Kay Olajide: Press

KAYODE OLAJIDE IBA L (EKOSTAR)
'IBA L' is a classic album reinvigorating Jazz with its African perspective, virtuoso playing and some great compositions. And the man responsible is a new name to ignorant, li'l old me. Kayode Olajide plays most of the saxes, sings and plays percussion, but he makes it feel like you're listening to a band throughout. Pharoah Sanders is the man who comes to mind as the CD kicks off with the tender, beautiful Towards the Sublime', but the context is always West African/Nigerian jazz full of rootsy chants and the percussion. But Kayode's talents extend well beyond the opening track. Olufela has got the Master Tony Allen on it, playing his inimitable complexities on this totally beguiling Afrobeat/Jazz tune. If you hadn't recognised that Tony's one of the all time great jazz drummers, you can't miss it on this track. Another unmissable is his great, fresh Afro-Jazz take on 'My Favourite Things'. A couple of tracks suffer a little from tight budgets (sythesisers where horns or fatter keyboards might make more of a mark) but basically its an afro-jazzy delight. (MR)

LE GRAND-QUEVILLY
Kayode, un groupe nigerian bien accueilli

Le groupe nige'rian a ete accueilii par son homologue quevillais, « Espace Libre Quartet»

A 1'invitation du festival « Un Printemps au pare », « Espace Libre Quartet», for¬mation grand-quevillaise com-posee de quatre musiciens (Jean-Noel Le Tennier au saxo, Eri^ Folschweiler a la guitare, Herve Niquet a la basse et Marc Rodriguez a la batterie) a ren¬contre dimanche apres-midi, sur la scene du Pare des Pro¬vinces, Kayode Olajide, saxo-phoniste, flutiste et composi-teur celebre du Nigeria, accompagne de ses musiciens.
Vendredi soi., les deux for¬mations ont ete accueillies en mairie. Eric Folschweiler se souvientdeleurpremiere ren-

alle au Nigeria avec pour pro-jetquedesgroupesfranc.aisren-contrent desgroupes nigerians. Onya done rencontre Kayode et vu le succes de I'operation, nous y sommes retournes une deuxieme fois. Plus tard, on a eu I'idee de renvoyer Vinvita¬tion, Grace au soutien de la vil-le et de Dominique Lesage, un ami, I'operation a ete raise sur pied. C'est tres enrichissant pour nous car en jouant avec eux on se retrouve au berceau rythmique. Kayode, c'est plus qu 'un chefd 'archestre pour les Nigerians car il est egalement un prince dans son pays : il prend soindeses musiciens, avec

sont tous musiciens profession-nels au Nigeria et utilisent essen-tiellement des instruments tra-ditionnels, fails main i>.
Une premiere
Pour Kayode, dont c'est la premiere venue en France, 1'experience est fantastique:
«nyaeu une rencontre humai-ne :un'yapasdebarrieredans la musique, avec elle on com¬munique dans toutes les langues.»Le groupe qui comp-te deja neuf annees d exis¬tence a ete ensuite invite a se rendre a S'inaugurancn de 1'ex-position consacree aux pho¬tographies de X.ls-Udo^ a la Maisondes Ans,

Kayoed Olajide, Weavers to perform Friday

By Hada Sarhan

AMMAN - - The Nigerian band Kayoed Olajide and the Weavers will perform Friday at the Roman Amphitheatre, as part of the annual multi-disciplinary cultural market, Souk Ukaz.
The band, famous for their African music with a distinct jazz influence, has crossed borders and created fans worldwide.
"We want to introduce African music to the West and prove that our music has the magic to attract music lovers throughout the world," the founder of the band, Kayoed Olajide, told The Jordan Times Thursday.

The group gained global acclaim and were interviewed on BBC World Service Network Africa Programme in 1999 following the release of their album "Once Upon a Time."
The band, comprised of 13 members, includes instru¬mentalists, three dancers and vocalists.
'This band's performance is entertaining by all means, as it incorporates elements of music, dance and rhythm," said Olajide, both a percussion master and saxophone player.
The group plays classical music, roots jazz and tradi¬tional Nigerian music, he explained, stressing that there is no "pure music."

"Our music is influenced by Irish, Mali and European music. Arabic music also has a great influence on us."
"Our music," he continued, "is an invitation for jazz lovers and African music lovers alike to enjoy the Ianguage of sensation."
Olajide believes that the beauty of a people is rooted in their "conscious motivation to fully utilise cultural elements found in their region as a basis for expression" be that music, dress, food, speech or theatre.
Music critics have pointed out that this prodigal musical vision comes from Olajide's deep philosophical associations to music.

With Kay Olajide's Weavers, jazz's got a new coat

ART Cafe, situated in the GRA area of Ikeja, Lagos, goes into session every last Sunday of the month, re¬splendent with 'art' music, courtesy, Kayode Olajide and The Weavers aggregation. The last Sunday of April, the band thrilled an enthusiastic audience with a highly improved pack¬age of sounds and entertainment. But the presence of Tony Allen perhaps the most popular African drummer in Europe today added something unique and extra to the entire experi¬ence.
The main attraction was Olajide himself who also played the role of master of ceremony rather professionally, in line with the seriousness of the music as he announced the tunes. But in a rather prolific manner, he changed instruments from soprano to alto and tenor saxophones soloing profusely from one cho¬rus to another on folklore and original compositions of 'home made jazz'.
The last time 1 witnessed this same musical experience at the Art Cafe was July last year. And compared to the last edition's outing it is obvious that the band is developing with time reaching out to new levels for new ideas and dimensions.
Obviously noticeable change is the intensity of the overall sound which has become blended into a formidable whole due perhaps, to (regular practise and rehearsals. Next is the configu¬ration of rhythms whose patterns have become more convinc¬ingly dynamic and definitive.
"This man is heavier than heavy wind," said a Port Harcourt-based member of the audience who sat beside me. He hud watched Laitan Adeniji at the Shell Club, Port Harcourt last year, and was thoroughly pleased with what he heard in terms of African jazz.
It is true that the two are drawing inspiration from the same indigenous rhythms and folklore, but their approaches are qurte different. Adeniji is definitive about harmonies progression and embellishments. He also attempts to make the required 'changes' that are typical of modern jazz. But no particular attention is paid to rhythm in terms of percussive excitement.
On the other hand, Olajide makes bold melodic statements. He also improvises profusely over well articulated rhythms before the ensemble usually finally finishes. For him, accent is on percussion. Emphasis is on rhythm, and he comes across with various patterns which speak volumes of African music. And so to react to my Port Hareourt-based friend's remark, the (wo artistes are "heavy-weights' in their own rights. But they have their different qualities and merits.
But perhaps my friend's mind was overblown by the offering of an entertainment package deal in which Olajide's Weavers lived up to its advertised billing. The hand had promised, in addition to the main act, performances by guest .artistes, poetry reading and art exhibition. ;•)! of which were professionally articulated.
Deji Williams established poetry reading beautifully with, music as he blended musical syncopation with rhythms. He Also gave the house a lull dose of popular music, vocalising with maturity.
Dr. Femi Elias, a lawyer based in Switzerland. He provided beauti¬ful movements on bass guitar. And of course. Funmi Onabolu was on hand to scat and provide dramatic effects to melodies. Himself a renowned keyboardist who had previously worked together with Olajide in the same aggregation, Onabolu felt completely at ease in a setting which to him was like natural habitat.