Bollywood Gone Africa: Harafinso

For our last in this mini-series of the cinematic ‘woods’ taking or providing inspiration to Bollywood, we travel to Kannywood, in northern Nigeria.

In the early 1990’s I was working for some months on the borders of Iran and Iraq. We lived in tents on a sort of heavily mined DMZ on a plateau in the dry dun hills that rose steadily into the Zagros mountains. The nearest city, to which we repaired once a fortnight or so, was Suleymaniah, the largest centre of Kurds in Eastern Iraq.

On one trip into town I swung through the crowded bazaars in search of a particular brand of cigarette.  The constricted street led into a small square which was crowned with a cinema hall.  That evening’s show was a potboiler from India called Insaaf ke Tarazu (Scales of Justice). I had been aware that Bollywood films were popular beyond the borders of India but this was the first time I had actually seen Indian heroes and heroines doing their moves and making their faces on posters in a foreign land.

A few months before arriving in Iraq, I had spent a long time in Pakistan working for the UN; I was interviewing refugees from Iraq and Iran for resettlement in the West. One Iranian young man took the interview in flawless Urdu.  I was surprised and impressed and asked him how he had become fluent. I suspected he might be a local student and was trying to rort the UN system to get to Europe. He insisted that he’d learned Urdu from watching Bollywood movies on TV. One day, he hoped to return to the sub continent to try his hand at acting. 

Raj Kapoor’s giant hit of 1955 Shri 420 , had been a major hit in the Soviet Union and other East European countries. Across the Middle East and South East Asia, people who otherwise spoke not a word of Hindi, could rattle off entire dialogues from Indian films.  Indeed, for the developing and recently Independent former colonies of Asia and Africa, the films of Bombay were a sort of cultural security blanket, far more important to popular culture than the films and heroes of Hollywood which were causing similar waves in post war Europe. 

And like jazz, that American music that found such fertile ground around the world, the playback singer based music of Hindi cinema, was the soundtrack for millions of African, Middle Eastern and Asian youth growing up in the 50s-70s.

So I wouldn’t say I was surprised but rather entirely pleased to discover through today’s featured record, Harafinso: Bollywood Inspired Film Music from Hausa Nigeria. Put out by the excellent cultural warriors at sahelsounds this record gives the world the chance to listen into contemporary popular music from Kano and Kaduna and the Islamic lands of northern Nigeria.

Full post and goodies here

Keeping the Flame Burning: Ogun Afrobeat

What is it about Afrobeat that is so infectious?  For me, its the pulse of joy, its the energy and, its the shamelessness of the music’s insistence upon finding and remaining in the groove.  There are very few days throughout the year when that wall of sax, bass and driving drums is not welcome. Very rare is the party that does not get a jump start when the Afrobeat songs are played.

Ogun Afrobeat is a Nigerian band resident in Spain. It thus qualifies as that country’s sole Afrobeat band and the latest band of brothers to join the cause of making the world safe, once more, for the music which Fela Kuti did so much to promote and which is so identified with him.

Ogun Afrobeat is the first Afrobeat band in Spain of authentic Yoruba culture. Led by Akin Dimeji Onas from Lagos,Nigeria, one of the best African drummers in Spain, and backed by an powerful horn and rhythm section, the group has an extraordinary on stage sound which puts it at the forefront of Afrobeat bands.

Ogun Afrobeat has a lot to offer to the followers of Fela Anikulapo Kuti and fans of African and African-American music. As part of a burgeoning modern Afrobeat movement that is worldwide, Ogun stands out because of its original usage of traditional native rhythms from the Yoruba culture along with touches of other African musical art forms and its progressive mix of Funk, Disco, and Soul, the true hybrid heart of Afrobeat. A comparitively small group for an Afrobeat group, this eight piece band wields the might of an entire Afrobeat orchestra, and the intensity of its live performances is simply irresistable.

You'll hear the true embrace of James Brown and Fela Kuti licks intertwining and singing to each other, Fuji and High Life rhythms swirl with Funk and Soul beats and harmonies. Original tunes and arrangements of Fela classics overflow with the trademark tenor guitar lines and hearty keyboard chords, synth and organ melodies, the punch of a horn section that dances and sings, and finally rhythmical conversations between the bass, percussion and the drums conducted by the captain of the ship, Akinsola. You can't help but stand in awe as he simultaneously sings the vocals and thunders away at the drums, streering his band's tremendous sound to rush the crowd and carry it into an all out dance frenzy. (http://afrobeat-music.blogspot.com.au/2012/10/from-spain-ogun-afrobeat-observer.html)

I’m working on several other things at the moment and am rather distracted or preoccupied or simply busy. So I will spare faithful readers from any excessive blather and simply let you get on with the enjoyment of this Afrobeat de la Espana. Ole!

