Remembering Afro Beat Legend Tony Oladipo Allen (12 August 1940 – 30 April 2020)

 

Remembering  pioneering Nigerian drumming legend  and composer Tony Oladipo Allen who has died in Paris, aged 79.The news was first broken by Sahara Reporters, though a cause of death is not yet publicly known. Early reports, since confirmed by his manager, Eric Trosset, said that Allen died suddenly in Paris on Thursday (April 30).
“We don’t know the exact cause of death,” Trosset said, adding that it was not linked to the coronavirus. “He was in great shape, it was quite sudden. I spoke to him at 1pm then two hours later he was sick and taken to Pompidou hospital, where he died.”
Born in Lagos in 1940, he taught himself how to play the drums at 18-years-old and learned his technique by listening to American jazz drummers Art Blakely and Max Roach. He developed his own unique style  and in the early 1960s he became a regular on the Lagos club circuit which was dominated by the West African highlife sound.

It was during this period he first met Fela Ransome Kuti, https://teifidancer-teifidancer.blogspot.com/2017/10/fela-kuti-15-october-1938-2-august-1997_16.html who was developing a highlife band called the Koola Lobitos. By 1968/69 that band had evolved into Fela’s groundbreaking Afrika 70, led by Allen on drums with Lekan Animashaun on baritone saxophone and Tunde Williams on trumpet.

Fela and the Afrika 70 had developed a new sound called “Afrobeat” with strong jazz roots, African highlife based on the signature syncopated funk drumming Allen perfected over arguably Fela’s most prolific artistic period.Allen’s distinctive drumming sound can be heard on hits like “Colonial Mentality”, “Zombie” and “Gentleman” among others.

 Allen was able to play four different beats with each of his limbs, and his distinctive drum pattern is what made his music so unique. His work came to define the rhythmic foundations of Afrobeat as musical director of Africa '70, the band of Fela Kuti. Fela once said that "without Tony Allen, there would be no Afrobeat." This statement has never been in doubt

But while this period was artistically fulfilling for both Fela and Allen, it was also one of much turmoil and upheaval as the increasingly political lyrics of many of these songs meant Fela and the band become a target of the military government of the day. Police raids at the band’s Lagos nightclub, The Shrine, became a regular, disruptive feature even as their hits grew in popularity.

Regarded as one of the greatest drummers of all time, Allen was able to play four different beats with each of his limbs, and his distinctive drum pattern is what made his music so unique. His work came to define the rhythmic foundations of Afrobeat as musical director of Africa '70, the band of Fela Kuti.  Allen in a blazing run would  go on to record 30 albums with Fela through the 1970s, while also leading his own records such as 1975's Jealousy, 1977's Progress and 1979's No Accommodation For ,that  revolutionized African music in the 1970s—and the music of other continents for decades to come.

Allen taught himself how to play the drums at 18-years-old and learned his technique by listening to American jazz drummers Art Blakely and Max Roach. Allen was able to play four different beats with each of his limbs, and his distinctive drum pattern is what makes his music so unique. Defined as a combination of West African musical style with American funk and jazz influences, Allen pioneered the Afrobeat genre. Additionally, many fellow musicians have paid their respects for Allen, as he was a significant influence on their music. Brian Eno described Allen as “perhaps the greatest drummer who has ever lived.” calling him “one of the great musicians of the 20th, ,and the 21st, actually.”
This trailblazing musician, also experimented with other musical styles, bringing his innovative flair to several projects in the latter half of his career. He was an artist who boasted unique versatility. He developed a hybrid sound known as "afrofunk" in his early post-Fela years, and later dabbled in electronica and dub. He went on to produce rock-inflected tracks with the likes of Damon Albarn and Flea of the Red Hot Chili Peppers. Most recently, he collaborated with the late South African jazz legend Hugh Masekala on their joint album Rejoice. An album that captured Allen’s unusual integration of rhythms across the history of the African Diaspora—from pre-industrial villages to post-industrial studios, from Lagos dancehalls to New York jazz clubs.

No matter how far beyond Afrobeat he explored, Allen managed to put his one-of-a-kind musical stamp on every record he blessed with his drums.The artist's musical contribution is far-reaching. Allen's career spanned over six decades, throughout which he continued to deliver innovative productions, ensuring that his music will live well into the future. Following Fela Kuti's death in 1997, Tony Allen began to delve more and more into other genres of music, collaborating with groups and musicians of diverse musical influence. He had begun to delve into dub, electronica, and more, however his reputation as an Afrobeat pioneer still preceded him. A longtime fan of Afrobeat, in 2006 singer Damon Albarn enlisted Allen for his supergroup, The Good, the Bad & the Queen, also featuring Clash's Paul Simonon on the bass guitar. Together, the newly formed band released their self-titled debut album in 2007 and another in 2018. Allen's contribution added to the band's, polyrhythmic appeal, proving that Allen, even in his later years, was never scared to experiment.

 In 2008, Tony Allen, Damon Albarn and Flea of Red Hot Chili Peppers came together to form yet another supergroup, named Rocket Juice and the Moon. They began working on their first project in the same year, however due to various other projects by the band members recording was repeatedly delayed. They ended up dropping their self-titled debut album in 2012, 18 tracks with Damon on guitar, keys, and vocals, Allen on drums, Flea on bass, and a host of guest musicians including Erykah Badu, Thundercat, Ghanaian rapper M.anifest, and Ghanaian rapper M3nsa. It's a mighty fine stew indeed.

In 2017, Allen released the EP A Tribute to Art Blakey and the Jazz Messengers. He paid homage to the groundbreaking American jazz drummer, who he named as one of his earliest musical influences. He delivered a more classic jazz performance in the style of his hero on the track "Moanin'—further highlighting his undeniable range.

 
At the time of writing, the cause of death is unknown. While tributes have been pouring in, Gorillaz have released ‘How Far?’ which came in collaboration with Allen and Skepta. “The track was written and recorded with Skepta in London just before lockdown and is being shared immediately as a tribute to the spirit of a great man, Tony Allen,” Gorillaz said in a statement.

Rest in peace Tony Allen , whose influence  will continue be  felt around the world, on every continent and in nearly every genre of popular music. Even in normal circumstances finding time to mourn can be difficult; and as we ride out this sombre melancholy we’re collectively in with COVID-19, moments of brevity and joy are more important than ever. Tony Allen’s music was joy packaged up and conveyed to us through his drumming. It’s warming to know that until the end, Allen was heavily invested in championing the next generation: “I never get satisfied and I’m still learning from others. The musical world is very spiritual, and I don’t think there’s an end to it. As musicians, it’s our mission to keep going.”