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Scroll down to read the article. Y uncle, Idowu Adeku, taught me both how to play and make 'sakara' drum in the Sixties. He had lived in and Ifugun so there was quite a lot to learn about traditional musicians and life in general. My grandmother, lya dances were quite unusual, and we actu- changing, so they had to make ends Idowu, who was a kola nut trader, ally thought they were dancing 'Towers meet by walking round the city and was then shuttling between llugun of Babel' with thundering sounds on the playing for anyone who was likely to and Ibadan where I grew up with ancient drums accompanying their steps! give alms. Frequently they would show four other brothers. She in par- At other times it would be a differ- up at socialfunctions, weddings, burials, ticular taught us all those won- ent 'ancestral guest' from other parts of naming ceremonies, chieftaincy titles, derful moral instilling folk tales ; this was of course before the Christmas and New Year's Eve celebra- and their respective songs. She Civil War. There was one in particular, tions. The purchase or acquisition of was also iya 'ndi Ogun as her called Ekpe, an Ibibio ancestor, who property, the return of a child, husband house was right in front of an always came alone, with a unique sound or wife from 'abroad', or a promotion on Ogun shrine in llugun. from 'the other side.' He had a headgear the job, would often lead to a party, and The part of Ibadan where I lived for which gave an impression of a huge these traditional musicians would always some years, during the Sixties, was not flower dancing alone in the hot sun. show up as invited guests or not. very far from Chief Obafemi Awolowo's On Sunday morning 'professional Apart from the 'professional beg- house, and during the seasonal Egungun beggars', both men and women would gars' who came from all over the coun- (Ancestral) Festivals, the major masks wake us with their 'Babi Allan kawo' try, there was the occasional grand per- would come to pay homage to him: chants, and for me Islamic life style had formances given by this brilliant Shehnai Alapan'sanpa, Ololu, Abidielege, really become synonymous with being a or Algaita virtuoso who came from a Oganke, Dake ja etc. I often went with northerner for I really couldn't tell the section of the northern part of Nigeria. childhood friends to see these 'ancestral difference for many years, until I met The instrument had come many years guests', and we would go home later to Obadiah, at Ede who was both a ago with Arabic traders. The high pitched practise all we had heard on plastic pails northerner and a Christian. Many years sound of his double-reed instrument, and empty cans of ovaltine and milk. The later at Apata Ganga the early morning similar to the western oboe, summoned complex rhythmic patterns in processional chant of the muezzin was also almost a us for another afternoon performance; and poetic forms, and the traditional daily routine, as early as about five-thirty he had four or five other drummers play- songs for specific 'ancestors' became in the morning you would hear him chant- ing Djun-djun or Bembe of different sizes. rather familiar after a while. And similar ing. ' '...Al' Akbar', as they called the It was then time to find a way, some to what happens during Halloween Cel- believers to prayer with an obvious middle excuse to leave whatever you were do- ebrations here in the US, we would also eastern, in particular Arabic, touch to it. ing for yet another afternoon show. go from door to door during Christmas And quite frequently 'talking drum My paternal grandfather lived in Celebrations in Ibadan, imitating both ensembles' would stroll by, and greet Erunmu, a couple of miles away from the rhythm and dance steps of the 'guests.' you on their 'gangan and iya ilu' for Ibadan, and there lived also another The Igunnuko also made their sea- money. Although these were professional ancestral mask called 'Alukuu.' He only sonal visitations, long towering ances- drummers in their own right, as well as came out in the night, to see him then you tors, who more or less vanished in your historians and poets and custodians of had to stay up all night. We had tried a very eyes as they swirled and eddied in traditional knowledge and culture, time couple of times in the past, but this their near ethereal movements. Their and vakies had changed, and were still particular night grandfather, Pa James

