sign in sign up
<<
Home , Afrobeat, Apala, Bebop, Free jazz, Highlife, Jazz (word)

The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/

Available through a partnership with

Scroll down to read the article. ' AZZ INFLUENCES ON THE WORK OF

FELA ANIKULAPO-KUTI MICHAEL VEAL

f all 's popular Ibrahim, p.k.a. Dollar Brand of South contribution to evolution. musicians, bandleader Fela Africa, of U.S.A. and Anikulapo-Kuti is probably O Hermeto Pascoal of Brazil. The issue of In order to provide the widest perspective the most associated with jazz music. and jazz is complicated by the on the subject, it is necessary to discuss Although his music contains a number conflicting cultural perspectives which the continuous circulation of musical of jazz elements, however, Fela does frequently occur when any artistic elements of cultural symbols between not play 'jazz' in the traditional stylistic expression crosses cultural borders and and its descendants in the sense of the term. Nevertheless, there assumes a new functional and symbolic Americas, a process which has operated arc reasons why his music is so strongly identity. Fundamentally an African- associated with jazz in Nigeria, and I at least since the earliest years of this American expression, jazz has in fact intend to examine some of those century, influencing stylistic been subjected to a variety of new reasons in this essay. The major development throughout Africa and the interpretations in cultural spheres as questions I will address are: One, what African diaspora. This will enable us to dissimilar as Japan, West Africa, Russia arc the specific jazz elements in Fela's place Fela's work in the larger context and Western Europe. While Fela's Afrobcat? Two, how did these come to of jazz's historic influence upon West Afrobeat style is strongly associated exist in his music? Three, to what through the time with jazz in Nigeria, attempts to define extent can Afrobeat be called jazzstyle? that the Afrobeat style was developed in his music as jazz have been met with Hopefully, this discussion will the late 1960s and early 1970s. strong resistance in Europe and the demonstrate the process by which Fela gradually distilled jazz elements into a United States. An example of this is It must be noted that many of the musical distinctly African form, while Afrika '70's headlining performance at practices identified as 'jazz' have strong clarifying the relationship between jazz the 1978 Berlin Jazz Festival causing a West African origins. They acquired and Afrobeat on the stylistic, symbolic controversy in the German music press their distinct character through a and functional levels. in which jazz critics denigrated the blending with Western European musicianship of the Afrika '70 band elements in the Americas, and they in and Fela in particular. There are several turn served to transform West African Fela may be placed in a generation of fundamental aspects - political, cultural, world musicians born during the 1930s music. The current African-American religious - which mitigate against interest in traditional African music and who fused jazz with a variety of local Afrobeat's simple characterization as styles to achieve international culture, and the reverse influence of jazz. In spite of this, I will assert that African-American expressive forms recognition. Among these are Hugh Fela's work - while not 'jazz' in the Masekela of South Africa, Abdullah such as jazz and rap music in strict sense - does represent a contemporary Africa, are merely the 8 latest examples of a historical cycle of liturgical music accompanying the neo- circulating cross-influence. While Yoruba Santeria cult in Cuba), characterizations of Africa as the European compositional techniques(by 'traditional' and America as the jazz such as Mario Bauza 'modern' are overtly simplistic and ' and modal and Machito), and virtuoso African- essentialist in nature, the symbolic poles American jazz improvisers such as of tradition and innovation have differed from earlier jazz and . contributed equally to the construction styles in that they were Therein lies one importantexplanation of contemporary pan-African identity. for the popularity of Afro-Caribbean Fela's music is an exemplary of this more abstract and were sounds throughout Africa: the blending process. meant for reflective of African and European musical elements resulted in a modern, Since the introduction of phonograph listening than social cosmopolitan sound which was the recording technology into West Africa dancing. Ifius, neither of perfect sonic match for the rapid in the 1920s, there have been successive modernization Africa experienced phases of jazz influence on the popular these styles was during the colonial and post-colonial music of the region. and particularly popular in period. Thus, the musical fusion of jazz (along with minstrelsy) higlife became the music most was popular in the 1920s, while big- flfrica, and Mela's first associated with cultural pride, national band swing styles were popular in the attempts at playing jazz identity, and political independence. 1930s. The main conduits for the introduction of these styles into West in 9{jgeria were doomed The use of the word 'jazz' in the names Africa were musicians such as to failure. of many bands of this E. T. Mensah and Bobby Benson - period (Bembeya Jazz, Rocafil Jazz) musically literate bandleaders who were functions on three levels - musically proficient on Western wind instruments (indicating the presence of jazz stylistic and who had traditionally performed a elements in the music), functionally variety of Western musical genres such (indicating large dance-bands utilising as foxtrots, two- Western steps, waltzes to instruments and entertain colonial performing for administrators upper-class and African audiences), and elites. symbolically (indicating The jazz 'modernity' and influence also international, took more cosmopolitan indirectly, identity). through its presence in other It is the Ghanaian styles which in highlife bandleader turn influenced E. T. Mensah who, West African with the help of his music. The drummer, Guy influenceof Afro- Warren (Kofi Caribbean styles Ghanaba), is from Jamaica, E. T. Mensah: Highlife impressario. widely credited Cuba and with integrating Trinidad was a decisive turning point arrangements. In its most developed modern jazz and for highlife during the 1940s. A creation form - such as the experiments with Afro-Caribbean elements into highlife of African descendants in the Americas, Afro-Cuban , important music. Mensah and the caused these styles combined transplanted West linkages were forged between neo- a storm during the Nigerian tour of the African rhythms with jazz-derived horn African musical practices (such as the late . Soon, Nigerian Fix 1 , 2: , J: , 4: , 5:

