Y uncle, 
Idowu Adeku, taught me both 
how to play and make 'sakara' 
drum in the Sixties. He had lived 
in Abeokuta and Ifugun so there 
was quite a lot to learn about 
traditional musicians and life in 
general. My grandmother, lya 
Idowu, who was a kola nut trader, 
was then shuttling between llugun 
and Ibadan where I grew up with 
four other brothers. She in particular 
taught us all those wonderful 
moral instilling folk tales 
and their respective songs. She 
was also iya 'ndi Ogun as her 
house was right in front of an 
Ogun shrine in llugun. 
The part of Ibadan where I lived for 
some years, during the Sixties, was not 
very far from Chief Obafemi Awolowo's 
house, and during the seasonal Egungun 
(Ancestral) Festivals, the major masks 
would come to pay homage to him: 
Alapan'sanpa, Ololu, Abidielege, 
Oganke, Dake ja etc. I often went with 
childhood friends to see these 'ancestral 
guests', and we would go home later to 
practise all we had heard on plastic pails 
and empty cans of ovaltine and milk. The 
complex rhythmic patterns in processional 
and poetic forms, and the traditional 
songs for specific 'ancestors' became 
rather familiar after a while. And similar 
to what happens during Halloween Celebrations 
here in the US, we would also 
go from door to door during Christmas 
Celebrations in Ibadan, imitating both 
the rhythm and dance steps of the 'guests.' 
The Igunnuko also made their seasonal 
visitations, long towering ancestors, 
who more or less vanished in your 
very eyes as they swirled and eddied in 
their near ethereal movements. Their 
dances were quite unusual, and we actually 
thought they were dancing 'Towers 
of Babel' with thundering sounds on the 
ancient drums accompanying their steps! 
At other times it would be a different 
'ancestral guest' from other parts of 
Nigeria; this was of course before the 
Civil War. There was one in particular, 
called Ekpe, an Ibibio ancestor, who 
always came alone, with a unique sound 
from 'the other side.' He had a headgear 
which gave an impression of a huge 
flower dancing alone in the hot sun. 
On Sunday morning 'professional 
beggars', both men and women would 
wake us with their 'Babi Allan kawo' 
chants, and for me Islamic life style had 
really become synonymous with being a 
northerner for I really couldn't tell the 
difference for many years, until I met 
Obadiah, at Ede who was both a 
northerner and a Christian. Many years 
later at Apata Ganga the early morning 
chant of the muezzin was also almost a 
daily routine, as early as about five-thirty 
in the morning you would hear him chanting. 
' '...Al' Akbar', as they called the 
believers to prayer with an obvious middle 
eastern, in particular Arabic, touch to it. 
And quite frequently 'talking drum 
ensembles' would stroll by, and greet 
you on their 'gangan and iya ilu' for 
money. Although these were professional 
drummers in their own right, as well as 
historians and poets and custodians of 
traditional knowledge and culture, time 
and vakies had changed, and were still 
changing, so they had to make ends 
meet by walking round the city and 
playing for anyone who was likely to 
give alms. Frequently they would show 
up at socialfunctions, weddings, burials, 
naming ceremonies, chieftaincy titles, 
Christmas and New Year's Eve celebrations. 
The purchase or acquisition of 
property, the return of a child, husband 
or wife from 'abroad', or a promotion on 
the job, would often lead to a party, and 
these traditional musicians would always 
show up as invited guests or not. 
Apart from the 'professional beggars' 
who came from all over the country, 
there was the occasional grand performances 
given by this brilliant Shehnai 
or Algaita virtuoso who came from a 
section of the northern part of Nigeria. 
The instrument had come many years 
ago with Arabic traders. The high pitched 
sound of his double-reed instrument, 
similar to the western oboe, summoned 
us for another afternoon performance; 
he had four or five other drummers playing 
Djun-djun or Bembe of different sizes. 
It was then time to find a way, some 
excuse to leave whatever you were doing 
for yet another afternoon show. 
