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Dauda Epo Akara: 15 Years After | By Waheed Ganiyu
On February 18, 2005, the Awurebe exponent, Alhaji Dauda Akanmu Kolawole fondly called ‘Epo Akara’ breathed his last at the age of 62. His exit marked the end of musi-cultural era, the era of a generation of musicians whose roots are deep in the urban social fabric and heritage of the Yoruba people of Southwestern Nigeria.
Like Fuji, Awurebe genre evolved from ‘were’, which was a means of entertaining the muslim faithful in the holy month of Ramadan. His band name was formerly, ‘Dauda Epo Akara and His Ajisari Group, an indicative of the fact that he was playing ‘were’. He reportedly rebranded the group and adopted Awurebe group after returning from pilgrimage to Mecca in 1974.
Some of Epo Akara’s contemporaries in the early days of his music career were: Gani Kuti, Lawuyi Oke Eleta, Sakariyawu Ladoye(who later switched to drumming), Isiaka Ogidan, and Tunde Ayefele. Gani Kuti began his ‘were’ exploit at Boundary Area of Ajegunle, Lagos, before relocating to Ibadan. However, Epo Akara pioneered the brand, Awurebe and others followed suit. Unlike Fuji that it’s creator remains a subject of debate and controversy, Awurebe’s lordship has always been attributed to Epo Akara without dissention. Even the acclaimed Fuji progenitor, Late Dr. Sikiru Ayinde Barrister had at different times consistently traced Awurebe origin to Dauda Akanmu. For instance, in Barrister’s LP, ‘E sinmi Rascality’, released in 1982, while appreciating the leadership of each genre of Nigerian music, he sang:’olorun naa lo s’ola Awurebe fun Dauda mi Akanmu o…abata ta kete bi eni o b’odo tan, isi gaju’. Also, in ‘Fertilizer'(1985), Barrister confirmed Epo Akara’s authority: ‘Dauda Akanmu o, Epo Akara ni’lu Ibadan lo l’awurebe o’.
Epo Akara’s style was rooted in a blend of folksy traditional art and philosophy. Awurebe is the fusion of Apala, Sakara, Woro and even Dadakuada from Kwara state. It is the perfect blend of these various musical cultures that have given the genre a uniquely definitive identity.
Epo Akara’s music was not only about praise-singing, but also to comment on issues of national significance. He deployed his prowess to promote or condemn government policies and programmes. When the then Head of State, General Murtala Muhammed created additional seven(7) states on February 3, 1976, the Awurebe icon waxed an album, ‘Ipinle Tuntun'(Vol.7) to commend the military regime. ‘Ipinle ti e fun wa o ma dun mo wa o e. Ibadan pelu Oyo o, omo iya sa ni wa’. ‘we are delighted with the newly- created states, Ibadan and Oyo have become one’.
Alhaji Epo Akara’s love for Ibadan was unquantifiable. He lived there throughout his life; even when other notable musicians believed that their trade could only thrive in Lagos. He never hid his love for the largest city in West Africa. In ‘Ori mi dara’ (vol.6), he praised Ibadan as the base of the wealthy and the noble. ‘ilu Olowo Ibadan, ilu oloye ti wa ni, ori mi dara ni’badan na bi mi o e’. Also in another album, ‘Is Gaju’, he sang: ‘eeyan t’ori e ba ti daru o, lo le f’omo ‘badan sere o’. In all his LPs, he always celebrated the ascension of successive Olubadan to the throne.
One of the arch-rivals of Dauda Epo Akara was another Ibadan- based Awurebe star, Yisau Osupa Anabi. It was alleged that when Epo Akara travelled to Abidjan, Cote D’Ivore for a musical engagement in the late 70s, Osupa Anabi hurriedly released an album, alleging that Epo Akara had been arrested and jailed for drug trafficking. The record, according to a reliable source recorded high volume of sales to the extent that Epo Akara fans became jittery and devastated.
According to a surviving member of Epo Akara’s band, Pa Sakariyawu Ishola: ‘ Osupa Anabi released the album barely three days after our arrival at Abidjan. And our boss, being a talented musician and master of his trade did a rejoinder through his album ‘Abidjan Special’ to dispel the unfounded rumour’. Osupa Anabi had sung:’ijekuje ti e n je, imu ki mu ti e n mu o…ta lo ran yin lona ibe un’. Meanwhile Epo Akara in Abidjan Special replied: ‘ko ri fun o bi ero re si mi o e…awa o r’ewon ni’lu Abidjan o. Baba n gbo o, be n bu wa leyin ba o gbo,baba n gbo’. He also promoted the abundance of Ankara fabric in Abidjan, ‘ankara yebeyebe o wa l’abdijan’.
