Reggae music has a long history of bringing music made popular in other genres into its fold. This practice dates all the way back to the 60s when Jamaican vocal groups covered popular American songs in a ska or rocksteady style. Some early examples of this include The Skatalites covering The Beatles “I Should Have Known Better” as a ska song and The Uniques converting The Impressions song, “You’ll Want me Back” to their rocksteady tune, “You Don’t Care For Me.”

Of course, In the modern era, The Easy Star All-Stars have been the hallmark for this practice, creating much-lauded reggae versions of iconic albums from Pink Floyd, Radiohead, Michael Jackson, The Beatles and David Bowie. So, when recording a reggae tribute to Sade, who better to recruit than Michael Goldwasser, the creative genius behind the Easy Star catalog?

Producer Michael Goldwasser (standing) at the controls.

That’s precisely what Florida musician, Rachael Miller, aka Sailor Jane, did. According to Jane, she builds “manifestations” for things she wants to have happen, and when envisioning this project, she compiled a list of three producers that she wanted to employ. At the top of the list, she put Michael Goldwasser. Then, when the time came to put her plan into action, despite being a relatively unknown performer, she boldly sent him a message very early one morning stating her concept. To her surprise and delight, he quickly responded, seeming to really “dig” the idea. “That was a clue to me that we would work well together,” she recalled. “I have an appreciation of early morning thinkers.”

For his part, Goldwasser said there were two main factors that propelled him to work with Jane. “One is that Rachael seemed like a really cool person, as well as having a great voice,” he told me. “But what really got me was that she wanted to do Sade covers. I’ve been a big Sade fan since their first album came out so Rachael’s concept was right up my alley.”

Rachael Miller/Sailor Jane grew up in a family of native Floridians dating back a “looong” time. Her father comes from Minorcan descent, a people who came over as indentured servants in the 1700s and settled in St. Augustine, Florida, the oldest, continually occupied colony in the U.S., where Jane grew up and still lives today.  Raised “in church,” her first musical influence was gospel.

“My grandfather owned a gospel radio station and so I have early musical memories of that station studio and traveling singers and musicians,” she told me. “One of my first musical memories is also that of the church organ player, Jeffery, who would let me sit on the bench next to him during service and watch him play. It was a very lively and music-oriented church, so it was a special experience for me as a young girl to learn to sing and love and appreciate music from that seat.”

Jane studied classical guitar at Douglas Anderson School of Arts in high school before obtaining a degree in Audio Engineering from Full Sail University in Orlando, which is where her love of music production and songwriting blossomed.  In addition to guitar, the artist plays bass, and piano, “tinkers” with some wind instruments like native flute and melodica, and also “explores” percussion when time permits. Her greatest talent, of course, comes from her dynamic and distinctive voice.

Eventually, around the age of 18 or so, she found reggae music. “Aside from the classic Bob Marley and Caribbean flavor that all Floridians are exposed to,” she cites an old cassette tape of Jr. Gong that a friend shared with her that immediately amplified her passion for reggae.  Then, while living in Costa Rica for a while, a Rasta friend of hers introduced her to Midnite and Dezarie, with who’s voice she “fell in love instantly.”

Upon returning to the States, Sailor Jane took a job waitressing at The Conch House in St. Augustine where a local reggae band, Pili Pili, played each week. A friend of Jane’s told King Eddie, the group’s lead singer and bassist, that she could sing, so he asked Jane to join the band for a song during her shift break.  After her performance, he offered Jane a job on the spot.  Ultimately, King Eddie took her under his wing and taught her the “fundamentals” of reggae music and “riddim culture.” She then soon began writing, composing and developing production ideas to record reggae music.

While maintaining a passion for reggae, Sailor Jane also performs beyond the genre, including a local acoustic project with “soul vibes” called The Swell Acoustics. “I really love singing soul music, a bit of jazz, and I’m certain there are those who have heard me sing a little dolly Parton here or there,” she laughed.

Outside of music, Jane works as a registered nurse specializing in emergency medicine, working for years to provide disaster relief and crisis support to vulnerable communities throughout Latin America and Haiti.

As for her professional moniker, she adopted the nickname “Sailor Jane” while she was spending a lot of time traveling and sailing throughout the Caribbean and Central/South America with her two best girlfriends. The handle was a play on Sailor Jerry, the tattoo pioneer known for his nautical and Hawaiian-themed art and drawings of  pin-up girls, who’s name and art has also been used to brand a 92-proof spiced rum that happens to be a favorite adult beverage of this writer.  The artist conceived “Sailor Jane” as the femme twist on a seemingly male dominated world of sailors and adventurers, much like the music industry is today. She views “Sailor Jane” as, essentially, a concept; “an embodiment of female artists, musicians, and adventurers who dare to set sail into the uncharted waters of male dominated industries.” (I’ll drink to that!)

