Adedeji& the Neo Yoruba Poeple

The smorgasbord of music styles cooked by singer/songwriter Adedeji is probably best exemplified by "Odun Ayabo," the fifth track on his latest album Ajo.

Opening up with sparkling piano, the song gradually adds layers of acoustic guitars and a shuffling beat, weaving across the boundaries of jazz, folk, and world music as Adedeji switches back and forth from African to English. It could be a sneak preview for the future of post-millennial pop as the Internet continues to stir different global influences for young music fans.

Beyond the commercial stranglehold of jazz stateside, the genre continues to have its conventions torn asunder overseas as open-mindedness to new sounds and hybrids breathe fresh air into stale conformity. Surprisingly, for all of Adedeji's wildly playful eclecticism, his music is actually quite accessible to the most conservative of purists. For example, the sun-drenched piano, wind-swept melodies, and warm, folksy guitars of "Ile-Ife" are difficult to resist.

Originally from West Africa, Adedeji's music reflects his geographic backgrounds, linking his hometown roots with his explorations of European music, past and present. Growing up, Adedeji listened to classical masterpieces from Mozart and Beethoven as well as Afro-Beat pioneers such as King Sunny Ade and Fela Kuti. These days, not only is Adedeji's creativity of two worlds but his living existence as well. "I live between the Netherlands and Greece, and I try to stay connected with home," Adedeji explained. "The difference between here and West Africa is people here usually never go out for concerts and presentations. Music for them is more for parties and special events. The transition for me was smoother because I already had a picture of what I expect it to be musically. But sometimes I feel the African audience is more honest and can help your development more." - Jazz Corner

It's appropriate that the title of singer/songwriter Adedeji's new album, "Ajo," means "journey" when translated in English. After all, Adedeji's life has mostly been a journey, even musically. Adedeji doesn't let stylistic borders limit his creative vision; "Ajo" has a wildly open-minded scope, absorbing jazz, folk, and world music. According to Adedeji, much of it is due to his upbringing as his parents were quite diverse in their tastes. "The sound at home was a big part," Adedeji revealed. "My mother was more into local music while my father was on the classical side. I was in my mother's church choir but after rehearsals I would go and check my father's choir. I discovered jazz later in the late '90s, and I loved the energy. I discovered Afro-Cuban music the same period, and the rhythm was almost similar to what I grew up with so I connected naturally with it. I just couldn't stay with one style because all of these influences are running in my head. It would be unfair for my soul to stick to one."

Adedeji was born in West Africa; however, like his genre-bending music he didn't remain within its boundaries, spending significant time between the Netherlands and Greece. Nevertheless, "Ajo" has its heart in Adedeji's African roots as he began recording the LP in Nigeria five years ago. Of his homeland, Adedeji sees the same kind of commercialization that often defines pop music in the West. "The true artistic essence seems to be dying," Adedeji observed. "There should be more focus on creative development. Also, there are a lot of styles and artists that have either not been discovered yet or have been ignored. Things have changed now. When I was younger, there was more originality and people pushing their limits; everybody sounded different but now they all sound Auto-Tuned apart from a few ones."

Current trends have no impact on Adedeji's music, which is free from financially driven compromises and has ambitions that are quite pure. "My goals for the future as a musician would be to close gaps between genres and bring people together," Adedeji, who recently hired Los Angeles-based Wavelength Radio Promotion (http://www.wavelengthradiopromotion.com) as a publicist, explained. "I cannot be caged in a box of this style or that style. I also want to educate people from my side of the world, and above all, be truthful to the artist within me." - Mi2N

Q: When would you say triggered your passion for music? How old were you at the time?

A: My passion for music was triggered as far as I could remember; I was probably 5-years-old then. I seriously cannot remember how or when it started but I was teaching my sister and brother how to sing in different parts at that age so when i joined the choir, the only thing I could remember was I did not do audition like the other kids. I was instantly accepted. I started leading the choir, which led to immediately joining the senior choir. I was the smallest then, and it was straight to the streets from there.

Q: Were there any particular artists that helped trigger this interest in becoming a musician yourself?

A: It was the diverse music my father played at home, we could wake up with Handel's “Messiah," Mozart, or Beethoven. At noon it would be Fela Kuti, King Sunny Ade, Ebenezer Obey, Haruna Ishola, Bob Marley, Jimmy Cliff, and Louis Armstrong. By night I would be singing all of the parts. All these were my early influences. Choral music was a big part of it and early African Gospel singers. By the time I discovered people like George Benson, Wes Montgomery, and Charlie Parker, I was already a musician and they provided the musical challenges I needed to move on and grow.

Q: You work with a diverse menu of styles. What influenced this eclecticism?

A: Like I said, the sound at home was a big part; also, my parents have different tastes in music. My mother is more into local music while my father was more on the classical side. I was in my mother's church choir but after rehearsals I would go and check my father's choir. I discovered jazz later, late '90s I would say. I loved the energy and wanted a different approach to my music I think I was sick of 1-4-5 then. I discovered Afro-Cuban music the same period, and the rhythm was almost similar to what I grew up with so I connected naturally. I just couldn't stay with one style because all of these influences are running in my head; it would be unfair for my soul to stick to one.

Q: How would you describe the music scene in West Africa?

A: The West African music scene is interesting but dangerous at the same time. The audience sometimes don't know what they are going for but if you manage to convince them I believe you could have lifelong fans; unfortunately, at the moment, I see too much commercialization in it, and the true artistic essence seems to be dying. Also, there are lots of styles and artists that have either not been discovered yet or have been ignored. Things changed now. When I was younger there was more originality and people pushing their limits; everybody sounded different but now they all sound Auto-Tuned apart from a few ones. - All about Jazz