Koola Lobitos

FOR FELA
Lester Bowie
African Children
Horo : 1978

LB, trumpet; Arthur Blythe, alto sax; Amina Claudine Myers, organ; Malachi Favors, bass; Phillip Wilson, drums.

NO AGREEMENT [edit]
Fela Kuti & Africa 70
No Agreement
Decca Afrodisia : 1977

Trumpet solo: LB.

In 1977, after the Art Ensemble of Chicago tours Europe, trumpeter and fun-seeker Lester Bowie buys a one-way ticket to Nigeria, satisfying a long-time desire to see Africa. He arrives in Lagos with around $100, no contacts, and “no idea about anything.” He is told by the hotel “what you need to do is go see Fela.” And so he does, not even knowing who Fela is. He arrives at The Crossroads Hotel, where Afrobeat progenitor Fela Anikulapo Kuti has taken up residence following the destruction of his compound by Nigerian troops. What results is a six-month sit-in with Fela’s legendary Africa 70 band — talk about finding the party.

The tribute track above was recorded the next year in Italy. This is the Fifth Power quintet, really stretching out. The first ten minutes or so offer a Chicagoan/AACM take on Fela’s Afrobeat sound, with a slinky groove and loose pocket. The second ten minutes provide something else entirely, as Lester pushes the group out into some very open pastures.

As a bonus, we’ve provided the opening eight minutes of “No Agreement,” one of the Lester/Fela tracks from Bowie’s stint with the Africa 70 band. Lester’s solo sounds like a recapitulation of his arrival on the scene: a quiet entry, the American checking out the locals, finding he likes what he sees, and establishing a common language and rapport. According to the notes to the MCA reissue of No Agreement, by Fela biographer Michael Veal, Bowie’s playing during this period left an impression, influencing the subsequent trumpet playing in the Africa 70 band. And, given the track above, clearly the feeling was mutual.

& & & & &

DESTINATION: OUT Guide to Fela Kuti

We’re longtime fans of Fela Kuti and his mix of hard funk, afro chants and polyrhythms, and jazz arrangements. “The James Brown of Africa” has been well-served by generous reissues, but he still left behind a dizzying discography that can be difficult to navigate. For starters, we recommend sticking with his Africa 70 period and avoiding the later and less potent Egypt 80 ensemble. Here are some failsafe entry points for newcomers:

CONFUSION/GENTLEMAN
The best place to start, hands down. Fela’s two best albums on one CD. “Confusion” is an epic track that features his most out playing, kicking off with a distorted organ solo reminiscent of Sun Ra! Gentleman offers some of his catchiest, most concise, and powerful Afrobeat tunes.

ROFOROFO FIGHT/THE FELA SINGLES
Early sides from Fela and his band that find them with something to prove. They sharpen their sound to a knife’s edge, delivering lean and urgent songs whose rhythms flex and jab.

IKOYI BLINDNESS/KALAKUTA SHOW
Recorded in 1974, these albums find the group firing on all cylinders and attacking Nigeria’s military regime and corrupt judicial system, exacting revenge for the unfair arrests of Fela and his band. It was the beginning of a public feud that would eventually culminate in the government bulldozing Fela’s compound, tossing his mother out of a window (she incurred fatal injuries), beating him within an inch of his life, and imprisoning him for years. Upon his release, Fela continued to call out government corruption in biting terms.

OPEN & CLOSE/AFRODISIAC
These albums are often overlooked for showier sides, but Open & Close in particular offers some of Fela’s most enjoyable and elastic funk, a more light-hearted dance record teaching listeners how to get down with the Afrobeat sound. Also: Brian Eno’s favorite Fela album.

THE BEST BEST OF FELA KUTI
We’re not generally big on greatest hits packages, but this 2-CD comp gets it right. It’s a  good way to pick up such essential tracks as “Zombie,” “Water No Get Enemy,” “Shakara,” and the mournful “Sorrow Tears & Blood.”