Orlando Julius & The Ashiko - Love, Peace & Happiness

Official reissue of one of the hardest to find albums by the Afro Soul maestro, a pure Afro Funk spiritual grail from 1978!

Born in 1943 in Ikole-Ekiti in Ondo State, Nigeria, Orlando Julius Ekemode (“Orlando was really a nickname, taken from the Nigerian actor, Orlando Martins“) had started in music from an early age, becoming the school drummer and learning flute, bugle and other instruments at St Peters Anglican School in Ikole-Ekiti. Nigerian musician, singer-songwriter and multi-instrumentalist. He is credited as one of the first musicians to fuse US R&B into traditional highlife music, creating his own influential Afrobeat sound during the mid-‘60s. From his time playing in the USA during the 1970s onwards, he is credited with bringing African music to a broader audience and famously co- composed the song ‘Going Back To My Roots’ with Lamont Dozier.

In 1978 , Orlando Julius Ekemode decided to produce himself this amazing session, originally recorded between Maryland and West Virginia (USA ) and released in limited quantity in Nigeria by the obscure label Jungle records .

6 stunning monster Afro Funk tracks , recorded by 8 musicians based in Oakland. Fully licensed with the artist and remastered by Carvery. Essential!

hotcasarecords.com 

Orlando Julius with The Heliocentrics - Jaiyede Afro (Pt. II)

A Great Album From a Master

Orlando Julius has been making a joyful noise for a long time now, and his latest full-length, Jaiyede Afro, brings the gladdest of tidings: the man is still Afro-rocking with as much intensity and verve as ever. A contemporary of the great Fela Kuti, Orlando plows a similar furrow, with a good deal less emphasis on horns but plenty of guitars, organ, and uptempo percussion to keep things moving. Especially notable are the band’s fluid and irresistible basslines, which propels the whole band effortlessly and provides a sinewy backbone for the rest of the band to build upon. The result is a meaty, high-energy gumbo that is compulsively danceable, but also complex to immerse oneself in and simply listen to. Great for road trips too.

In case it’s not clear: Jaiyede Afro is a tremendous album.

The good times start right away, with joyous album opener “Buje Buje”. Over layers of skronking horns, sweet guitar trills and thrumming bass ‘n’ drums, Julius’s voice exhorts the listener with vocals that are passionate but never strident. The hypnotic groove rolls on, engulfing the listener, and encompassing enough shifts in dynamic and rhythm to ensure that things never grow stale despite the lengthy running time. Follow-up tune “Love Thy Neighbor” is shorter, peppier, and instrumental, but every bit as engaging. The band is masterful at establishing an irresistible groove within just a few beats, and uses a wide array of sounds both organic and electronic to snare the listener’s attention.

Julius is smart enough to allow these grooves, once established, to stretch out and breathe. The result is that many of these songs top the five-minute mark, with opener “Buje Buje” stretching past eight and epic “Be Counted” stretching well past 11. Another band might lose the plot with such extended workouts, but that is never the case here: With the rhythm section as reliable as it is, providing a rock-solid backbone that is never rigid or constricting, the rest of the instrumentalists and vocalists can soar. “Be Counted” features some freak-out sax howling and times calls to mind the more frenzied moments of the Stooges Fun House, but it never goes off the rails entirely due to the solidity of the rhythm section.

With such a consistently compelling set it’s tough to pick a standout track, but “Sangodele” might be a contender, with its reverb-heavy wah-wah guitar line and propulsive bass. Another instrumental tune, it suffers not one bit from the lack of vocals. It’s unfair to single out just one song, though, as there are so many here that are so effortless (that word again) in their elastic, booty-shaking groove. “Love Thy Neighbor” in particular benefits from some nice organ flourishes, which add a crispness and sparkle to the sonic palette, while “In the Middle” utilizes many of the same elements, with a good amount of brass introduced into the mix, allowing Julius’s always-expressive saxophone to enjoy some company.

Listeners seeking a rock-solid album of Afro-funk – or maybe a solidly rocking album of Afro-funk – need look no further than here. Orlando Julius has put decades of experience into this record, and it shows.

popmatters.com, by David Maine

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Orlando Julius is one of the heroes of Nigerian music. A saxophonist, singer and songwriter, he began fusing African influences with American R&B and soul in the 60s, and was a major influence on Fela Kuti and Afrobeat. He's still in rousing form on this new set, recorded with London's the Heliocentrics, whose previous African excursions have included work with Mulatu Astatke. Julius is a master of the simple, stomping riff, as he proves with the opening Buje Buje, in which he hammers home a hypnotic R&B theme for more than five minutes against a wash of keyboard effects, before breaking away for a solo. Elsewhere, he moves from the funky Love Thy Neighbour to the breezy title track and to Be Counted, a rumbling, chanting Afrobeat work-out, written in the US in the 70s. I look forward to the live shows next year.

theguardian.com

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As Nigerian musicians go, Orlando Julius might not be as recognizable a name as Fela Kuti, but that has less to do with the quality of his output than the scarcity of it. He had an important hand in shaping the emerging fusion of Nigerian highlife and American R&B in the mid ’60s, followed by an unofficial status as an ambassador of that sound — now called Afrobeat — during an extended American tenure in ’70s. But the sax maestro and bandleader put out only a handful of albums that made it to international collectors’ circles, and left many of his rousing live-show standards unrecorded.

Thankfully Jaiyede Afro, Julius’s teamup with Malcolm Catto’s super-session psych-soul-funk-jazz group the Heliocentrics, does more than its share to make up for that. It stirs up long-brewing sounds from its deep-grooved yet soothing title cut — developed out of childhood memories of music his mother would play — to the resoundingly funky 11-minute vamp “Be Counted,” an Africa-to-America black pride anthem that still inspires long after its writing in 1976. Following their gigs backing up Ethio-jazz forefather Mulatu Astatke and scholar of Middle Eastern music Lloyd Miller, the Heliocentrics’ analog-studio sound stays faithful to Julius’s vintage Afrobeat precedent. They keep their wigged-out psychedelic tendencies in the margins, opting to stay smoothly in a pocket of James Brown/Africa 70 steadiness — though closer “Alafia” gives Julius’s exclamatory sax a welcome shot at careening through space. It’s not just a good (re)introduction to an underrated pioneer, but a fine recreation of everything that made his earlier, scarcer recordings so worth seeking out.

wonderingsound.com 

  

Orlando Julius with The Heliocentrics - Jaiyede Afro

This fall, we’re extremely proud to announce the first ever internationally released new studio album by one of the all-time legends of Nigerian music, Orlando Julius, backed by the incredibly versatile London outfit The Heliocentrics.

On Jaiyede Afro, Julius takes us back to his roots, revisiting several compositions from his early years which have never previously been recorded. The album was recorded at the Heliocentrics’ fully analogue studio in North London. Like their their memorable collaborations with Mulatu Astatke and Lloyd Miller, the band takes Orlando’s sound into new, progressive directions, retaining the raw grit of his early work and adding psychedelic touches and adventurous new arrangements.

Jaiyede Afro is released September 9th on CD, 2xLP and digital formats. The physical formats feature new photos from the recording sessions by Alexis Maryon and track by track interview with Orlando Julius and The Heliocentrics. The release will be supported by a full European touring schedule.

Strut Records

 

Tracklist

01. Buje Buje
02. Love Thy Neighbour
03. Aseni
04. Sangodele
05. Jaiyede Afro
06. Omo Oba Blues
07. In The Middle
08. Be Counted
09. Alafia

Nigerian saxophone legend Orlando Julius’ collaboration with UK psychedelic jazz outfit The Heliocentrics is one of the most satisfying and progressive Afrobeat projects to come along in a while. The full album is due September 8th, but you can hear the lead track “Buje Buje” below.
The Jaiyede Afro album can be pre-ordered now on iTunes, with the track “Buje Buje” available instantly.

Orlando Julius on “Buje Buje:”

“My parents used to tell us stories, folk tales and there were a lot of different stories involving tortoises – they often made tortoises sound like human beings. There was one about a tortoise who had a farm and I always thought, ‘how could a tortoise have a farm?!’ This tortoise is working on his farm and a pretty lady is passing by. So, he cuts his foot with his cutlass and pretends that he is injured so that he can get her attention. The lady comes over and tries to help him and he says, ‘I can’t work with this cut. Could I climb on your back to go to get help?’ She agrees, he climbs on her back and she starts to walk. He says, ‘I’m too far up, could you push me further down your back?’ Finally, the lady realises that he is up to no good, she is very unhappy and tells him to find his own way. Once she has left, the tortoise continues to play this trick on other women.