Dauda Epo Akara played the role of a peacemaker in the highly celebrated Barrister-Kollington feud in the early 80s. While the rift was tough and resulting to the Fuji musicians splitting into two factions of the warring Fuji gladiators, the Awurebe maestro dropped ‘Ija o pe’ in 1982 where he mentioned and appealed to the feuding musicians to seathe their swords. ‘Ibo la kii ‘yan de o, ta o fi máa ba ‘ra wa ja, Kolawole, ija o pe e’. The rift between Barrister and Kollington was subsequently settled with the intervention of the then Deputy Governor of Lagos state, Alhaji Rafiu Jafojo.
One sad moment that remained indelible in his lifetime was the loss of two of his band members, Omoboade and Dauda in an auto crash at Alapako Area of Lagos-Ibadan Expressway in 1975. The tragic occurrence occurred when Epo Akara band was returning from a musical outing in Lagos. According to one of his wives: ‘Alhaji didn’t like anyone playing or singing the lyrics of ‘Ijamba Moto’ in his presence as he would start crying’. It was gathered that Alhaji Dauda Epo Akara recorded the tribute track of ‘Ijamba Moto’ LP thrice, as he could not hold his tears in the two previous recording sessions.
In a chat with one of the Awurebe king protégé, Sule Epo Akara, whose stage name is ‘Oyinmiyinmi’, he referred to his late boss as a talented musician with humane personality. ‘Ha! Oga mi Akanmu Baba Tawa, Akanmu omo ta piti, iya e gbe e. Olorin ti o see f’owo ro seyin ni. He gladly encouraged me to establish my own band. ‘Alagbe ma je n tan o, o ti to da duro’. Sule Epo had fourteen albums to his name.
Benson Idonije, a prominent music critic said: ‘Epo Akara released over 80 albums and was also on the road performing at prestigious engagements. But it is sad that a musician of his stature did not enjoy international recognition and exposure’. Honestly, what the Awurebe maestro left behind doesn’t commensurate with his fame and works. He has just an uncompleted single-storey building along Lagos-Ibadan Expressway. This writer believes that Oyo State Government under the leadership of our amiable governor, His Excellency, Engineer Seyi Makinde could out of his usual magnanimity, post-humously honour this Oyo state music ambassador by renovating his house. For example, the immediate past administration of Senator Ibikunle Amosun of Ogun state, renovated the Itoko residence of late Apala legend, Ayinla Omowura, as his effigy has been erected on his grave.
But why has it been difficult for the children of these music icons to step in to their fathers’ shoes? For instance, Musiliu Haruna Ishola resurrected Apala with ‘resurrection’ in 1991 and after his hit album ‘soyoyo’, in 2002, his popularity has dwindled. Ayinla Omowura’s younger brother, Dauda Anigilaje and his son, Akeem fell by the way side before their deaths in 2005 and 2016 respectively. Perhaps, Omowura’s shoe was too big for them. The grandson of the sakara legend, Yusuf Olatunji, Abideen Ajasa Olatunji is trying his best in Abeokuta to keep Baba Legba’s legacy alive.
It is apparent that every individual has his or her endowment.
Mrs Baliqees Jejelola Aduke, an executive member of Epo Akara Fans Club affirmed that four of Dauda Epo Akara’s children are singing Awurebe: ‘yes, four of Alhaji’s children are singing. They are Alhaja Tawa, Ramoni, Sarafa and Suliyat’. Asked which of them possesses the trait of Epo Akara’s musical dexterity: ‘they are all superb with good voices and the shoulder-shrugging dance style of their father’, she replied.
Born in Ibadan in 1943, Dauda Akanmu Epo Akara started as an ‘Ajiwere’ (Ramadan early call) singer. He was discovered and signed up by Omo Aje Records under the astute management of the current Olubadan of Ibadanland, His Imperial Majesty, Oba Saliu Akanmu Adetunji, Aje Ogungunniso 1.
Waheed Ganiyu, Journalist and Media Consultant writes from Ibadan, Oyo state
The Metropolitan Police have confirmed that eight people were stabbed and hundreds were arrested during last weekend’s Notting Hill Carnival, one of the world’s largest street festivals, held annually in west London.
