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‘’The Fuji icon was the first to carry the music beyond the shores of
Africa, traversed the music world like a colossus and carved a niche
for himself through hard-work and commitment to the virtues of
perseverance, resilience, humility and humanism’’
Music in Nigeria, findings revealed, is made up of different kinds of
folk and popular music.
The folk much derives its influence from the ethnic background of the
musician in the sense that many of the groups have their own
instrument which hitherto transforms into the various types of their
music and the techniques.
The earliest style of music in Nigeria is traced to the 1920s with the
prevalence of palm wine and highlife styles of music.
But after the World War II, Nigeria music is reported to have
incorporated new techniques and instrument which in turn produced new
set of artist with different sense and styles of music.
Artiste like I.K Dairo incorporated genres of music like funk, soul,
rock n' roll into juju.
Popular music in Nigeria became very popular on the top of Nigerian
charts in the 1960s.
At the end of the decade was when other music styles like Yo-pop,
gospel, reggae, Fuji were introduced, while juju was pushed a little
bit out of the way.
Juju alongside fuji music was still popular during the 90s. Other
typical genres of music in Nigeria include sakara music which is
distinguished by the instrument which makes it a bed time serenade for
its lovers.
Another genre of music of Yoruba tradition is 'Apala' music by Haruna
Ishola which is known to be the greatest exponent of Apala that is
characterised by the themes of deep philosophical significance
accompanied with the theme of praise that dominates the Yoruba musical
genres.
Other genres of music of Yoruba traditions are waka, which often
features female singers with the likes of Batili Alake and Salawa
Abeni as its exponent.
Lastly is fuji music which arose from the improvisation of
Ajisari/were music tradition, which is a kind of music performed to
wake Muslims before dawn during the Ramadan fasting season.
The late 1960s, it was learnt, saw the appearance of the first fuji bands.
Fuji was a synthesis of apala with the ornament free rhythm vocals of
ajisari devotional musicians and was accompanied by sakara and
tambourine drum and Hauwaii guitar.
The first famous entertainers of fuji music are Alhaji Sikiru Ayinde
Barrister and Ayinla Kollington.
Till today, fuji music has continued to attract younger generation,
reason being that the other genres of music such as hip hop have been
blended into it, while the use of two or more languages by these
musicians has increased their fan base across the globe.
However, last week Friday, one of the late Juju maestro children,, Samsideen Abinuwaye, paid
a courtesy visit to the permanent Chairman of Oyo State Council of
Obas and Chiefs and the Paramount Ruler of Yoruba land, His Imperial
Majesty, the Alaafin of Oyo, Oba [Dr.] Lamidi Olayiwola Adeyemi 111,
in his ancient Oyo palace.
Extolling virtues of the Fuji music superstar, Oba Adeyemi described
late Chief (Dr.) Sikiru Ayinde Agbajelola Barrister a.k.a Mr. Fuji,
Barry Wonder as a highly talented singer who used his God-given talent
not only to promote Yoruba culture across tTVhe globe, but also to
propagate morality.
According to him, ‘’an indigene of Ibadan city, late Chief Sikiru
Ayinde Barrister was incontrovertibly one of the most talented artists
to have come out of African continent. From a humble beginning, he
grew up to become an icon. He was one artist who made the fullest
utilisation of his God-given talent and that helped him to reach the
zenith of his career. From ‘Were song’ (waking people up during
Ramadan) which he transformed to ‘Fuji music’ to become the ‘Fuji’
creator, Barrister, the first to carry Fuji music beyond the shores of
Africa, traversed the music world like a colossus and carved a niche
for himself through hard-work and commitment to the virtues of
perseverance, resilience, humility and humanism’’.
Oba Adeyemi pointed out, ‘’to state that Barrister assumed a larger
than life image for himself before he died is surely stating the
obvious. Barrister, no doubt, is a household name not only in Yoruba
land but in the country generally. Apart from his extra-ordinary
melodious voice, perhaps his ability to sing in different languages
especially the three major Nigerian languages endeared him to millions
of people. For Barrister, it is not only singing or being able to sing
that really matters, but the content of what you dish out to the
public’’.
He noted that just like it is universally believed that it is not
life that really matters but the courage one brings to life, so did
this great musician believe that it is not singing that matters but
the content of the music.
Said he, ’’I developed interest in Barrister’s music because of the
depth of his work. I grew up to love his music just like I love the
music of some Nigerian artists. When you are looking for good music
with deep philosophical thoughts, especially Fuji genre, your best bet
is the music of Agbajelola. What is it that you are looking for that
cannot be found in his work? Is it melody? Is it wisdom? What of his
coherently fantastic arrangement of lyric? His was not about
frivolities, nonsensical compositions and pollutants that have taken
over the Nigerian musical landscape these days. Barrister’s music had
class. And the distinguishing feature of his work is basically to
educate on morality and humanism as he would consistently remind
humanity about life after death and that there is always nemesis for
whatever we do’’.
The Titan of Oyo Empire further asserted that as if Barrister knew he
would not live long, his music centred round the reward for good deeds
and impending punishment for wickedness.
Alaafin concluded thus, ‘’as a Muslim who was also versed in Quranic
knowledge, he was fond of quoting from the holy Quran to preach
messages of love, peace, good deeds, endurance, stoicism and absolute
faith in God. He constantly warned against anger and placed much
emphasis on the need for peaceful co-existence among the whole
humanity’’.
‘’ Late Ayinde Barrister consistently warned mortals seriously against
being wicked to one another as he strongly believed that heavy
punishment awaits evil doers both in their graves and on the day of
judgement as emphasised by the two holy books of Muslims and
Christians. Though a Muslim, Barrister was not a religious bigot. He
never discriminated against any religion as he strongly believed in
the concept of ‘Orunmila’ (it is heaven that knows who will enter it)
as highly pronounced in Yoruba traditional religion’’.
Alaafin therefore enjoined Nigerians and authorities concerned to
always remember and honour past heroes, and their relations, so that
their indelible contributions to national development would not be in
vain.
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