“I made the story into a song and brought human nature into it – good people and bad people. The song teaches us not to copy something that is bad, fake or deceptive.”

Orlando Julius and The Afro- Sounders

Reviews

If you’re a Nigerian over the age of 25, then you probably know who Orlando Julius is. If you don’t, then your parents do. Orlando was and is a big deal in Nigeria and the neighboring countries. While his work is known to fellow West Africans, and diggers into West African music, he’s certainly not a household name globally. I’m glad to see his work get more spotlight. Frank Gossner of VoodooFunk fame is the brainchild behind this release. It’s the best Orlando Julius I’ve ever heard, and believe me, I’ve heard plenty. This was the music our parents played. Go pick this one up. The booklet, pictures and liner notes alone are worth it. Orlando himself wrote it. Forget the CD, get the LP for the full experience.

”In 1972 and 1973, Orlando Julius and his band The Afrosounders visited the legendary ARC studio of Ginger Baker and what OJ and the gang put to tape there was an entirely different beast: They recorded an album packed with unadulterated, funky Afrobeat of the heaviest caliber For the first time, Orlando and the his band were able to really let loose and showcase their full power with an unfiltered impact. They laid down six epic tracks that from a Funk or Afrobeat perspective definitely count as Orlando’s strongest work but it seemed that Philips were not too happy with this result. They completely botched the distribution of this record and while Orlando’s earlier and later work has all been re-issued over the past years, sometimes multiple times and from various international labels, this, his best record has remained under the radar and virtually unknown to the worldwide community of African music lovers. This was until I was sitting in my friend Damian Iwuagwu’s house in Lagos back in January of 2010, drinking a cold Star beer and enjoying the evening when he casually handed me this LP and asked “what about this one, I got this the other day and I don’t think I’ve ever seen it before”.

Now this record is re-released with its original artwork and extensive liner notes written by Orlando Julius himself, including loads of great vintage photographs.” – Frank Gossner

atane.net

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When Nigerian afro beat comes to mind, the name that typically comes to mind is Fela Kuti. But for true enthusiasts of the genre, composer and band leader Orlando Julius is held in the same regard as his more famous colleague. By the mid-60s, Julius had already established himself as a bona fide star in Nigeria, becoming highly popular for his ability to marry traditional African rhythms with the bold arrangements and highly melodic sounds of American pop, soul, funk and R&B.

Orlando Julius and the Afro Sounders, recorded between 1970 and 1973 in Ginger Baker’s studio in Lagos, represents Julius working as a composer and producer with more creative freedom than his earlier recordings, recording 24 tracks with a close-knit group of musicians. The result is an album that stands as a testament to Julius’ genius, and one that sounds just as good as the day it was recorded.

Traffic Entertainment Group, in partnership with Voodoo Funk, is proud to present Orlando Julius And The Afro Sounders in a new edition, with audio remastered from the original analog tapes and packaged in a hardback case book with extensive liner notes and vintage photography.

grooveattack.com

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Frank Voodoo Funk is well known around digger circles for his deep crates, especially when it comes to rare African gems. This album from Orlando Juilius & The Afro Sounders is an excellent example of the high calibre recordings he's dealing with. This album was recorded back in 1973 and is impossible to find, even in Africa! Thankfully Voodoo Funk has lovingly reissued the LP from the only known remaining copy, that was found in an undisclosed location in South East Nigeria! The whole album is bursting with extra funky afro beat sounds from beginning to end. Drop the needle anywhere and be prepared to move to the lively groove. There are 6 tracks total, packaged with a booklet full of detailed liner notes and amazing vintage photographs. Recommended.

turntablelab.com

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An uber-rare album from Orlando Julius & The Afro Sounders – recorded at Ginger Baker's studio in Lagos and originally (apparently quite scarcely) released by Philips in 1973 – wonderful stuff and on par with the excellent material the group recorded in the handful of previous years! The sound is terrific, still fresh and live sounding, but recorded with the best studio technology Julius had access to to date. The drums and percussion are prominent in the mix and so is the bass – with punchy, soulful brass, organs and passionate vocals. Wonderful! Tracks include "Yio Si Da Miliki Beat", "Afro Instrumental", "Osika Ranti", "Buje Buje", "Aseni" and "Kete Kete Koro". (CD version comes with a great hardcover book-like package that includes liner notes by Orlando Julius.)

dustygroove.com






Tracklist

01. Yio Si Da Miliki Beat
02. Afro Instrumental
03. Osika Ranti
04. Buje Buje
05. Aseni
06. Kete Kete Koro

Orlando Julius and Afrobeat revisited

It was one of those unexplainable impulses that made me linger longer than planned at an Ikoyi hangout for all shades and ages of creative people.

In walked Basil Okafor, graphic artist/journalist, culture connoisseur and activist and, of course, we had to shoot the breeze and reminisce. He was happy that he had caught the musical act at the Lagos Black Heritage Festival that featured heavyweights Hugh Masekela, Orlando Julius, and Femi Kuti.

I chipped in that Masekela omitted the very important name of Peter King when he announced at the concert that Nigeria had produced two world-class musicians in Fela Anikulapo Kuti and Orlando Julius. Incredibly, a few seconds after, in walks Orlando Julius himself with his extraordinarily-talented dancer/singer African-American wife, Latoya Aduke.

Naturally, we all went through a session of oohs and aahs at this unplanned reunion. I told Orlando that I assumed he was still in Ghana, where he had relocated to years after we had met in Lagos after his second long sojourn in America. He surprised me by informing me that he had been back in Nigeria for over two years, in Osogbo, where he had set-up a sound and visual studio and was running a television programme featuring musical acts. It made sense in that in the 80s when we had re-established contact, he proudly told me that he had graduated from a filmmaking course in Berkeley, California, after a music-and-further-education trip to America.

Who created Afrobeat?

I asked Orlando about some of his key band members who had helped create his unique and pioneering sound of Afro-Soul-Beat as from the late 60s. He sadly informed me that my favourites like drummer, Moses Akanbi, and baritone saxophonist, Big Joe, were dead. Of course, this was depressing news. In a brilliant and soothing public relations gesture, his wife then offered me a new CD release of Orlando Julius’ compilation of master compositions and old hits, ‘Orlando Julius and his Afro Sounders: Orlando’s Afro Ideas 1969-72’. In many ways, this CD is a fitting tribute to these great musicians and concrete documentary evidence on how what is now defined as Afrobeat developed in Nigeria.

I have deliberately refused, since the 70s, to be drawn into the simplistic argument of who created and, is therefore, the father of Afrobeat. It is a spurious argument, much like asking who created Jazz; whilst unquestionably accepting that Jazz is Black/African-American music. In the same vein, Afrobeat is Nigerian-created music, period!

Yes, it is an offshoot and extension of the West African popular music Highlife, but it was made and shaped in Nigeria. Interestingly, Afrobeat’s different versions and flavours were created by well-schooled and experienced Nigerian musicians, which explains why like Jazz, Reggae, Rhythm & Blues, Soul, and now Rap and Hip-Hop, it is a distinct and universally accepted form of popular music.

It is safe, sensible, and factually logical to state that Afrobeat and its various flavours were created by Nigerian musicians who were interested in expanding the tonal and rhythmic frontiers of Nigerian Highlife music. It must be accepted and recognised that Nigerian musicians, like Rex Lawson in particular, Celestine Ukwu, Victor Olaiya, Eddie Okonta, Bill Friday, and later Victor Uwaifo, had incorporated their ‘tribal’ musical elements to create a distinct Nigerian Highlife flavour; different from Ghanaian and Sierra Leone Highlife. It is from this distinct and unique Nigerian Highlife flavour that the various inflections of Afrobeat evolved through assimilation, experimentation, cross-fertilisation, and individual musical innovation.

Laying the foundations

It will be fair, on recorded evidence, to say that the trio of musicians who laid the basic foundations and charted the path of what is now broadly classified as Afrobeat music are Chris Ajilo, Orlando Julius Ekemode, and Fela Ransome-Kuti, in that chronological order.

Simplistically, they respectively explored, experimented, and emphasised the expansion of the horn-ensemble complexities, soul-and-Yoruba traditional rhythms-marriage and Jazz riffs compositional structure and multi-rhythms of Nigerian Highlife music to create their brands of Afrobeat music.

