Compositions and Notable Recorded Works
1965 — “Mini Blues”
1965 — “Indecision”
1968 — “The Hipster”
1970 — “Barnes Bridge”
1970 — “Nomadic Joe”
1970 — “Herb Green”
1970 — “Burnt Amber”
1970 — “Mento”
Major Collaborations and Featured Recordings
1966 — Sunshine Superman with Donovan
1967 — Mellow Yellow with Donovan
1967 — A Gift from a Flower to a Garden with Donovan
1968 — The Hurdy Gurdy Man with Donovan
1969 — Barabajagal with Donovan
1969 — Performances with Ginger Baker and Ginger Baker’s Air Force
1970 — Collaborations with John Martyn
Film and Soundtrack Contributions
1962 — Dr. No
1969 — Kes
1970 — Fragment of Fear
Harold McNair’s professional musical career began to take shape during his years in The Bahamas, where he spent approximately a decade performing in clubs, hotels, and dance bands. During that period, he became known by the nickname “Little G” and gained valuable experience performing Caribbean dance music, calypso, jazz standards, and popular repertoire. Those formative years helped him to develop not only his technical skill as an instrumentalist but also his emerging identity as a composer and arranger.
One of his earliest significant recordings as a bandleader was Bahama Bash, released in 1960. The recording reflected his growing interest in blending Caribbean rhythms with jazz improvisation, an approach that would become central to his musical identity. The album demonstrated his ability to fuse calypso influences and Caribbean rhythmic structures with the harmonic sophistication and spontaneity of modern jazz.
Although McNair received formal musical training at Alpha Boys School, much of his development as a flautist was self-directed. After beginning studies on the flute around 1960, he reportedly received some instruction while in New York, but largely developed his own approach to the instrument through experimentation and performance. His self-taught journey contributed significantly to the originality of his sound. Unlike many classically trained flautists, McNair approached the flute with the expressive phrasing and improvisational instincts of a jazz saxophonist, creating a tone that was warm, fluid, and emotionally resonant.
Jazz became the primary language through which McNair expressed his artistic vision, yet Caribbean musical traditions remained deeply embedded within his work. Alongside fellow Jamaican musicians such as Joe Harriott and Wilton Gaynair, McNair represented a generation of Caribbean artistes who sought to redefine jazz through the lens of their own cultural experiences. His compositions and improvisations frequently incorporated Caribbean rhythmic ideas, melodic phrasing, and an openness to experimentation that reflected both his Jamaican roots and his engagement with international jazz movements.
International Career and Artistic Evolution
Like many Caribbean musicians of his generation, McNair left Jamaica in pursuit of greater professional opportunities and financial stability as a working musician. During the 1950s, he spent several years in The Bahamas performing in hotels, nightclubs, and dance orchestras, where he developed his versatility as both an instrumentalist and entertainer. Performing for tourists and local audiences required musicians to master a wide repertoire that included jazz standards, calypso, dance music, and popular songs. These years proved invaluable in shaping McNair’s discipline, adaptability, and stage presence, while also strengthening his understanding of Caribbean rhythmic traditions that would later become central to his musical identity.
By 1960, McNair relocated to Europe, settling primarily in London during a period when the city’s jazz scene was becoming increasingly vibrant and internationally connected. London had emerged as an important cultural centre for Caribbean musicians, many of whom migrated in search of artistic freedom and economic opportunity unavailable in the colonial Caribbean. McNair quickly became immersed in this environment and established himself as one of the most respected jazz musicians within Britain’s modern jazz movement. His performances at Ronnie Scott’s Jazz Club and other leading venues earned him recognition for his technical brilliance, lyrical improvisation, and distinctive tone.
Throughout the 1960s, McNair worked extensively as both a bandleader and session musician. His reputation for versatility allowed him to move comfortably between straight-ahead jazz, folk, film music, rhythm and blues, and the emerging jazz-rock fusion scene. Unlike many jazz musicians who remained confined to one stylistic tradition, McNair embraced experimentation and collaboration, becoming part of the broader musical transformations taking place internationally during the decade.
His recording career flourished during this period, producing a catalogue that reflected his artistic growth and expanding musical interests. Early albums such as Bahama Bash revealed his grounding in Caribbean rhythms and calypso influences, while later recordings demonstrated increasingly sophisticated explorations of jazz harmony, modal improvisation, and fusion aesthetics. Albums such as Affectionate Fink, Up in the Air with Harold McNair, Flute and Nut, and The Fence showcased his ability to blend Caribbean rhythmic ideas with jazz improvisation, folk influences, and atmospheric arrangements. His recordings were often marked by lyrical melodies, spacious improvisation, and emotional warmth, qualities that distinguished him from many of his contemporaries.
