August 17, 2020

Jojolo (Look at this Beautiful Girl)

Solomon Ilori

https://youtu.be/8rjs743sWko

There are a couple things that everyone says about Solomon Ilori’s “African High Life”
The first is that it is an oddball and unusual album for Blue Note
It’s true
For reference, the title immediately preceding it in the discography is Freddie Hubbard’s Here to Stay, and the one succeeding it is Jackie McLean’s One Step Beyond
Ilori’s album is certainly nothing like either of these
The other most common comment is that the bonus tracks, which saw the light of day only for Blue Note’s 2005 reissue of the album, are where it’s at
You can understand that sentiment, too
Especially cuz they are tend far more “jazzy” and feature fine trumpet and flute from masters Donald Byrd and Hubert Laws, respectively
The bonus tracks originate from a later recording session, with an expanded lineup and extended takes
I like them, too
The audiophiles appreciate Rudy’s improved ear in laying down the tracks
And how he balanced the sound of Ilori’s “afro-drum” ensemble with the horns
Especially Igbesi Aiye
https://youtu.be/9z36ZrLXIJY
And Ggogbo Omo Ibile
https://youtu.be/SA9N7EQzpXA
These tunes are more legible in the jazz idiom, with melodic heads and tails and defined solos at their heart
But my favorite is from the original release, out of place on Blue Note or not
This is not obviously recognizable as jazz at all, much less the modern hard bop of which BN was always chief exponent
It’s more aptly described by the album’s title, high life (tho more traditional and acoustic than the 60s and 70s Ghanaian high life you might be familiar with)
Jojolo is subtitled Look at this Beautiful Girl
I’m not sure if Jojolo is a name or if it means something like youth, young girl
Anyone with proficiency in Yoruba? Igbo?
I know I love the vocal harmonies Ilori leads
Along with the lilting pennywhistle and xylophone
It’s just pure joy
Throwback to the dose on Har-You:
Montego Joe’s congas in the percussive mix, too
Jay Berliner is listed on guitar
But I’m pretty sure the rhythmic guitar on Jojolo is from Ilori himself
As for Hosea Taylor’s alto, which lends the tune its most jazz cred
Honestly, I could take it or leave it
But it doesn’t compromise the groove
Ilori came from a musical family
His dad was a singer and Solomon’s first music and dance teacher
He eventually picked up guitar and flute in addition to drums
He had his own band in Nigeria which saw some success
They even recorded for NBC
The Nigerian Broadcasting Corporation, that is
Sometime around 1958, he came to NY to try his hand at an American career, and popularize West African music
He had a big crew of musicians, singers, and dancers (don’t know how many he knew from Nigeria vs picked up along the way)
And they toured around doing shows at theatres and nightclubs
At some point he made contact with Art Blakey, who was always a student (and practitioner) of international percussion traditions
Blakey was the one responsible for bringing him to Blue Note
The album, released in 63, did nothing
Not sure who Blue Note thought would buy it
The music was unfamiliar to American audiences
Especially those who were looking for Jazz Messenger bop
Night in Tunisia maybe, but no Afternoons in Lagos
With the benefit of hindsight, it can be appreciated on it own terms