It is, however, both Orlando Julius and Fela Anikulapo Kuti who performed live for many decades, with many recorded samples of their music over these decades, that best give a history of the development and growth of Afrobeat music. In this respect, Orlando Julius’ ‘Afro Ideas 1969-72’ is an extremely important CD and musical document that illuminates the early history and foundation of Afrobeat music.

Jagua Nana

Orlando, unlike Fela, had gone through the mill in Nigerian popular music. He started off in the late 60s as a drummer and flautist, and then took lessons on the alto saxophone. He began working with Highlife bands in 1961, playing with the Flamingo Dandies, I.K. Dairo’s Blue Spots, and Eddie Okonta’s band. He formed his own band, The Modern Aces, in 1964.

In 1965, he released his debut single, ‘Jagua Nana’, on the Philips West Africa label. It was a big hit because it was new. Orlando described it as “modern Highlife,” and essentially it was Highlife in a fast tempo and infused with rhythmic arrangements borrowed from Black American Rhythm & Blues and Soul music.

OJ and the Modern Aces released the landmark long-playing album, Super Afro Soul, in 1966. This was the official recorded announcement of the arrival of Orlando Julius’ Afro music in Nigeria. It was innovative and fresh; giving hints of greater musical things to come from him!

With a band now called Afro Sounders, Orlando Julius set out to develop and distinctly establish his own brand of Afrobeat music. As composer, singer, electric organ player, and tenor saxophonist, he led a band that explored depths of rhythmic structures, a seamless blend of Yoruba/African rhythms and Black American R’n’B/Soul. With the fiery Moses Akanbi on drums playing mostly on the high-hat and snares, dexterous shekere rhythms, crisp clave beats, congas, and snappy guitar riffs (from his brother, Niyi), OJ created his rhythmic definition of Afro-beat. It is a skippy rhythm, with his peculiar horn arrangements as embellishments to create his Afrobeat sound.

OJ’s rhythms

‘Mura Sise’ and ‘New Apala Afro’ are classic examples of OJ’ rhythms and on other compositions like ‘Home Sweet Home’, ‘Esamei Sate’, ‘Alo Mi Alo’, ‘Ketekete Koro’ and ‘Igbehin Adara’, he sings in Yoruba urging self-empowerment, good morals, fair-play in polygamous homes, and keeping faith with culture. Then there are the instrumental Psychedelic Afro-Shop and a welcome song ‘James Brown Ride On’, both recorded in 1970.

Orlando Julius’ compositions ‘Asiko’ and ‘Going Back to My Roots’ became hits for Hugh Masekela and Lamont Dozier respectively, in America in the late 70s. In the early 80s, he released the LP Dance Afro-Beat in America.

It’s been four decades since ‘Jagua Nana’, and OJ and his Afrobeat are still alive and, as Monk will say, ‘rhythmning!’

written by Tam Fiofori

New Orlando Julius - Album by Voodoofunk

Original posted at Voodoofunk.blogspot.com

CHECK IT OUT!!!

"Orlando Julius has been a well known name on the West African music scene all through the 1960s and 70s. His early work was recorded in the Philips studios under the strict supervision of their house producers who were putting an emphasis on a pleasant and swinging sound that was jugging along in a pleasant way, bridging big band highlife music with American soul.

In 1972 and 1973, Orlando Julius and his band The Afrosounders visited the legendary ARC Lagos studio of Ginger Baker and what OJ and the gang put to tape there was an entirely different beast: They recorded and album packed with unadulterated, funky Afrobeat of the heaviest caliber.

The soundtrack to the video above is a shortened version of "Aseni", recorded directly from my original vintage vinyl copy. Only a short edit of one out of six long and epic killer tunes which are all included on this record

For the first time, Orlando and the his band were able to really let loose and showcase their full power with an unfiltered impact. They laid down six epic tracks that from a Funk or Afrobeat perspective definitely count as Orlando's strongest work but it seemed that Philips were not too happy with this result. They completely botched the distribution of this record and while Orlando's earlier and later work has all been re-issued over the past years, sometimes multiple times and from various international labels, this, his best record has remained under the radar and virtually unknown to the worldwide community of African music lovers. This was until I was sitting in my friend Damian Iwuagwu's house in Lagos back in January of 2010, drinking a cold Star beer and enjoying the evening when he casually handed me this LP and asked "what about this one, I got this the other day and I don't think I've ever seen it before".

Now this record is re-released with its original artwork and extensive liner notes written by Orlando Julius himself, including loads of great vintage photographs.

Vinyl copies are being shipped to the retailers as I type this and the hard cover book bound CD version be sent out by the end of the month.

Enjoy!"

Words by Frank Gossner, Mr. Voodoofunk

---

When Nigerian afro beat comes to mind, the name that typically comes to mind is Fela Kuti. But for true enthusiasts of the genre, composer and band leader Orlando Julius is held in the same regard as his more famous colleague. By the mid-60s, Julius had already established himself as a bona fide star in Nigeria, becoming highly popular for his ability to marry traditional African rhythms with the bold arrangements and highly melodic sounds of American pop, soul, funk and R&B. Comes with a 11 X 11 inch booklet.

Orlando Julius and the Afro Sounders, recorded between 1970 and 1973 in Ginger Baker’s studio in Lagos, represents Julius working as a composer and producer with more creative freedom than his earlier recordings, recording 24 tracks with a close-knit group of musicians. The result is an album that stands as a testament to Julius’ genius, and one that sounds just as good as the day it was recorded. On this album, the audio is remastered from the original analog tapes!

rushhour.nl


Tracklist

1. Yio Si Da Miliki Beat
2. Afro Instrumental
3. Osika Ranti
4. Buje Buje
5. Aseni
6. Kete Kete Koro


... more information and reviews ASAP!

Down Memory Lane With Orlando Julius

ORLANDO Julius Ekemode (a.k.a O.J) who left Nigeria for Ghana a couple of years ago, is back home. In this exclusive interview with CLETUS NWACHUKWU, he revealed that one of the major reasons he left the country for Ghana was the perennial epileptic power supply in the country. He went down memory lane and also spoke on the Nigerian music industry.

Background

I am Orlando Julius Ekemode and I am from Ijebu-Jesa in Osun State. I was however born in Ikole-Ekiti in 1943, and went to school there. When I got to high school, I lost my father who was a trader and I had to move to Ibadan, Oyo State.

I started music in Ibadan in 1957 and I say, as an apprentice. You know, to be a musician, you have to learn how to play different instruments. I was one of the lucky ones who benefited from the late Chief Obafemi Awolowo, who showed great love for music and as a friend of the late Kwame Nkrumah of Ghana who made music, a subject taught in Ghanaian schools.

Although Awolowo was only the premier of the then Western region and through his political party called Action Group (AG) established what I would not call a music school as such, he bought several musical instruments that were enough for over 30 bands. It was open to all those interested in learning and playing music. That was where I learned music alongside Alaba Pedro, Y. S., Eddy Okonta, Akani Moses and many others.

The first band I played with was Eddy Okonta's band in 1958, at Oke-Bola, Ibadan. I was with this band for two and half years and appeared on television (WNTV) with him.


The interview


Apart from the saxophone, what other musical instrument can you play?

During my school days, I was playing the drums with the school band. At Ibadan, I learnt more about the drums, the rudiments of music and can now play the guitar, trumpet, keyboard and of course, saxophone in all notes.

What happened after Eddy Okonta's band?

After I left Okonta's band, I moved to Ijebu-Ode and played at several hotels and clubs, together with the likes of late I.K. Dairo, Y.S. Maybe you should know, I am related to I. K. Dairo because his mother and my own mother were from the same parents. He was the one who encouraged me to return home because somebody gave them some musical instruments, which they were not using. Then they were playing Juju-highlife and so I returned to Ilesha. I led the band then called I.K. Dairo's Band and I recruited musicians from different places including Lagos and Ibadan. In fact, Jimi Solanke was also in the band, including Isiaka Adio, who later left to help Fela Anikulapo-Kuti to establish his band called Koola Lobitos. Indeed, things moved so fast for me and probably a year later, I moved back to Ibadan to form my own band and began playing at Independence Hotel, Oke Bola.

What was the name of your own band?

