What is Afropolitan Vibes?
Afropolitan Vibes is a monthly live music concert which exists as a platform for alternative music: a place where music lovers congregate to watch contemporary singer-songwriters and musicians perform mostly original works that are firmly rooted in African musical origins of Afro-beat, Afrofunk, Afro-hip-hop, Afro-pop and Highlife music. A host of talented artists gather each month to rehearse and then perform with Bantucrew on stage at Freedom Park’s Main Stage. The show is held every third Friday of each month. Show starts promptly from 8.00pm-10.30/11.00pm. Afropolitan Vibes is co-produced by Ade Bantu and Abby Ogunsanya.
Bantu
Bantu aka Brotherhood Alliance Navigating Towards Unity is a 13-piece Afrofunk-Afro-hip-hop-Afro-beat musical collective founded by Nigerian-German brothers Adé Bantu and Abiodun. The band features multi-instrumentalists and singers who perform as a collective.
Palm Wine Tradition
Palm wine is now available at all our shows. As our palm wine is always freshly tapped in Sagamu in the early hours of the morning of each show, this luscious white liquid is guaranteed to be sweet and only mildly intoxicating as it is yet unfermented. Our palm wine is served the traditional way: the wine is available to buy per gourd (to share with friends/family) or in individual calabashes. Alcoholic and non-alcoholic drinks are also available for purchase at the Freedom Park bar area where we encourage you all to come join us after the show for a drink, chat and photographs.
Official After Party
After each show, we have an after party gig at the Freedom Park bar area. Taking over from Raymond Bola Browne aka DJraybeeBrowne of Igroove Radio after the show will be DJ Java - our official after party DJ.
Spread the Word
If you love Afropolitan Vibes, spread the word – tweet about us - @afropolitanvibe join our facebook page - facebook.com/Afropolitanvibes subscribe tour digital magazine - issuu.com/afropolitanvibes and invite your friends and family next time.
NEXT AFROPOLITAN VIBES SHOW WILL BE ON
FRIDAY MARCH 18, 2016 WHICH WILL BE OUR THIRD ANNIVERSARY EDITION COME CELEBRATE WITH US!
Afropolitan Vibes Magazine credits: Editor: Abby Ogunsanya
Guest artists’ photographs: Courtesy of subjects
Guest artists profiles: Abby Ogunsanya, Dami Ajayi, Benson Idonije
Show photographs: Akin Kongi
Contact and advertising enquiries: info@afropolitanvibes.com
Cover photograph: TOJ
Tel: + 234-803-4937094
Graphic design and layout: Graeme Arendse
Printing: John Bola
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Issue 28 // February 2016
Editor’s Notes
February has been an activity filled month for us as Afropolitan Vibes. In addition to our usual meticulous preparations for the next edition of the show, we have also been meeting with potential sponsors and suppliers – all with a view of making Afropolitan Vibes bigger and better each month. Of particular significance was the visit of the German President Joachim Gauck to Nigeria this February. Ade Bantu was chosen for the particular honour of showing him around Freedom Park and talking to him about the work that we do, the challenges we face and how, despite these challenges, Afropolitan Vibes has now become the biggest live show in the country. Ade Bantu was also invited to feature in an edition of the CNN documentary African Voices to talk about his life and work. We will keep you posted when we receive confirmation of when the edition will air. Next month’s edition of Afropolitan Vibes, which will take place on March 18, 2016 will be a very special one because it will mark three years since we started the show with just a few people gathered at the Freedompark Amphitheatre. We are working hard to make it a really spectacular show and hope that you will all help us spread the word and come and celebrate with us. For our February show we are extremely pleased that we managed to secure four hugely talented singer-songwriters who also have the reputation for being exceptional live performers: Blackman Akeeb Kareem, Sound Sultan, Falana and Oranmiyan. I would like to extend our sincere thanks to KLM for flying Blackman Akeeb Kareem from the UK so that he could join us to perform at the show. I hope you enjoy reading the artist profiles and trust that as usual, you will all have a wonderful time at the show.
In this issue
We profile our four guest artists: Blackman Akeeb Kareem, Sound Sultan, Falana and Oranmiyan. Also featured this month is a profile of DJ Java Who is now the official DJ for our after party. We feature pictures from the visit be German President Joachim Gauck to Freedom Park. We feature some of our favourite pictures from the 32nd edition of Afropolitan Vibes, which was held on December 18th 2015.