My paternal grandfather lived in 
Erunmu, a couple of miles away from 
Ibadan, and there lived also another 
ancestral mask called 'Alukuu.' He only 
came out in the night, to see him then you 
had to stay up all night. We had tried a 
couple of times in the past, but this 
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 different 
'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 Bazaar 
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. 
like Beethoven, Handel, Mozart, Hayden 
etc. 
Both Idowu and another uncle Benjamin 
Funmilayo took me and my older 
complex 
rhythmic patterns 
in proces- brother to the cinema to see Indian movies. 
The music was different yet we could 
relate to it. Uncle Idowu even worked at 
some point at Rex Cinema, on J. Allen 
Road, Ibadan. He had, of course, seen 
'every Indian film available,' and would 
simply relate to us the ones we hadn't 
seen! 'Ade Love', the actor and singer, 
sional and poetic 
forms, and the 
traditional songs 
for specific 'ancestors' 
became 
rather familiar 
after a while 
Apart from Sabbath on Saturdays, 
certain church services were featured on 
the radio and it was always something 
to look forward to, although we belonged 
to a different church altogether. 
The different church choirs sounded 
wonderfully well. At other times it was 
the works of Western trained Nigerian 
composers, those who had studied 
Western Traditional Music and practised 
either in Europe or the United 
States of America, like Fela Sowande, 
Akin Euba, Laz Ekwueme, Sammy 
Akpabot etc. Included were of course 
very well known Western composers was obviously also influenced by this 
music, as he developed a style of singing 
African Quarterly 
on the Arts 
Vol. 2/No. 1 GLENDORA.
from this Indian source. 
I didn't get any encouragement 
whatsoever from my parents. Modern 
musicians just didn't have a good reputation, 
so it was not an option for you. You 
simply had to be a lawyer, medical 
practitioner or an accountant, so for 
many years although everyone knew I 
had musical talent, I couldn't tell them I 
really wanted to be a professional musician. 
I had to prove it later to my father 
when my professor, Wole Soyinka 
showed him both my letters of admission 
and scholarship to the Berkeley College 
of Music, Boston. 
Mother told me that she once nursed 
the idea of becoming a member of Hubert 
Ogunde's Dance and Theatre Group. 
She had grown up in Abeokuta listening 
to both traditional songs and Islam influenced 
genres of music—Waka, Sakara, 
and Apala. At home we heard Yusuf 
Olatunji, Haruna Ishola, Dauda Epo 
Akara, Ebenezer Obey, Idowu 
Animasaun, Toye Ajagun etc. etc. She 
also made it possible for us to see Hubert 
Ogunde and his troupe a number of 
times at Obisesan Hall in Ibadan while 
he was on tour of the country. 
I would later meet Idowu 
Animasaun, Toye Ajagun and Dele Ojo 
at Anjola Aboderin's place, in Ibadan. 
Aboderin I had met earlier on through 
DeolaKumapayi. A truly gifted electrical 
engineer he fixed musical instruments 
and built new amplifiers and P. A. Systems 
when approached by local musicians. 
He actually built one for me as 
well, at a time when my obsession with 
.music led me to work part-time as a disk 
jokey! I also met Chris Waterman, the 
American ethnomusicologist and bass 
player, at Anjola's place; he was then 
doing research on the history of juju 
music in Nigeria. His book has since 
been published, 'Juju-A Social History 
and Ethnography Of An African Popular 
Music' by the University of Chicago press. 
All kinds of musicians came to Anjola, 
and those who wanted their electrical 
appliances repaired. It was to him that I 
finally handed over the management of 
Afro Linkage Ensemble when I left the 
country. 