It was called Orlando Julius and His Modern Ace. Before then, I remember recording a song Igbehin Adara, which I composed, wrote and performed at WNBC studios in Ibadan. Later, I got signed on by Phillips Records and I recorded Jagua Nana and other hit songs. Afterwards, some of my band members left to join Fela's Koola Lobitos. My band continued playing and we recorded many singles because then, there were no LPs. We did lots of singles and extended plays.

When was your first album released?

That was in 1965, when I did the album Super Afro Souls.

What motivated your movement to the United States several years back?

Well, my contract with Phillips Records expired in 1972. It was a 10-year contract and then I decided to move around and so, went on a visit to the United States to see how things were being done over there. However, it was in 1974, that I finally decided to move to there to work and do music. In the United States, I was able to study film and it was the same time Tunde Kelani was also studying film in London. I read film and production at San Francisco University and also had a music band. And in 1977, I became the first African to do a collaboration with an American star called Lamon Dozia. The song was Going Back To My Roots and I added the Yoruba lyrics (Awa oma ranti se ranti ye o, isedale baba wa).

So far, how many albums have you produced, apart from the singles?

I would say about 14 albums.

How would you describe the music scene back then?

Music was very big, particularly highlife. And my contemporaries before I left Nigeria were Rex Lawson, Eddy Okonta, E. C. Arinze, Dele Ojo, Osita Osadebe to name a few. But then, I was doing a different kind of highlife. I modernised it to Afro and I called it Afro-Highlife.

You reportedly spent over 25 years in the United States. Was that where you met your wife, Latoya?

No, I met her first in 1987.

And you got married immediately?

No, I met her through the late Ambrose Campbell and after that, we lost contact because I was living in North California and she was living in South California. My band was busy moving around doing music and it was in 1989 when we met again. At that time, I needed a dancer and a back-up singer. She joined my band in 1990 and started working with me. I would say she was a very good singer and dancer. Four years later (1994), we started getting closer.

How many children do you have together?

She already had kids before we met and I had already had kids here in Nigeria before I went to the United States. But we don't have any kid together and it's a mutual understanding.

How would you describe her?

She is a blessing to my life. As a wife, friend, partner, dancer, singer and member of my band, I continue to bless the day she came into my life. Unlike other musicians, she was not money-conscious and was ever-willing to do things to help move the band forward. She is like a mother to me. In fact, she is too much! It might also interest you that she in fact made the marriage proposal.

What's the difference between your generation of musicians and the present ones?

There's a big difference between an artiste and a musician. Today, most of these guys are artistes. As a musician, you must be able to play one, two or more instruments and direct music. But today, it's all about miming. I would blame it on the fact that there are no music schools where they can learn how to do music. That's why our kids are doing hip-hop rather than highlife or juju.

As a man and a musician, do you feel fulfilled?

Yeah, 100 per cent. People all over the world are still enjoying my music. You can get my music to buy from the internet and it is even being enjoyed and patronised mostly by the whites, who don't understand my Yoruba lyrics.

Which of your albums sold the highest and gave you joy and satisfaction?

I can't really say, because most of my albums are classic. You know, I write my music notes, arrange the instrumentations, lyrics and everything and after the hard work of production, listening to them gives me a great deal of joy and happiness. Imagine a kid of 12 or 13 years in love with the song Jagua Nana, produced several decades ago. That's the power of music.

Why did you decide to move to Ghana?

I returned home to Nigeria with my wife in 1998 and we were living in Surulere, Lagos, where we had a studio. We brought in lots to quality equipments and did try to record albums. But we were always having problems with power supply. And it caused us so much damage. Eventually, we decided to move and after performing at the PANAFEST in Ghana, I was impressed with the power supply and decided to stay on and establish a music studio to produce our albums.

Do you plan to establish a music school to help the growth of music in Nigeria?

Yeah, there are plans, but we can't do it alone without corporate and government support. But it's always hard getting government support because of their politicking. You can see the importance of attending a music school, through that young lady, Asa.

I remember that before we travelled to Ghana, a fella brought her to our studio and we directed her to Yinka Davies. On our return, I was happy that she decided to do a good thing with her life by attending Peter King's music school in Badagry. Today, she can play the guitar and other instruments very well as well as compose and arrange her songs. If many of our kids can attend music schools, we would definitely see that this country is blessed with lots of stars.

You said something about both of you releasing new albums. How soon should we expect it?

Over there in Ghana, I did an album and produced some songs for her album too. OJB Jezreel also did some tracks for her in the album. I would call her music Afro-Soul, and she did a couple of songs in Yoruba, which she learnt, from me.

Is any of your children taking after you musically?

Yeah, my son in Los Angeles named Ajamu, born to me by an African American woman is doing music. He plays Afro hip-hop and he is 26 years old and last year, he released an album. His full names are Ajamu Oyegoke Ekemode.

And your own, funkified names?

You should know that Orlando is just a nickname I adopted because of my record label. They advised then that if I use my real names it would seem like I am playing Apala or Sakara music. I took the name Orlando from the popular movie actor, Orlando Martins who acted with the likes of Bob Hope and the late American president, Ronald Reagan. He was a Nigerian the late Chief Obafemi Awolowo brought back home to be part of the establishment of WNTV.

Even Orlando Owoh took the name too, after me. At a time when he was in the army, he would go about singing like me and gradually people started calling him Orlando.
Last year certainly was a bad one for the music industry in terms of death.

Did you at any time approach the past and present PMAN leadership to do more on artistes' welfare?

I have always been interested in helping the industry grow. But the problem is the response of PMAN leadership to offers of help. It's been very nonchallant. After Sunny Ade's tenure, I told my wife that I was interested in participating in the affairs of PMAN. I went ahead, paid my dues but up till now, I don't have a membership card. Who do I go and fight?

When Charley Boy was PMAN president, I did a lot to encourage him and during my stay in Ghana, I invited him over and he was happily received and hosted by the leadership of Ghana Musicians Union. After he left office, I also visited Bolaji Rosiji to discuss ways forward for the music industry. I have also had discussions with Tee-Mac on the issue of getting royalties for musicians.

Today, Nigeria is not enjoying the services provided by other member countries of PMRS. Overseas, radio and television stations have a log book to record music played and on how much an artistes would receive for getting his song played. It might interest you to know that till today, I still receive royalties for my records. Do you know also that I have to operate an account from Ghana to pick my royalties because PMRS stopped dealing with Nigeria long ago due to our past policies. It is a shame that no artiste from Nigeria collects royalties from anywhere.

What's the way out?

It is to get the government more involved and look back at its policies, redress the past mistakes and make the industry an open and level playing field.

What legacy do you intend leaving behind as a fulfilled musician?

I want to be remembered as a musician who loved his country. As someone who gave the people beautiful music and was always ready to help and do the best for the overall growth of this great country and the world in general. Still on the royalty issues, I want PMAN, NCC, MSCN and others to take it seriously because it is now so bad that even radio stations now go to Alaba market to buy CDs and play on air without paying artistes.

I want to also be remembered as someone who helped Nigerian artistes to get their rights. I would not go back on the music school project and I have set up my music studios in my place in Ijebu-Jesa, Osun State.

What's up with your newest job?

My new job is titled Longevity and reclamation.


The interview was published by The Guardian Nigeria, unfortunately not available online at their page anymore!

Orlando Julius - An interview

The interview


How my father's death changed my life

By Tunde Akingbade


Orlando Julius Ekemode, popularly called OJ, the ace Afro-highlife musician, is a man with global musical relevance. Quiet, unassuming, resourceful and multi talented, O J has performed in Nigeria, Europe and America for over 50 years. A song writer, trumpeter, film maker and performer par excellence, he encountered the late godfather of Soul, James Brown and also, wrote the award winning Going Back to My Roots for Lamont Dozier. He has performed alongside Hugh Masakela, Ronald White, Tony Allen and many other great musicians in shows around the world. He originated the art of fusing African rhythms with American soul or pop music in the 1960s. OJ is a star that knows how to blow the horns in his music, yet he does not 'blow his own trumpet' as an accomplished musician. Recently, he released 52 of his old songs. In this interview, OJ speaks on the influence of the late sage, Chief Obafemi Awolowo, in his career; Jimi Solanke, how he helped Fela Anikulapo at the formative stage of his group, Koola Lobitos, among others. Excerpts:

How did you come into music?