Although McNair was proficient on alto and tenor saxophone, the flute became the instrument most closely associated with his artistic identity. At a time when the flute was still relatively uncommon as a lead instrument in jazz, McNair helped to expand its expressive possibilities within both jazz and popular music. His playing was characterised by breath-like phrasing, flowing melodic lines, rhythmic subtlety, and a deeply vocal quality. Rather than treating the flute purely as a technical instrument, McNair approached it as a vehicle for storytelling and emotional communication.
As his reputation grew, McNair collaborated with many influential musicians across several genres. One of the most important relationships of his career was with legendary bassist and composer Charles Mingus, who reportedly greatly admired McNair’s musicianship. Mingus invited him to rehearse and perform in London, recognising the Jamaican musician’s originality and improvisational sensitivity. McNair’s association with Mingus elevated his profile within international jazz circles and affirmed his standing among elite jazz musicians of the era.
McNair also became closely associated with the British folk and progressive music scenes of the late 1960s. His collaborations with Donovan introduced his flute playing to international mainstream audiences, particularly through his contributions to songs such as “There Is a Mountain.” These recordings exposed McNair’s artistry to listeners beyond jazz audiences and demonstrated his ability to integrate improvisational jazz elements into commercially successful popular music. His collaborations with Ginger Baker, John Martyn, Blossom Dearie, Philly Joe Jones, and Zoot Sims further reflected the breadth of his musical interests and the high regard in which he was held by fellow musicians.
During this period, McNair also contributed to film and television soundtrack recordings, broadening the scope of his career even further. His performances appeared in productions linked to films such as Dr. No and Kes, where his expressive flute and saxophone playing added emotional atmosphere and dramatic depth. His work in soundtrack music highlighted his ability to communicate mood and narrative through instrumental performance, further demonstrating his versatility as both composer and performer.
By the late 1960s, Harold McNair had established himself as one of the most innovative Caribbean musicians working in Europe. His ability to merge Jamaican and Caribbean musical sensibilities with modern jazz, folk, fusion, and soundtrack music positioned him as a pioneering figure within international music culture. His career reflected not only the migration of Caribbean musicians abroad, but also the growing global influence of Caribbean creativity during the twentieth century. Through his recordings, collaborations, and performances, McNair helped to redefine the possibilities of jazz while carrying the rhythms, spirit, and musical heritage of Jamaica onto the world stage.
Compositional Style and Creative Process
Harold McNair’s compositions reflected a deep commitment to melody, atmosphere, and rhythmic flow. His jazz works often balanced modal improvisation with lyrical melodic structures, creating music that was emotionally expressive while remaining harmonically adventurous. Rather than relying on excessive technical display, McNair prioritised emotional communication and ensemble interaction.
During the later years of his career, McNair increasingly explored folk, rock, and fusion influences. Albums such as The Fence reflected the experimental spirit of the late 1960s, incorporating elements of psychedelic folk and jazz-rock fusion while maintaining the improvisational integrity of jazz. His willingness to cross stylistic boundaries positioned him among the more adventurous musicians of his era. McNair appeared to approach music organically, often allowing melody and rhythmic feel to guide the creative process. His arrangements frequently emphasised space, mood, and expressive phrasing, qualities that continue to distinguish his recordings today.
Cultural and Musical Impact
Harold McNair occupies an important place within the history of Jamaican and international jazz. Alongside figures such as Joe Harriott, Dizzy Reece, and Wilton Gaynair, he helped to establish Jamaican musicians as significant contributors to modern jazz on the global stage. His work demonstrated that Caribbean musicians could engage with sophisticated jazz forms while retaining their cultural identity and rhythmic heritage.
McNair’s blending of Caribbean musical sensibilities with jazz improvisation anticipated later developments in Afro-Caribbean jazz and global fusion music. His artistry contributed to the multicultural transformation of British jazz during the post-war era, helping broaden understandings of what jazz could encompass culturally and stylistically.
Although he did not achieve widespread commercial fame during his lifetime, McNair earned deep respect among musicians, critics, and jazz audiences. His recordings became admired for their lyrical beauty, emotional sensitivity, and innovative blending of genres. Over time, jazz historians and collectors increasingly recognised his importance as one of the most distinctive voices to emerge from the Caribbean jazz tradition.
Internationally, McNair’s music travelled across Europe, North America, and the Caribbean through recordings, touring, and collaborations with prominent artists. His work continues to influence contemporary jazz musicians interested in Afro-diasporic musical traditions and cross-cultural experimentation.
Enduring Legacy and Personal Reflections
Although Harold McNair did not receive major state honours during his lifetime, his reputation has grown significantly in the decades following his passing. Today, jazz historians, musicians, and scholars increasingly recognise him as one of the pioneering Jamaican musicians who helped shape modern British jazz and Afro-Caribbean fusion music. His recordings continue to be reissued, studied, and celebrated by collectors, historians, and younger generations of musicians interested in the Caribbean’s contribution to international jazz history. Archives, jazz publications, and historical studies of British and Caribbean music frequently highlight McNair’s significance as an artist whose work transcended geographical and stylistic boundaries.