African Quarterly on the Arts Vol. 2/No. 1 GLENDORA Alade, was wide awake, and he quietly announced to my older brother and I that 'Alukuu' had come to see us. He prayed for us and grandfather gave him some money. He also had a peculiar chant. Occasionally we would also travel to Ago Gwu, a section of Abeokuta, to visit our cousins the Ajamabusos. Their house was between Lafenwa and River Ogun, and there we saw entirely differ- ent 'ancestors' with tribal marks and rather small heads. They also came with their unique sounds much of which I still 'hear' till this day. My church, for many years, did not allow the use of traditional musical instruments perhaps for fear it might lure converts back to their traditional ways. But during the /early Harvest and Ba- zaar ceremonies called 'Ikore' in Yoruba, we would be treated to some traditional songs and dances by the same 'mothers' and 'sisters' who were regular members of the choir. And several times after the weekly sermon on Sabbath day, I would beg the janitor to lock me inside the church so I could play the piano before my parents started looking for me. And there were 'a million' Aladura churches all over the place, with very early morning and evening services, where intense traditional rhythms and folk nuances were merged with western- Christian hymns. At any time during 'service' one could easily walk in and merge with the congregation. Apart from Sabbath on Saturdays, certain church services were featured on the radio and it was always something like Beethoven, Handel, Mozart, Hayden to look forward to, although we be- complex etc. longed to a different church altogether. rhythmic pat- Both Idowu and another uncle Ben- The different church choirs sounded terns in proces- jamin Funmilayo took me and my older wonderfully well. At other times it was brother to the cinema to see Indian mov- the works of Western trained Nigerian sional and poetic ies. The music was different yet we could composers, those who had studied forms, and the relate to it. Uncle Idowu even worked at Western Traditional Music and prac- traditional songs some point at Rex Cinema, on J. Allen tised either in Europe or the United for specific 'an- Road, Ibadan. He had, of course, seen States of America, like Fela Sowande, cestors' became 'every Indian film available,' and would Akin Euba, Laz Ekwueme, Sammy rather familiar simply relate to us the ones we hadn't Akpabot etc. Included were of course after a while seen! 'Ade Love', the actor and singer, very well known Western composers was obviously also influenced by this music, as he developed a style of singing

African Quarterly on the Arts GLENDORA. Vol. 2/No. 1 from this Indian source. finally handed over the management of At the Cocoa House, Ibadan, in I didn't get any encouragement Afro Linkage Ensemble when I left the the early Seventies, I had my first oppor- whatsoever from my parents. Modern country. tunity to see a saxophone and Orlando musicians just didn't have a good reputa- Mother and father also had been Julius was playing it. A section of the tion, so it was not an option for you. You co-tenants with Moses Akanbi, (Baba building was then used for occasiongl simply had to be a lawyer, medical Ade) the drummer, on Koyejo Street, social functions and Christmas/End of practitioner or an accountant, so for Ibadan in the Sixties, who was then a Year celebrations. He also played regu- many years although everyone knew I member of Eddy Okonta's band. He larly at the Paradise Hotel and knew had musical talent, I couldn't tell them I often would bring his snare drum and Moses Akanbi quite well. really wanted to be a professional musi- tom-toms home. They were usually in the Father belonged to an association cian. I had to prove it later to my father corridor or in the verandah, and there back in the Sixties and early Severities when my professor, began my training on the drum. A which sometimes invited Ojoge Daniel to showed him both my letters of admission number of musicians paid him a visit, perform during their Christmas parties and scholarship to the Berkeley College especially the band leader himself, Eddy and other functions. This would later of Music, Boston. Okonta, and I would day-dram about repeat itself at the Ibadan Tennis Club, Mother told me that she once nursed playing with them someday. Their per- near the lyaganku High Court, a mere the idea of becoming a member of Hubert formances took place at the Paradise quarter of a mile from my house where I Ogunde's Dance and Theatre Group. heard both and Ebenezer She had grown up in Abeokuta listening Obey live for many years. Prior to this, to both traditional songs and Islam influ- Tunji Oyelana and The Benders, with enced genres of music—Waka, Sakara, 3 our ofus even Anjola Aboderin on keyboards, made and Apala. At home we heard Yusuf formed a quartet impressions on me during their yearly Olatunji, Haruna Ishola, Dauda Epo modelled after Christmas performances at the Tennis Akara, Ebenezer Obey, Idowu African American Club. Akeeb Kareem the singer, was Animasaun, Toye Ajagun etc. etc. She Gospel Singers and also in Ibadan during this period. also made it possible for us to see Hubert the Kings' Herald Jimi Solanke, actor and musician, Singers of the Ogunde and his troupe a number of purchased my very first saxophone years United States: times at Obisesan Hall in Ibadan while later, an alto, when he formed a group Dokun Abolarin, he was on tour of the country. with Biddy Wright, myself and some Bayo Aina, Kehinde I would later meet Idowu Qgunrombi and I. other fellows at the University of Ife, Animasaun, Toye Ajagun and Dele Ojo Hay ode Olajide