Contact us
You can email us with your thoughts at info@afropolitanvibes.com. We also read all comments and respond to questions on on all of our social media platforms We have a limited number of back issues of Afropolitan Vibes magazine. If you would like a copy, please contact us via email or on +234-803-4937094.
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It was the year ushering in the new millennium. Nigeria had just been rescued from the bleak governance of the armed forces the previous year. Artistic production had ebbed, yet it was that same year that brought an assured sound of music from the most unlikely person: a gangly comedian better known as a television host, best known as Olanrewaju Fasasi. Lanre Fasasi dropped his first single called Jagbangatis, a protest song marrying influences from both afrobeat and reggae music. The song is a reinterpretation of the acronym for the mathematical order of operations, BODMAS, applied to solve the perennial problems of Black Africa. With an apt classroom roleplay music video, the song became an instant hit and a star was born.
In the same attitude of word play, his first album was called Kpseeeeeeew—an unusual onomatopoeic title referencing the Nigerian hiss, a protest in itself of the status quo of the Nigerian polity in retrospect. Sound Sultan came to music wearing a band of protest around his head and his sheepish smile redolent of Fela Anikulapo Kuti, whose hit Beast of No Nation, he sampled on Craze World song on the same album.
The
SULTAN of SOUND Dami Ajayi Twitter: @soundsultan
His second album, The Compulsory Text-Book, a 19 track album extended his love for educational metaphors, with memorable songs like Area, Motherland and Campus Queen, which was the eponymous original soundtrack of a mainframe film production in which Sultan himself acted.
Facebook: facebook.com/soundsultanfanpage
The third and fourth album Naija 007 & SS 4 respectively along with his first two albums marked an era of his musical career that went beyond his relationship with Kennis Music, the record label that produced his first four albums. It was an avant-garde period of relentless experimentation with variety of sounds, grappling with notions of making popular or protest music and, of course, perfecting a signature sound.
Sixteen years later, Olanrewaju Fasasi or Sound Sultan, is a veteran in the blossoming Nigerian industry with numerous successful albums under his belt. Younger sibling to Nigerian reggae/dancehall musician, Dare Fasasi, Sound Sultan’s influences must have ranged from Fela LP vinyls to watching his elder brother at rehearsals. Born into a Moslem family, Sound Sultan was the fourth of six children. His childhood was typical, spent in both primary and secondary schools acquiring an education. An Urban & Regional Planning graduate, he came into music early and started from scratch: miming popular songs at local (birthday) parties. His musical range and interests spanned across many genres and this prodigious ability earned him his sobriquet coined by his siblings—Sound Sultan—a descriptive phrase of sibilant alliteration that hyped him as an acoustic monarch.
Sound Sultan, always known to wear many hats, became a record label executive at the newly formed collective Naija Ninjas, under which he will release Back to the Future (2010), Bushmeat (2011) and Me, My Mouth & Eye (2012). With a definitive style of blending afrobeat rhythms with lyrics rich in humour, social commentary and pun, Sound Sultan has released delectable songs like Orobo, Very Good Bad Guys, 2010 Light Up, Ole, King of My Country, Kokose, Natural Something and most recently, Monsura. Under his mentorship, a crop of talented musicians including Niyola, Seyi Shay and Sean Tizzle have blossomed. His love for music notwithstanding, Sound Sultan is a devout Muslim and a family man married to his long term girlfriend, Faridah and he is the father of three children.
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The last time I asked after Akeeb Kareem, a friend of his told me he was in Europe, completely disconnected from music, his profession back home in Nigeria. But whether he still plays music or not, Akeeb Kareem made considerable impact as a singer, composer, guitarist and band leader from 60’s to the ‘80s.
