Armistice day and the words of Harry Patch

Harry Patch was the last Tommy. Basically, the last British Soldier who fought in the trenches of World War 1, one of the most brutal wars in modern history.

On remembrance day, we remember the dead and at the same, praise their bravery but at the same time question the rationale of their deaths, in wars started by politicians. These are not my words solely but those of one of the bravest and most honourable Britons that ever lived.

Patch's philosophy -based on his experience- was to hate war and all it stood for, whilst maintaining great respect for the soldiers who give their lives on all sides of the divide in wars, but with some measure of disdain for the politicians who start the wars in the first place.

I recently watched a documentary- "The last voices of the great war" and to say the least, his account was tear-inducing, really moving.

I have below a number of quotes from Harry Patch's autobiography the Last Fighting Tommy

On surviving war- whilst at the cemetary at Flanders, overlooking the graves of dead soldiers:

1. “ Any one of them could have been me. Millions of men came to fight in this war and I find it incredible that I am the only one left.

Harry Patch On War:

2. "Too many died. War isn’t worth one life”

3. “ Its the calculated and condoned slaughter of human beings".

4. "We came across a lad from A company. He was ripped open from his shoulder to his waist by shrapnel and lying in a pool of blood. When we got to him, he said: 'Shoot me'. He was beyond human help and, before we could draw a revolver, he was dead. And the final word he uttered was 'Mother.' I remember that lad in particular. It's an image that has haunted me all my life, seared into my mind."

5. "...if any man tells you he went over the top and he wasn't scared, he's a damn liar."

6. "All those young lives lost in a war which ended across a table. Where's the sense in that?"

7. "War is organised murder and nothing else....politicians who took us to war should have been given the guns and told to settle their differences themselves, instead of organising nothing better than legalised mass murder"

He's said it all.

May their brave souls rest in peace

The Afro Funk Bass Hall of Fame Pts 1 and 2

Part 1

I've spent the month of august 2010, listening to, running/cycling with, lifting weights to and generally worshipping a compilation album titled "The World's End- Afro Rock and Psychedelia in 70's Nigeria" comprising tracks from Nigerian-based Afro Funk bands of the 60's and 70's.

Noteworthy beings tracks forgotten in the embers of time- like the awesome "Blacky Joe" by PRO, which I last saw being performed live on NTA( in 1975 or 1976 not quite sure now) by the inimitable Gloria Rhodes, as part of the equally sublime Steve Rhodes Voices; "Akwa Kayi Ji Bia"- by the hugely talented Identicals led by the twin - Okonma brothers; "All night long" – an incredibly tight track by Bongos Ikwue, from the 1973 album release "You can't hurry the sunrise" - this album being particularly important to me in that my mother bought it on her way back from work in August 1973 and I promptly seized it and refused to let anyone else near it- or indeed anything else on our old Denon Turntable. Playing and re-playing all the tracks especially "Help Help" and "Lagos" and pausing only to remove the accumulated dust on the stylus ("pin) of the long-suffering turntable.

Particular mention must also be made of the title track "The World's end" by the Black Mirrors. The story behind this, being that there was never a band called the Black Mirrors, the track being the work of my big brother Micro Mike Appoh, which he had composed and recorded in 1973, agreeing a distribution contract with Decca records- the details of how this track appeared on this album are not a matter for this piece.

To be honest this article is not so much an album review of what is clearly an excellent album, inspite of the issue that has clearly vexed Big Mike and my goodself, but an often ignored phenomenon- the Afro-Funk Bassist. Whilst the Guitarists, Keyboardist, vocalists and in one instance the drummers (Tony Allen) have had their day in the spotlight there has been little said or written about the Bassists of Afro funk . The fact is that the real power of Afro Funk has lain in the fretwork of those quiet supermen who alongside the drummers and conga players- have formed the rhythm section engine room that drove the mother ship of Afro Funk. This article will not redress the injustice of their lack of exposure, but it will hopefully start the conversation. Can I ask that if there are any inaccuracies- please let me know and I will promptly correct them. Big thanks to Combandrazor and Mike Appoh for some helpful corrections and pics.

