Continuing our Rhythm Talk which began with Gwo Ka late last year, we’re back once more to ruminate on the Rhythm. This one goes out to all Nigerians…we’re talking Fuji!
Unless you’re a Nigerian, or have a good knowledge of West African drum music, chances are you’ll have heard little about Fuji music. Alledgedly founded by one Alhaji Sikiru Ayinde Barrister, the name Fuji oddly bears no relation to the Yoruba word Fuja/Faaji meaning enjoyment, instead being christened by Mr Barrister’s chance glance at an advert for Japan’s Mount Fuji. This however, is where the music’s link with the Far East ends.
Born of the union of Islamic and Yoruban cultures, Fuji Music grew out of the Yoruban Wéré music traditionally played to call Muslims to feast and prayer during Ramadan. If you get the chance to listen to any Wéré/Ajisari/Fuji rhythms you’ll understand why I’m not entirely pleased about my early years spent at Roman Catholic Church at my parents request…the rhythms are amazing! Layers and layers of them. Underpinned with raw drums, punctuated by song and embellished with drizzles of saxophone, guitar and keyboard. Listen….
Alhaji Sikiru Ayinde Barrister and Kollington Ayinla are recognised as the godfathers of the Fuji movement. Ayinde Barrister finding fame as the founder of Fuji after a spell under the tutelage of Jibowu Barrister who, along with his peers in the “Ajiwere” scene, evolved a number of styles heavily influenced by the Yoruban Sakara and Apala musics. Kollington Ayinla, Barrister’s musical rival, is noted for the success he found delivering his fast-paced, dancefloor-friendly twist on the Fuji theme to the people. Check out his “Alakara Ofa Keni Keji” for rhythmic proof.
The Sakara Drum.
The main instruments in Fuji are the Gangan (medium sized Yoruba talking drum), the Sakara (Yoruba frame pictured above), the Omele Gangan (mini Gangan), the Sakara Omele (small sakara) and Bata Omele which forms the crucial backbeat. A Fuji orchestra can include a myriad of percussion; Shekere, Bells, Iyalu (large talking drum) and of course a drum kit, sometimes congas too. On the melodic front, you’ll usually find plenty of backing singers, keyboards, guitars and a touch of brass.
Fuji’s popularity continued through the 80s and 90s right up to the present day. As a supporter of the underdog, it gives me a certain pleasure to know that a style which was known for a time as ‘the poor man’s JuJu’ still has a secure place in today’s African music marketplace. That being said, those of us favoring music with more integrity and less American sensibilities might want to dig the past before delving too deep into modern day offerings.
One more recent artist who treated Fuji the right way is Adewale Ayuba. Known primarily for his JuJu creations, Ayuba’s take on the Fuji theme ‘Bonsue Fuji’ managed to successfully transcend barriers of age and class….not easy.
On a slight but nonetheless relevant tangent, those of you with open minds might like to check the following clip to witness what happens when the music described above finds its way to LDN and meets friends from South Asia, America and beyond. Richard Olatunde Baker and his Eardrum project have been successfully experimenting with cultural fusions for some time now. We were proud to have them as guests at one of last years Heads High sessions and judging by the sounds on this video, it would appear that those of us who know are in for a very special treat when their forthcoming album drops….
I’ll leave the rest to you. If you’re a scholar or a deep, deep digger, chances are this is nothing new to you. Hopefully though, those of you marginally less geeky (and I do mean marginally) will benefit from the leads and sounds presented above.
Long live the rhythm…
Many thanks to Richard Olatunde Baker for his contribution. Also, thanks to the Afro Slab blog for the pics. Make sure to click through to them for bytes & bytes of those ol’ dusty Afro selections…
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