In an update on their policing operation late Monday, the Met reported that five people were stabbed on the final day of the three-day celebration, which is internationally renowned for its vibrant display of British Afro-Caribbean culture.
This followed three other stabbings on Sunday. Three of the victims were left in life-threatening conditions.
Police made at least 230 arrests on Monday alone, including 49 for possession of an offensive weapon.
These arrests added to the scores of others made earlier in the weekend. In addition to the arrests, three firearms were seized, and 35 officers sustained injuries during the event, which attracts around a million attendees every August bank holiday weekend.
The number of arrests and incidents this year closely mirrors last year’s figures when there were 10 stabbings and approximately 300 arrests.
Despite the heavy police presence, with around 7,000 officers deployed, the carnival was once again marred by violence, particularly knife crime. Nevertheless, the vast majority of the hundreds of thousands of revellers enjoyed the event without incident, filling the streets of Notting Hill with colour, music, and dancing.
Deputy Assistant Commissioner, Ade Adelekan expressed his frustration over the recurring violence, noting that a woman attending the carnival with her child was among those stabbed.
“We only very narrowly avoided a fatality,” he said, urging attendees to report any crimes they witness.
The Notting Hill Carnival, a celebration of British Afro-Caribbean culture, has its roots in the 1950s, following the post-World War II influx of immigrants from former British colonies.
The annual event is known for its feathered dancers, steel bands, and earth-shaking sound systems, symbolizing the rich cultural heritage of the Afro-Caribbean community in the UK.
The Lagos State Police Command has freed renowned street artist, Habeeb Okikiola, popularly known as Portable, following a night spent in police detention.
Portable was apprehended on Tuesday in Lagos’ Abule Egba vicinity for purportedly defaulting on the balance payment for a G-Wagon vehicle he had purchased from an auto dealer.
Reports suggest that although the ‘Zazoo Zeh’ maestro acquired the vehicle valued at ₦27 million, he only disbursed ₦13 million, leaving a ₦14 million outstanding balance.
In footage that went viral, Portable was observed scaling a gate as law enforcement officers approached him with an arrest warrant.
Subsequently, another video emerged depicting him being restrained, handcuffed, and conveyed by approximately four policemen into a waiting vehicle.
During the altercation, a female voice, purportedly that of the car dealer, was heard in the background, issuing profanities and recounting Portable’s alleged threats when confronted about settling the debt.
The Police spokesperson in the state, Benjamin Hundeyin, confirmed that Portable was released on bail on Wednesday after spending Tuesday night in police custody.
He further disclosed that both Portable and the car dealer are expected to reconvene at a later date.
“He (Portable) has been released; he was granted bail on Wednesday to come back with the complainant later,” Hundeyin stated, stressing that “the outcome of that meeting will determine our next line of action.”
This incident marks not the first encounter between the singer and law enforcement.
In April 2023, Portable was detained by the police in Ogun State and arraigned on five charges related to alleged assault and theft at the Ifo Magistrate Court, in the Ifo Local Government Area of Ogun State.
Subsequently, he was held at the Ilaro Correctional Centre before being released upon meeting bail conditions.
In a recent inquiry into the untimely demise of Nigerian musician, Ilerioluwa Aloba, better known as Mohbad, held at the Lagos State University Teaching Hospital (LASUTH), Prof. Sunday Osiyemi, a Forensic Scientist and Pathologist, revealed that the results of the autopsy conducted on the deceased failed to unveil the cause of death.
Speaking before Magistrate Adedayo Shotobi, who presided over the coroner’s inquiry, Prof. Osiyemi cited various factors contributing to the inconclusive findings, notably the significant decomposition of the body due to the extended delay of 21 days before the autopsy was performed.
Highlighting the urgency of the situation, Senior Advocate of Nigeria, Wahab Shittu, representing Mohbad’s family, emphasised that according to the pathologist, the body should have been exhumed within 12 hours post-burial to prevent decomposition, a critical factor in determining the cause of death.
Shittu further elucidated that the pathologist referenced the administration of certain drugs to Mohbad before his demise, suggesting a potential correlation between the drugs and the difficulties encountered in pinpointing the cause of death.
“He also went further to say that it may be attributed to reactions to certain drugs administered on him before he died. Again he then qualified that to say he does not know whether it is those drugs that actually led to his death,” Shittu stated.
With the cause of death remaining elusive, the coroner adjourned the proceedings to June 11th for further examination and cross-examination of the pathologist’s findings, signaling a continuation in the quest for answers surrounding Mohbad’s untimely passing.
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