THE decade of the '70s will go down in world history as one in which black consciousness swept through the continent of Africa like a hurricane.As a revolution, this cultural renaissance impacted heavily on all aspects of the arts, especially music where almost all African nations began to embrace cultural relevance rather than dependence on Western forms and values.Nigeria stood out prominently in the area of music with musicians breaking out, forging new direction, and establishing bold fusions where African music began to enjoy international appeal and recognition. One of the first to launch out in terms of taking advantage of this revolution was singer, composer, guitarist, band leader, 'Black man' Akeeb Kareem.It is interesting to know that long before the wind of change from the imitation of foreign music to authenticity began to blow across African in the late '60s, Kareem was there, making his influence felt. As a matter of fact, before such Afro-inspired sounds as Allah Wakbar by Ofo the Black Company, led by the late Larry Ifedioranma; and Jeun Koku from the Afrobeat legend himself, Fela Anikulapo Kuti adopted authenticity in terms of the Africanisation of their music, Kareem was already recording Afro-pop fusion for Decca West Africa records.So consistent and committed was Kareem that his mode of dress and that of his entire band was at the time in African fashion. Needless to say that his compositions, most of which were written in Yoruba language, were meaningful and replete with inventiveness.Even when the 80s ushered in a revolution in pop music with Felix Leberty and Chris Okotie in the forefront, Kareem stuck to his authenticity and remained unshaken in his resolve to identify with African music.The era of the 70s was that of live music as opposed to the miming that has taken over today, reducing musical performance to mere entertainment, without any concrete message to hold on to. As a matter of fact, the situation is so bad today that even those who uphold the tenets of good music and would not otherwise turn attention to what is happening today, now find themselves unconsciously humming all the bad stuff they dislike without knowing it.The era of Kareem was that of Johny Haastrup of Monomono, Segun Bucknor and Revolution, Fred Fisher and his Ogiza Band among others who all created their different styles of fusions within varying sound identities.Kareem was perhaps the most successful, not because of his musicianship but because of record sales arising from popular acceptance. He identified with the grassroots in terms of compositional themes and live shows.Almost all the musicians decorated and surrounded themselves with African relics of ancient times to depict the images of the bands, but Kareem's mode of dressing was simple in the sense that rather than look outlandish, he mixed European styles with African fashion. And this gave him a special image and appeal. It was his popularity as reflected by the sales of his music that recommended him, in those days, to almost all the record companies ' Decca, EMI, Philips and Sanu Olu, an indigenous stable where his last records were released before he left the shores of this country.On Shanu Olu's stable in the early '80s, Kareem registered an artistic impression with the recording of a hit called Amebo. Apparently inspired by the role played by the great actress Ibidun Allison on the memorable television series, Village Headmaster, created by the late culture patriarch, Segun Olusola, Kareem told the story of a rumour monger and backed it up with his simple, but powerful music. But perhaps the album that has continued to paint him in good artistic light, even though not as financially rewarding is Ololufe, which means, My love produced by Odion Iruoje in the 70s.This recording is particularly remarkable in that away from his regular outfit with two guitars of rhythm and tenor, bass guitar and drums, he was provided with a full session of horn men and instrumentalists.In the first place, the great Berkley Jones, the guitarist who set the melodic pace and structured the progressive path for Ofege, the all-student group that created quite some sensation in the 70s, was enlisted into the session. Johnny Wood, the greatest organist on the scene at the time, dominated the rhythm section. Also enlisted were trumpet and saxophone to boost the ensemble sound.The horn section is not as clean and brilliant as should be, but the compositions are very well researched and put together. And of course, his powerful voice has been able to carry all the messages, as he observes all the nuances, all the emotional feelings that help to paint the stories with appropriate colours.Without attempting to dissect the tunes separately and discuss the nitty-gritty and detailed complexities of melodic, instrumental and compositional efforts, it must be admitted that the six songs are well delivered with perhaps the greatest emotion invested in Ololufe, the theme of the album. Singing in the same flowing vocal style with a voice that rings out in places like a griot, he does Awa na re with effortless ease. A self-identification kind of song, it is the band's signature tune.Other compositions that have experienced the typical Akeeb Kareem delivery include Sad memory, Tomorrow, Call me Blackman and Esin funfun (white horse).A nine-man session was provided by the producer, but Kareem listed his six-member outfit of which he is very proud. Certainly, he would have felt freer and better singing within the context of his regular outfit, but it was quite an experience for him, playing with a big band.Perhaps his greatest recording effort, even though not in chart terms, has been Africa Awake recorded for Afrodisia on the Decca West Africa stable in 1978. Its greatness is not only attributable to the support given to 'freedom fighters all over the world,' the music was also given a big boost by the participation of the incredible keyboard players, Gboyega Adelaja with lead guitar lips by George Achini. Spiritual support and assistance was also given by Zee-Tei Debekeme, a very creative artist.Blackman Akeeb Kareem is one of Nigeria's greatly talented musicians. At the time he left this country in the '80s, his last record, Amebo was doing well in the market and was occupying a comfortable slot on the then Top 10 hit parade chart in 1984.
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