            Track Listing:

01 Mono Economy

02 Ewa jo

04 The Observer

05 Salitre

06 Padi Padi

07 Eko lle

08 Monday Morning in Lagos

09 Fuji

10 Fela Liks

here

Collection Essentials #2: Zombie

Fela Kuti

In the same shared student lodging in Minneapolis that I discovered Old and in the Way my mind was blown by another essential disc. 

Ned Wood was a fellow fast order cook at Valli Pizza, the 24-hr greasy spoon where I worked. He was a tall guy with bent but wide shoulders. Gentle as a child but as quick witted as monkey in the jungle, Ned had an amazing collection of music.  Back in 1978 he estimated it to hold about 1000 LPs. Of course, he had been lucky enough to work at Positively 4^th Street, a local disc-orium, and so had exploited a staff discount to good effect.

Ned was one of those people who, at various stages of life, took unwitting responsibility for my musical education.  Thanks to him I discovered Bob Marley as well as Eddie and the Hot Rods. The Flaming Groovies were another favourite of his, not to mention Elvis Costello and The The.

One early morning as were cleaning up the kitchen he said he’d bring me in some Fela the next shift.  I shrugged. It was late. I smelled like pizza dough. I wanted to get some sleep.   True to his word, the next shift we shared together he slipped a C-90 into my palm and said, “I think you’ll like this.”

Now, at that point I had not heard a single note of African music. So I didn’t rush right out and listen to it, but at some point in the next weeks or months I pushed the play button on my Teac deck.

Old and in the Way grew on me steadily over repeated listenings. Fela’s Zombie simply cocked a revolver and blew my head off in less than a minute.  From the hypnotic guitar riff that opened the album and led immediately to Fela’s fierce staccato sax, joined quickly by a chorus of jeering trumpets, I can honestly say I had NEVER even imagined music such as this. But now that I heard it, it seemed to strike some deep inner chord that embraced the sound as a birthright.  This was not a record that grew on you.  It was a record that grabbed you by the collar and slapped you in the face to wake you up.

Zombie-o, zombie (Zombie-o, zombie)Zombie-o, zombie (Zombie-o, zombie)


Zombie no go go, unless you tell am to go (Zombie)


Zombie no go stop, unless you tell am to stop (Zombie)


Zombie no go turn, unless you tell am to turn (Zombie)


Zombie no go think, unless you tell am to think (Zombie)


Tell am to go straight
 A joro, jara, joro


No break, no job, no sense


A joro, jara, joro


Tell am to go kill


A joro, jara, joro


No break, no job, no sense


A joro, jara, joro


Tell am to go quench


A joro, jara, joro


No break, no job, no sense


A joro, jara, joro


Go and kill! (Joro, jaro, joro)


Go and die! (Joro, jaro, joro)


Go and quench! (Joro, jaro, joro)


Put am for reverse! (Joro, jaro, joro)


Joro, jara, joro, zombie wey na one way


Joro, jara, joro, zombie wey na one way
J

oro, jara, joro, zombie wey na one way


Joro, jara, joro


Attention! (Zombie)


Quick march!


Slow march! (Zombie)


Left turn!
Right turn! (Zombie)


About turn!
Double up! (Zombie)


Salute!
Open your hat! (Zombie)


Stand at ease!
Fall in! (Zombie)


Fall out!
Fall down! (Zombie)


Get ready!
Halt!
Order!
Dismiss!

Zombie was Fela’s breakthrough album in the USA though it was his 27^th! Taking it to the military that ran Nigeria, the song was a huge hit back home as well, with people marching past like dead men and chanting “Zombie” whenever they sighted a soldier.

The military no longer rule Nigeria but this is an article from today’s newspaper.

Fear is gripping Nigeria's northeastern city of Maiduguri with many men fleeing after the alleged execution style killings of around 40 young men, mostly teenagers, who residents say were rounded up and shot.

"All male residents have left the neighbourhood ... Those that remain are women, children and elderly men," said resident Fatima Mustapha.

The city is the stronghold of an insurgency by Boko Haram Islamists, blamed for the death of hundreds of people in northern and central Nigeria since 2009.

"The neighbourhood has been under siege since yesterday (Friday) with soldiers taking over the entire area," said Mustapha, a resident of the Gwange area where a retired army general, Mohammed Shuwa, was shot dead on Friday.

She said the men had fled fearing a heavy handed military response to the murder of the general who was being buried on Saturday.

A military source on Friday declined to comment on Thursday's killings saying only that if such shootings had taken place, they would have been "unjustified".

The killings came on the same day that Amnesty International accused Nigerian security forces of massive rights violations, including summary executions, in its campaign to crush the Islamists.