So, what led this adventurous and creative young woman down the path to record a reggae tribute to Sade?  (For those few who may be unfamiliar, Sade is the professional name of Helen Folasade Adu, a Nigerian-British soul singer who, became one of the most successful female British recording artists in history. The name Sade also refers to her band.) According to Sailor Jane, she had always been a huge fan of Sade. Then, several years ago while in the depths of a Sade “rabbit hole,” the idea came to her. “I was really digging into her catalog and just couldn’t shake this feeling that this music was begging to be reggae,” she said, adding that she had day-dreamed about the tribute for a few years before starting to consider actually doing it.

Eventually, she mustered the gumption to take that first step toward making her dream become reality by reaching out to Goldwasser.  Sailor Jane’s initial concept was not to cover a particular album, but to do a “Best of” type collection. She had a master list of about 20 songs that she had identified, and after reviewing them all with Goldwasser, they narrowed it down to the 14 they selected for the record.

Just as he had done for all of the Easy Star All-Stars records, Goldwasser wrote all of the musical arrangements. “That’s one of the things I love most about producing covers,” he told me. “Figuring out how to arrange classic songs as reggae or other styles.”

Goldwasser added that he had some help on the horn arrangements from Greg Lapine, who he had hired to play saxophone when he was musical director for Jason Mraz. “Greg’s brilliant and I knew that he could make my horn arrangement ideas even better. Greg also plays and records with SunDub (on the Easy Star label) so it’s all in the family.”

Guitar player Lamont “Monte” Savory

Goldwasser said that working on this album certainly had some similarities to producing his Easy Star All-Stars projects, but a big difference was that this was a compilation of songs from various Sade albums, as opposed to paying tribute to a specific album song-for-song like Easy Star All-Stars do. “The average fan might not realize it but it’s actually a different thought process for me as the arranger and producer,” he explained. “The Sailor Jane project gave me more freedom since I didn’t have to reinterpret all of the songs on an original album and make sure that they flowed properly in sequence.”

The producer further noted that he “still wanted to make sure that there was a good variety of vibes and styles on the album,” and that it was also a different experience for him to work with one vocalist only, because the Easy Star All-Stars’ albums have a different singer or singers on every song.

Goldwasser and Sailor Jane recorded all of the music live at NFS Ranch studio in Elkton, Florida over the course of about 10 days. They collaborated on recruiting just the right musicians to lay down the tracks, both agreeing it was imperative to have Jamaican musicians play on the album. For her part, Jane said that when recording her single, “Into You,” a few years earlier during the pandemic travel restrictions, her producer, Paris Lamont, recruited some musicians from Jamaica to record remotely. Although she hadn’t met them in person, she “realized the sound was there” and had to have them play on the Sade record.

Jane gushed over the talent of the players, which included Paris Lamont on keys, Lamont Savory on guitars, Adrian “Jerks” Henry on Bass and Brady Robinson on drums. “This album is just as much about the musicians playing on it as it is me,” she stressed. “I am sincerely humbled and honored to work with them all. These guys really are the highlight of this record for me. I see this album as a tribute to Sade as well as a tribute to Jamaican music. The talent on this island is really supernatural.”

Drummer Brady Robinson

“I was already friendly with Monty (guitar) and Paris (keys) from their part in Protoje’s band,” Goldwasser added.  “I didn’t know Jerks (bass) and Brady (drums) before this project, but they had played with top artists and were highly recommended by the others. The horn section was put together by Dr. Nue, a local trumpet player and educator who Rachael had known for years.”

While Jane did not play any instruments on the album, Goldwasser said she gave input “as to whether she was feeling the performances,” and also made sure they all had “an awesome home-cooked meal every night” by recruiting friends to cook for the musicians.

Keyboard player Paris Lamont.

“Michael has a huge musical imagination,” Sailor Jane told me. “I really loved to see him working with these tunes and recraft them into an entirely new thing while still holding on to the essence of the original work.” She added that she also really appreciated Goldwasser’s organization and time management, saying, “He is no doubt a natural leader and was really efficient at using the space, equipment and musicians to full capacity and potential, balancing all those things at once.”

While the recording of the music appeared to go smoothly, beneath the surface lurked an unexpected challenge. Shortly before they began recording, Jane was diagnosed with cancer. “She didn’t tell me at the time, but I sensed that something was amiss with her, though she tried very hard to bring an upful spirit to the recordings,” Goldwasser recalled.  “After most of the music was recorded, she told me what was going on. At that point, the project didn’t really matter to me – I just wanted her to be OK.  But here’s the thing – Rachael says that working on the album helped her heal and motivated her to get through cancer treatment. Music really is that powerful if you allow it to be.”

Sailor Jane recounted her story: “I received a diagnosis of stage three breast cancer while immersed in the music tracking for No Ordinary Dub. Life can certainly throw us unexpected challenges, can’t it? I had been in good health, with no family history of cancer, and then this news hit me out of the blue. I made the decision to focus on the project first, postponing my diagnosis discussion until we wrapped up the tracking sessions. Completing this album became my beacon of determination.”