Contemporary Caribbean and British jazz musicians continue to draw inspiration from McNair’s seamless blending of jazz improvisation with Caribbean musical identity. His artistry anticipated many of the global jazz movements that later emerged during the twentieth and twenty-first centuries, making his work remarkably innovative and forward-thinking. His ability to move fluidly between jazz, folk, fusion, and soundtrack music demonstrated a creative openness that continues to resonate with musicians exploring cross-cultural forms of expression.
Those who knew and worked alongside Harold McNair often described him as warm, humble, thoughtful, and deeply committed to his craft. His friendship with fellow Jamaican jazz pioneer Joe Harriott reflected the close bonds shared among Jamaican musicians navigating the British jazz scene during the Windrush era. Together, they represented a generation of Black Caribbean artists whose creativity transformed British musical culture and expanded the possibilities of modern jazz. Critics and fellow musicians admired McNair not only for his technical brilliance, but also for the emotional sincerity and lyrical beauty of his performances. Many jazz writers later referred to him as one of the great unrealised figures of British jazz, noting that his life and career were tragically cut short just as his artistic vision was reaching full maturity.
Harold McNair remains one of the most important Jamaican jazz musicians of the twentieth century. Through his expressive flute playing, innovative compositions, and seamless integration of Caribbean and jazz traditions, he expanded the possibilities of modern jazz and helped establish Caribbean musicians as major contributors to international music culture. His artistry reflected the broader story of Jamaican and Caribbean migration, cultural exchange, and creative innovation during the Windrush period. Although he died of lung cancer in London on 7 March 1971, at only thirty-nine years of age, McNair’s recordings continue to inspire musicians and scholars around the world. His music stands as a testament to the richness of Jamaican musical creativity and the enduring power of jazz as a global art form. Today, Harold McNair is increasingly recognised not merely as a talented Jamaican musician abroad, but as a pioneering architect of Caribbean jazz modernism whose legacy continues to shape contemporary understandings of jazz, identity, and cultural fusion.
Written by Janine Coombs
Edited by Charmaine Limonius
Albums
1960 — Bahama Bash
1961 — Little G and the Islanders
1964 — Up in the Air with Harold McNair
1965 — Affectionate Fink
1968 — Harold McNair
1970 — Flute and Nut
1970 — The Fence
1972 — Harold McNair (Posthumous Release)
Selected Original Compositions and Notable Recorded Works
1965 — “Mini Blues”
1965 — “Indecision”
1968 — “The Hipster”
1970 — “Barnes Bridge”
1970 — “Nomadic Joe”
1970 — “Herb Green”
1970 — “Burnt Amber”
1970 — “Mento”
Major Collaborations and Featured Recordings
1966 — Sunshine Superman with Donovan
1967 — Mellow Yellow with Donovan
1967 — A Gift from a Flower to a Garden with Donovan
1968 — The Hurdy Gurdy Man with Donovan
1969 — Barabajagal with Donovan
1969 — Performances with Ginger Baker and Ginger Baker’s Air Force
1970 — Collaborations with John Martyn
Film and Soundtrack Contributions
1962 — Dr. No
1969 — Kes
1970 — Fragment of Fear
ARRANGEMENTS
SECULAR CHORAL ARRANGEMENTS
*SAMBO GYAL, Jamaican folk song, SATB div. a cappella
*EVENING TIME, Jamaican folk song, SATB div. a cappella
*JACKASS A JUMP AN' BRAY, Jamaican folk song, SATB div. a cappella
*LIZA, Jamaican folk song, SATB div. a cappella
*MI CERASSIE, Jamaican folk song, SATB div. a cappella
*DAY OH! Jamaican folk song, SATB div. a cappella
*ZION, Jamaican Rasta song, SATB div. a cappella
