Cure

To me these last few weeks have been very demanding. I am not a winter person, and have a strong tendency to feel culturally alienated when the whole of the Netherlands is in the grip of such - to me abhorrent and trauma-provoking - activities as skating. On ice, that is. I have been in various stages of cocooning, cut off from most public media with their constant incitement to partake in the winter 'fun', avoiding the mass hysteria and manic social derangement that went on in the freezing towns and villages of these usually moderate regions.

As an added bonus I was forced to play nurse, errand boy and cook to both wife and child as they, as a result of their involuntary participation in the same winter merrymaking, were knocked out with a sobering attack of the flu.

So I have resorted to a certified cure. To all ailments of the spirit and the soul. The positive energy of the immortal master of apala music, Haruna Ishola and his group. From the days prior to his visit to the holy place, it appears (no "Alhaji"). And although in the last part of side B there is mention of a "detention" (and this linked to the future Alhaji himself!!) I am convinced it must have all been a very unfortunate misunderstanding, and must have ended with the magistrates and police officers involved offering their humblest and sincerest apologies to the aggrieved but forgiving Baba Ngani.

Perhaps not the best quality record 'vinyl-wise', but good enough to help me through these rough winter times and to get me in the right mental mood for spring...

SRPS 21, 1975

Hardcore apala

Continuing the series of posts featuring the legacy of the late king of apala music, Alhadji Haruna Ishola, I have dug up a rare example of apala in its rawest form. This lp was recorded in the early 1970s, and not released on his own Star label, but by Phonodisk. Nevertheless* the sound is exceptional.

The first side starts with a rhythm resembling and with the regularity of the ticking of a clock. This not only sets off the 'smoothness' of the interplay between chorus and lead vocalist (the master himself), but also acts as a balance for the almost impetuous talking drum. There is some extensive messaging going on with that talking drum!
After 10'53 the song stops and, seamlessly, a second track commences. This is - in my opinion - the most remarkable track of a very singular album. In the minute before the talking drum resumes its subliminal chat session there is a sense of expectancy, of emptiness, which never ceases to surprise me, - even after having heard the lp uncountable times.

The B-side continues in the same vein, with the same minimalistic arrangment (compared to Haruna Ishola's recordings released on the Star label), but this time with a more jumpy rhythm. My wife - who in this time of the year can not resist going outside to sweep up the leaves (I watch her from behind the window) - commented that the percussion was just like her sweeping. I was tempted to reply that this sweeping is more effective, but was wise enough to keep my mouth shut...

Phonodisk PHA 24

*The studio he and I.K. Dairo started for their Star label was the first 24-track studio in Africa.

Meditative interlude

This time two sides with very different moods by the late king of apala music, Alhadji Haruna Ishola. On side A a more contemplative medley, with the agidigbo adding commas to the subliminal messages of the talking drum, and on side B a slightly perturbing, perhaps even haunted mood - plus a certainly memorable 3D* chorus.

Enough to refresh the mind, before I post some more bala wonders......

Star Records N4

* and why can't a chorus be 3D too?

Echoes

I thought you might be ready for another spiritual boost by Haruna Ishola and his Apala Group.

I have been using public transport a lot during the past months of snow and other phenomena which I - wishfully perhaps - considered to be nasty memories from the past. And I have found that the at times absurdly prolonged waiting can be reduced considerably by the auditory consumption of some apala music by our revered Alhadji. I haven't been able to make any reliable measurements, but it may even beat the flying of time when having fun!

I am still trying to figure out how this time manipulation works. Of course there is the force of repetition and the highly refined use of syncopation.
And on this album, which I suspect is from the early 1980s, maestro Haruna adds another magical ingredient: echo.

I would advise public transport in the Netherlands to distribute this music to all their passengers, in order to reduce waiting times..........

Star Records SRPS 41

Bisimilai

I have to admit I am not very good with religion. Over the years I have come to the conclusion I am just not the believing, the submissive or the worshipping kind.

But should I ever - for reasons I can not imagine at this moment - get the urge to repent, it is very likely I will turn to Islam.

For one thing, they have better music than the competition.

And with this post I am presenting some very convincing evidence of this thesis. Yes, you have guessed it: it's another album by that master of Apala music, Haruna Ishola. From a time (mid-1970s) when he had not yet, I assume from the absence of the "Alhadji" adjective, done his duty as a muslim to travel to Mecca.

This is another great lp, and again a monument of African music. My favourite part of this record is the part on side B when after about 9 minutes the chorus seems to get disengaged from the lead vocal. It may seem like an imperfection, but it's just the kind of imperfection that makes this music perfect......