She continued, “When I learned that I needed to start chemotherapy right away, it felt like the world around me paused. As a single mother of a high school daughter, I had so much at stake—not to mention the album that still required my attention. While the news was heart-wrenching, I resolved to keep my spirits high and embrace the challenge ahead. The chemotherapy sessions, scheduled every three weeks, would likely leave me drained, so I planned studio time strategically around my treatments. I took charge of my health through regular fasting, incorporating various holistic practices, and making significant dietary changes. Focusing on and completing this album became a powerful source of strength and motivation for my mental well-being during this journey.

“Since my diagnosis, I have faced chemotherapy, a lumpectomy, and radiation. I even took the brave step of cutting my hair, which had been part of my identity for over two decades. This journey has transformed me deeply, fostering a profound appreciation for life’s little moments. My relationships have flourished, and I leaned on my friends for support, reinforcing the essential role of community in challenging times.”

Sailor Jane recording vocals

I asked Jane what advice she may share with other cancer patients. “To anyone embarking on a similar journey, I encourage you to seek out your circle, no matter how small, and allow them to uplift you,” she advised. “Discover what brings you joy and purpose. Surviving this experience has been as much about mental strength as physical fortitude. It challenges your entire identity, ego, and tests your resilience, forcing you to confront your own mortality and consider everything you are putting energy into in your life.

“But I’m here to day and really humbled and grateful to say that I am in complete remission for a year now, and I no longer rely on the medications I was once told I would need for life. This victory is thanks to a blend of dietary and lifestyle shifts, unwavering community support, and a resilient mindset. I hope this serves as a source of inspiration for others.”

So, over the next year while also receiving treatment for her breast cancer, Jane completed recording her vocals at Fish Tank Recording with engineer Lucio Rubino, who she referred to as “a fantastic vocal coach and producer.”

Ultimately, No Ordinary Dub, which recently dropped appropriately on Valentine’s Day, is no ordinary album.  Along with their chosen team of skillful musicians, Sailor Jane and Goldwasser have created a work of supreme beauty, a tour de force reinterpretation of Sade songs presented through the prism of the various styles of Jamaican music.  The album’s crisp production flawlessly melds together smooth and seductive grooves, resplendent brass accents, and most notably, Jane’s sultry voice that truly makes this album soar.

With 14 strong tracks, I wondered if any in particular stood out to the overseers of this special project. Goldwasser said, “That’s really tough – I really like them all. If I have to pick a favorite, well, I’ll give you two. ‘Smooth Operator’ really works for me because it’s a song that has been in my consciousness since 1984; my older sister played the first Sade album constantly, and it was on the radio all of the time. So, to be able to take a song with such a distinctive vibe and translate it to traditional ska was really rewarding.”

Goldwasser (L) and Robinson (R) in the studio.

Continuing, he said, “I also really love ‘Nothing Can Come Between Us’ because Rachael allowed me to explore traditional afrobeat with that one and I think that we really nailed it.  Afrobeat is a style that I have loved for a very long time and I think that it’s a testament to the skill of the great Jamaican musicians who played on this album that they were able to capture the right vibes on a style that they don’t normally play. And afrobeat originated with Fela Anikulapo Kuti in Nigeria, so there’s the connection to Sade Adu’s Nigerian heritage.”

Sailor Jane cites “Nothing Can Come Between Us” as a favorite as well: “I just think it is such a unique and interesting interpretation of the tune delivered with a completely unexpected twist with traditional afrobeat. This is that creative genius of Michael G. Really outside the box.”

In addition to the aforementioned ska and afrobeat songs, some tracks fuse reggae with smooth jazz and r & b, while others take on a lover’s rock feel.  Despite the variety of reggae styles, the predominant vibes of No Ordinary Dub are rootsy one-drop rhythms with plenty of elements of dub.

The experience of recording her first LP taught Sailor Jane a valuable lesson, that it differs vastly from the process of creating singles. “When you are recording an album, it takes time. Meanwhile life is happening…during the pre-production, production and post…and no matter how you want to try and get around it, life is happening simultaneously, influencing in subtle and sometimes big ways the outcome and final sound.  It’s a really beautiful art form, an album.”

The woman who gracefully conquered a terrifying cancer diagnosis and its grueling treatment while making her debut album feels that her greatest challenge still lies ahead with the release phase. “I am an independent artist /label and I am really just trying to figure out this piece as I go. I’d say marketing is certainly not my favorite thing and as I find myself wanting to get back to making music, writing new songs nor working on the next project, I’m kinda stuck with this task of release…which we all know in this day and age comes with a lot of decisions to make with very little guidance and information – as far as distribution platforms, where to put your marketing dollars etc. This can be very overwhelming and daunting for someone who is not into that part of the work. I mean, the info is out there but it just takes a lot of work investigating and making a plan for yourself…and still leaves you feeling unsure if anyone will hear the music. I think that is why I have to take the completion of the album, the piece of art it is in itself, as a success… Anything that comes after is a bonus!”

Reflecting on the entire experience, she thoughtfully concluded, “This whole record has been nothing but a testament to the fact that we CAN create and manifest our visions and dreams. Life is beautiful. Cherish the dub.”