*DECK THE HALLS, Christmas carol, SATB accompanied
*JINGLE BELLS, Christmas carol, SATB unaccompanied
*JAMAICA SERENADE, Jamaican song, SATB div. a cappella
*JAMAICA ARISE, Jamaican national song, SATB div. with orchestra
*I SAW MY LAND IN THE MORNING, Jamaican patriotic song, SATB div. accompanied
*BRAWTA CHRISTMUS, Jamaican Christmas folk song, SATB div., a cappella
*KIBBA YU MOUT', Jamaican folk song, TTBB, a cappella
*THE CALL, Jamaican song SATB unaccompanied
*OUR ISLAND HOME, Jamaican song, SATB unaccompanied
*JAMAICA, LAND OF BEAUTY, Jamaican song, SATB accompanied
*BEAUTIFY JAMAICA, Jamaican song, SATB unaccompanied
*HOL 'IM JOE, Jamaican folk song, SATB div., a cappella
*OKLAHOMA! (from the musical Oklahoma), SATB unaccompanied
SECULAR CHORAL/ORCHESTRAL COMPOSITIONS
*ONE MORE FI LEF’, SATB div., a cappella
*WHEN I HAVE PASSED AWAY, SATB unaccompanied
*LOVE KYAAN DONE, Jamaican anthem, SATB div. a cappella
*CHAMPIONS OF GOLD, Jamaican anthem, SATB div. with orchestra
*NATIONAL PLEDGE OF JAMAICA, Jamaican anthem, SATB div. with orchestra
*I SHALL RETURN, SATB unaccompanied
*LOVE'S PHILOSOPHY, SATB unaccompanied
*NOCTURNE IN G MAJOR (Serenity), piano
*HOME THOUGHTS, SATB unaccompanied (commissioned 2014 by the Jamaica Youth Chorale)
*RUN-A-BOAT SYMPHONY, Orchestra and SATB chorus
*NYABINGHI SYMPHONY, Orchestra and SATB chorus (2014)
*MAROON SYMPHONY, Orchestra and SATB chorus
*JAMAICAN FESTIVAL SONG SUITE, for Orchestra
*JAMAICA HARDTALK, Jamaican opera
SACRED CHORAL ARRANGEMENTS
*BE OB LITTLE FAIT', Jamaican spiritual, SATB div. unaccompanied
*AH AM TO DE HIGH LAN' BOUN', Jamaican spiritual, SATB div. unaccompanied
*SEN' DI POWAH JUS' NOW, Jamaican spiritual, SATB div. unaccompanied
*CYAA KETCH MI AGAIN, Jamaican spiritual, SATB div. unaccompanied
*GO ON, Jamaican spiritual, SATB div. unaccompanied
*PEACE AN' LOVE, Jamaican spiritual, SATB div. unaccompanied
*COULDN'T KEEP IT TO MYSELF, Traditional gospel song, SATB div. unaccompanied
*WALK ALL OVER GOD'S HEAVEN, Traditional spiritual, SATB div. unaccompanied
*ROLL JORDAN ROLL, Traditional spiritual, SATB div. unaccompanied
*EZEKIEL SAW DE WHEEL, Traditional spiritual, SATB div. unaccompanied
*GO TELL IT ON THE MOUNTAIN, Traditional spiritual, SATB div. unaccompanied
*YOU CAN TELL DE WORL’, Traditional spiritual, SATB div. a cappella
*GIVE ME JESUS, Traditional spiritual, SATB div. a cappella
*DE VIRGIN MARY, Traditional West Indian Song, SATB div. a cappella with percussion
*GO DOWN MOSES, Traditional spiritual, SATB div. a cappella
*EV'RY TIME I FEEL DE SPIRIT, Traditional spiritual, SATB div. a cappella
*MUMBLIN' WORD, Traditional spiritual, SATB div. a cappella
*HOLD ON, Traditional spiritual, SATB div. a cappella
*MY LAWD, WHAT A MAWNING, Traditional spiritual, SATB div. a cappella
*CITY CALLED HEAVEN, Traditional spiritual, SATB div. a cappella
*STEAL AWAY, Traditional spiritual, SATB div. a cappella
*GREAT DAY, Traditional spiritual, SATB div. a cappella
*WERE YOU THERE? Traditional spiritual, SATB div. a cappella
*HARK! THE HERALD ANGELS SING, Christmas carol, SATB div. accompanied
*PRECIOUS LORD, TAKE MY HAND, Religious hymn, SATB div. a cappella
*BALM IN GILEAD, Traditional spiritual, SATB div. a cappella
*SOON A WID BE DONE, Traditional spiritual, SATB div. a cappella
*LEMONS ON DE TREE, Jamaican spiritual, SATB div. a cappella
*MAASA GOD A GOD, Jamaican spiritual, SATB div. a cappella
*JOURNEY ALONG WID ME, Jamaican spiritual, SATB div. a cappella
*YES, TIS HEAB'N, Jamaican spiritual, SATB div. a cappella
*SING AN' PRAY, Jamaican spiritual, SATB div. a cappella
*ABIDE WITH ME, Religious hymn, SATB div. a cappella
*MY JESUS I LOVE THEE, Religious hymn, SATB div. a cappella
*O WORLD OF GOD, Religious hymn, mixed voices, soprano descant with organ.