Mother and father also had been 
co-tenants with Moses Akanbi, (Baba 
Ade) the drummer, on Koyejo Street, 
Ibadan in the Sixties, who was then a 
member of Eddy Okonta's band. He 
often would bring his snare drum and 
tom-toms home. They were usually in the 
corridor or in the verandah, and there 
began my training on the drum. A 
number of musicians paid him a visit, 
especially the band leader himself, Eddy 
Okonta, and I would day-dram about 
playing with them someday. Their performances 
took place at the Paradise 
3 our ofus even 
formed a quartet 
modelled after 
African American 
Gospel Singers and 
the Kings' Herald 
Singers of the 
United States: 
Dokun Abolarin, 
Bayo Aina, Kehinde 
Qgunrombi and I. 
band. 
Hay ode Olajide 
belonged to a 
different group. 
Hotel, situated at the present site of the 
Broking House in Ibadan. Moses Akanbi 
has since been playing on Sunny Ade's 
Sina Fagbenro's father lived just 
next door as a young legal practitioner, 
and his mother brought him regularly to 
play with us. We would meet years later 
to make music while he was a student at 
the University of Ibadan. For a while Deji 
Haastrup, the writer, also lived downstairs 
with his mother. Kayode Olajide, 
the saxophonist, lived further down the 
road. His musical experience and development 
indeed almost parallel mine. 
One of the truly insightful and inventive 
of contemporary musicians in Nigeria! 
At the Cocoa House, Ibadan, in 
the early Seventies, I had my first opportunity 
to see a saxophone and Orlando 
Julius was playing it. A section of the 
building was then used for occasiongl 
social functions and Christmas/End of 
Year celebrations. He also played regularly 
at the Paradise Hotel and knew 
Moses Akanbi quite well. 
Father belonged to an association 
back in the Sixties and early Severities 
which sometimes invited Ojoge Daniel to 
perform during their Christmas parties 
and other functions. This would later 
repeat itself at the Ibadan Tennis Club, 
near the lyaganku High Court, a mere 
quarter of a mile from my house where I 
heard both King Sunny Ade and Ebenezer 
Obey live for many years. Prior to this, 
Tunji Oyelana and The Benders, with 
Anjola Aboderin on keyboards, made 
impressions on me during their yearly 
Christmas performances at the Tennis 
Club. Akeeb Kareem the singer, was 
also in Ibadan during this period. 
Jimi Solanke, actor and musician, 
purchased my very first saxophone years 
later, an alto, when he formed a group 
with Biddy Wright, myself and some 
other fellows at the University of Ife, 
which Kayode Olajide bought off me so 
I could get a plane ticket to the music 
school in the United States. 
I taught myself every other instrument 
I played until my formal training in 
Boston. The only other musical training 
was given by a real African Queen, the 
Olori of the Oba of Ede, Oba Adetoyese 
Laoye, The Timi of Ede. I actually dined 
once with the king when one of his sons, 
Adio, took me to the palace on a Sunday 
afternoon. The king himself was known 
to be a master on the talking drum, aside 
from being a pharmacist, before his 
ascension. Olori played the piano and 
taught us to sing. After her weekly lessons, 
I would begin my 'improv' on the 
piano. We were very well equipped to 
sing in the school choir. Four of us even 
formed a quartet modelled after African 
American Gospel Singers and the Kings' 
A/rican Quarterly 
on the Arts 
Vol. 2/No. 1 GLENDORA
Herald Singers of the United States: Dokun 
Abolarin, BayoAina, KehindeOgunrombi 
and I. Kayode Olajide belonged to a 
different group. 
In Ede, we encountered the major 
travelling theatre groups including Duro 
Ladipo, Kola Ogunmola, and Oyin 
Adejobi. They all came at some point or 
the other to Baptist Grammar School, 
Ede, and some of us found our way to see 
them. Of course this was only additional 
to their weekly appearances on the 
television and radio. 
At the Polytechnic Ibadan, I was 
fortunate to have Bukola 'Bukky' Jinadu, 
Ayo Assaf, Yinka 'Laleye, M.D., the late 
DeleFalode, Deola Kumapayi, Paul Konye 
and Deji Olaopa. Mellow Yirenkyi, Kunle 
Ajayi and Eric, the drummer, came later 
to the Polytechnic Ibadan as 'Ifa', with 
more musical experience than most us. I 
later joined them and would have long 
rehearsals usually between 1 1:30pm 
and 6:00am. We reproduced almost 
every solo part played by reputable jazz 
artists and also had the opportunity to 
travel to Ahmadu Bello University, Zaria 
for a performance. The music department 
at the Polytechnic, Ibadan, allowed me to 
use the piano room and some wind instruments, 
although I wasn't a music student. 
