Musical Research – Afrobeat Part 1

Afrobeat is a genre of music that blends traditional African rhythms with jazz, funk, highlife, and soul influences. It originated in the 1960s and 1970s, primarily in Nigeria, and became a significant cultural movement that reflected the political and social dynamics of West Africa. At its core, Afrobeat music was shaped by the need to create an expression that was uniquely African while incorporating elements from Western music traditions. This report provides an in-depth exploration of Afrobeat, focusing particularly on the roots of Nigerian and Ethiopian 1970s music, its evolution, and key artists and songs.


1. Introduction to Afrobeat Music

Afrobeat is a music genre that emerged from Nigeria in the late 1960s and 1970s, pioneered by Nigerian multi-instrumentalist Fela Kuti. It combines jazz, funk, highlife, traditional African rhythms, and soul music. The genre not only represents a sound but also encapsulates a revolutionary spirit, with its roots deeply intertwined with political activism, societal movements, and cultural identity.

Afrobeat music is characterized by large ensembles, complex polyrhythms, intricate horn sections, and the fusion of indigenous African instruments with Western instruments like the electric guitar, saxophone, and keyboards. The lyrics of Afrobeat are often socially and politically charged, tackling issues like corruption, poverty, and government oppression in African nations.

1.1 Origins of Afrobeat

Fela Kuti is widely credited as the founder of Afrobeat. Fela was born in 1938 in Abeokuta, Nigeria, and studied music in London, where he was exposed to jazz and funk. His return to Nigeria in the late 1960s saw him creating the band Koola Lobitos, where he started experimenting with different styles. Over time, Fela’s music evolved into a distinct blend of African highlife rhythms, jazz improvisation, and funk grooves.

1.2 Defining Features of Afrobeat Music

Afrobeat music is distinct in its use of rhythm and time signatures. Typical Afrobeat songs feature polyrhythmic drumming, long instrumental sections, and the use of call-and-response vocals. Fela’s songs, often ranging from 10 to 20 minutes long, reflect this extended and complex structure. The music is typically upbeat and danceable, though the lyrics address serious social issues.


2. The Role of Nigerian Music in Afrobeat Development

Nigeria’s diverse musical heritage, spanning traditional folk music, highlife, and Western influences, played a pivotal role in the development of Afrobeat. In the 1970s, Nigerian music was influenced by both local rhythms and global musical trends.

2.1 Nigerian Highlife Music

Highlife music, which combines traditional African sounds with Western instruments like the guitar, trumpet, and saxophone, was influential in shaping Afrobeat. Highlife was particularly popular in the 1950s and 1960s and laid the groundwork for Fela Kuti’s later innovations. Early Nigerian musicians such as Chief Stephen Osita Osadebe and Victor Olaiya popularized highlife, a style that would blend easily with the emerging Afrobeat sound.

2.2 Influence of Jazz and Funk on Nigerian Music

In the 1960s, Nigerian musicians began incorporating jazz and funk elements into their music. Fela Kuti was exposed to jazz music during his time in London, and he brought this genre’s improvisational nature into the fold of Nigerian music. The use of extended instrumental solos, syncopated rhythms, and complex horn arrangements were all elements of jazz that contributed to the distinctiveness of Afrobeat.


3. Ethiopian Music and Its Contribution to Afrobeat

While Nigeria is the birthplace of Afrobeat, Ethiopian music from the 1970s had a significant impact on the genre. Ethiopian musicians were not isolated from the global music scene, and the 1970s saw a wave of music innovation within the country, particularly in jazz and funk.

3.1 The Ethiopian Sound in the 1970s

In the 1970s, Ethiopian music was characterized by its unique pentatonic scale, modal melodies, and a fusion of traditional and modern sounds. Artists like Mulatu Astatke, known as the father of Ethio-jazz, blended traditional Ethiopian rhythms and scales with jazz improvisation. This fusion of traditional African and Western elements is what made Ethiopian jazz distinct and influential.

Mulatu Astatke’s work in particular is often cited as a key influence on the development of Afrobeat. His pioneering work in creating Ethio-jazz, which combines jazz with Ethiopian pentatonic scales, helped lay the foundation for Afrobeat’s fusion of African rhythms with jazz and funk.