*GET ON BOARD, Traditional spiritual, SATB div. a cappella
*ONCE TO EVERY MAN AND NATION, Religious hymn, SATB div. with orchestra
*EMMANUEL, Classical anthem, SATB div. accompanied
*THE DECLARATION, Classical anthem, SATB div. accompanied
*MY FAITH LOOKS UP TO THEE, Religious hymn, SATB div. accompanied
*ETERNAL LIFE, Religious anthem, SATB div. accompanied
*JAMAICA LAND OF BEAUTY, Jamaican patriotic song, SATB div. accompanied
*SANCTUS, Classical anthem, SATB div. with accompanied
*O SACRED HEAD THOU WOUNDED, Classical anthem, SATB div. accompanied
*JESUS IS MINE, Jamaican spiritual, SATB div. unaccompanied
*JESUS ALONE CANNOT BEAR DE CROSS, SATB div. accompanied
*O LET ME WALK WITH THEE, SATB div. accompanied
*I'VE BEEN 'BUKED, Traditional spiritual, SATB div. a cappella
*SWING LOW, SWEET CHARIOT, Traditional spiritual, SATB div. a cappella
*WICHITA GHOST SONG I, SATB div. a cappella
*WICHITA GHOST SONG II, SATB div. a cappella
*FIRST JAMAICAN MENTO MASS, (Lisa Narcisse, composer; complete) SATB div. with folk orchestra
*SECOND JAMAICAN MENTO MASS, (Lisa Narcisse, composer; Complete) SATB div. with folk orchestra
*HOLY MOUNT ZION, Jamaican spiritual, SATB div. unaccompanied
*COME SUNDAY (Duke Ellington, composer) Sacred song, SATB div., unaccompanied
*PRAISE GOD AND DANCE (Duke Ellington, composer) Sacred song, SATB div., accompanied
*WE GATHER TOGETHER, Religious hymn, Double SATB div., accompanied
*LAUDATE DOMINUM (Charles-Marie Widor, composer) anthem, SATB div., accompanied
*ALL HAIL THE POWER OF JESUS' NAME, SATB div. unaccompanied (2014)
*PRAISE YE THE FATHER, SATB div. unaccompanied
*PRAISE TO THE LORD, SATB div. unaccompanied
*SOUTHAMPTON (O WORSHIP THE LORD), SATB div. unaccompanied (2013)
*O WORSHIP THE KING, SATB div. unaccompanied (2014)
*THE LORD IN ZION REIGNETH, SATB div. unaccompanied (2014)
*REJOICE, YE PURE IN HEART, SATB div. accompanied (2014)
*AMAZING GRACE, SATB div. accompanied (2014)
*GUIDE ME, O THOU GREAT JEHOVAH, SATB div. accompanied
*WHITER THAN SNOW, SATB div., unaccompanied
*AWAY IN A MANGER, SATB div., unaccompanied
*INFANT HOLY, INFANT LOWLY, SATB div., unaccompanied
*ROCK-A MAH SOUL, SATB div., unaccompanied
*O HOW I LOVE JESUS, SATB div., unaccompanied
*WITNESS, SATB div., unaccompanied
*A MIGHTY FORTRESS, SATB div., unaccompanied
*MY MAKER AND MY KING, SATB div., unaccompanied
*PRAISE MY SOUL THE KING OF HEAVEN, SATB div., unaccompanied
*FACE TO FACE WITH CHRIST MY SAVIOUR, SATB div., unaccompanied
*MARCHING TO ZION, SATB div., unaccompanied
*I SING THE MIGHTY POWER OF GOD, SATB div., unaccompanied
*TROUBLE O!, Trinidadian spiritual, SATB div., unaccompanied
*JU JING, Belizean spiritual, SATB div., unaccompanied
*TAINO TEE, Taino traditional, SATB div., unaccompanied
*SOLEY, Haitian traditional, SATB div., unaccompanied
*ZION SUITE, Jamaican revivalist hymns, SATB div., unaccompanied
CHORAL COMPOSITIONS
*PSALM 1, Classical anthem, SATB div. a cappella
*PSALM 15, Classical anthem, SATB div. a cappella
*PSALM 23, Classical anthem, SATB div. a cappella
*PSALM 24, Classical anthem, SATB div. a cappella
*PSALM 43, Classical anthem, SATB div. a cappella
*PSALM 100, Classical anthem, SATB div. with orchestra
*REGGAE MASS, SATB accompanied
*THE OLD RUGGED CROSS, SATB div., unaccompanied
*GLORIA IN EXCELSIS DEO, SATB div., accompanied
*T'ANK GOD, Jamaican anthem, SATB div. accompanied
*TELL HIM SO, Anthem, SATB div. unaccompanied (NEW)
*MY MOTHER, Anthem, SATB div. unaccompanied (NEW)
*MI A GO WORSHIP IM, Jamaican hymn, SATB a cappella
*LET NOT YOUR HEART BE TROUBLED, harp, violin, SATB
*PRAYER OF THANKSGIVING, Classical anthem, SATB with orchestra