There I met Bateye, the composer, and 
Adeleke, a master on the talking drum. 
The repertoire was huge but it was made 
up mainly of 'Jazz Standards' and popular 
tunes from the United States, and so 
were artistic directions in general among 
our peers. The more of a Western influence 
you exhibited, to that extent you 
were accepted, which resulted in 'a stifling' 
of original and authentic insight! 
Every group had to be a copy of another 
foreign one, in the US or in Europe. 
Fela Anikulapo Kuti created the 
awareness of the worth of having a culture, 
and being proud of it, consciously 
furthering it, through his 'Yabbis' that 
almostalways preceded his performances 
at the Polytechnic, and the Universities of 
Ibadan and Ife. In particular I found his 
departure from conventional Western ten- 
African Quarterly 
on the Arts 
GLENDORA r.»i.» Vol. 2/No. 1 
dencies, in music impressive, especially 
his use of modal harmony, but I would 
later stop listening to him mainly for the 
fear that I might begin to sound like him. 
Kuti remains for me a wonderful example 
in musical innovation and authenticity. 
The Journey to Berklee College of 
Music, Boston began with an introduction 
from Deji Olaopa, who was also 
very kind to share his musical knowledge 
and books with me. He lent me a 
Soprano C Flute which his brother sent 
him from England, with which I taught 
myself to play the instrument. He would 
become one of the backbones of 'Afro 
Linkage Ensemble' formed a couple of 
years later. Once his father advised both 
of us to stop wasting time on Western 
performed in 
this hall several 
times, and saw 
every important 
theatrical and 
musical performance. 
For me it 
was simply a 
bigger vision of 
the performance 
hall at the Piigerian 
Broadcasting 
Corporation 
music; told us to pay more attention to 
indigenous forms and I took his advise 
seriously to heart. 
I simply had to listen to every new 
music I came across regardless of style or 
origin, and I had to read their liner notes, 
as a lot could be gained by simply 
reading them. And that was how Dixon 
Akingbade became a teacher both in the 
business of 'disk jockeying,' and in generally 
introducing me to serious secular 
forms of African-American music through 
his collection of records. I laid my hand 
on over a thousand records, from Traditional, 
African American, Continental to 
Western Traditional and Modern music 
forms.
At the University of Ife, a good 
friend and colleague Femi Ogunrombi 
gave me an opportunity to perform with 
his Choral and Dance Troupe called 
'Ayoro Voices', specializing in traditional 
music. He also kindly entrusted me 
with a silver alto saxophone to use with 
the group! A major help towards my 
acquaintance with the instrument. Yemi 
Akinpelu who introduced me to Amos 
Tutuola, as he then lived close to the 
writer at Odo-Ona in Ibadan later directed 
'Ayoro Voice' after Femi 
Ogunrombi left Ife. 
I took a few sight reading lessons 
with Ms. Mary Seavoy of the Ife Music 
Department, and Western music theory 
with Dr. Adegbite, who allowed me to 
'sit in' for a couple of his lectures. And 
Meshida, the violinist, gave my very first 
opportunity to play with a chamber orchestra 
conducted by Yemi Akinpelu. I 
read everything I could find on the theories 
of Western Traditional, African Traditional 
and African American music. 
Oduduwa Hall, Ife, had a wonderful 
Steinway Grand Piano and with it 
I continued to teach myself to play. The 
beauty of the hall in those days lured me 
to sit in there for hours, day-dreaming 
sometimes, at other times getting up to 
practise on both the piano and saxophone. 
