Raised in a Jamaican-American household in Brooklyn, New York, Kaedi Philo grew up immersed in the roots reggae sounds that her parents brought from their Caribbean homeland. Among the vast catalog of Jamaican music that shaped her childhood, one track in particular stuck with her: Judy Mowatt’s 1980 groundbreaking anthem *Black Woman*, a powerful tribute to women of color that has retained its cultural resonance for more than four decades.
Earlier this year, Philo fulfilled a long-held creative dream by releasing her own interpretation of the classic track, which dropped on digital streaming platforms in February. The new recording was co-produced by veteran Jamaican music producer Richard “Bello” Bell and acclaimed engineer Lynford “Fatta” Marshall under the banner of 29 West Productions. It was Bell, a decades-long fixture in the reggae industry, who first approached Philo with the idea to reimagine the iconic song for a new generation.
For Philo, who launched her professional recording career a decade ago, honoring the original version’s core message and legacy was the top priority, leading her to keep most of the track’s original structure intact. “Early on, we thought about adding an original verse to shine a light on contemporary struggles that women of color face today,” Philo explained. “But in the end, I knew the most important thing was to pay full respect to Judy Mowatt’s original work. The only changes I made were small tweaks to the solos to add my personal touch.”
To give the arrangement slightly more depth, Philo stacked layered background vocals alongside singer Sherida Sharpe, but the overall composition never strays far from Mowatt’s original vision. The few subtle updates to the track include blues-infused guitar riffs from seasoned instrumentalist Lamont “Monty” Savory, while legendary saxophonist Dean Fraser leads a horn section that stays faithful to the original track’s instantly recognizable opening.
To understand the weight of the track, it is necessary to revisit its origins. Mowatt wrote and recorded *Black Woman*, the title track of her 1980 studio album, at Kingston’s iconic Federal Records studio—now known as Tuff Gong International, the legendary reggae label founded by Bob Marley. Mowatt drew inspiration for the politically charged, emotional track after a moving visit to an exhibition exploring the history of chattel slavery in the American South, an experience that led her to pen the lyrics that have resonated with generations of listeners.
Philo’s own musical style is shaped by a diverse range of iconic artists, from reggae greats Bob Marley and Beres Hammond to American soul and folk icons Nina Simone, Anita Baker, and Tracy Chapman. This blend of influences ties back to her Jamaican roots and her upbringing in Brooklyn’s multicultural music scene.
The project also marks a key milestone for Bell, who helped revolutionize reggae music in the 1990s through his Startrail Records label. Bell rose to prominence producing hit tracks for some of reggae’s biggest names, including Beres Hammond’s *Come Back Home*, Everton Blender’s *Lift up Your Head*, and Anthony B’s iconic *Fire pon Rome*. After stepping back from full-time music production for several years, Bell has recently begun a gradual return to the industry, working alongside Marshall to rebuild the original *Black Woman* rhythm track. That same reworked rhythm has already been used for another recent release, Kumar Fyah’s *Behold I Come*.