Residents said troops conducting raids in areas of Maiduguri on Thursday separated males in their teens and twenties from older men and shot them.

In the Kalari neighbourhood they told the young men "to lie face down on the ground," then asked the rest to look away, one resident said.

"All we heard were gunshots. They shot them on the spot," said the elderly religious leader, who did not want to be named, adding that the troops did the same in three other neighbourhoods.

Most Maiduguri residents were on Saturday shut up at home.

Residents spoke of a heavy military presence in many areas of the city.

Boko Haram's insurgency in northern and central Nigeria and the state's military response are believed to have left more than 2800 people dead since 2009.

The music, as you can see remains as relevant today as when it was originally released.  I have never been without this record in my collection since 1978 and listen to it frequently.

     Track Listing:

01.    Zombie

02.    Mr. Follow, Follow

here

Not a Nigerian Scam: Chief Commander Ebenezer Obey

Chief Commander Ebenezer Obey and His Inter-Reformers Band.

As Deepak Chopra says, let that sink into the deepest corners of your consciousness.

What a name! What a sound!

The Chief Commander, as suits a man with a larger than life name, increased the participation rates in juju bands significantly.  His bands were large, often up to 20 people picking and drumming away, often as seemingly uncoordinated and chaotic as a Lagos rush hour in the rain. Talking drums, rhythm sticks, police whistles with guitars sliding and tweeting in and out of everything.  It can take some effort but focus helps to appreciate this music.  There are simply so many sounds and textures and beats happening at any given moment it is a challenge to find the golden thread that holds it altogether.  But it is there and it is Chief Commander’s liquid guitar runs.  Lightening quick. Barely visible. Building into a massive storm front.

The Chief of Juju music is someone who not only has an outsized sense of Self but a man who made his name massaging the egos of the rich and famous Nigerian set. He is also a true disciple of the Lord the most ultimate of all Chiefs and never misses a chance to sing praise to Jesus.

Intoxicating. Hypnotic. Complex. Rich.  This live concert album from 1989 is all of these things.

            Track Listing:

01.  Ose Olorum Oba

02.  Sisi Ba Millionaire Lo

03.  Ile Ti Ya

04.  Koseni Tomo Ojo Ola

05.  To Ba Je Tere

06.  Erawa Oloyon Momo

07.  Awa Eve Iwoyi

08.  What God Has Joined Together

09.  E Ma Se Lo-Finale

here

              

Super Afro Soul: Orlando Julius

My first introduction to African music was Fela Kuti many many years ago. Orlando Julius, a fellow Nigerian sax player, was both a predecessor and contemporary of Fela.  Tonight’s post brings Mr. Julius with two of the bands he led in the 1960s and early 70s: The Afro Sounders and the Modern Aces.

The evolution of 20^th century popular music was propelled by the musical earthquakes which happened in cities across the world. For a few years a particular city became a musical epicenter sending waves, ripples and after shocks across the planet and then the quake would move on. The list is long but consider a few: 1950’s Chicago, 1920’s New Orleans, 1980’s Soweto, Harare 1985-90, Accra 1955-75, Kingston, 1965-1980, Liverpool 1962/3, 1970s’ Conakry, London 1965-68…just add to the list as you please. But one of the most profound seismic musical earthquakes had its epicenter in Lagos, Nigeria for a decade or so from 1965, five years after the country won its independence from Britain.

On Super Afro Soul you can hear the early musical tremors. It was Orlando’s first album, released in 1966, a head-on collision between highlife-the soundtrack of Independence in Ghana, and then in neighboring Nigeria (the music of West African political/social aspiration at that time, ‘the successful africanisation of a western structure,’ as Prof. John Collins says)-and 60’s Soul from the USA, the soundtrack of Afro-America’s struggle for civil rights and equality.  While Fela Kuti’s Koola Lobitos was experimenting with highlife and jazz with little response from Lagos youth, still 4 years and a spell in LA from creating Afrobeat, Orlando Julius unleashed this pioneering Highlife Soul gem and Lagos clubs responded to the new sound.

Orlando Julius

Orlando (some say he borrowed that name from Nigerian film actor, Orlando Martins) Julius Aremu Olusanya Ekemode started life in 1943 in Ijebu-Ijesha in the Osun State of Nigeria.  His first instruments were drums and later flute at school, and then he discovered his favorite instrument, the alto sax, which he studied for two years before he joined local highlife heroes the Flamingo Dandies of Akure. Highlife was the breaking wave and he surfed it, an unstoppable talent. At 19 he even briefly became leader of Juju music star I.K. Dairo’s Dance Band, but then he returned to highlife heaven with Eddy Okunta’s Top Aces in Lagos, and immersed himself in highlife and the jazz of Parker and Coltrane.