*TURN YE, Classical anthem, SATB a cappella
*ALLELUIA, Classical anthem, SATB a cappella
*THE UPPER ROOM, Spiritual, SATB div. a cappella
*I JUST WANT TO BE WITH MY LORD, Spiritual, SATB div. a cappella
*LISTEN, LORD—A PRAYER, Anthem, SATB div. a cappella
*MY ANSWER, Gospel anthem, SATB accompanied
*HERE TO PRAISE, Gospel anthem, SAT accompanied
*WAIT ON THE LORD, Gospel anthem, SAT accompanied
*ALL THE WAY, Gospel anthem, SAT a cappella
*HE LOVES ME, Gospel anthem, SATB accompanied
*ABBA FATHER, Worship anthem, SAT accompanied
*WE WORSHIP YOU, Worship anthem, SAT accompanied
*EAT, DRINK, AND BE MERRY, soprano and piano
*A FINE SEASON: soprano, choir and piano
*DIS IS MY WORD, soprano and piano
*RUTH, short musical in one act, soprano and piano
*MY LAND, OUR LAND, JAMAICA, Anthem, SATB div. accompanied
*BLACK, GREEN, AND GOLD, mezzo-soprano and harp
*MIERI'S SANG (Magnificat, text from the Jamaican Bible), SATB, organ and conga drum (2013)
*WA JIIZAS PRIICH PAN DI MOUNTN (Beatitudes from the Jamaican Bible, 1-4) SATB accompanied (2014)
VOCAL AND INSTRUMENTAL ARRANGEMENTS
*I NEVA GET WEARY YET, Jamaican spiritual; soprano, tenor and piano
*WE ARE ROLLING ON, Jamaican spiritual; soprano, tenor and piano
*CLIMBING DE HILLS OF ZION, Jamaican spiritual, bass and piano
*HEAB'N DO' GWINE TO BE CLOSE', Jamaican spiritual, tenor and piano
*BLOW DE DOUBLE NOTE, Jamaican spiritual; mezzo-soprano, trumpet and piano
*OH FREEDOM, Spiritual; soprano and piano.
*WE ARE ROLLING ON: Song Cycle of Jamaican revivalist hymns.
SECULAR CHORAL ARRANGEMENTS
*SAMBO GYAL, Jamaican folk song, SATB div. a cappella
*EVENING TIME, Jamaican folk song, SATB div. a cappella
*JACKASS A JUMP AN' BRAY, Jamaican folk song, SATB div. a cappella
*LIZA, Jamaican folk song, SATB div. a cappella
*MI CERASSIE, Jamaican folk song, SATB div. a cappella
*DAY OH! Jamaican folk song, SATB div. a cappella
*ZION, Jamaican Rasta song, SATB div. a cappella
*DECK THE HALLS, Christmas carol, SATB accompanied
*JINGLE BELLS, Christmas carol, SATB unaccompanied
*JAMAICA SERENADE, Jamaican song, SATB div. a cappella
*JAMAICA ARISE, Jamaican national song, SATB div. with orchestra
*I SAW MY LAND IN THE MORNING, Jamaican patriotic song, SATB div. accompanied
*BRAWTA CHRISTMUS, Jamaican Christmas folk song, SATB div., a cappella
*KIBBA YU MOUT', Jamaican folk song, TTBB, a cappella
*THE CALL, Jamaican song SATB unaccompanied
*OUR ISLAND HOME, Jamaican song, SATB unaccompanied
*JAMAICA, LAND OF BEAUTY, Jamaican song, SATB accompanied
*BEAUTIFY JAMAICA, Jamaican song, SATB unaccompanied
*HOL 'IM JOE, Jamaican folk song, SATB div., a cappella
*OKLAHOMA! (from the musical Oklahoma), SATB unaccompanied
SECULAR CHORAL/ORCHESTRAL COMPOSITIONS
*ONE MORE FI LEF’, SATB div., a cappella
*WHEN I HAVE PASSED AWAY, SATB unaccompanied
*LOVE KYAAN DONE, Jamaican anthem, SATB div. a cappella
*CHAMPIONS OF GOLD, Jamaican anthem, SATB div. with orchestra
*NATIONAL PLEDGE OF JAMAICA, Jamaican anthem, SATB div. with orchestra
*I SHALL RETURN, SATB unaccompanied
*LOVE'S PHILOSOPHY, SATB unaccompanied
*NOCTURNE IN G MAJOR (Serenity), piano
*HOME THOUGHTS, SATB unaccompanied (commissioned 2014 by the Jamaica Youth Chorale)
*RUN-A-BOAT SYMPHONY, Orchestra and SATB chorus
*NYABINGHI SYMPHONY, Orchestra and SATB chorus (2014)
*MAROON SYMPHONY, Orchestra and SATB chorus
*JAMAICAN FESTIVAL SONG SUITE, for Orchestra
*JAMAICA HARDTALK, Jamaican opera
SACRED CHORAL ARRANGEMENTS
*BE OB LITTLE FAIT', Jamaican spiritual, SATB div. unaccompanied
*AH AM TO DE HIGH LAN' BOUN', Jamaican spiritual, SATB div. unaccompanied
*SEN' DI POWAH JUS' NOW, Jamaican spiritual, SATB div. unaccompanied