I started from school when I was in the elementary school. I was born in Ikole-Ekiti and I attended St. Peter's Anglican School there. That was when I was very young. I left the school because my father died when I was about entering secondary school. From Ikole - Ekiti, I moved to Ibadan in 1957. My father was a trader while my mother was a cloth weaver. She used to weave aso oke. Also, she used to sing in those days and I took singing from her. She had a group of women they called Egbe awon obinrin (Women's Group) and they used to sing together. When she wove those native materials at night, she used to sing and I would sit beside her, beat my drums and sing along.

Before that, I had always known that God gave me musical talent. In school, I also tried to develop it and brush up the talent. As I said earlier, I moved to Ibadan after my father's death. In Ibadan, I went to different Clubs to play with different groups. That was in 1957. In 1958, I was lucky to have been around during the time of Chief Obafemi Awolowo's Premiership in Western Region. He, however, didn't have the opportunity to put music in school though he had the Free Education Programme in Western Region. His party was called Action Group (AG) with the symbol of the palm tree. So, he decided to put something together with his party and they bought musical instruments to set up about 30 different bands. They used the Action Group headquarters at Oke-Ado, across the Odeon Cinema.

I know the place!

Yes. They used the place and Awolowo did not care about your place of origin. He brought all of us together there. They gave us the opportunity to use the place. That was where I played with different musicians in the region.

One day, one of the leaders who used to teach us how to play instruments got a contract to play at a function in Ondo. The hotel where we played was called Modupe Hotel. We went with him. I was playing the drums when we got to Ondo.

However, I was learning how to play the saxophone in Awolowo's musical camp. I continued practicing and was able to continue with the saxophone. From Ondo, we went to Akure and we played at Flamingo Hotel. I later came back to Ibadan because our leader left. It was there that I was able to join Eddie Okonta's Band. He used to play at Paradise Club at Kingsway Area in Ibadan. I played there in 1958, 1959 and I later went to play at Right Time Hotel in Ijebu-Ode. I was one of the band members who recorded the hit song; Mori sisi kan ni sa, Sisi dara tegan ko o. Aso alaso lolo yawo, Sis dara, tete malo, Sinati re poju, Oro re sun mi.

I remember that song in those days

After that, there was a day I.K. Dairo came to play in Ijebu-Ode. He saw me and told me, 'Aburo mi, wale o!' (My young brother, please come home!) He told me someone just gave him instruments for a dance band. Then I went to Ilesha with him. I began to lead I.K Dairo's Dance Band. You know I.K. Dairo had a juju band, Blue Spot Band, which he led. Mine was I.K. Dairo's Dance Band. I came to Ibadan and played the Afro highlife because when I played the people called it Afro. It was different from the highlife played by others. Jimi Solanke was my first vocalist. There was also Isiaka Adio and Eddie Fayehun from Akure. The band was in Ilesa for a while before I moved to Ibadan. That was in 1960, and 1961. In 1962, I decided to play at a club called Independence Hotel at Oke Bola. My band then was called Orlando Julius and his Modern Ace Band because in 1959 and 1960, I was thinking of how to modernise highlife music into Afro because if you listened to my highlife music then, it was not like Roy Chicago or Rex Lawson. I sang the songs: Mapa mi, Fimi mi sile; Aiye le and Jagua Nana. There was also Ma Fagba se yeye nitori ati sun e, Bomode ba mowo we oni lati bagba je, Awati mowo we, Asi ma bagba je, among others.

Interesting

In 1964, Fela Ransome-Kuti (later Anikulapo - Kuti) used to come to my club. He was at Nigerian Broadcasting Corporation (NBC) in Lagos then. He went to many clubs then but he used to come to my club in Ibadan every Friday. He came on my stage one day and I liked the way he played the trumpet; you know; he knew how to do that when he was in London where he studied music. He used to listen to my music. He was about to start his Koola Lobitos group then. Four members of my band were released to help him to start his band.

In Ibadan, I was so lucky because when Chief Awolowo brought Western Nigeria Television/Western Nigeria Broadcasting Service (WNTV/WNBS), I had a contract to play for four quarters on a variety show from 6pm - 7 pm every Saturday. I went to Lagos and got another contract to do the Bar Beach Show for another four months.

With Art Alade?

Yes with Art Alade. I was able to release so many songs then - Afro highlife. This week 52 out of those old songs will be released.

Congratulations on the release of these oldies. But can you give us an insight into what led to the composition and release of the songs: Jaguar Nana and Mapami Baby Mapami, Toba dosan mo fe je chicken, to ba se tan o mofe je eja dindin, diedie ni owo ntan lo, mapa mi baby ma pami? (Don't kill me/ baby don't kill me with your appetite/ in the afternoon/ you demand to eat chicken/ by evening time you ask for fried fish/ But slowly/ the money is going sown the drains).

You know in those days, it was good to sing songs that taught morals, and words of advice. Its not that I had a problem with a woman. No, there was no problem. In those days, when you read something that happened you will later put it into a song just as: Ma fagba se yeye nitori ati sun e. or my other songs, Ti e ba nsoro erora foye so/ eni ba dele ijo wa awowo yanu/ eni to ba moyi ere/ a yin Orlando. Egbeje ni irawo/ okan soso mi osupa etc. or Iwo ololufe ma ko mi/ ti nba se e o/ Olomi pemi so fun mi (You sweet heart, do not divorce me, if I offered you, my sweat heart, please call me and tell me).

I wrote the song Topless for ladies in Lagos. Then, ladies wore dresses that exposed their chests, so, I wrote; Asoti kobo ige ti won npe mi Topless/ Asa kan wo Eko/ Bi sisi duro wari/ Toba bere wan tunri / Topless koma da lati wojade (The dress that does not cover the chest that they call Topless/ A vogue has entered Lagos when ladies stand or kneel down/ you will notice it/ but Topless is not fit to be worn outside the home.)

I also sang E se rere (Be good to others). I used the same sound track for the movie of Eku Ida by Tunji Bamisigbin. I did a soundtrack for Tunde Kelani's Saworo ide. I have done a couple of sound tracks.

You have lived in the United States, in Ghana and now, you're in Osogbo, what motivated these movements?

The first movement was to the United States of America and I spent 25 years there I studied filmmaking recording there. I studied music production so that I will be able to help our people here. When I came back, we were at Adebola Street, Surulere. I brought a lot of expensive equipment for our studio here, unfortunately we were not able to record much because of the erratic power supply. Because of the poor power supply, some of our equipment were damaged. I needed to record some of my songs and that of my wife. So, we moved to Ghana during PANAFEST in 2003. At that time, Ghana was celebrating its four years of uninterrupted power supply. But we were able to go there and carry out the recordings. That was where I was able to record my album; Longevity and Reclamation. "Longevity being a long time that I have been in the music business and Reclamation being reclaiming some of the songs that I have done for other people and they ripped me off. The recording labels at that put my records on singles and EPS (Extended Plays) before coming out with albums. I thank God that today, my records are selling in Europe and America and that where I have been able to get royalties. Now, we have decided to release that 52 classics, which shows the complication of the history of my music career including when I met James Brown and how we featured together and other people I worked with - Lamont Dozier on that song that won the award; Kawa Oma Ranti, Ranti Ile O, Isedale Baba Awa (Let us remember Home/ The Roots of our ancestors/ You remember, Going back to my Roots?

Yes I remember. And you are now back to your roots?

Yes.

Where are you originally from?

I am originally from Ilesa; Ijebu - Ilesa from Ijebu-Ilesa is just about five miles. We are all Ijesas it used to be in Oyo State, but its now in Osun State.

Are you related to one Dr. Ekemode because I know your full name are; Orlando Julius Ekemode?

Yes. The Ekemode in Ife?

Yes

He is my brother. He is my brother from the same father. It was thought in those days that if I used Ekemode in my name, I would sound like Apala or Sakara band. Julius is my baptismal name. So, Orlando was borrowed from the late Orlando Martins, you know the late Pa Orlando Martins?

Yes

In 1958 and 1959, when Chief Awolowo brought the first television African to Ibadan; the late Pa Orlando Martins, who had acted in films with people such as Bob Hope, the late Ronald Reagan, former US President and many other European actors was brought home then to perform at WNTV. He loved my music. Anytime I played at Oke-Bola, Pa Orlando Martins used to come to the club to listen to my music. That was how I got close to him and I told him I wanted to borrow his name and use it. That was how I bore Orlando Julius even before Orlando Owoh.

You actually reigned around the time James Brown reigned in America. I was in the Primary School and J.B released; Say it loud; am black and proud. What's your reaction?