SRPS 27

Apala harmony

"His continued success depended on a number of star qualities. As a singer, he had the ability to create thought-provoking lyrics about issues, places, real life situations and even the philosophy of life where he was comfortably at home with the use of parables and anecdotes. He consistently projected the virtues of life and living through these channels without soaring to unnecessary praise singing and abuse which later became the order of the day.

Knowing that Apala music, like every other typical African music form is characterised by repetitive rhythm and percussion, he was able to introduce the element of variety to his style through the creation on the spur of the moment, of myriads of choruses which derived inspiration from situational social events as they unfolded themselves. They added extra artistic substance and colour to social commentaries that were rehearsed and pre-meditated.

Besides rhythm which forms the bedrock of Apala music, Haruna realised the essence of a well-blended group-vocal harmony treatment. And so he always had in the band an abundance of percussion while they doubled proficiently on vocals to provide the necessary call and response pattern of music. For this purpose, he had perhaps the best crop of singers at any point in time." I am quoting Benson Idonije in an article about the late Apala king Haruna Ishola. You can read the full article here.

As to the "well-blended group-vocal harmony treatment" there are some great examples of this on any of his records, but perhaps slightly more so on this one. The chorus seems a little more pronounced than on other records. I am being cautious, because in my experience the perception of Haruna Ishola's music keeps changing. I can listen to a record that I have had for years, and suddenly discover completely new elements. And songs that have seemed to last forever before can pass in minutes the next time.

By the way, the titles of the tracks of this lp seem to be missing in the discography. Although you can find the titles in the tags, I will repeat them here:
a. Egbe Omojaiyejaiye, Shagamu / Yiyo Ekun Tojo Ko
b. Ire Ni Temi / Kosi Ohun To Ye Ode Biko Perin Wale / Nigeria Ejeki A Dupe Lowo Olodumare / Operation Feed The Nation

SRPS 36

Edit: as before, Cheeku has dug up some additional material, in this case -from ebay- a copy of the front sleeve (well, at least part of it...). ¡Gracias!

Superior

Van Haruna Ishola

SRPS 33

Posé

Personally I can never get enough of the music of Haruna Ishola. Listening to the master of apala music I can easily loose track of time and even surroundings. And this without the aid of any other sensory stimulants....

I am sure the quality of his recordings are beneficial in reaching this 'mental oasis'. But the main reason is the music itself, which is in my opinion best described by the French "posé". I will go as far as to say that the meaning of the word "posé" is best illustrated by the music of Haruna Ishola.

I am told that there is much more going on in this music for those 'in the know'. And I suppose this is an ever decreasing group of Nigerians that understand all the proverbs (mainly containing moral messages), - and not just the ones in the lyrics, but also those expressed by the talking drums.
Come to think of it, maybe this music is full of subliminal messages!!

I already feel a lot better about not understanding the words....

Star Records SRPS 26

Alhaji and the....?

After the previous two posts (here and here) I don't think I have to introduce this great artist to you anymore.

This lp is one which was released by Haruna Ishola's son four years after his death. The music is -as always- brilliant.

But what's this with the blonde? Who is this woman*? And why the languid look into the lens?
This cover is one of the greatest enigmas in African music!

GBLP 003



* I am almost tempted to write "what's with the German hooker?" But I won't.

Baba N'gani

Haruna Ishola Adebayo was born in 1919 in Ijebu-Igbo, in what is now known as Ogun State, Nigeria. His interest in music was awoken by his father, who was a native doctor and a singer. He started earning a living as a musician from 1944, and recorded his first record, titled "Orimolusi Adeboye" in praise of the Oba (ruler) of Ijebu-Igbo, in 1948. Sales were however disappointing, and it wasn't until 1955 that he made another recording, this time for Decca Records, but in praise of the same man, who in the meantime had passed away. The record proved to be the key to fame.

In 1969 he teamed up with juju-master I.K. Dairo to create their own record company, Star Records. They were the first African musicians to do so. His biggest hit on this label was the 1971 album "Oriki Social Club", which sold over 5 million copies.

Haruna Ishola, nicknamed Baba N'gani Agba, reached an almost mythical status, even during his lifetime. He was made a Member of the Order of Niger (M.O.N.) by the then president Shehu Shagari in 1981.
Haruna Ishola died on November 9, 1983.

The lp I am posting here contains a collection of tracks from the late 1960s. Technically Star Records could record tracks of up to 7 minutes. In the early 1970s, with the introduction of larger reels came the evolution into longer tracks, as in the lp I have posted earlier.

SRPS 39 (new link Febr 24, 2012)

Alhadji Haruna Ishola

A picture can say more than a thousand words














The late Alhadji Haruna Ishola is sitting in the middle (third from the right).

This is the top of the league, as far as apala music goes.

And within Haruna Ishola's extensive line of albums this is one of my favorites.



SRPS 32 NEW LINK Dec. 28, 2010

Please let me know if you want more.....