*CYAA KETCH MI AGAIN, Jamaican spiritual, SATB div. unaccompanied
*GO ON, Jamaican spiritual, SATB div. unaccompanied
*PEACE AN' LOVE, Jamaican spiritual, SATB div. unaccompanied
*COULDN'T KEEP IT TO MYSELF, Traditional gospel song, SATB div. unaccompanied
*WALK ALL OVER GOD'S HEAVEN, Traditional spiritual, SATB div. unaccompanied
*ROLL JORDAN ROLL, Traditional spiritual, SATB div. unaccompanied
*EZEKIEL SAW DE WHEEL, Traditional spiritual, SATB div. unaccompanied
*GO TELL IT ON THE MOUNTAIN, Traditional spiritual, SATB div. unaccompanied
*YOU CAN TELL DE WORL’, Traditional spiritual, SATB div. a cappella
*GIVE ME JESUS, Traditional spiritual, SATB div. a cappella
*DE VIRGIN MARY, Traditional West Indian Song, SATB div. a cappella with percussion
*GO DOWN MOSES, Traditional spiritual, SATB div. a cappella
*EV'RY TIME I FEEL DE SPIRIT, Traditional spiritual, SATB div. a cappella
*MUMBLIN' WORD, Traditional spiritual, SATB div. a cappella
*HOLD ON, Traditional spiritual, SATB div. a cappella
*MY LAWD, WHAT A MAWNING, Traditional spiritual, SATB div. a cappella
*CITY CALLED HEAVEN, Traditional spiritual, SATB div. a cappella
*STEAL AWAY, Traditional spiritual, SATB div. a cappella
*GREAT DAY, Traditional spiritual, SATB div. a cappella
*WERE YOU THERE? Traditional spiritual, SATB div. a cappella
*HARK! THE HERALD ANGELS SING, Christmas carol, SATB div. accompanied
*PRECIOUS LORD, TAKE MY HAND, Religious hymn, SATB div. a cappella
*BALM IN GILEAD, Traditional spiritual, SATB div. a cappella
*SOON A WID BE DONE, Traditional spiritual, SATB div. a cappella
*LEMONS ON DE TREE, Jamaican spiritual, SATB div. a cappella
*MAASA GOD A GOD, Jamaican spiritual, SATB div. a cappella
*JOURNEY ALONG WID ME, Jamaican spiritual, SATB div. a cappella
*YES, TIS HEAB'N, Jamaican spiritual, SATB div. a cappella
*SING AN' PRAY, Jamaican spiritual, SATB div. a cappella
*ABIDE WITH ME, Religious hymn, SATB div. a cappella
*MY JESUS I LOVE THEE, Religious hymn, SATB div. a cappella
*O WORLD OF GOD, Religious hymn, mixed voices, soprano descant with organ.
*GET ON BOARD, Traditional spiritual, SATB div. a cappella
*ONCE TO EVERY MAN AND NATION, Religious hymn, SATB div. with orchestra
*EMMANUEL, Classical anthem, SATB div. accompanied
*THE DECLARATION, Classical anthem, SATB div. accompanied
*MY FAITH LOOKS UP TO THEE, Religious hymn, SATB div. accompanied
*ETERNAL LIFE, Religious anthem, SATB div. accompanied
*JAMAICA LAND OF BEAUTY, Jamaican patriotic song, SATB div. accompanied
*SANCTUS, Classical anthem, SATB div. with accompanied
*O SACRED HEAD THOU WOUNDED, Classical anthem, SATB div. accompanied
*JESUS IS MINE, Jamaican spiritual, SATB div. unaccompanied
*JESUS ALONE CANNOT BEAR DE CROSS, SATB div. accompanied
*O LET ME WALK WITH THEE, SATB div. accompanied
*I'VE BEEN 'BUKED, Traditional spiritual, SATB div. a cappella
*SWING LOW, SWEET CHARIOT, Traditional spiritual, SATB div. a cappella
*WICHITA GHOST SONG I, SATB div. a cappella
*WICHITA GHOST SONG II, SATB div. a cappella
*FIRST JAMAICAN MENTO MASS, (Lisa Narcisse, composer; complete) SATB div. with folk orchestra
*SECOND JAMAICAN MENTO MASS, (Lisa Narcisse, composer; Complete) SATB div. with folk orchestra
*HOLY MOUNT ZION, Jamaican spiritual, SATB div. unaccompanied
*COME SUNDAY (Duke Ellington, composer) Sacred song, SATB div., unaccompanied
*PRAISE GOD AND DANCE (Duke Ellington, composer) Sacred song, SATB div., accompanied
*WE GATHER TOGETHER, Religious hymn, Double SATB div., accompanied
*LAUDATE DOMINUM (Charles-Marie Widor, composer) anthem, SATB div., accompanied
*ALL HAIL THE POWER OF JESUS' NAME, SATB div. unaccompanied (2014)
