Nigerian-born drummer and composer, Tosin Aribisala, has been actively
involved in professional music for over 14 years. Tosin’s brainchild, the
Afrikan Rhapsody band is a vehicle for exhibiting a cross-cultural musical
spectrum by merging African musical idioms with jazz, gospel, neo-soul, and
other contemporary music genres. Tosin writes in English and his native Nigerian
language - Yoruba. Besides leading his band, Tosin also performs drum solos which he dubs Drum Monologue. The Monologue is an expression of polyrhythmic, groovy, and poetic ideas on the drum set. And sometimes, he makes it a Drum Dialogue by featuring other percussion player(s).
Knowing that a tree does not make a forest, the individuals whose artistic ingenuities have influenced Tosin’s musical awareness include Haruna Ishola, Bob Marley, Maxwell, Majek Fashek, Salif Keita, Sade, Fela Kuti, Bobby McFerrin, Art Blakey, John Coltrane, and Bill Stewart.
To his credit, Tosin has performed and recorded with some world-renowned musicians, such as afrobeat exponent, Femi Kuti, music producer – Andres Levin – in the recording of “Red Hot Riot” CD – a tribute to the late legendary Nigerian musician and socio-political activist – Fela Kuti. The CD featured such notable artists as, Macy Gray, Erykah Badu, D’ Angelo, Sade, Baba Maal, and Taj Mahal. Tosin has also performed and recorded with Julie Dexter and Yerba Buena, and many others.
In 2009 and 2010, Tosin was nominated for the best world music instrumentalist for the Wammies Awards by WAMA – Washington Area Music Association. In early 2009, Tosin served as artist-in-residence at Strathmore Music Center, Bethesda, Maryland. In early 2010, Tosin appeared on the MTV’s real-world show, performing his drum dialogue. Currently, Tosin teaches and conducts drum workshops at Washington, DC, and Maryland public/private schools. Tosin is an endorsed artist of Vic Firth Drum Sticks Company.
In the mean time, Tosin is in the studio working on his upcoming 3rd album, which is due sometime next year, 2011. (From Tosin's Bio)
Q&A:
DCB: At what age did you begin to play and when did you get your first set of drums? TOSIN: Before i started playing the American drum set i began by playing [at about 3 or 4] African percussions like congas, cowbell, shekere, woodblock e.t.c. And then in 1987 when i went to a local church in Lagos, Nigeria, i saw that they had drum set and decided to give it a try. That was how my drumming life took off. DCB: From your writing, your father was a strong influence in your music learning. What other persons associated with your learning music were most influential in your life? TOSIN: Other influential person in my music learning was a man named Kunle Pinmiloye, a great teacher and drummer. He was the first person who taught how to read and interpret musical notations and drum rudiments. Another good teacher of mine was a Paris-based drummer called Moktar Samba, who gave me some lessons whenever i met him in France some years ago. Moktar actually expatiated on what Kunle taught me in Nigeria. DCB: When did you begin performing with a band? TOSIN: I started performing in a professional band in 1996. The band [Sunny Neji Band] was led by a guy called Sunny Neji - a Nigerian-based pop singer - who recently toured the U.S. Initially i was with the band for about 2 months and i was fired because i wasn't disciplined enough in keeping to time - always late for rehearsals and gigs and overplaying instead of keeping a steady flow of rhythm. It was quite disappointing, but fortunately for me they called me back a few weeks later. At that time i had learned a big lesson about being more professional and disciplined on a gig. However, i was only there for less than a year before another opportunity came my way. DCB: What was the first song you wrote and do you still play it and do you ever update songs you have written in the past and perform them anew?
TOSIN: The first song i wrote is called "
Harvester", which was written 11 years ago. I still perform it live;
actually, i just started performing it with my band about a year ago, and
it's been rearranged for both vocal and instrumental versions. I always
update my songs with new arrangements. It's like painting; you sketch
out what you want to paint and you keep going back to the board to add
this and that line or color. I learned that from a Ghanian painter who
worked for my dad and applied that to my music. Besides, I have come
across some composers' works that have been rearranged by themselves;
the funny thing is that the rearrangement always takes me by surprise,
and that just inspires me to rework some of my compositions, which
sometimes gives birth to 2 versions of the same song. That way the band
doesn't get bored of playing the same song over and over.
DCB: As you were growing up, how were you influenced
by the music of the church?
TOSIN: The music of the church in Nigeria
has its root in the traditional or folk music of the land, so it's
impossible to separate the two. The main differences are the lyrics
and the hymns. Thus, i absorbed everything equally: church music and
secular music at the same time.
DCB: Some comments on your website reference the
"Universal Language" of music. Where do you see hallelujazz
project within this framework?
TOSIN: Well, besides my native Yoruba language
that some listeners may not understand, the instrumental aspect of the
music is what brings about the connection or attraction for the general
listeners. Because the instrumentation of my music is not so traditionally
African but a marriage of African and jazz, and some Latin vibes. As a
matter of fact, I also write some songs in English language, which is a
more universal language that everyone could understand; for instance,
what's on your mind and life after life both featured
on my debut album, and more like that. I also observed that in this age
whereby the world is gradually evolving into a global village, especially
with modern technology, internet, media power, intermingling of cultures and
so on, it is not difficult for people around the world to understand or
connect with different cultures, music or fashion around us. For instance, i
was exposed to American music [jazz, country, soul, R&B, name it] at a very
early age; the same thing with Jamaican reggae music and the Rasta movement,
and many other cultures while i was still in Nigeria years ago. So i believe
the same thing could be happening to someone else in another part of the
world. That way we all can easily relate to the same type of music, outfit,
food, religion and what have you..
DCB: Your music is very original and listenable. I know you are working
on releasing a new CD with hallelujazz project. When might we expect the CD to be
released and how will it be distributed?
TOSIN: The music has actually been released, and
it is available through my website: tosinmusik.com
and on CD Baby: www.cdbaby.com/aribisala
VIDEO INTERVIEWS:
Music Time in Africa presents TOSIN with Host Heather MaxwellVic Firth Interview - Tosin Aribisala: Game-Changing Moment
VIDEOS:
Tosin & the African Rhapsody Band Restoration B (2010)Tosin & the African Rhapsody Band Live @ The Kennedy Center, DC. (Sun., Aug. 9, 2009