3.2 Impact of Ethiopian Jazz on Afrobeat

Ethiopian jazz’s influence on Afrobeat can be seen in the incorporation of jazz instruments, like the saxophone and trumpet, into Afrobeat bands. Additionally, Ethiopian jazz’s use of unconventional time signatures and modal harmonies resonated with Fela Kuti’s experimentation with rhythm and structure. The Ethiopian sound contributed to the depth and complexity of Afrobeat’s arrangements, helping define its global appeal.


4. Key Artists in Afrobeat’s Evolution

While Fela Kuti is the most well-known figure in the Afrobeat genre, several other artists contributed significantly to its development. These musicians helped popularize Afrobeat and further expand its reach both within Africa and globally.

4.1 Fela Kuti

As the founder of Afrobeat, Fela Kuti’s impact cannot be overstated. His music became anthems for political activism, with songs like “Zombie” and “Water No Get Enemy” becoming rallying cries for resistance against corruption and dictatorship. Fela’s musical genius and his bold critique of African governments made him a hero for many in Africa and the African diaspora.

Fela’s style incorporated elements of highlife, jazz, funk, and traditional Nigerian rhythms. His powerful, often controversial, lyrics addressed topics like political corruption, human rights abuses, and the struggles of the African people. Fela’s ability to blend music with activism made him one of the most iconic figures in Afrobeat and one of Africa’s greatest musicians.

4.2 Tony Allen

Tony Allen was a Nigerian drummer who played a key role in the creation of Afrobeat. As the drummer for Fela Kuti’s band, Africa ’70, Tony Allen’s rhythmical innovations were integral to Afrobeat’s distinctive sound. His drumming style, characterized by complex polyrhythms, syncopated beats, and constant motion, laid the foundation for many of Afrobeat’s rhythms.

4.3 Other Afrobeat Artists

In addition to Fela Kuti and Tony Allen, other musicians contributed to the spread and evolution of Afrobeat. These include:

  • Antibalas: A Brooklyn-based Afrobeat band that helped bring the genre to a global audience in the 2000s.
  • Seun Kuti: Fela’s youngest son, who has carried on his father’s musical legacy while incorporating his own ideas and themes into Afrobeat.
  • Femi Kuti: Another of Fela’s sons, Femi has also contributed significantly to the genre with his own take on Afrobeat, blending funk, soul, and jazz with traditional African rhythms.

5. Afrobeat and Globalization

In the 1990s and 2000s, Afrobeat began to spread beyond Africa, gaining recognition in Europe, the United States, and other parts of the world. Artists like Antibalas and Seun Kuti played a significant role in introducing Afrobeat to a global audience. Furthermore, the genre’s fusion of funk, jazz, and African rhythms resonated with music enthusiasts worldwide.

Afrobeat’s influence can also be seen in the music of contemporary artists such as Burna Boy, Wizkid, and Mr. Eazi, who incorporate Afrobeat rhythms and themes into modern African pop, dancehall, and hip hop. Afrobeat’s reach has continued to grow, and today it is one of the most significant global music genres.


6. Musical Samples and Links to Afrobeat Music

To better understand Afrobeat music, here are links to some notable songs:

6.1 Fela Kuti – “Water No Get Enemy”

Water No Get Enemy – Fela Kuti
This classic song by Fela Kuti is a perfect example of his unique Afrobeat style, combining intricate rhythms with a message of unity and resilience.

6.2 Tony Allen – “Secret Agent”

Secret Agent – Tony Allen
Tony Allen’s drumming and musical innovations shine in this track, showcasing the rhythmic complexity that defines Afrobeat.

6.3 Mulatu Astatke – “Yekermo Sew”

Yekermo Sew – Mulatu Astatke
This track exemplifies the fusion of Ethiopian pentatonic scales and jazz improvisation, demonstrating the influence of Ethiopian music on Afrobeat.

6.4 Antibalas – “Dirty Money”

Dirty Money – Antibalas
A modern Afrobeat group, Antibalas has helped bring the genre to international audiences, blending traditional Afrobeat with modern sensibilities.


7. Conclusion

Afrobeat is a genre that has grown from the innovative experimentation of Fela Kuti and his contemporaries into a global phenomenon. By blending indigenous African rhythms with jazz, funk, highlife, and soul, Afrobeat created a sound that resonated with the struggles of African people while also pushing boundaries in music. Nigerian and Ethiopian music of the 1970s played a critical role in Afrobeat’s development, laying the foundation for the genre’s global expansion. Today, Afrobeat remains one of the most influential musical movements in the world, continuing to inspire new generations of musicians and fans alike.

