Soul Jazz Records new ‘Apala: Apala Groups in Nigeria 1964-69’ is the first ever collection of Apala music to be released outside of Nigeria.
The album focusses on a wide selection of recordings made in Nigeria in the 1960s, a time when Apala music was at the height of its popularity. Apala is a deeply rhythmical, hypnotic and powerful musical style that combines the striking nasal-style vocals and traditions of Islamic music, the Agidigbo (thumb piano), and the equally powerful drumming and percussion rhythms and techniques of the Yoruba of Nigeria.
The most significant figure in Apala music is undoubtedly Haruna Ishola who features throughout this album. Ishola holds an almost mythological status in his role as populariser of Apala music in Nigeria. Ishola’s singing was believed to be so powerful that, without proper restraint, it could kill the recipient of his music.
Apala is a popular music that also functioned as a form of cultural resistance – Apala music involved no western instrumentation and is sung in the Yoruba language, its aesthetic an implicit cultural rejection of the British Empire’s colonial rule over Nigeria which lasted from 1901 until independence in 1960.
Apala music was popular and widely accepted in Nigeria due to its philosophical and profound lyrical content alongside the complex rhythmic patterns of this heavily percussive style, which highlighted many of the percussion instruments of south-west Nigeria.
Apala is one of a number of popular urban styles of music that came out of Nigeria in the 20th century and sits alongside the more well-known (in the West) styles of Fuji, Highlife, Juju and Afrobeat. Of these modern forms Apala remains perhaps the most ‘roots’ style (sometimes described as ‘neo-traditional’) due to the authenticity of its sound. It has similar Islamic roots to other neo-traditional styles of Nigeria – including Waka and Sakara – examples of which are also included on this collection contextualising the music of Apa
Tracklisting:
A1 Haruna Ishola And His Apala Group– Ewure Ile Komoyi Ode
A2 Adebukonla Ajao And Her Group– Aboyin Ile
A3 Rapheal Ajide And His Apala Group– Adura Fun Osiwowo
A4 Haruna Ishola And His Apala Group– Orin To Mo Gbon Wa
A5 RA Tikalosoro And His Group– Agilinti Lomu
B1 Adebukonla Ajao And Her Group– ABD Alawiye
B2 Haruna Ishola And His Apala Group– Asa Ko Gbodo Wole Gbeiyele
B3 Adeleke Aremu And His Group– Egbe Arowolo
B4 Haruna Ishola And His Apala Group– Rufai Baolgun
B5 RA Tikalosoro And His Group– Kiniun Kuro Leran Amu Sere
C1 Haruna Ishola And His Apala Group– S Aka
C2 Adebukonla Ajao And Her Group– Lekele Bale
C3 Kasumu Adio & His Apala Group– Odale Ore
C4 Ayisatu Alabi And Her Group– Oko Lolomo
D1 Jimoh Agbejo Bo Ogun And His Group– Oriki Ibeji
D2 Ayisatu Alabi And Her Group– Omo Olobi
D3 Rapheal Ajide And His Apala Group– Orin Aje
D4 Adebukonla Ajao And Her Group– Sunday Babayemi
The album focusses on a wide selection of recordings made in Nigeria in the 1960s, a time when Apala music was at the height of its popularity. Apala is a deeply rhythmical, hypnotic and powerful musical style that combines the striking nasal-style vocals and traditions of Islamic music, the Agidigbo (thumb piano), and the equally powerful drumming and percussion rhythms and techniques of the Yoruba of Nigeria.
The most significant figure in Apala music is undoubtedly Haruna Ishola who features throughout this album. Ishola holds an almost mythological status in his role as populariser of Apala music in Nigeria. Ishola’s singing was believed to be so powerful that, without proper restraint, it could kill the recipient of his music.
Apala is a popular music that also functioned as a form of cultural resistance – Apala music involved no western instrumentation and is sung in the Yoruba language, its aesthetic an implicit cultural rejection of the British Empire’s colonial rule over Nigeria which lasted from 1901 until independence in 1960.
Apala music was popular and widely accepted in Nigeria due to its philosophical and profound lyrical content alongside the complex rhythmic patterns of this heavily percussive style, which highlighted many of the percussion instruments of south-west Nigeria.
Apala is one of a number of popular urban styles of music that came out of Nigeria in the 20th century and sits alongside the more well-known (in the West) styles of Fuji, Highlife, Juju and Afrobeat. Of these modern forms Apala remains perhaps the most ‘roots’ style (sometimes described as ‘neo-traditional’) due to the authenticity of its sound. It has similar Islamic roots to other neo-traditional styles of Nigeria – including Waka and Sakara – examples of which are also included on this collection contextualising the music of Apa
Tracklisting:
A1 Haruna Ishola And His Apala Group– Ewure Ile Komoyi Ode
A2 Adebukonla Ajao And Her Group– Aboyin Ile
A3 Rapheal Ajide And His Apala Group– Adura Fun Osiwowo
A4 Haruna Ishola And His Apala Group– Orin To Mo Gbon Wa
A5 RA Tikalosoro And His Group– Agilinti Lomu
B1 Adebukonla Ajao And Her Group– ABD Alawiye
B2 Haruna Ishola And His Apala Group– Asa Ko Gbodo Wole Gbeiyele
B3 Adeleke Aremu And His Group– Egbe Arowolo
B4 Haruna Ishola And His Apala Group– Rufai Baolgun
B5 RA Tikalosoro And His Group– Kiniun Kuro Leran Amu Sere
C1 Haruna Ishola And His Apala Group– S Aka
C2 Adebukonla Ajao And Her Group– Lekele Bale
C3 Kasumu Adio & His Apala Group– Odale Ore
C4 Ayisatu Alabi And Her Group– Oko Lolomo
D1 Jimoh Agbejo Bo Ogun And His Group– Oriki Ibeji
D2 Ayisatu Alabi And Her Group– Omo Olobi
D3 Rapheal Ajide And His Apala Group– Orin Aje
D4 Adebukonla Ajao And Her Group– Sunday Babayemi