and his Ogiza Band among others who all created their different styles of fusion within varying sound identities. Akeeb was perhaps the most successful, not because of his musicianship but because of record sales arising from popular acceptance. He identified with the grass roots in terms of compositional themes and live shows. Almost all Long before the wind the musicians decorated of change from the and surrounded imitation of foreign music themselves with African to authenticity began to relics of ancient times to blow across Africa in the depict the images of the late ‘60s, Akeeb Kareem bands, but Akeeb’s mode was there, making his of dressing was simple influence felt. As a matter in the sense that rather of fact, before such Afrothan look outlandish, he inspired sounds as Allah mixed European styles Benson Idonije Wakaba by Ofo the Black with Africa fashion. And Company led by the late this gave him a unique Twitter: @soundsultan Larry Ifediorama and Jeun image. Koku from the Afrobeat Facebook: facebook.com/soundsultanfanpage legend himself, Fela It was his popularity Anikulapo Kuti adopted as reflected by the authenticity in terms of the sales of his music that Africanisation of their music, Akeeb Kareem was already recommended him, in those days, to almost all the recording Afro-Pop fusions for Decca West Africa records. record companies-Decca, EMI, Philips and Sanu Olu, and indigenous stable where his last records were So consistent and committed was Kareem that his released before he left the shores of this country. mode of dress and that of his entire band was in the true African fashion. Needless to say that his compositions, On Shanu Olu’s stable in the early ‘80s, Akeeb registered most of which were written in Yoruba language, were an artistic impression with the recording of a hit called meaningful and replete with inventiveness. Amebo. Apparently inspired by the role played by the great actress Ibidun Allison on the memorable television Even when the eighties ushered in a revolution in pop series, Village Headmaster, Akeeb told the story of music with Felix Lebarty and Chris Okotie in the forefront, a rumour monger and backed it up with his simple Akeeb stuck to his authenticity and remained unshaken but powerful music. But perhaps the album that has in his resolve to identify with African music. continued to paint him in good artistic light, even though not as financially rewarding, is Ololufe which means My The era of the 70s was that of live bands, as opposed to Love produced by Odion Iruoje. the miming that has taken over today, reducing musical performance to mere entertainment, without any concrete This recording is particularly remarkable in that away message to hold on to. As a matter of fact, the situation from his regular outfit-with two guitars of rhythm and is so bad today that even those who uphold the tenets tenor; bass guitar and drums, he was provided with a of good music and would not otherwise turn attention to full session of hornmen and instrumentalists. what is happening today, now find themselves humming the songs they hate, without knowing it.
MEET
BLACKMAN
AKEEB KAREEM
The era of Akeeb Kareem was that of Johnny Haastrup of Monomono, Segun Bucknor and Revolution, Fred Fisher
continued on page 8
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In the first place, the great Berkely Jones, the guitarist who set the melodic pace and structured the progressive path for Ofege, the all-student group that created quite some impact in the 70s, was enlisted into the session. Beckley was also the guitarist for BLO, the three instrumental giants whose pop outfit created quite a star in the country- in the 70s. Beckely was the ‘B’of the group where ‘L’ stands for Laolu Akins, the great drummer and producer who is still around; while ‘O’ represents bass player, Mike Odumosu, who also had a stint with Osibisa. Johnny Wood, the greatest organist on the scene at the time, dominated the rhythm section. Also enlisted were trumpet and saxophone to boost the ensemble sound. The horn section is not as clean and brilliant as should be, but the compositions are very well crafted and put together. And of course, his powerful voice has been able to carry all the messages, as he observes all the nuances, all the emotional feelings that help to paint the stories with appropriate colours. Without attempting to dissect the tunes separately, discussing the nitty gritty and detailed complexities of melodic, instrumental and compositional efforts, it must be admitted that the six songs are well delivered, with perhaps the greatest emotion invested in Ololufe, the theme of the album. Singing in the same flowing vocal style with a voice that rings out in places like a griot, he does Awa na re with effortless ease. A self-identification kind of song, it is the band’s signature tune. Other compositions that have experienced the typical Akeeb Kareem delivery include Sad memory, Tomorrow, Call me Blackman and Esin funfun (white horse). A nine-man session was provided by the producer - but Akeeb lists his six-member outfit of which he is very proud. Certainly, he would have felt freer and better singing within the context of his regular outfit, but it was quite an experience for him, playing with a big band. Blackman Akeeb Kareem is one of Nigeria’s talented musicians. At the time he left this country in the ‘80s, his last record, Amebo was doing well in the market. As a reflection of sales, it was occupying a comfortable slot on the hit parade chart in 1984. Akeeb Kareem had a brilliant musical career. He had talent and promise, but his sudden disappearance from the scene closed a chapter in the musical scope of Nigeria. (Reprinted with permission of Benson Idonije)
MOTHER COUNTRY
Abby Ogunsanya.