Week in Review – January 5th, 2025

“Happy New Year, followed by tragedy in New Orleans”

We rode a real rollercoaster of emotions this week.  The joy and camaraderie of our New Year’s Eve party, followed by the tragic news of terrorism that we woke up to the next morning.  Thanks to the many folks that contacted us to check on the safety of our family and friends.

The early part of the week was spent on party preparations – several shopping trips, put up decorations, set up the Bartesian bar area, and finally, pick up the Saj (local Mediterranean restaurant) catering.

We invited folks to begin arriving at 6:30pm, not expecting anyone until around 7:30pm.  Wrong – John and Julia showed up right on time and helped with the final preparations.  We had around 35 folks, including the various kids (really young adults) that came and went over the night.  Here are some pictures of the group:

Those are our neighbours, Roeland and Jules, on the right.  Jules brought his famous meatballs to share with the group.  Kenny is standing to the left of Diana, and he brought his very popular open-faced muffulettas.  Here are Nina (one of Diana’s favourites) and the leader of her fan club:

Diana repurposed Mardi Gras throw hats with New Year’s Eve appropriate bands:

Denny and Kenny organized a special performance from the original New Orleans character that is Valerie Sassyfras:

She set up in the side yard and everyone moved outside to enjoy the performance.  Very well received by most (Bad Fred isn’t a huge fan.)  I was amazed that McD was oblivious to the whole thing until I invited folks into the backyard.

We’re all getting older.  Only six of us made it to midnight:

We woke up to the tragic news of the terrorist attack around 3am on Bourbon Street.  I love what Chris Peet, one of our party attendees did to send a message when Bourbon opened up again:

I was reading the paper and thought, “that looks like Chris Peet,” – sure enough that’s exactly who it was, “reclaiming the route for love.”

I joined the guys at the Bulldog on New Year’s afternoon to watch the UT vs Arizona State college football playoff game.  UT had a comfortable lead and then Arizona came back to tie things up.  Double overtime was very stressful for Thom – he had to go inside and away from the chatter of the group to watch the last portion of the game.  UT ultimately prevailed.

On Thursday we celebrated Jack and Mason’s 22nd birthdays (born on o1/02/03) with a dinner at Pascal’s Manale.  The girls (including a special appearance by Julia, whose daughter works at Pascal’s) started with oysters at the stand up bar, and then we had a great time in the “Manning” private dining room.  That was followed by ice cream cake back at the Ogan residence.

Happy Birthday boys!

On Friday we had the pre-op appointment for Diana’s back surgery.  It’s starting to get real and bit nerve wracking for both of us.

In the afternoon we went to the Broad to see the new movie about Bob Dylan, “A Complete Unknown.”

The movie was very well done, with Timothee Chalamet excellent as the young Dylan.

After the movie, we walked across the parking lot to the Broadside Theater for the Willow High School band fundraiser.  This was a well done event, starting with a performance by the Willow band.  That was followed by the Hot 8 Brass Band – a group that I always enjoy.

Shamar Allan’s son is in the Willow band, and he had organized the event as a fundraiser for a trip the band plans to take for a competition at Disneyland.  Shamar’s band gave a fun performance, including a solo from his 13 year old son.

Saturday began with a couple of laps around Audubon park, and then we got to work on taking down the Christmas decorations and loading them up into the third floor attic.  We needed to get those down in preparation for putting up Mardi Gras stuff on Twelfth Night – Monday.  Not much of a break between the two this year.

Meanwhile, in Aberdeenshire, Scotland, David was quite pleased with his completed puzzle:

I started “Table for Two” by Amor Towles this week.  I’ve had it for over almost a year and have been waiting for a quiet time when I can really savour it.  The book consists of six short stories based in New York City and a novella set in Golden Age Hollywood.

I’ve heard mixed reviews on this from friends – some preferring the short stories, and others the novella.  I’ve enjoyed the first couple of short stories quite a bit – very entertaining and well written.

I heard this wonderful song, co-written by Bobby Charles and Rick Danko of the Band again this week.  Great music.

A wonderful cover by the Scotsman, John Martyn:

I really like this cover of “Treme” by Mahmoud Chouki, originally from Morocco and now based in New Orleans:

And let’s finish up with something celebrating the good aspects of the Crescent City:

Coexist peacefully, with kindness and compassion for all!