AFRICAN QUARTERLY ON THE ARTS I I s j .. • 9 art Musical Crosscurrents Satchmo>Si Anxiety and Its Sonic Response Music and Censorship in Apartheid South Af ri C E N T R E L A G O S S H O P P I N G C 4 • F A L 0 M 0 I K 0 Y I 1 6 8 • A W 0 L 0 W 0 L A G O S H O T E L • V . I • L A G O S 4 8 0 5 2 2 2 R O A D 2 6 9 2 7 6 2 E K O • LE • M E R I D I E D E P A R T U R E • H A L L • M . M • I N T E R N A T I O N A L • A I R P O R T • L A G O S T E L : L A G O S A X : L A G 0 S » 2 6 9 2 7 6 2 M A I L : 1 0 5 2 7 1 . 1 1 @ C 0 M P U S E R . V E . C O M W E B S I T E : G L E N D O R A E C U L T U R E . C O M black art nu soul politics 168 Awolowo Road, Ikoyi, Lagos http://www.glendora-eculture.com / toyin sokefun.kelechi amadi-obi.toyosi odunsi.amaize ojeikere.emeka okereke.uchechukwu james-iroha DEPTH OF FIELD photography collective \ \ Volume 3 Number 3 & 4 intro-black mUSic: traditio remembering Satchmo Editorial Director Olakunle Tejuoso Guest Editor Michael Veal Sounds like america urb Editors Sola Olorunyomi Akin Adesokan the Shrine ornette Colei \ Managing Editor Ololade Bamidele Copy Editor Queen Oyedele Illustrator Demola Ogunajo Graphics Consultant Felix Omorogbe Art Direction Wole Lagunju flr poets suzerain of t Lemi Ghariokwu on the Afro beat Tradition Contributing Photographer Uche James Iroha World wide web address http://www.glendorareview.com Web Maintenance Netsoft Systems, Lagos ssoundsca MARKETING & ADVERTISING Contact us at e-mail: 105271.ll@compuserve.com Glendora Review (ISSN.l 1 1 8-146X) is Published quarterly by Glendora International (Nigeria)Umited. Tel/Fax: Lagos 2692762 e-mail: 105271.1 l@compuserve.com CORRESPONDENCE Africa Glendora Review, 168 Awolowo Road, Ikoyi, kofi a flaw on a-i tiles Lagos, Nigeria Tel:01-2692762 \ \ International Glendora Review, 16 Skelley Road, London E15 4B A, UK east B DISTRIBUTION North America - De Boer, 113 East Central St, Nutley, NJ 07110 > A|i nghts reserved. No part of this publication may e Produced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, electronic, photocopying or otherwise without the prior written, consent of the publisher. \ ->end all editorial correspondence and subscrip- °n enquiries to addresses above. For more a"Out subscription and advertising informa- "0n, Phone/Fax:Lagos-2692762 oil: 105271.11 (a>compuserve.com COVER PHOTOGRAPH: George Osodi af rican encountering The trance of sc books of Poetry The Eye of the Earth and Waiting Laughters have won the Commonwe freelance musician, lecturer and journalist. She is currently doing a Ph.D. in ethnomusicol Assistant Professor of Ethnomusicology at Yale University. He is the author of Fela: The University Press). Greg Tate: Is a long-time Staff Writer at the Village Voice who also wr influence and appropriation of Black culture. His band, "Burnt Sugar"— a 14-member con Trugroid label. Paul Austerlitz: Is Assistant Professor of Music at Brown University. His In addition to his scholarly work, Austerlitz is active as a jazz musician and composer. Northwestern seminar on contemporary African music. They jointly conducted the intervi She has spent the last two years in Kingston, Jamaica on a Fulbright grant studying Jam the Ethnomusicology program at New York University. Starting out as an orchestral doub Classics under the title "Simunye—Music For A Harmonious World." Tarn Flofori: An im and culture, Fiofori now lives in Lagos, Nigeria. Sumanth Gopinath: Is a doctoral candii Ghanaian/West African music scene since1969 as a guitarist, band leader, music union a based "Bokoor Recording Studio," Acting Chairman of the BAPMAF African Popular Mu literatures in the Department of English, University of Ibadan. A co-editor of Glendora Re\ biography of Fela Kuti (Fela: Muse, Music and the Man). Charles Blass: Is a music pn years, and is Executive Director of Lovevolv, Inc., a New York State non-profit arts and i California at Los Angeles and Yale University. His research focuses on African-America Dictionary of Music and Musicians, Notes, and the College Music Society Bulletin. Andy , flux, and transformation ijuba to a sage-mUSe once upon a an anxiety and i t s Sonic response nBntaidnight sunrise in j a jouka otem Country rebel priestess mS in praise o f Shadow boxdancehall, hip-hop « musical cross §> visual narrative of dissent pe mUSic and censorship in apartheid South nS: miles daviS and j a z z in t r a d i t i o n , l U 8 - 7 l # mambo kings to west af rican tex- Prican mUSic [Cology] rven Colors Award for publishing in and the ew with Professor Kofi Agawu of Princeton sic aesthetics and a f rican-american critics ctivist, recording engineer, joumaiis. and writer on Afhcan musK:. He is ™ % * ^ t o j * ^ ^ ^ ^ sic Archives NGO, and is leader of the la* D ' ~ ^ h W ^ 'and a recipient of the Prince Claus Award for a fterary rim, he is ih. author of the forthcoming f ^ ^ ^ ^ ^ ^ ^ ^ S ^ ^ has been involved wrth WKCR-FM Radio (Columbia UniversHy) for many Dducer and researcher based ,n New York City, where he manages according studi^°'KM* " u s ' c o ^ ft Caro|ina He tes prevjouS|y hekj teaching pos.t.ons at the Uniwrsity of afucation organization. Willie Strong: Is currently an ass,stent professoro^< ™s;c f , ^ U n ^ ° b J * ? £ Lrna.ional Dictionary of Btok Composers, The New awarded in honorary doctorate « ^ ^ ^ X S w t ^ ™ t 3 ^ ^ cu«ure in partidr. Brett Pype^Ta graduate sWen, in | Scott Currie- Has taught Jazz World Music, and African-American music at New York University and University of Illinois/ Urbana-Champaiqn A German Marshall Fund 2001-2 Research Fellow, he is currently conducting ethnographic research for a comparative study of avant-garde jazz in New York and Berlin. Niy! Osundare: Foremost African poet, is a Professor of English badan and Visiting Professor of African and African diaspora literatures at the University of New Orleans. His Ijuba to a Sage - Muse Sounds like africa. return to a Composer • • FEJE RUN acrylic on canvas. 150 x 150 cm 2002 >,\f y a t w o r k Glendora Review's special publication, depths of the peculiar modernity of this fascinating, yet confounding metropoleto bare the seething energies and dynamics that inform its character. In four hundred ima^ the operative logic of Lagos is focused on, while the views of Akin Mabogunje, Rem Koolhaas, Odia Ofeimun, David Aradeon and a plethora of underground insiders, outline, the multi-layered complexities of the 'city by the lagoon.' That Lagos works, despite the preponderance of negative and undoubtedly blinkered annotations on it, is raison d'etre of this present effort. Beyond theexotica of chaos orthe long ranging shot that fails to permeate the haze of yellow buses, presents a collage of images which articulates the inner dynamism and quintessential pulse of the city. This work exposes much more than the _l