||This biographical article needs additional citations for verification. (September 2007)|
|Birth name||Bisade Ologunde|
|Instruments||Saxophone and vocals|
Name and mask
According to Lágbájá (pronounced la ba jah) his mask is used as an icon of man’s facelessness. Lágbájá is a Yoruba word that means "nobody in particular". It depicts the anonymity of the so-called “common man”. The mask and the name symbolize the faceless, the voiceless in the society, particularly in Africa. He is also known as "Omo baba mu'ko mu'ko"
Style of music
Though the concept was developed long before that, his first album (entitled Lagbaja) was released to national acclaim in 1993. Over the years and more albums later, the music continues to fascinate with its unique focus on a core of African drums. His music is a product of various influences ranging from traditional Yoruba music to Jazz. Often the music is purely instrumental- an interplay between traditional Yoruba percussion, drums, chants, western instruments, and especially the saxophone. When there are lyrics, they are primarily sung in Yoruba, English or a blend of the two as is colloquially spoken in Yoruba cities. Many of his songs dwell on serious social issues, while others simply entertain. Some compositions, introduced by a simple "time to dance' informing the audience of lengthy dance numbers, while other songs address complex social issues through biting wit made palatable by disarming parables, irony, and multilingual puns.
One thing that links all the songs together is his use of traditional African drums. Traditional Yoruba drums are the most prominent. Four families of these drums are employed in creating different grooves and moods. The dundun/gangan family is the most prominent and at times up to five drummers combine all the various components to create the polyrhythms. The bata ensemble is led by two musicians who alternate between soft high toned driving rhythms with their omele bata, and thunderous loud talk with their mum drum- iya ilu. The general percussionist leads the sakara drum ensemble. The fourth family, used as the backbone of the groove is the ogido, a derivative of the ancient gbedu. The ensemble of drummers constitute the larger part of the band. Vocalists and western instrumentalists and make up the rest. Lagbaja’s groovy fusion has been referred to as afrojazz, afrobeat, higherlife and afropop until now that he himself has christened the music AFRICANO, alluding mostly to the central role of African drums and grooves in his music.
In March 1997, Lagbaja established his club, Motherlan’ in the heart of Ikeja in Lagos. Motherlan’s design is influenced by the traditional African town or market square, where people gather under the moonlight for ceremonies and artistic events like dance, music, story telling, wrestling etc.
- Lagbaja, 1993
- Cest Un African Thing, 1996
- ME, 2000
- WE, 2000
- ABAMI, 2000
- Africano... the mother of groove, 2005
- Paradise, 2009
- Sharp Sharp, 2009
- AJAYI, SEGUN (11 February 2008). "LWHY I DON'T ACCEPT PEANUTS – Lágbájá". ModernGhana.com. Modern Ghana Media Communication. Retrieved 17 April 2010.
- Pareles, Jon (August 11, 2001). "Mining a Musical Diaspora, From a Yoruban Beat to Jazz". The New York Times. Retrieved 17 April 2010.
- Olatunji, Samuel (April 12, 2009). "The return of the masked one!: Lagbaja back with new album". The Sun News On-Line (Nigeria: The Sun Publishing). Retrieved 17 April 2010.
- Lasisi, Akeem (20 May 2009). "Waiting for Paradise as re-defined by the masked one". The Punch. Nigeria. Retrieved 17 April 2010.
- "About Lagbaja".
- BBC: Channel O Spirit Of Africa Music Video Awards 2006