One thing that strikes you when listening to albums by Blackman Akeeb Kareem is the power of his voice: haunting, gritty and ever so soulful. His voice is so unique that you can never mistake it for anyone else’s voice. The strength of that voice remains till this day and we first heard it again when we went in search of him for an interview as part of the music documentary that Ade Bantu and I are producing about the history of Nigeria since independence, as told by musicians. The documentary is called Elders’ Corner’ and is directed by Siji Awoyinka. It was Siji who travelled to London to interview Mr. Kareem for the documentary. Our second encounter with the voice was in 2015 when we heard that he was billed to perform live with Beautiful Nubia at Eniobanke in GRA Ikeja after 30 years out of the limelight in Nigeria. Naturally we were very excited and Ade Bantu attended the concert and meet with him after to show to tell him about Afropolitan Vibes and invite him to perform. We are so excited that there was finally an opening in February where he was able to return to Nigeria from his base in the UK. We would like to thank KLM for flying him to Nigeria on our behalf. We hope that performing at Afropolitan Vibes will be just one of many more performances to come by Blackman Akeeb Kareem. Hopefully the anticipated positive response of the crowd will convince him to visit Nigeria move often.
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Now based in Lagos for much of the year, Falana can often be seen performing live playing her acoustic guitar or sitting atop her custom made cajón - a sixsided, box-shaped percussion instrument which is played by slapping the front or rear faces with the hands. When she is not playing music, Falana is exploring the city, getting to know other artists and slowly adapting to the frenetic pace of Lagos.
Singer and multi instrumentalist Falana is proof positive that passion and dedication yields fruit. She has been consistent in her focus to learn music, performs regularly with the band she assembled since she moved to Nigeria, and works tirelessly to develop herself as an artist and performer. That is why she has been able to make significant inroads into the Nigerian music industry within just a year of relocating from Canada where she spent her formative years.
Capturing
moments in time
Her maiden performance at the July 2014 edition of Afropolitan Vibes was very well received and since then, she has gone on to gain critical acclaim with performances at events such as Felabration 2015 Abby Ogunsanya and ‘Becoming’ - an evening of poetry and music which was held at the Website: www.falanamusic.com Muson Centre in November Twitter: @falanamusic 2015 and featured an all woman ensemble of Falana, Titilope Sonuga, Ruby Gyang, Omolara, Deborah Ohiri and the Girlz Rule Band. Falana’s journey back to Nigeria came soon after a one year stint in Cuba where she travelled to experience the sights and sounds of Havana and work on developing her own musical style. She had moved first to Denmark in 2010 as a result of winning a singing competition. The exchange gave her hopes of taking time and space to really explore her artistic self, but once she returned to Canada, she found herself unable to record music the way she wanted. The move to Cuba made all the difference. From there, she came away with a signature sound that she refers to as ‘soul- fusion’ and describes as a blend of jazz elements, afrobeat and soul. Online on YouTube is a short documentary of her time in Cuba, where Falana is seen in her element taking piano lessons, giving guitar lessons, and jamming with friends. Clearly her time in Havana gave her a lot of confidence as an artist and it was during that time that she was able to record her 5-track debut EP titled ‘Things Fall Together’ which received great reviews -one of which refer to the EP as a “rich soul treasure”, that ...”packs so much soul in to not just her voice, but her lyrics.”
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As with most artists, Falana is often asked what her motivation is for being a musician. Her response has been consistent across all the interviews that I came across - that her music is born out of a deep desire to capture moments in time, so that her experiences can be relived and shared with her audience. Expect to hear more moments in time from this talented singer-songwriter.