which Kayode Olajide bought off me so at Anjola Aboderin's place, in Ibadan. belonged to a I could get a plane ticket to the music Aboderin I had met earlier on through different group. school in the United States. DeolaKumapayi. A truly gifted electrical I taught myself every other instru- engineer he fixed musical instruments Hotel, situated at the present site of the ment I played until my formal training in and built new amplifiers and P. A. Sys- Broking House in Ibadan. Moses Akanbi Boston. The only other musical training tems when approached by local musi- has since been playing on Sunny Ade's was given by a real African Queen, the cians. He actually built one for me as band. Olori of the Oba of Ede, Oba Adetoyese well, at a time when my obsession with Sina Fagbenro's father lived just Laoye, The Timi of Ede. I actually dined .music led me to work part-time as a disk next door as a young legal practitioner, once with the king when one of his sons, jokey! I also met Chris Waterman, the and his mother brought him regularly to Adio, took me to the palace on a Sunday American ethnomusicologist and bass play with us. We would meet years later afternoon. The king himself was known player, at Anjola's place; he was then to make music while he was a student at to be a master on the talking drum, aside doing research on the history of juju the University of Ibadan. For a while Deji from being a pharmacist, before his music in Nigeria. His book has since Haastrup, the writer, also lived down- ascension. Olori played the piano and been published, 'Juju-A Social History stairs with his mother. Kayode Olajide, taught us to sing. After her weekly les- and Ethnography Of An African Popular the saxophonist, lived further down the sons, I would begin my 'improv' on the Music' by the University of Chicago press. road. His musical experience and devel- piano. We were very well equipped to All kinds of musicians came to Anjola, opment indeed almost parallel mine. sing in the school choir. Four of us even and those who wanted their electrical One of the truly insightful and inventive formed a quartet modelled after African appliances repaired. It was to him that I of contemporary musicians in Nigeria! American Gospel Singers and the Kings'

A/rican Quarterly on the Arts Vol. 2/No. 1 GLENDORA Herald Singers of the United States: Dokun dencies, in music impressive, especially Western Traditional and Modern music Abolarin, BayoAina, KehindeOgunrombi his use of modal harmony, but I would forms. and I. Kayode Olajide belonged to a later stop listening to him mainly for the At the University of Ife, a good different group. fear that I might begin to sound like him. friend and colleague Femi Ogunrombi In Ede, we encountered the major Kuti remains for me a wonderful example gave me an opportunity to perform with travelling theatre groups including Duro in musical innovation and authenticity. his Choral and Dance Troupe called Ladipo, Kola Ogunmola, and Oyin The Journey to Berklee College of 'Ayoro Voices', specializing in tradi- Adejobi. They all came at some point or Music, Boston began with an introduc- tional music. He also kindly entrusted me the other to Baptist Grammar School, tion from Deji Olaopa, who was also with a silver alto saxophone to use with Ede, and some of us found our way to see very kind to share his musical knowledge the group! A major help towards my them. Of course this was only additional and books with me. He lent me a acquaintance with the instrument. Yemi to their weekly appearances on the Soprano C Flute which his brother sent Akinpelu who introduced me to Amos television and radio. him from England, with which I taught Tutuola, as he then lived close to the At the Polytechnic Ibadan, I was myself to play the instrument. He would writer at Odo-Ona in Ibadan later di- fortunate to have Bukola 'Bukky' Jinadu, become one of the backbones of 'Afro rected 'Ayoro Voice' after Femi Ayo Assaf, Yinka 'Laleye, M.D., the late Linkage Ensemble' formed a couple of Ogunrombi left Ife. DeleFalode, Deola Kumapayi, Paul Konye years later. Once his father advised both I took a few sight reading lessons and Deji Olaopa. Mellow Yirenkyi, Kunle of us to stop wasting time on Western with Ms. Mary Seavoy of the Ife Music Ajayi and Eric, the drummer, came later Department, and Western music theory to the Polytechnic Ibadan as 'Ifa', with with Dr. Adegbite, who allowed me to more musical experience than most us. I 'sit in' for a couple of his lectures. And later joined them and would have long performed in Meshida, the violinist, gave my very first rehearsals usually between 1 1:30pm this hall several opportunity to play with a chamber or- and 6:00am. We reproduced almost times, and saw chestra conducted by Yemi Akinpelu. I every solo part played by reputable jazz every important read everything I could find on the theo- artists and also had the opportunity to theatrical and ries of Western Traditional, African Tra- travel to Ahmadu Bello University, Zaria musical perfor- ditional and African American music. for a