The history of the band Tribo de Jah began at the School for the Blind in Maranhão, where four blind musicians and a fifth musician with partial vision (in only one eye) met — a place where they lived in boarding school — and began to develop a taste for music by improvising instruments and discovering timbres and chords. They later started performing at popular dances in the capital (São Luiz) and other cities in the interior of the state, playing covers of serenades, reggae and lambada.
It was at this time that radio host Fauzi Beydoun appeared, born in São Paulo, the son of Italians and Lebanese, who had already lived four years on the Ivory Coast (Africa), a great aficionado of reggae culture, which was thriving in São Luís in the 1980s, and who became an almost inexplicable phenomenon in the Brazilian lands of Maranhão, initially invading the ghettos and then taking over the entire city, the interior of the state and even neighboring states.
Reggae would deeply mark the already strong and original Maranhão culture, contested by a minority of conservative intellectuals and embraced by the great mass, which through this musical style would give the capital of Maranhão the title of "BRAZILIAN JAMAICA." Hundreds of reggae clubs with their "radiolas" (powerful sound systems that were responsible for spreading the rhythm when it was not yet played on the radio) and later various radio programs that would finally adopt it in search of audience largely justified the title earned. It was in this scenario that Tribo de Jah set out to spread their roots reggae to the bone, with their messages of love and peace, social and divine politics, which kept them away from the major record labels, the radios did not play them, TV did not inform and the newspapers turned a blind eye. Independently, Tribo de Jah kept performing shows and promoting their records, and today has a record label and national distribution.
After ten years of work, including a stint on the main stage of world reggae (REGGAE SUNSPLASH FESTIVAL – JAMAICA 95), after having performed in all four corners of the country (from Belém to Porto Alegre, passing through Canecão and Metropolitam – Rio, Palace and Olimpia – São Paulo) and some international venues (Buenos Aires – Argentina, Cayenne – French Guiana, as well as shows in Europe in countries such as France and Italy), they denote the very special moment on the path that Tribo de Jah has been treading toward inevitable recognition of their work both in Brazil and abroad.