I performed in this hall several 
times, and saw every important theatrical 
and musical performance. For me if 
was simply a bigger vision of the performance 
hall at the Nigerian Broadcasting 
Corporation, Ibadan to which a wonderful 
lady, Mrs Oyelewa, a family friend, 
who was a receptionist for many years at 
the Corporation, took me a number of 
times. She worked from 7:00am to 
3:00pm, and I would be there through 
the hours. 
I got acquainted with the welt 
known broadcaster Laolu Ogunniyi 
through Deji Olaopa, and with him we 
learned to write commercial jingles, and 
scored music for both theatre and film
(video). We rehearsed at Radio OYO, 
the Performance Centre on Mokola Hill, 
and then Safari Club where years befbre 
I had met, for the firsttime ever, bothFemi 
Johnson and Soyinka at 12:00 in the 
morning. 
A campus group called 'Paperback' 
with Victor Egbe, Dotun Kukoyi, 
Kehinde Ogunrombi, Yetunde Adeaga 
and Bisade Ologunde on keyboards, 
also offered opportunities for occasional 
performances. (There began a close, 
and quite an interesting musical relationship 
with Bisade Ologunde who came 
regularly from Lagos during the experience 
at 'Segi') Later I teamed up with 
Bukola 'Bukky' Jinadu, who had now 
moved to Ife, Sola Adeaga, M.D, and 
separately again with Paul Wiltshire, 
Jide Awosika, the late Stephen Jide 
Olowu, M.D on drums, Wale Popoola 
also on drums and David 'Kunle Akinde 
on bass. I also collaborated with Joke 
Longe who sang and played piano 
professionally, Jumoke Fashola, Tope 
Babayemi as bass player and manager, 
the Aboabas, 'Staccato' of the University 
of Ibadan, led by Sina Fagbenro, and 
Ladi Williams, a pilot and guitarist. I 
even had a few serious discussions with 
Dizzy K. Fashola, of the 'Baby Ki Lo De' 
fame, who had come briefly to Ife to 
deepen his grasp of music. 'Paperback' 
also had an opportunity to open a show 
for the American pop group 'Shalamar', 
with Howard Hewitt, Jody Watley and 
Jeffrey Daniels singing, at the Oduduwa 
Hall amphitheatre (A couple of years 
later 'Afro-Linkage Ensemble' also performed 
with the Tennessee State Jazz 
Quintet at the Theatre Hall of the University 
of Ibadan, with Andre Ward on alto 
saxophone. We would meet again a 
couple of years later as students at the 
Berklee College of Music, Boston, where 
I also met composer Seyi Sonuga). 
I met both Ayo Bankole Jr. and 
Femi Kuti through Jide Awosika. With 
Femi I had this lengthy discussion about 
the future of music in Nigeria at the 
Conference Centre, Ife, when he was 
visiting to participate in a joint performance 
organized by a campus girls-only 
club called 'Styx'! They had asked Sola 
Adeaga, M.D, and I to negotiate with 
him on their behalf concerning this show. 
I also met Gloria Rhodes, Bayo Adepetun, 
M.D, and Tunde and Frances Kuboye 
over the same weekend. Tunde and 
Frances later made me an honorary 
member of their ensemble for which 
Frances Sang and Tunde both arranged 
and played the bass. I considered having 
Tunde produce a project I was working 
on then but had to put it on hold to 
pursue a formal, professional musical 
training. 
With Ayo Thomas, the percussionist 
on 'Ayoro Voices', we started 
' owever, for some 
I years now my goal 
' has been to explore 
an extension of 
traditional musical 
practice by uam$ft& 
sound of the modal 
pentatonic as the 
main basis for com' 
position, and also the 
other predominant 
sounds as a reflectiot 
of life on the continent 
as a whole 
playing at Gboyega Aderemi's Mum's 
in lle-lfe. It later led, under the guidance 
of former Ife professor, Yomi Durotoye, 
to the formation of 'the Afro Linkage 
Ensemble', who actually named the erjsemble, 
and introduced us to Professors 
Akinwowo and Wole Soyinka, and Femi 
Johnson of the Broking House, Ibadan. 
