Tony Oladipo Allen, born 12 August 1940, died 30 April 2020. He was a Nigerian composer, drummer and songwriter who lived in Paris, France. Allen was the drummer, musical director and co-founder of Afrobeat music. Tony Allen would have made Afrobeat possible, as Fela stated once. Brian Eno has called him “perhaps the most important drummer to have ever lived.” Allen’s life and career are documented in his 2013 autobiography Tony Allen, Master Drummer of Afrobeat. It was co-written by Michael E. Veal (musician, author, and previously wrote a detailed biography about Fela Kuti). Born in Lagos, Allen learned to play the drums at age 18 while working as an engineer on a Nigerian radio station. Allen was influenced by the music of his father, Juju, who listened to Yoruba music in the 1940s. He also listened to American jazz and the growing highlife scene, both in Nigeria and Ghana. Allen spent a lot of time studying Max Roach’s LPs and magazines articles, as well as Guy Warren, a revolutionary Ghanaian drummer who was later known to be called Kofi Ghanaba. He developed a distinctive sound that combined tribal Ghanaian drumming and bop, working alongside Charlie Parker, Thelonious monk and Dizzy Gillespie. “Sir Victor Olaiya” hired Allen to play claves in his high-life band, The Cool Cats. Allen was able fill in for the ex-Cool Cats drummer when he left the band. Allen played later with Agu Norris, the Heatwaves and the Nigerian Messengers. 1964 saw Fela Kuti invite Allen to audition for a new jazz-highlife group he was forming. Kuti had previously played alongside Allen in the Lagos circuit. Allen’s unique sound was complimented by Fela: “How come this guy is the only one in Nigeria who plays jazz and highlife?” Allen was an original member Kuti’s highlife-jazz band “Koola Lobitos”. After a difficult and educational trip to America, Fela and his newly renamed band Africa ’70 developed a militant African sound. They mixed the universal appeal of soul and jazz with highlife and the polyrhythmic template Yoruba conventions. Allen created a new style to compliment Fela’s new African groove. It blended different genres. Allen recalls the story of how Fela and Allen wrote the song in 1970. “Fela used write the parts for all the members of the band (Africa ’70). I was the one who created the music that I played. Fela would always ask me what kind of rhythm I was looking for …. A good drummer is one that has four limbs. They are playing different patterns… not just from Yoruba… but also from other parts of Nigeria or Africa. Allen was a part of more than 30 albums recorded with Fela and Africa ’70. However, by the 1970s, there was dissension in Africa ’70. The intensity of the arguments over recognition and royalties grew. Allen, who was the inventor of Afrobeat’s rhythms and also served as its musical director felt particularly disadvantaged. Fela defended his position, stating that he would receive the royalties for his songs. Fela supported Allen’s three solo albums: Progress (’77), Jealousy (1975), and No Accommodation for Lagos (1979), but Allen left Africa ’70 by 1979 with many of his family members. “What is it that makes me feel like it’s time for me to leave? It’s everything…and (his?) carelessness…like it doesn’t matter, like he doesn’t know…he doesn’t feel that he has done anything wrong. With all the parasites …. on the tour, there were 71 people by now and only 30 in the band …. you have to wonder why. Those men were stealing Fela’s Force, his Music. Tony continued his search for his own sound, and he did so again. Allen started his own band, recorded No Discrimination in 1980 and performed in Lagos until he emigrated to London in 1984. Allen later moved to Paris and recorded with Ray Lema, King Sunny Ade, and Manu Dibango. Allen recorded N.E.P.A. In 1985. Allen created a hybrid sound after Fela. He deconstructed and fused Afrobeat with electronica.