. review 10 bandleader Bobby Benson transformed Koola Lobitos' music did not meet the Coltrane), he was making an implicit his act from a variety show to Mensah's success Fela had hoped; Africa was political statement as well as an obvious style of highlife, and begun developing falling under influence of African- musical one. distinctly Nigerian highlife sound with American rhythm-and- music and his Orchestra. Benson's popularity of highlife was rapidly The influences of these various phases band spawned a host of younger declining. of jazz would be evident in Fela's artistic bandleaders including Zeal Onyia, Rex breakthrough, his Afrobeat music of the Lawson and Victor Olaiya who gave In 1969, Fela and his Koola Lobitos 1970s. This music combined a James the young Fela his first performing band took a year-long trip to the United Brown-styled use of the , experience in the 1950s as a singer with States where, in addition to experiencing a modal harmonic approach, jazz-sty led his Cool Cats highlife band. Fela was a political and cultural awakening, he instrumental solos and ensemble already heir to decades of sty 1 istic cross- was exposed to the latest stylistic phase passages, and indigenous percussion. breeding between jazz and indigenous of jazz. This was the free-jazz typified These elements were all united by styles. by the work of , , traditional West African approach to and the later work of John composition and structuring utilising Fela's years of study in a British music Coltrane. In addition to representing a traditional devices such as call-and- school during the late 1950s and early radical break with jazz traditions, these response , percussive 1960s exposed him to newer styles of styles also carried strong political articulation, ensemble stratification jazz - the bebop style popularized by associations. Concurrently with the (layering of parts), hocketing (simple Charlie Parker and Dizzy Gillespie in cultural awakening African-Americans parts combining to form complex the 1940s and the modal style were experiencing during this period, structures), and extensive use of popularized by Miles Davis and John many African-American free-jazz (repeating pattern). The Afrika Coltrane in the early 1960s. It was musicians hoped to devise a non- '70 band featured a number of strong initially his goal to introduce these Western musical logic which would jazz-styled soloists including Fela traditional styles to Nigerian audiences resist comprehension and exploitation ( and keyboards), Lekan upon his return with his Fela Ransome- by white musicians. Linked to thie Animasaun (baritone ), Kuti Quartet. However, this presented endeavour was an exploration of sonic Tunde Williams (), Igo Chico a creative quandary. Bebop and modal parallels to non-Western musical (), and the masterful differed from earlier jazz styles in that traditions from Africa and India. Finally, drum set player . Afrika '70 they were more abstract and were meant free-jazz was perceived by many as Compositions from the 1970s such as for reflective listening than social expressing the anger and frustrations of Water No Get Enemy, Suegbe Pako dancing. Thus, neither of these styles the younger generation of African- and Who No Know Go Know was particularly popular in Africa, and Americans. As this influence of free- demonstrate the seamless blend of Fela's first attempts at playing jazz in jazz upon Fela took place concurrently highlife, jazz, Caribbean and soul Nigeria were doomed to failure. with his political awakening, it was elements in Fela's music. Regardless of his inability to attract inevitable that the style's influence, with large numbers of Nigerian jazz listeners, its strong political overtones, would be Since the late 1970s, Fela has continued however, jazz remained an important evident in his subsequent work. to elaborate upon the Afrobeat catalyst for the synthesis of African and conception according to both jazz and Western musical traditions. During the same period, there was also traditional West African points of an indirect jazz influence on Fela reference. His Egypt '80band has nearly The mid-1960s found Fela affecting a transmitted via rhythm-and-blues music, doubled in size in comparison to Afrika compromise in his music, playing a another primary stylistic current in his '70. He has doubled the size of the horn style he called highlife jazz with his later works. The best example is the section, and included a rhythm Koola Lobitos band. Songs UkeBonfo, music of , a major influence which clearly recalls McCoy Tyners's Fere and Lo Wa Se Se combined the whose work had become increasingly '' accompaniment of John danceability of traditional highlife with politicized by the time of the latter's Coltrane. His compositions for Egypt elements drawn from jazz such as horn U.S. visit. Brown integrated free-jazz '80 have become longer and more solos, elaborate horn themes, more elements into his style