We moved to the Cocktail Lounge of the 
Broking House called, Segi, and Niyi 
Ajayi, M.D, offered his drum set and 
played sometimes, and Bayo Adepetun, 
M.D, came from Lagos to play keyboards 
whenever he could. 
Durotoye introduced me musically 
to John Coltrane, and by the time I left 
Nigeria I had heard most of his works, 
and met a very close friend of his, Yusuf 
Lateef on sabbatical at Ahmadu Bello 
University, Zaria. Dr. Lateef advised me 
to study flute in order to have a thorough 
grasp of the woodwind instruments. In 
the Sixties he had worked with Babatunde 
Olatunji, master of African Percussion 
with whom John Coltrane collaborated a 
few months before he passed on. (I 
would eventually have the opportunity to 
work as Olatunji's personal assistant for 
three years). Lateef presently lectures at 
the University of Massachusettes, 
Amherst. 
'Segi', the cocktail lounge of Femi 
Johnson's Broking House, Ibadan, provided 
the opportunity to bring together 
all the friends I had performed with in the 
past. It gave us the opportunity to also 
compose new tunes on a weekly basis, 
sometimes we simply made new arrangements 
of the most popular songs and 
'jazz' tunes of Nigeria and the US. I 
managed the alto saxophone and bata 
drums.
Dayo Adekola, legal practitioner 
and entrepreneur, who also played bass 
and saxophone, had his Bamboo Corner 
in Bodija, and Kunle Bolarinwa's 'Cave' 
was off Queen Elizabeth's road. They 
both provided alternative places for performances. 
For the three years I worked as 
personal assistant to Olatunji, playing 
acoustic guitar, drums, saxophone, 
agogo and singing, we travelled all over 
Europe and Japan, and did workshops in 
the United States. Through him I came 
across the late Frank 'Suru' Eken and 
SikiruAdepoju, master percussionist, who 
had performed with both Obey and 
Orlando Julius in Nigeria before relocating 
to the US. 
'Lagbaja' also came by, spent 
about three weeks with me in the US 
when he was about to release his first 
musical project. We spent days discuss- 
.ing the social, political and spiritual 
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 
concerns of the artist. He has since released, I believe, yet 
another musical album. 
Inventing 
There exists in my experience three main types of harmonic 
practice, those which one would readily find in my part 
of Africa; the modal use of pentatonic sounds in traditional 
music, Mohammedan harmony in northern Nigeria, the Islamic 
south, and over the entire continent itself; the major-minor 
harmony of Western Traditional Music, including many variations 
of African-American Spirituals and Gospel Music in the 
churches, and the combination of Western influences and 
traditional music in Aladura churches. On the continent, in 
general, similar strains abound in one form or the other 
irrespective of instrumentation. 
However, for some years now my goal has been to 
explore an extension of traditional musical practice by using the 
sound of the modal pentatonic as the main basis for composition, 
and also the other predominant sounds as a reflection of 
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life on the continent as a whole. This then is one singular artistic 
venture. Many others are of course open to the inventive artist. 
Traditional music in general was, and still is, being composed 
in praise and worship of the Creator, and in honour of the 
'deities' and the 'ancestors', they contain therefore a lot for the 
student of culture to gain from. As traditional Africans use all 
instruments to imitate speech patterns, and rhythmic accompaniment 
are also derived from that embedded in speech, the very 
sound which musical instruments then strive to imitate, quite a lot 
then is possible for an inventive artist given the range of 
instrumentations that is available today. But as man continues 
to be surrounded by all kinds of sound - finer gross material, 
ethereal, animistic and even spiritual, much more of which he 
is not aware, and which he often precipitates, thereby leading 
to tangible, visual and aural experiences, it became very 
important to gain the fullest understanding of the true meaning 
of music, primarily for myself, and to use parts of it which affect, 
inspire and impress themselves on me, personally, toward 
certain ends. GR