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Echoing the words
of Ayo Sadare, the moderator at the MUSON Jazz night, it has been a
season of Jazz. The much anticipated MUSON Jazz festival, which finally
took place on November 6, the three-day Lagos Jazz series, which ended
on November 7 of same, and the smooth FM Jazz concert two days ago, are
obvious indications.

The all-star
line-up of Olujazz, Pure and Simple, Imole, Mike Osadolo,
Biodun&Batik, Herbert Kunle Ajayi, Ayinke Martins and Lekan
Babalola, lit up the Shell Hall of the Onikan-based arts centre with
stirring performances during the MUSON Jazz Festival.

The event was well
attended and by the time the first act had come up, the hall was almost
fully seated. Olujazz heralded the concert with a performance of Asa’s
‘Eye Adaba’ and his mood matched his act as he came down from the stage
to mingle with the crowd, the spotlight tailing him.

The atmosphere
generated some excitement, as there was a kaleidoscope of lights and
other effects on the stage and around the hall. Olujazz also performed
singer Tuface’s latest single, ‘Only Me’.

The following
performance from the duo of Pure and Simple was less energetic. They
are not newcomers to the MUSON Jazz Festival, having performed at last
year’s edition.

Pure and Simple’s
first guitar rendition gave off just a touch of master guitarist Victor
Uwaifo’s style at the beginning. There was also a Highlife feel to some
of their pieces, which were becoming too numerous for the time slot
allotted to them. The compere, who teased the duo for taking up too
much time, introduced a comic turn by a comedian, Jeffrey, who sent the
audience reeling with his fake British accent.

Sadare advocated
the support and promotion of Jazz music. “There are about 40 Jazz bands
in Lagos State.” he pointed out. “We need to promote them,” he added.

The group, Imole,
was next up. Decked in native attires, they perform with the guitar and
also the talking drum. The drum was the captivating instrument in this
performance and also their singing in the Yoruba language. Stage effect
at this point was sublime, and echoed the feel of the song and rhythmic
performance, which one could not help swaying to.

The dreadlocked
Mike Osadolo gave a frenzied performance on guitar. He rendered
Makossa-like tunes. We also got something bluesy and romantic in his
acts, most of which were accompanied by strong guitar gymnastics.

Osadolo did the
popular opening tune for the now rested 80’s soap ‘The New Masquerade’.
He performed it in a contemporary style and expanded the possibilities
of the song with the guitar; and the audience rewarded him with
resounding applause.

The first
performance by the group, Biodun & Batik, took one back to the
1940’s Harlem of Dizzy Gillespie, BB King, Charlie Parker, and Ray
Charles. They worked with the sax, trumpet, drum, and piano with
desterity.

Band leader Biodun,
a lecturer at the Lagos State University (LASU), also performed some
pieces, ‘Blues Match’ from his new CD. On the night and in the CD,
Biodun rendered Jazz standards featuring works by legendary African
American trumpeter, Dizzy Gillespie, and Charlie Parker, among many
others.

Herbert Kunle
Ajayi’s performance on the Sax matched his elderly bearing. His pieces
had religious titles, but he was experimental enough to infuse a
Latino/Salsa flabour inot his last piece, ‘Sanctified Hands’.

Everyone was
waiting for the main acts, which the organisers had wisely saved for
the last. “The full dosage is eight, and don’t leave without sampling
all,” Compere, Sadare, said.

However, some of
the attendees were not so patient and they began to leave. By the time
Ayinke Martins came on, the hall was half empty, leaving a few
faithfuls determined to wait it out.

“We’ve chosen a
very African sketch for you, to celebrate Nigeria”, said Martins as she
launched into her set. She sang in Yoruba and English about the
seemingly commonplace butterfly and expressed her desire to be as free
as one.

She sang some love
songs and then did one piece, ‘Iresa’, her oriki, in her dialect. “You
cannot do anything Afro Jazz without remembering the late Fela”,
Martins said, as she introduced to the audience Fela’s lead
keyboardist, Duro Ikujenyo, who came on stage to play the keyboard very
briefly as a tribute to the Afrobeat legend.

As her lingering
performances continued, the crowd continued to dwindle. The much
anticipated Lekan Babalola, whom the compere introduced as a master
drummer, soon came up with his numerous band members, dragging along
various musical equipment and, surprisingly, a pulpit.

The air was thick
with excitement and he did not disappoint, as he lead the performance
accompanied with a female singer who sang a popular Yoruba Christian
song, ‘Ma Joba Lo Oluwa’. It was a total package on the one hand, and
then a glimpse of Lekan Babalola’s repertoire on the other.

The MUSON Jazz festival was a delight, more so with the display of
musical talent, lending credence to fact that Jazz music in the country
will continue to grow and make impact both locally and internationally.