to the extent that complex; recent arrangements such as complex harmonic progressions and big- the would reinforce this political mood. Custom Check Point (1980s), Just Like band style of orchestration. Koola Thus when, for example, in his 1970 That (1980s) snAMusic Against Second Lobitos' music also showed the clear Super Bad, he asked his tenor Slavery (1990s) demonstrate his matery influence of Afro-Cuban music in songs saxophonist Sinclair Pinckney to 'blow as a big-band . The Egypt '80 such as Oritshe and Abiara. However, me some Trane' (a reference to John band has also introduced a number of 11 talented new improvisers to the public context; two, the boundaries between aesthetic purpose and social intent including Keji Hamilton ( 'high' and 'popular' art are not as distinct cannot be conveyed through a musical and piano), Rilwan Fagbemi (baritone in West African culture as they are in language based in the stylistic norms of saxophone), Yinusa Akinbosun (tenor the West; and third, the essence of jazz the Black world; and, two, any definition saxophone). Olu Ifayehun (trumpet), is not reducible to any single criteria of classicism must conform to the Duro Ikujenyo (piano). Dele Shosimi such as complexity of improvisations or functional norms of European reflective (piano) and Nwokoma Stephen Nkem harmonic density. art music, as opposed to those of (trumpet) among others. Afrocentric social dance genres in which Recent neo-conservative definitions of the boundaries between high, popular, At the same time, Fela has looked toward jazz have to equate social dancing with traditional and contemporary are often traditional models for inspiration. He frivolity, banality and lack of artistic or indistinct. They neglect the fact that has enlarged the size socially-functional of the vocal chorus, communal music in West integrated traditional BEASTS O§ NO NATION Africa has long been a vehicle drums such as the for the most profound insights FELA $*, •;w»lSS*^S»>l^™;J»*i^-i««ls gbedu, and and that there have been composed in & EGYPT 80 phases of jazz in African- traditional meters in America in which WIL4. «*1W6> OUT works such as danceability was an important Government criteria of success. Chicken Boy (based on a typical The neo-conservative pattern) or arguments are also based on Confusion Break a limited understanding of the Bone (based on jazz 'tradition'. The work traditional 12/8 most often excluded in the triplet rhythm). Since neo-conservative view is that the early 1980s, he of avant-gardemusicians like has referred to his John Coltrane, Cecil Taylor, music as 'classical Ornette Coleman, Sun Ra and African music', and . the popularity of his Derived from European work throughout the &"VH£A culture, avant-garde has often Black world reflects been used as an umbrella term both his avowed philosophical depth. These moves are to designate creative work cultural stance and the way in which clearly politically-motivated and which falls outside of the functional or elements of pan-African musical attempt to position jazz as an equal of stylistic norms. In the case of African- traditions have fused seamlessly in his European art music by emphasizing its Americas jazz avant-garde, it may be work, resulting in a profoundly 'Black' reflective, abstract qualities as a measure more precise to note that such musicians musical mood. of its seriousness. Attempting to distance were attempting to introduce elements themselves from (frequently) counter- of world perming traditions into African- Some listeners have attempted to hegemonic forms of African-American American jazz practice, integrating non minimise the jazz element of Fela's creativity such as rap, the neo- musical artistic media such as dance music by comparing the band's conservative musicians strive to achieve and poetry. John Coltrane formed instrumentalists unfavourably with approval of the dominant white culture musical relationships with Nigerian African-American improvisers, citing during aperiod of increased support for percussionist Babatunde Olatunji and the rigidity of Fela's formal structures, the arts in general. The music Indian sitar master Ravi Shankar. or dismissing it as mere popular music which forms the musical foundation of Ornette Coleman collaborated with with political or high-art pretensions. rap and which informed Fela's Afrobeat Gnawa musicians in Morocco and These listeners neglect that one, virtuosic is based on the same structural principles traditional Yorubaand Hausa musicians improvisation in the African-American as much traditional music of West in Nigeria. Miles Davis' ensemble of sense has been the goal primary of these Africa. Thus, implicit in the neo- the 1970s featured West African, players, functioning as they do in an conservative critique are the Caribbean and South Indian musicians entirely different musical and cultural assumptions that one, seriousness of and instrumentation, while Sun Ra's