One of my songs that he used was Ijo soul. I sang Atun gbe ijo tutun de/ ore bole jo/ sama ma mi o/ ijo ti ya (We have come with a new dance step/ My friend if you cannot dance just shake your body/ lets dance). Then, I blew the trumpet - pan pan pan rah! Ore mu iyawo e kalojo (My friend take your wife and lets dance - pan pan pan rah!). So, when James Brown came here and I gave him my record, he returned to America and came out with the popular, I feel good - with the trumpet sound param ran ran rah!

So, he took that from you?

Yes. I got that from the music of Sam and Dave but the one I sang, Ore mu iyawo eka lo jo para para para rah, he got that from me.

The way you get your inspiration and what comes out of your trumpet seems divine what do you think?

Yes it is.

How do you feel back home now?

I feel good, I feel great but the things that you get now are different from our time when we played highlife and Afro beat.

If you look at what is happening in the Nigerian music scene, are musicians well remunerated?

You see we are not being well paid. The hip-hop thing probably you will know more about it, but I don't. It is a problem that should be dealt with by government. And the corporate people too. For example, I was in America for 25 years I played in all the theatres for many years that I found it difficult to think of going to play in Europe. Musical festivals hold in America all the time. So, musicians should be working all the time

How did you meet your wife?

I met her through her godfather - Ambrose Campbell, you remember him?

Yes I remember him....

He sang; Ohun toba dara ko ra fomo re, Omo laso aiye omo laso omo laso aiye, omo laso. He also sang: eniri nkan he, to fe ku pelu e o. Owo eni to ti sonu nko? And that song he did for Chief Awolowo when Awo brought him here to sing during independence; Irohin rere, to de fun gbogbowa Awa omo Nigeria Agbomi Nira . Awolowo Ose, Bami Awolowo, Awolowo, Oluwa ake e Botiseke awoomo Nigeria irorun rere to de fun gbogbo wa Awa Omo Africa Agba omimira.

Did you say your wife is Campbell's daughter?

No. My wife was born in Chicago. She is Afro-American. I met her with Campbell who introduced her to me. He was her godfather.

How did she get to know Campbell?

Ambrose knew a lot of people in America. And he was very popular and luckily my wife met him and he became her godfather.

Source

Orlando Julius - Dance Afro-Beat

Background

Although he is fondly called O.J by his friends and admirers, Orlando is real names are Orlando Julius Aremu Olusanya Ekemode. An indigene of Ilesha in Osun State, he was born in Ikole-Ekiti to a trading family His father first traded in Abeokuta before moving to Ikole-Ekiti, where he was given a piece of land by the traditional ruler of the town and encouraged to settle there.

Orlando is the fourth son in the family and the younger brother of professor Gabriel Ekemode, of the University of Ife, Ile-Ife (now Obafemi Awolowo University) his journey into music began many years ago when he was a pupil of St. Peter’s Anglican School, Ikole-Ekiti . As a lad, he played the drums and flute for the school band, as well as for a local band known as Mambo dance band. After finishing school in 1957 and consequent upon the death of his father in the same year, he left Ikole-Ekiti for Ibadan (the then capital of the Western region) in search of a job. While in the city, he worked as a bakery assistant and at the same time, tried to keep alive his dream of pursing a career in music by stringing along with a few musicians who desired his services as a drummer and flutist.

He went to play at a time under J. Oyeshiku and Cotey Necoy of Ghanan and Julius Araba but his real wish was to become a saxophonist. And so, in keeping with the tradition of the time, he took up apprenticeship with Ademola Haastrup (aka. Jazz Romero) band and one of the brightest horns men around then. Orlando landed a job with Romero’s band (Action Group) playing trap drums.

To a large extent, Orlando Julius aids his success as a musician to the persisting influence of his experience in Ibadan. He cherishes most of those early days with the Action Group Band. He was not only impressed with the band’s organization but also reckoned it to be the best equip(musical instrument) band in the country and it provide a great opportunity for up-coming musicians to practice there skill and become professionals.

Early 1958 Orlando Julius went to Ondo State with Haastrup to start the Modupe Dance Band while in Ondo State, played drum-set with the band while Learning saxophone at the time, with his master. June 1958, was when Orlando Began to play the alto saxophone for the first time on stage. Towards the end of “58 the Band moved on to Akure-Ekiti, to the Flamingo Hotel and became the “Flamingo Dandies Band”. Jazz Romero abandoned the band after a misunderstanding with the owner of the hotel. Orlando became the band leader after a decision by the band members. Although the band members felt that Orlando has what it takes to lead. His own belief was that he was not yet experience enough to handle such responsibility at the time. After a short while Orlando decided to move back to Ibadan to get more experience.

After relocating back to Ibadan, Orlando returned to Action Group Band. He also traveled in between Lagos and Ibadan frequently. While in Lagos, Orlando played Nyingifa ‘s band, and also at “Mayflower Club” in Ibadan with Rex Williams. In 1959 Orlando landed a job with Eddie Okonta and “His Top Aces” band at Central Hotel, also Paradise Club. While playing with Eddie Okonta, Orlando had the opportunity to welcome Louis Armstrong to Ibadan.

Louis Armstrong performed and presented Eddie Okonta a special trumpet,with golden mouthpiece and his white handkerchief. Working with Mr. Okonta was a great opportunity for Orlando, He always loved Eddie Okonta’s music, and in fact he used to stand on a pile of blocks so he can see him play at Paradise in mid “57 So now working with him was like a miracle that put Orlando on the right path.

Orlando was constantly writing songs and modernizing High-Life music, since working with the Flamingo Dandies. While working with Eddie Okonta, he was made the “horn arranger” and parts scorer. With Eddie Okonta, Orlando Julius, played on WNTV, Ibadan ”First in Africa”. Also he toured Nigeria with Eddie Okonta and His Top Aces.

In 1960,after the Independence celebration Orlando traveled to Ijebu-Ode to work with the “Right Time Dance Band”, where he first met Y.S. Akinibosun the leader of the band. He worked with the band for over six months. After meeting his brother I.K.Diaro and his band at a gig in Ijebu-Ode, I.K.Diaro convinced Orlando to come back home to Ijesha land to lead the “I.K.’s Dance Band. While leading I.K’s Dance band he recorded his first single in 1961,”Igbehin Adara” and “Jola Ade”. In NBC Radio Station in Ibadan on Alowonle records. Orlando also co-written and arranged some of I.K.Dairo’s hits such as “Solome”,Bola Ti To”,and others. The dance band lead by Orlando Julius also backed I.K. Diaro on some high-life recordings.

By 1963 Orlando started forming “His Modern Aces” band in Ibadan. The name Modern Aces was because of Orlando’s style and modernization of “Highlife”. Orlando Julius and His Modern Aces played Parties Universities, Clubs, weddings etc;. The band was hot; in 1963 Orlando recorded with “Phillips records”. The song Jaguar Nana on a single along with Ishe Logun Ishe on the flip side. The song sold millions in the country and outside the country, but unfortunately, Phillips took Orlando and his band for a ride because Orlando never received any royalties for his records. Phillips paid five pounds for a single and that five pounds had to take care of the whole band. It is said that the single sold over a million copies.

In mid 1964,with the success of Jaguar Nana, Orlando got a contract to play a Television weekend show on WNTV for a few quarters. The producer for the show was Segun Shofowote, during this time he met and worked with Ambassador Segun Olusola and many other TV house producers like Orlando Martins. Also Orlando was contracted to play on “Bar Beach Show" on channel 10 in Lagos, were he worked with producer Art Alade and others where he and his band played for two quarters. Between the years of 1963 and 64 Orlando and His Modern Aces continued to play many engagements including Havana Festival at the University of Ibadan and all Universities in Nigeria, including Chief Obafemi Awolowo’s birthday, Chief Rotimi Willams 25th anniversary, to name a few of the many “Big” engagements.

Orlando never stopped writing and arranging his creative style of music. While living in Ibadan, Orlando performed in the Independence Hotel. It was the talk of the town. As he experimented with his new style his modern highlife took a form of more contemporary style of high life, fusing modern highlife with jazz and also soul. Fela-Ransome Kuti And Orlando first met at the Independence Hotel were Orlando featured Fela playing trumpet. Also many big names at the time played at Independence Hotel on Orlando’s invitation like I.K. Diaro, Rex Lawson, Paramount 8 from Ghana ,Eric Akaeze,Bola Johnson, Biodun Bakare, Tunji Oyelana and others. Jimi
Sholanke was Orlando’s first vocalist from I.K.’s band, Eddie Fayehun played trumpet, Moses Akanbi on trap drums to mention a few.