performance. The music department mance. For me it Oduduwa Hall, Ife, had a won- at the Polytechnic, Ibadan, allowed me to was simply a derful Steinway Grand Piano and with it use the piano room and some wind instru- bigger vision of I continued to teach myself to play. The ments, although I wasn't a music student. the performance beauty of the hall in those days lured me There I met Bateye, the composer, and hall at the Piige- to sit in there for hours, day-dreaming Adeleke, a master on the talking drum. rian Broadcasting sometimes, at other times getting up to The repertoire was huge but it was made Corporation practise on both the piano and saxo- up mainly of 'Jazz Standards' and popu- phone. I performed in this hall several lar tunes from the United States, and so times, and saw every important theatri- were artistic directions in general among cal and musical performance. For me if our peers. The more of a Western influ- music; told us to pay more attention to indigenous forms and I took his advise was simply a bigger vision of the perfor- ence you exhibited, to that extent you seriously to heart. mance hall at the Nigerian Broadcasting were accepted, which resulted in 'a sti- Corporation, Ibadan to which a wonder- fling' of original and authentic insight! I simply had to listen to every new ful lady, Mrs Oyelewa, a family friend, Every group had to be a copy of another music I came across regardless of style or who was a receptionist for many years at foreign one, in the US or in Europe. origin, and I had to read their liner notes, as a lot could be gained by simply the Corporation, took me a number of Fela Anikulapo Kuti created the reading them. And that was how Dixon times. She worked from 7:00am to awareness of the worth of having a cul- Akingbade became a teacher both in the 3:00pm, and I would be there through ture, and being proud of it, consciously business of 'disk jockeying,' and in gen- the hours. furthering it, through his 'Yabbis' that erally introducing me to serious secular I got acquainted with the welt almostalways preceded his performances forms of African-American music through known broadcaster Laolu Ogunniyi at the Polytechnic, and the Universities of his collection of records. I laid my hand through Deji Olaopa, and with him we Ibadan and Ife. In particular I found his on over a thousand records, from Tradi- learned to write commercial jingles, and departure from conventional Western ten- tional, African American, Continental to scored music for both theatre and film

African Quarterly on the Arts GLENDORA r.»i.» Vol. 2/No. 1 (video). We rehearsed at Radio OYO, visiting to participate in a joint perfor- to John Coltrane, and by the time I left the Performance Centre on Mokola Hill, mance organized by a campus girls-only Nigeria I had heard most of his works, and then Safari Club where years befbre club called 'Styx'! They had asked Sola and met a very close friend of his, Yusuf I had met, for the firsttime ever, bothFemi Adeaga, M.D, and I to negotiate with Lateef on sabbatical at Ahmadu Bello Johnson and Soyinka at 12:00 in the him on their behalf concerning this show. University, Zaria. Dr. Lateef advised me morning. I also met Gloria Rhodes, Bayo Adepetun, to study flute in order to have a thorough A campus group called 'Paper- M.D, and Tunde and Frances Kuboye grasp of the woodwind instruments. In back' with Victor Egbe, Dotun Kukoyi, over the same weekend. Tunde and the Sixties he had worked with Babatunde Kehinde Ogunrombi, Yetunde Adeaga Frances later made me an honorary Olatunji, master of African Percussion and Bisade Ologunde on keyboards, member of their ensemble for which with whom John Coltrane collaborated a also offered opportunities for occasional Frances Sang and Tunde both arranged few months before he passed on. (I performances. (There began a close, and played the bass. I considered hav- would eventually have the opportunity to and quite an interesting musical relation- ing Tunde produce a project I was work- work as Olatunji's personal assistant for ship with Bisade Ologunde who came ing on then but had to put it on hold to three years). Lateef presently lectures at regularly from Lagos during the experi- pursue a formal, professional musical the University of Massachusettes, ence at 'Segi') Later I teamed up with training. Amherst. Bukola 'Bukky' Jinadu, who had now With Ayo Thomas, the percus- 'Segi', the cocktail lounge of Femi moved to Ife, Sola Adeaga, M.D, and sionist on 'Ayoro Voices', we started Johnson's Broking House, Ibadan, pro- separately again with Paul Wiltshire, vided the opportunity to bring together Jide Awosika, the late Stephen Jide all the friends I had performed with in the Olowu, M.D on drums, Wale Popoola past. It gave us the opportunity to also also on drums and David 'Kunle Akinde ' owever, for some compose new tunes on a weekly basis, on bass. I also collaborated with Joke I years now my goal sometimes we simply made new arrange- Longe who sang and played piano ' has been to explore ments of the most popular songs and