The music of Kwaku Kwaakye Obeng and Band is equally traditional jazz, new world, and Afropop. Obeng brought his world-renowned percussive talents to Crowell Concert Hall Saturday night. The Ghanaian drummer’s compositions are rich in innovation and unique spins on traditional rhythms. Wes Brown, Taylor Ho Bynum, Dominic Kanza, William Lowe, Willie Martinez, and Isabel Pupo-Walker accompanied Obeng and brought their various talents together in a seven piece collaboration led by Obeng’s master drumming.
Obeng and Band opened with “Greetings,” a bell-based song that included everything from familiar cowbells to the exotic Gankoqui. Obeng wasted no time demonstrating his lightning quick hand. When he accidentally dropped one mallet mid-song the loss was imperceptible and wasn’t obvious until he later picked it up. Roused by Lowe on the trombone, the audience clapped to the beat of “Greetings” – audience interaction and response like this was a major facet of Obeng and Band’s energy onstage.
“Thank you all for coming. I know you could be doing something beautiful,” Obeng told the audience.
Though Obeng ranks as an internationally known drummer and composer, the members of his band each played their particular instruments as masterfully as Obeng played his. Band members’ instruments included bass, trumpet, guitar, trombone, drum set and percussion. In one of the band’s newest songs, “Bugging Me,” a heavy bass line and stirring trombone played by Martinez and Lowe, respectively, enlivened the piece.
The combination of common instruments and sounds with West African influences surprised audience members who’d never heard Obeng’s music before the concert.
“As someone unfamiliar with Obeng’s music I was surprised to discover how the traditional elements fit with contemporary strains,” said Cameron Lockwood ’08.
Fela Kuti, Nigerian political activist and father of Afrobeat, is probably a name somewhat familiar to most of Obeng’s fans. Kuti’s music included “Highlife,” a mixture of typical African rythmns with American jazz. Obeng and Band’s “Fela Funk” included these traits in what seemed an adaptation of and tribute to Kuti’s pioneering works.
Obeng’s music so often integrates genres from different peoples and regions that the one line descriptions in the programs explaining the inspiration behind the songs seemed to be shout outs to Obeng’s muses.
“Worship,” inspired by Jamaican people and culture, felt like a reggae song in its rhythm and lyrics. Standard reggae bass riffs reflected the song’s roots as well as the lyrical praise of Mt. Zion and statements like “I really, really love to worship Jah,” but Obeng’s characteristic sound was maintained.
Audience members appreciated the chance to see the musicians at Wesleyan.
“I love the music. The rhythm and the music are really great,” said Tony Lombardozzi, Wesleyan jazz guitar director.
For others, simply the chance to see something new and different on campus was enough of a draw.
“I haven’t really seen Afrobeat…This just seemed intriguing, really broad,” said Zander Mackie ’07.
Should Kwaku Kwaakye Obeng and Band ever return to Wesleyan, chances are they’ll find word of mouth has brought new listeners in addition to bona fide fans. Obeng’s stage presence and the band’s tunes are simple but catchy—an addictive formula.
“I know you’re all used to high tech stuff,” Obeng told the audience, “It’s drum music tonight.”
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