*PRAISE YE THE FATHER, SATB div. unaccompanied
*PRAISE TO THE LORD, SATB div. unaccompanied
*SOUTHAMPTON (O WORSHIP THE LORD), SATB div. unaccompanied (2013)
*O WORSHIP THE KING, SATB div. unaccompanied (2014)
*THE LORD IN ZION REIGNETH, SATB div. unaccompanied (2014)
*REJOICE, YE PURE IN HEART, SATB div. accompanied (2014)
*AMAZING GRACE, SATB div. accompanied (2014)
*GUIDE ME, O THOU GREAT JEHOVAH, SATB div. accompanied
*WHITER THAN SNOW, SATB div., unaccompanied
*AWAY IN A MANGER, SATB div., unaccompanied
*INFANT HOLY, INFANT LOWLY, SATB div., unaccompanied
*ROCK-A MAH SOUL, SATB div., unaccompanied
*O HOW I LOVE JESUS, SATB div., unaccompanied
*WITNESS, SATB div., unaccompanied
*A MIGHTY FORTRESS, SATB div., unaccompanied
*MY MAKER AND MY KING, SATB div., unaccompanied
*PRAISE MY SOUL THE KING OF HEAVEN, SATB div., unaccompanied
*FACE TO FACE WITH CHRIST MY SAVIOUR, SATB div., unaccompanied
*MARCHING TO ZION, SATB div., unaccompanied
*I SING THE MIGHTY POWER OF GOD, SATB div., unaccompanied
*TROUBLE O!, Trinidadian spiritual, SATB div., unaccompanied
*JU JING, Belizean spiritual, SATB div., unaccompanied
*TAINO TEE, Taino traditional, SATB div., unaccompanied
*SOLEY, Haitian traditional, SATB div., unaccompanied
*ZION SUITE, Jamaican revivalist hymns, SATB div., unaccompanied
CHORAL COMPOSITIONS
*PSALM 1, Classical anthem, SATB div. a cappella
*PSALM 15, Classical anthem, SATB div. a cappella
*PSALM 23, Classical anthem, SATB div. a cappella
*PSALM 24, Classical anthem, SATB div. a cappella
*PSALM 43, Classical anthem, SATB div. a cappella
*PSALM 100, Classical anthem, SATB div. with orchestra
*REGGAE MASS, SATB accompanied
*THE OLD RUGGED CROSS, SATB div., unaccompanied
*GLORIA IN EXCELSIS DEO, SATB div., accompanied
*T'ANK GOD, Jamaican anthem, SATB div. accompanied
*TELL HIM SO, Anthem, SATB div. unaccompanied (NEW)
*MY MOTHER, Anthem, SATB div. unaccompanied (NEW)
*MI A GO WORSHIP IM, Jamaican hymn, SATB a cappella
*LET NOT YOUR HEART BE TROUBLED, harp, violin, SATB
*PRAYER OF THANKSGIVING, Classical anthem, SATB with orchestra
*TURN YE, Classical anthem, SATB a cappella
*ALLELUIA, Classical anthem, SATB a cappella
*THE UPPER ROOM, Spiritual, SATB div. a cappella
*I JUST WANT TO BE WITH MY LORD, Spiritual, SATB div. a cappella
*LISTEN, LORD—A PRAYER, Anthem, SATB div. a cappella
*MY ANSWER, Gospel anthem, SATB accompanied
*HERE TO PRAISE, Gospel anthem, SAT accompanied
*WAIT ON THE LORD, Gospel anthem, SAT accompanied
*ALL THE WAY, Gospel anthem, SAT a cappella
*HE LOVES ME, Gospel anthem, SATB accompanied
*ABBA FATHER, Worship anthem, SAT accompanied
*WE WORSHIP YOU, Worship anthem, SAT accompanied
*EAT, DRINK, AND BE MERRY, soprano and piano
*A FINE SEASON: soprano, choir and piano
*DIS IS MY WORD, soprano and piano
*RUTH, short musical in one act, soprano and piano
*MY LAND, OUR LAND, JAMAICA, Anthem, SATB div. accompanied
*BLACK, GREEN, AND GOLD, mezzo-soprano and harp
*MIERI'S SANG (Magnificat, text from the Jamaican Bible), SATB, organ and conga drum (2013)
*WA JIIZAS PRIICH PAN DI MOUNTN (Beatitudes from the Jamaican Bible, 1-4) SATB accompanied (2014)
VOCAL AND INSTRUMENTAL ARRANGEMENTS
*I NEVA GET WEARY YET, Jamaican spiritual; soprano, tenor and piano
*WE ARE ROLLING ON, Jamaican spiritual; soprano, tenor and piano
*CLIMBING DE HILLS OF ZION, Jamaican spiritual, bass and piano
*HEAB'N DO' GWINE TO BE CLOSE', Jamaican spiritual, tenor and piano
*BLOW DE DOUBLE NOTE, Jamaican spiritual; mezzo-soprano, trumpet and piano
*OH FREEDOM, Spiritual; soprano and piano.
*WE ARE ROLLING ON: Song Cycle of Jamaican revivalist hymns.