professionally, Jumoke Fashola, Tope an extension of 'jazz' tunes of Nigeria and the US. I Babayemi as bass player and manager, traditional musical managed the alto saxophone and bata practice by uam$ft& drums. the Aboabas, 'Staccato' of the University sound of the modal of Ibadan, led by Sina Fagbenro, and pentatonic as the Dayo Adekola, legal practitioner Ladi Williams, a pilot and guitarist. I main basis for com' and entrepreneur, who also played bass even had a few serious discussions with position, and also the and saxophone, had his Bamboo Corner Dizzy K. Fashola, of the 'Baby Ki Lo De' other predominant in Bodija, and Kunle Bolarinwa's 'Cave' fame, who had come briefly to Ife to sounds as a reflectiot was off Queen Elizabeth's road. They deepen his grasp of music. 'Paperback' of life on the conti- both provided alternative places for per- also had an opportunity to open a show nent as a whole formances. for the American pop group 'Shalamar', For the three years I worked as with Howard Hewitt, Jody Watley and personal assistant to Olatunji, playing Jeffrey Daniels singing, at the Oduduwa playing at Gboyega Aderemi's Mum's acoustic guitar, drums, saxophone, Hall amphitheatre (A couple of years in lle-lfe. It later led, under the guidance agogo and singing, we travelled all over later 'Afro-Linkage Ensemble' also per- of former Ife professor, Yomi Durotoye, Europe and Japan, and did workshops in formed with the Tennessee State Jazz to the formation of 'the Afro Linkage the United States. Through him I came Quintet at the Theatre Hall of the Univer- Ensemble', who actually named the erj- across the late Frank 'Suru' Eken and sity of Ibadan, with Andre Ward on alto semble, and introduced us to Professors SikiruAdepoju, master percussionist, who saxophone. We would meet again a Akinwowo and Wole Soyinka, and Femi had performed with both Obey and couple of years later as students at the Johnson of the Broking House, Ibadan. Orlando Julius in Nigeria before relocat- Berklee College of Music, Boston, where We moved to the Cocktail Lounge of the ing to the US. I also met composer Seyi Sonuga). Broking House called, Segi, and Niyi 'Lagbaja' also came by, spent I met both Ayo Bankole Jr. and Ajayi, M.D, offered his drum set and about three weeks with me in the US Femi Kuti through Jide Awosika. With played sometimes, and Bayo Adepetun, when he was about to release his first Femi I had this lengthy discussion about M.D, came from Lagos to play keyboards musical project. We spent days discuss- the future of music in Nigeria at the whenever he could. .ing the social, political and spiritual Conference Centre, Ife, when he was Durotoye introduced me musically situation in Nigeria, and in particular.

African Quarterly on the Arts Vol. 2/No. 1 GLENDORA 'new' tends in musical practice, and what should be the deeper life on the continent as a whole. This then is one singular artistic concerns of the artist. He has since released, I believe, yet venture. Many others are of course open to the inventive artist. another musical album. Traditional music in general was, and still is, being composed in praise and worship of the Creator, and in honour of the Inventing 'deities' and the 'ancestors', they contain therefore a lot for the There exists in my experience three main types of har- student of culture to gain from. As traditional Africans use all monic practice, those which one would readily find in my part instruments to imitate speech patterns, and rhythmic accompa- of Africa; the modal use of pentatonic sounds in traditional niment are also derived from that embedded in speech, the very music, Mohammedan harmony in northern Nigeria, the Islamic sound which musical instruments then strive to imitate, quite a lot south, and over the entire continent itself; the major-minor then is possible for an inventive artist given the range of harmony of Western Traditional Music, including many varia- instrumentations that is available today. But as man continues tions of African-American Spirituals and Gospel Music in the to be surrounded by all kinds of sound - finer gross material, churches, and the combination of Western influences and ethereal, animistic and even spiritual, much more of which he traditional music in Aladura churches. On the continent, in is not aware, and which he often precipitates, thereby leading general, similar strains abound in one form or the other to tangible, visual and aural experiences, it became very irrespective of instrumentation. important to gain the fullest understanding of the true meaning However, for some years now my goal has been to of music, primarily for myself, and to use parts of it which affect, explore an extension of traditional musical practice by using the inspire and impress themselves on me, personally, toward sound of the modal pentatonic as the main basis for composi- certain ends. GR tion, and also the other predominant sounds as a reflection of GLENDOR BRINGS TOGETHER A POWERFUL CAST OF WRITERS, ARTISTS & INTELLECTUALS

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