1967 was when Orlando changed the bands’ name to Afro-Sounders, since his music had a sound of it’s own with the Afro and the Soul, he thought that Afro Sounders was a more appropriate name for the band. More hits like Topless, Ijo Soul Ololufe, Ese rere; were out at this time.

1968 to 1970 Orlando Julius and His Afro-Sounders dished out more powerful music with Alo Mi Alo, Sweet Home, Erora Miliki, Amin Ase, Erora Yio Sida, Psychedelic Afro Shop and James Brown Ride On. Orlando met James Brown when he came to Ibadan with his band the JB’s he also had Bootsie Collins with him. Orlando and his band had a serious jam session in 1969. Orlando and His Afro Sounders continued to play engagements and club dates east, north ,west and south. Hakeem Kareem was with Afro Sounders in the beginning.

In 1972 Orlando traveled to Germany, London, Swisserland, and also U.S. on Polders invitation., with whom his album was released. Orlando’s band continued to Play even as he traveled, Club Chicago was the spot for the Afro Sounders in Surulere, also Gondola night club, Bata Koto,and many others in Lagos.

Orlando finally left for the U.S. in 1974 after recording Disco Highlife and Children of the World, featuring Dora Ifodu. Orlando lived in Manhattan, New York, but soon moved over to Washington D.C.. While in there, he worked with Melvin Deal in arts in residence program, during this time Orlando wasted no time in forming a band. The groups name” Umoja” ,with Gboyega Adelaja,Stanley Todd, Frankie Todd, Asante, Harry Opoku,and Glenn Warren, (The son of Guy Warren, the greatest drummer in Ghana).Umoja has played with Isaac Hayes,Chaka Khan & Rufus, Gil Scot Herron, the Ojays,Gladys Knight & the Pips, Harold Melvin and the Blue notes, Staple Singers ,Curtis Mayfield . Ron Hood was the promoter and manager of Umoja, he loved African music and he really did his best to promote Umoja and book them with the best the west had to offer. Orlando and Umoja would always be grateful for Ron’s efforts. When Hugh Masekela came to Umoja’s rehearsal, he was instantly excited about working with the band after hearing Orlando’s” Ashiko”. Umoja toured and recorded with Hugh Masekela,Orlando took a big part in the production of the albums “The Boy’s Doing It” and “Colonial Man”.

In 1975 , after the success of Hugh Masekela’s The Boys Doin It, the band toured the U.S,Canada, Hawaii, Ghana, and Liberia . They Played with Grover Washington, Sara Vaughn, Isley Brothers, Miles Davis, Nina Simone,Herbie Hancock,(At the Carnigie Hall) ). Orlando played with Hugh Masekela for two years, recording and producing with Hugh Masekela, and performing with his band “Ojah”, backing Hugh. He left Hugh Masekela after being disappointed with producing credits, and once again formed the band ”Ashiko” in Washington D.C. the band played East coast and Midwestern states, before moving to California.

In 1977 Orlando met Lamont Dozier through producer Stuart Levine, and co- produced “Going Back to My Roots”. Although Orlando’s music was used from his hit Ashiko, and the chants and chorus and percussions was all of Orlando’s arrangement, Lamont Dozier and his producer only gave OJ translation credits, instead of composition, arrangement and performing credits. The song was the first time that A Nigerian artiste would record, in his own language with an American counter part on commercial radio in U.S. ,the song was a big success. The song was also done by the London Group “Odessey”, taking the song to number five on the world chart. Orlando Julius also had the oppourtunity to appear in the classic movie “Roots the Next Generation., through OJ.Simpson, the famous Footballer. He worked with James Earl Jones, Shamsi Sarumi,one of Ambrose Campbell’s musicians, also Peter Badejo.

1978 Orlando moved back to the Bay Area near San Francisco. To further his knowledge in the recording field, he studied audio engineering and production in Bear west Studios and also studied film production at the Berkeley Film Institute. Orlando also attended Lanely College for photography, television production and also some music courses. While studying he was still performing and creating a world beat movement in the Bay area Orlando took his brand of music and taught American musicians much about world beat rhythms and Afro Beat music. Under his tutelage Many “World Beat bands formed through out the Bay Area and in San Francisco. Orlando played Colleges ,clubs dates and festivals with his friend C.K. Ladzekpo, from Ghana, who is a professor of music in U.C. Berkeley.

Orlando taught many American musicians in the Bay Area, Highlife, Afro Beat, Percussions and more. He also had dance and drum workshops while on the road at many community centers and universities .Many of his students also played live gigs with Orlando and went on to form their own bands, namely “Big City”, “Freaky Executives”, “Zulu Spear” and more. Also at the “Scarab Club” in Berkeley ,California ,Orlando and His band “Ashiko” would feature with musicians from different popular groups, like the Escovedo family,including Sheila E,Coke Escovedo and also Pete Escovedo. He continued to play in U.S. on the same bill as John Lee Hooker, B.B.King, and Art Blakey at the Keystone Corner, in San Franscico. All this took place between the years of 1980 –1983. By the next year Orlando would return home To Nigria to record his album “Dance Afro Beat”,at EMI Studios in Lagos.

Orlando Julius along with Prof. C.K. Ladzekpo from Ghana both came up with the name “WORLD BEAT MUSIC” that Santana management: Bill Graham help them launched at the GREEK THEATRE in Berkeley California. And today “World Beat Music” is one of major Gammy Awards thanks to The Legend Orlando Julius & Prof. C.K.Ladzekpo.

1984 after returning from Nigeria, he finished the production of the album Dance Afro Beat, and released it in California. With the success of the album, Orlando decided to return once again, to Nigeria to produce Dance Afro Beat video and release the album in Nigeria. The video “Adara “ was recorded in the Osun Shrine ,and “Dance Afro Beat” was recorded in Badagry at the beach. The video “Ishe was also included, many young artistes remember the song “Ishe" and said that it inspired them to work hard and to be responsible. The video was shot by Cinecraft ,director of photography Tunde Kelani, sound ,Wale Fanu and produced and directed by Orlando Julius. The music videos were a huge success. The medis houses played them over and over . It was the videos that set the pace for home videos, and also music videos because of its professional production and the fact that it was done in Nigeria, showing the beauty, nature and the hard work of the people and the land. With the hope of sharing this beauty and music abroad, despite the fact that Orlando had many musicians to work with in the U.S, he embarked on a project and took 21 musicians in 1985 to the U.S. for a musical tour.

Orlando continued to tour with the Nigerian Allstars, although the band had different musicians the music remained the same, Magic! People were and still are very tripped with Orlando’s style of music. While playing in Boston at the “Night Stage” Orlando did a drum and music workshop for the “Berkely School of Music”, he brought students from the workshop to the Night Stage that night and they had great fun.

By the year 1987 was the first year OJ Ekemode and His Nigerian Allstars played the New Orleans Jazz Festival, he went to play again in 1989 and 1992. He also record the album “Sisi Sade”in 1989 and “We Pray for Peace” in 1991.under his own label Ashiko Records.

1992 Orlando and his Nigerian Allstars toured heavily in the states featuring in many festivals with many big names. As Orlando says,” some things you just can’t buy with money and the experience of playing and meeting so many big names, like Ray Charles B.B.King, The Temptations, Smoky Robinson, Ohio Players, Sun Ra, and playing many World Beat Festivals, Reggae Festivals, like Reggae on the River is something that I will always cherish, not only to play the same bill but to meet and get to know many great musicians and artistes that loves my music “.They treat you with respect like the International Star and want to know more about Nigeria and its music. ”That makes me happy”. Also while in California Orlando record two music videos for His Big Brother the late Chief Isaac Kehinde Diaro MBE. Also Carlos Santana personally selected Orlando and his Nigerian All-stars to accompany him to Hawaii to play his annual festival. While in Hawaii,The Nigerian flag was flown very in front of the stage along with other flags of artistes’ countries who participated in the concert. This also made Orlando very proud not only for himself but also for Nigeria.