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“It is extremely important to implement our cultural and traditional elements into our arts. It is our identity and it is a strong medium of preserving what we have left“
Oranmiyan (‘my case is settled’) is a native of Ile-Ife in Osun State. He was born into a family of drummers and drum makers of royal lineage, so it no surprise that he began drumming as soon as he could walk. Despite growing up in a strong Christian family based in Oshogbo, Oranmiyan says he was more interested in the local traditions and cultural activities that he witnessed growing up, all of which went on to influence his interest in regional expression and yoruba chants and culture.
numerous African artists including Ade Bantu, Tony Allen and the late Fatai Rolling Dollar. He has also worked and toured extensively with Nneka Egbuna with whom he was on the road for much of 2015. When he is not touring, he is putting together his latest recording project which is an album called ‘Dugbe, Dugbe’. Oranmiyan makes frequent visits to Nigeria but Canada is his home base. When at home on a break from touring, he spends time writing new material and being a multi-instrumentalist, he also practices on the keyboard, the saxophone and the guitar and plays local gigs.
Oranmiyan is a personal friend, so it was interesting to read his biography in preparation for writing this profile because I found in it, things I wasn’t aware of before now. I knew that he honed his skills as an artist by performing stage dramas and playing drums in school and in churches, but I didn‘t know that he actually pursued higher education in computer studies with emphasis on computer hardware maintenance and networking. This goes some way to explain his passion for the production side of music as well as performing. Abby Ogunsanya He is always tinkering with some music Website: www.oranmiyan.com application or other on Facebook: facebook.com/oranmiyanmusic the computer.
Though Oranmiyan‘s music has elements of Afrobeat, soul and hip hop in it, his music is mostly referred to as ‘Yoruba Reggae’ – music that blends traditional Yoruba chants and lyrics with reggae music. There is much debate about who is the originator of this style of music, but unarguably Oranmiyan is at the forefront of producing and performing in that style. The use of Yoruba in his music is particularly significant at this present time that there is increased social consciousness about the need to encourage youngsters to speak local languages and take pride in so doing.
YORUBA REGGAE PIONEER
It was while he was working as an apprentice at Analogue Audio Recording that he got the opportunity to put together his first album in 1997 which he titled ‘Water’. With this began the development of his distinctive style of blending Yoruba lyrics with Bob Marley influenced reggae music and messaging that centered on his dedication to political and social activism. His very strong song-writing skills soon found him working with
The audience at Afropolitan Vibes will be treated this distinctive blend of music at this February edition and I have no doubt we will hear more in Nigeria and on international scene from Oranmiyan in 2016 and beyond.
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row. He was also the In June 2015 Ade official DJ for the Bantu and I decided spring festival (the we would start biggest event in inviting guests DJs Abby Ogunsanya Famagusta city). to perform after the show because we Since his return to noticed that a lot of Instagram/Twitter: @djjavaofficial Nigeria, Dj Java people were having Facebook: facebook.com/MysterJava has performed at so much fun that they many high profile didn’t want to leave Snapchat: papitojava01 events organized by after Afropolitan well-known brands/ Vibes had ended. companies. He was Over the months we have had guest DJ stints by DJ Cuppy, DJ Bally one of the selected participants for the electronic music and DJ Java. Of them all, DJ Java has been the soundscapes workshop organized by the Goethe most frequently and because we know that he is in a Institute who also partner with Afropolitan Vibes. great fan of the Afropolitan Vibes movement, we have decided to create a regular slots for him as the official On the production end, Dj Java has worked with After Party DJ. (Our resident Freedom Park DJ - DJ various artistes and produced songs with the latest Raybee Brown entertains the audience before the being Bisola Coker by Ajebutter. show begins). As a talented Disc Jockey with music production Olaniyi Teidi aka DJ Java began producing songs skills, Java brings a unique blend of the best sounds in 2007, two years before leaving Nigeria to travel and mixes from around the world to light up any event. to Northern Cyprus (TRNC) to study for a degree His exposure to sounds from home and abroad makes in mechanical engineering. His passion for music him comfortable with any type of crowd and you don’t remained and he quickly became well known on get a more eclectic and diverse crowd as you do at campus where he was soon in demand as a DJ and Afropolitan Vibes. organised parties that drew large crowds including the biggest afro- Caribbean party on the island titled Join us to enjoy music by DJ Java at the Freedom “Wazobia”. Java was soon made the University’s Park food court immediately after every Afropolitan official DJ, a position he retained for four years in a Vibes show.
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German President Joachim Gauck
visits Freedom Park
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Afropolitan Vibes
JANUARY 2016 Edition
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