“I used to follow the priests and worshippers to where they performed their traditional worship from where I picked up Kokoma music’”. In 1964 he formed his Modern Aces and on their first massive hit single, Jagua Nana, released in October 1965, you can hear that he had married  congas, bongos and the agigdigbo of Kokoma with the sax into his beats. It took the country by storm and spawned a host of evolving sensual wriggles and def dance steps in the clubs.  Three more singles followed. Topless (for a while he was ‘The Topless Man’), Oloufe and E Se Re Re.

Around this time, his two musical obsessions, jazz and highlife, were joined with a third, as the airwaves filled with the sounds of 60’s soul from the USA. Smoky Robinson, The Temptations, Otis Redding, Motown, Stax, Atlantic…and his Modern Aces became one of the very first in Nigeria to forge new directions with traditional highlife, alongside Fela’s Koola Lobitos, with whom he shared band members. On this first album, Super Afro Soul, released by Polygram in 1966 in the triumphant wake of his hit singles, its clear that he’d caught the soul bug  but he was going to play it his way.  Lagos transforms the Memphis Soul Stew!  Check his unique cover of Smoky Robinson’s  My Girl, the James Brown ‘echoes’ in Ijo Soul, the Stax-like brass riffs and dominant bass throughout the album but the highlife and kokoma are never far away.

Orlando recorded 3 albums for Polygram in Lagos. Orlando’s Idea and Ishe followed Super Afro Soul, each evolving its own sound along with the changes that were happening on the Lagos music scene. 

The outrageously successful arrival of Geraldo Pino and the Heartbeats from Sierra Leone with their soul covers, tight choreography, slick costumes and expensive new sound system upped the ante for every band.  The Lagos scene countered.  Fela Kuti announced the creation of a new sound, Afrobeat, and then left for a tour of the USA which would keep him away from Lagos till the end of the decade, when he would return totally politicized, his band now called Africa 70, ready to change Nigeria and the world with full on Afrobeat.  Orlando, on the other hand, formed a much larger band, the Afro Sounders in the late 1960’s. They wore the sharpest suits, and began to explore an altogether funkier, deeper highlife fusion, responding to rock and psychedelia (Pyschedelic Afro Shop), the deeper funk grooves that were coming from the US (James Brown Ride On) and also to Fela’s new Afrobeat (Alo Mi Alo).  The tracks are longer, the sound mellower, the rootsier grooves profoundly hip shaking.

As the 70’s rolled on, corruption and militarism became business as usual in Nigeria and it was Fela, not OJ or Geraldo, who was now the epicenter of musical upheaval and radical social comment in Lagos, with a huge following across Nigeria. OJ decided to explore the country whose jazz and soul sounds he had fallen for all his musical life. He left Lagos for New York and Washington DC. There, he formed Umoja, (later Oja) in 1974 and toured with the cream of 70’s soul: Issac Hayes, The Bar Kays, the O’Jays, Chaka Khan, Curtis Mayfield and Gil Scott-Heron.

The doors to the jazz world opened when he worked with Hugh Masakela on his The Boys Doin’ It  LP.  OJ was just whom Masakela was looking for. “Hugh had just come back from Zaire…from doing the Rumble in the Jungle gig and had lost his Ghanaian combo Hedzolleh Soundz backing band.”

Now OJ was playing jazz festival gigs with stars like Miles Davis, Sarah Vaughan, Chick Corea and Art Blakey. It also led to more work with Masakela’s producer Stuart Levine which led to appearances on records by the Crusaders  and Lamont Dozier…check the Yoruba chant he wrote for Back to My Roots.

After a successful career in the USA, through the 80’s and 90’s, he returned to Lagos in 1999, set a recording and rehearsal studio in Surelere and formed The Nigerian Allstars with whom he recently celebrated his 40^th anniversary as one of Nigeria’s funkiest musical pioneers.  Long may his Super Afro Soul light up our lives!! 

Max Reinhardt (May 07)

(Liner Notes)

            Track Listing:

            (Modern Aces)

            01 Mapami

02 Efoye So

03 Ise Owo

04 Solo Hit (Instrumental)

05 Oni Suru

06 Wakalole

07 Ma Fagba Seyeye

08 Bojubari

09 My Girl

10 Jagua Nana

11 Ijo Soul

12 Topless

13 Olulofe

14 E Se Rere

Listen here.

            Track Listing:

            (Afro Sounders)

            01 Home Sweet Home

02 Psychedelic Afro Shop

03 James Brown Ride On

04 Mura Sise

05 Esamei Sate

06 Alo il Alo

07 Ketete Koro

08 New Apala Afro

09 Igbehin Adara

Listen here.