1994 Orlando and Latoya moved to Nashville, Tennessee, to be closer and to work with Ambrose Campbell, who by the way introduced Orlando to Latoya in 1978. While in Nashville Orlando continued his televison program ”AFROBEAT VIDEOS". The program presented African music videos, which was something new to Nashville, also Orlando ,along with Latoya constructed “Afro Beat Studios” in a Soho type wharehouse . there he recorded The Legend Continues ” CD. The Studio was also used for video shoots, parties, workshops etc. Disney World released the movie Lion King in Florida and Orlando and His Nigerian All Stars were chosen to play for the release because of the African theme of the movie , after the release he was invited by popular demand twice, to play for Disney World.

December 1995 Orlando and his band were contracted to play the Green Moon Festival, sponsored by Texaco, in San Andreas, Colombia. On this trip,Orlando performed with many artistes from Cuba,Zaire, Jamacia and so on, but Orlando’s music stood out the most, he was well received from the people of Colombia,because his music remined them of Africa, their ancestral home. People from Brazil came over to the festival to especially meet Orlando and sing his song “Adara” to him . Orlando was pleasantly surprised. Orlando let the people of SanAndreas remember Africa and they in returned reminded Orlando of Nigeria. That is how he wrote the song “Colombia”.The food, the atmosphere the beautiful African women .And it was also the beginning of Orlando’s return home, to Nigeria.

1997 Orlando’s home sickness become profound, and he decided to return to Nigeria. After his visit in 1997 he was convinced that no matter the situation, home is home and home is sweet. So Orlando and Latoya moved to Nigeria in December 1998.

1999 Orlando quickly set up shop in Surulere Lagos, a recording and rehearsal studio. He recruited musicians and formed his band Nigerian All-Stars. Orlando has played for Lagos State functions,(Governor Tinubu’s Inauguration ,Agbani Daregos’ visit)and featured in concerts for ,French Cultural Center. He also has featured on NTA”s “Morning Ride” programme for a few season’s, adding quality production in sound for transmission is a statement for his professionalism in production. Orlando also featured in the first annual “Black Heritage Festival”. Orlando’s original recording “Super Afro Soul” was released by Afro Strut Records, London, 2000 and has had great reviews and Sales. The album was recorded in 1965 .

Orlando spearheaded “The Nigerian Musicians Forum,” with the help of Eko FM and LTV8 in the year 2001 to tackle the existing problems of the nations ailing music industry. The forum openly discusses the issues of piracy, mechanical fees, professionalism, past problems and solutions. Also since his arrival Orlando has met up with some of his colleagues and mentor’s, and has been assisting them in recording their works. Orlando, a staunch believer in playing Nigerian music more on TV and radio has openly discussed his disappointment with the media for promoting more foreign than to help develop and promote their own Nigerian artistes in the field of music, drama, production and so forth. Orlando has done movie soundtracks for Wale Fanu “Owo Blow”,Tunde Kelani’s “Saworoide”,Tunji Bamishigbin’s “Eku Ida”,and many others. His analog studio craftsmanship attracts
artistes that like to perform live analog music ,and drumming like Ogunde’s “Erin Losa”. And many gospel artistes like Mr. Akatu Alphonsus Aloga’s “Point of Anger”.

Orlando will be celebrating over 40 years in the music industry. To support this effort he will be releasing “The Legend Continues” into the market along side his release with Premier Records, “Ololufe mi”. Orlando has been working very hard to revive “Highlife music, from the legends,he has recorded Fatai Rolling Dollar,
Alaba Pedro(Guitarist from Roy Chicago’s band), others include Tunde Osofisan, Papa J. This in Orlando’s way is one of his contributions to keeping Nigerian music and musicians forging ahead. Orlando has also challenged the younger artistes to be original and to use live music in their performances. They can do hip hop and other music with western influence, but also represent your own culture and lifestyle by doing more Highlife and Afro Beat .Orlando has also produced his singer/dancer wife Latoya Aduke in producing her works, not only in her afro soul music, but also produced her singing Nigerian music in Nigerian language.

It is very hard to put over forty years of a man’s life and times in just a few pages. This little information, I hope will assist you in your efforts and help you to know more about the man, the musician,” Orlando Julius”. He has worked very hard and has not had the easiest of times in his career, but he definitely has contributed to the Nigerian music scene in no small way and also has been, and still is a great influence to musicians here in Nigeria and also America and beyond. He is still going strong in his performances, a Master Saxophonist, songwriter, arranger; and producer. He continues to perform with his band The Nigerian All-stars to the delight of young and old.

Source





Tracklist

01. a dara
02. aye le
03. ashiko
04. dance afro-beat
05. awade (here we come)
06. ishe

Another old hero of Afrobeat!

ORLANDO JULIUS



One of the most innovative and pioneering musicians of his time, Orlando Julius made an amazing contribution to the Nigerian music between the sixties and the seventies. This collection includes "Super Afro Soul" with Orlando Julius & his Modern Aces, and "Orlando's Afro Ideas 1969-72" by Orlando Julius & his Afro Sounders. A mind-blowing mix of Nigerian Highlife style with Jazz, Soul, and Funk.

On "Super Afro Soul" you can hear the early musical tremors. It was Orlando’s first album, released in 1966, a head on collision between Highlife - the soundtrack of Independence first in Ghana and then in neighbouring Nigeria (the music of West African political/social aspiration at that time ,‘the successful africanisation of a western structure’ as Prof. John Collins says ) - and ‘60’s Soul from the USA , the soundtrack of Afro-America’s struggle for civil rights and equality . While Fela Kuti’s Koola Lobitos was experimenting with highlife and jazz with little response from Lagos youth, still 4 years and a spell in Los Angeles from creating Afrobeat, Orlando Julius unleashed this pioneering Highlife Soul gem and Lagos clubs resounded to the new sound.

Orlando (some say he borrowed that name from Nigerian film actor, Orlando Martins) Julius Aremu Olusanya Ekemode started life in 1943 in Ijebu-Ijesha in the Osun state of Nigeria. His first instruments were drums and later flute at school, and then he discovered his favourite instrument, the alto-sax, which he studied for two years before he joined local highlife heroes, the Flamingo Dandies of Akure. Highlife was the breaking wave and he surfed it, an unstoppable talent. At 19 he even briefly became leader of Juju music star I.K. Dairo’s Dance Band, for a short time, but then he returned to Highlife heaven with Eddy Okunta’s Top Ace band in Lagos, and immersed himself in highlife and the jazz of Parker and Coltrane. He also traced his musical journey through the ‘Kokoma’ beats. ‘I used to follow the priests and worshippers to where they performed their traditional worship; from there I picked up ‘Kokoma’ music.’ In 1964 he formed his Modern Aces and on their first massive hit single, Jagua Nana, released in October 1965, you can hear that he had married conga, bongos and the Agigdigbo of Kokoma with the sax into his beats. It took the country by storm and spawned a host of evolving sensual wriggles and def dance steps in the clubs. Three more singles followed, Topless (for a while he was ‘The Topless Man’), Ololufe and E Se Re Re.
Around this time, his two musical obsessions, jazz and highlife, were joined by a third, as the airwaves filled with the sounds of ‘60’s soul from the USA: Smokey Robinson, The Temptations, Otis Redding, Motown, Stax, Atlantic…and his Modern Aces became one of the very first in Nigeria to forge new directions with traditional highlife, alongside Fela’s Koola Lobitos, with whom he shared band members. On this first album, Super Afro Soul, released by PolyGram in 1966 in the triumphant wake of his hit singles , its clear that he’d caught the soul bug but he was going to play it his way. Lagos transforms the Memphis Soul Stew! Check his unique cover of Smokey’s My Girl, the James Brown ‘echoes’ in Ijo Soul. the Stax like brass riffs and dominant bass throughout the album…but the highlife and kokoma is never far away.

Orlando recorded three albums for PolyGram in Lagos. Orlando’s Idea and Ishe followed Super Afro Soul , each evolving its own sound, along with the changes that were happening on the Lagos music scene. ORLANDO’S AFRO IDEAS 1969-72 is a compilation of some of these tracks.

The outrageously successful arrival of Geraldo Pino and the Heartbeats from Sierra Leone with their soul covers, tight choreography, slick costumes and expensive new sound system upped the ante for every band. The Lagos scene countered. Fela Kuti announced the creation of a new sound Afrobeat and then left for a tour of the USA which would keep him away from Lagos.

Source: www.anthologyrecordings.com



DISCOGRAPHY

Orlando Julius - Super Afro Soul



Orlando Julius - Orlando´s Afro Ideas 1969-1972



Orlando Julius - Afro Soul