. review 12 containing a deeper ritual significance than the local or the concert hall. These factors must be taken into serious consideration when constructing a composite, contemporary definition of 'jazz' which eludes simplistic criteria.

A number of prominent jazz musicians acknowledged the influence of Fela's music on their work. Trumpeter Bowie played with Fela and Afrika '70 during an extended visit to Nigeria in 1977 and was featured as a soloist on a number of Afrika '70 recordings including Frustration, Dog Eat Dog and No Agreement. Bowie in turn has recorded Fela's Zombie with his own group, the Art Ensemble of Chicago. Vibraphonist has also toured and recorded with Afrika '70 in Nigeria. Bowie and Ayers have made a number of guest appearances with Fela in the United States as has pianist Randy Weston. More recently, saxophonist Branford Marsalis has included samples of Fela's Beast of No Nation on his 1994 project Buckshot Le Fonque. It is thus clear that Fela's influence may be felt throughout various regions of jazz practice including the avantgarde, neo- classicist and fusion movements. Meanwhile, Fela's music has been the primary catalyst for the development of a movement of younger Nigerian jazz- influenced players including his son Femi Anikulapo-Kuti, Bisade Ologunde, Kola Ogunkoya and Funsho Ogundipe.

Fela Anikulapo-Kuti' s ultimate success lies in his linkage of counter-hegemonic socio-political protest, communal pleasure and a deeply-rooted mood of musical profundity; all of these have characterized the essence of jazz during different phases of its development. Thus, my conclusion is that - in addition to its contribution to African popular music, African-American funk, and Arkestra regularly included African performance traditions in their stage world political music - Fela's work percussionists and dancers and light presentation. Thus, these musicians were represents a significant contribution to shows. The Art Ensemble of Chicago at the forefront of attempt to devise a the development of jazz. IGRI also draws strongly on non-Western culturally-aware presentation 13