Artist: AMAYO

Title: Lion Awakes

Label: self-produced

Genre: Afrobeat

Street date: January 17th, 2025

 

Music Review by Dawoud Kringle

Following the release of his single “Madame President” (https://doobeedoobeedoo.info/grammy-nominated-amayo-ex-antibalas-releases-single-madam-president/), Grammy-nominated singer, songwriter, band leader, producer, and MFM member Duke Amayo has released a new album, Lion Awakes.

Nigerian-born Amayo emigrated to the US at age 17 on a football scholarship to attend Howard University, where he majored in medical illustration. For 23 years, he was the leader of Antibalas. He introduced Afrobeat to a global audience, recorded nine full-length albums with Antibalas, and performed over 2,000 shows worldwide from 1998 to 2022 (including four performances at Carnegie Hall).

Lion Awakes is a concept album that honors Amayo’s Grandmother, Iyalawo (a traditional medicine woman). It endeavors to bring medicinal words and songs in a reimagined story/symphony where Myth meets Reality. Amayo blends Chinese and African mythologies. In the story, the Chinese Fu Lion meets an African man, Iyalawowo, who lives in an ancient land called Alkebu-Lan (Africa). Chinese Lion learns humility and about nature’s connection to 3 African deities: Shango, Oya, and Ogun.

The music will be the soundtrack to Amayo’s upcoming feature film, an Afro-Kung Fu Biopic inspired by actual history.

Amayo (Composer, Lead Voice, Upright Piano, Rhodes Piano, Farfisa Organ, Roland Piano, Congas) is joined by Tosin Aribisala (Drums), Babatunde Fayomi  (Bass), Giancarlo Luigi (Shekere, Back), Dendé (Talking Drum, Tabak, Timbao, Agogo bells), Raja Kasis (Guitar), Ray Mason (Trombone/horn captain), Julian Johnson (Trumpet), Tod Simon (Trumpet), Cochemea Gastanove (Saxophone), Thomas Brenneck  Guitar/Producer), The Sweet Plantains String Quartet, Tosin “Tosinger” Taiwo 2, Omada Elizabeth Agom, Solomon “Solo’s Beat” Fatoma (Choir), and Rogé & Leah Concialdi (Backup vocals).

The beginning of “Black Magic Sister” features a startling horn arrangement with an almost Frank Zappa-like feel. This merges into a 6/8 groove of traditional Yoruba music, transporting the listener into the realm of the seeker, asking for blessings, and journeying to the Sacred Orisha City of Ife.

The title track, “Lion Awakes,” tells the story of the Lion of Chinese mythology falling from heaven and landing in ancient Africa. The post-Hi Life groves and arrangements beautifully propel the story and overall mood.

“The Happy Lion” is in three parts. It opens the next chapter of the fable. A rhythmic pattern supporting a sung/chanted exhortation to happiness resembling a march invokes the spirit of this part of the story. The second part, Activation of Happy Zones, appears almost without anyone knowing it. The bass line and structured snare patterns merge with the horns and organ appearing and disappearing while Amayo sings/speaks about happiness. The final part, Daily Practice of Expressing Gratitude, emerges to finalize the lesson in a breathtaking outpouring of joy.

“Shadowless” is a piece in two parts. It begins with a narrative about the God Doer, whose good works are done anonymously, without seeking accolades or rewards. Its delivery is almost reminiscent of RZA’s contributions to the music of Wu-Tang Clan. Then, the music appears. Here is where Amayo’s mastery of blending Yoruba and Chinese mythology shows. The Yoruba / Nigerian musical structure dominates the framework, but the inclusion of Kung Fu ideals is still evident. “Shadowless is quick in Kung Fu. The god-doer remains unseen, but you see the good they do for humanity.”

The album ends with “Ascended Lion,” a Magnum Opus in 6 movements. This is “a breakout from the movie treatment of Amayo’s African Kung Fu Biopic.” It tells the story of the Lion’s dance and romance, his collaboration with Regina (embodying Oya, element of Air), and Osa Ror (embodying Shango, element of thunder, lightning, and fire). The music has a feel that stands out from the rest of the collection (without contrasting too much). The music functions most effectively as a conceptual piece. The complex arrangements are constantly changing to underscore the meaning of the lyrics and story. But the groove is never lost.

In comparison to other concept albums, Lion Awakes is a revelation. Amayo’s brilliant arrangements and production and the flawless musicianship of everyone involved are indisputable. But the use of this to tell an epic, multi-level story within the context of African music is quite remarkable.

In the view of this humble writer, the groove and the rhythm are as indispensable to African music as Air is to living things with lungs. Cathedral organs and chamber ensembles are the children of European culture, but Africa is too big for that. It needs the drum and its driving and mathematically linguistic rhythms. Amayo understands this from a master’s perspective. Beyond that, he has successfully built a cultural, mythological, and spiritual bridge between Africa and China. This is indicative of his essence as an artist. Politicians and economists bring nothing but conflict and ruin to the meeting of two cultures. Now that we’re on the subject, musicians and artists (not to mention mystics, poets, and scientists) turn such meetings into unity, prosperity, and mutual respect. In this, Amayo’s Lion Awakes is exemplary.

Note: Album release concert @ Brooklyn Bowl on January 29, 2025: https://concerts.livenation.com/amayo-album-release-brooklyn-new-york-01-29-2025/event/00006173D315433F