The Hall of Fame

The great Tony Allen- The facilitator of the Afro-Funk rhythm

Ojo Okeji- I guess its fitting that the first time anything akin to a unique Afro-Funk Bassline was first heard, was in the recordings of a certain Fela Ransome-Kuti with his band the Koola Lobitos from 1964 onwards- with the singles "Laise Lairo" , "Omuti tide" , "Wayo"and "Ololufe coming to mind and featuring one Ojo Okeji on Bass Guitar. The tracks being more Jazz and Soul- albeit with native lyrics. Ojo Okeji, was however more than a bit player in the Koola Lobitos ensemble, having written at least one song for which he was duly credited- "I know your feeling" -a Soul oriented track. Ojo Okeji was in the second phase of the Koola Lobitos, with the first Bassist being the late Camerounian Bassist Emmanuel Ngomalio - whom I last saw before his death at Eko Hotel in Lagos, doing a regular one man keyboard gig, which he alternated with Tony Benson.

Fela on stage with Maurice Ekpo on the extreme left

Maurice Ekpo- A more authentic representation of things to come was Fela's London Scene album of 1968- especially the track "Fight to finish" – which was pure, hard, unadulterated Funk. The architect of the Bass lines on this album being a certain- Maurice Ekpo an excellent professional and competent in both Electric and Upright Bass, who also featured on the following tracks in what may be described as Fela's most fertile period- "Jeun Koku (Chop and quench)" "Je'nwi Temi (Don't Gag Me)" "Gbagada Gbogodo", "Eko Ile", "Alu Jon Jonki Jon", "Swegbe and Pako", "Open and Close" and many more including all the Tracks on the Fela- Ginger Baker album of 1971. Seminal tracks which established Fela 's reputation as a musical innovator- effectively fusing Highlife with Jazz and Funk in a unique model. A lot has been said about the genius of the great Tony Allen; however Maurice Ekpo's powerful and intricate fretwork coupled with the pyrotechnics of Tony Allen on drums and the Africa 70 Percussionists- was an indivisible part of this revolution, which has only been overshadowed by the fact that Fela had several Bassists, who replaced Ekpo- for whatever reason. Ekpo feaured in a number of other Afro-Funk bands including the incredibly hip and tight Mebusas, which featured my big brother Raimi on Trombone, the great Jerri Jhetto and of which that same Micro Mike Appoh often guested as a vocalist.

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Spartacus R- Yes.. you heard right, Spartacus R alongside Maurice Ekpo and Olu Pedro Santos (below) may be described as the first true pioneers of the Afro-Funk Bass. If you've never heard of him, he was the Bass Guitarist behind the groove of Osibisia's eponymous first album Osibisa (featuring the monster track Ayiko Bia and Music for Gong Gong) and album which changed the face of World Music and created a shockwave of creativity that several bands after them have been propelled by over the years. His driving and innovative fretwork on this album and the follow-up album Woyaya- alongside the incredibly talented Roy Bedeau (who went to play alongside Sunny Akpan of the Funkees with Eddy Grant) y tore the script to shreds and alongside Teddy Osei on drums and Kofi Ayivor on Percussions, gave the world the revolution that was Osibisa's Afro funk legacy. He died a month ago sadly unheralded.

Olu Pedro Santos- This little known chap was one of the most influential Bassists in the history of Afro-Funk, which combined elements of Spartacus R's languid lines with the power of Maurice Ekpo, using a running 6/8 progression pattern of minor and major chords in to a complex hybrid. Pedro was a founding member of the 60's/70's combos-Helmstones (alongside Mike Appoh and Jimmy Lee) , The "Black Mirrors" led by Mike Appoh and The Thermometers (featuring the inimitable Arakatula on Hammond Organ). Pedro sadly abandoned his musical career under pressure from his father to run the family business and died recently – as we are told a millionaire businessman, music was however the loss- since his musical career was entirely in his late teens and early twenties- with his real potential neither realised nor nurtured. His true legacy however being his musical bequeath, whilst neither acknowledged nor claimed remains today in musical annals.

Jake Sollo- The Hykkers were formed in 1963 and led by the debonair Pat Finn Okonjo on vocals, Juwe on Bass and Tony Benson on Drums, after the civil war however, the band took on two new members who completely changed their sound and direction- namely Ify Jerry Jiagbogu- a truly talented Guitarist who was plucked from his base in Nsukka to join them and a certain Bass Guitarist- Nkem Okonkwo (aka Jake Sollo). Sollo was later to become one of the greatest Rock Guitarists to come out ofAfrica- with a career as Lead Guitarist with the Funkees and Osibisa, still ahead of him. However his Bass work with the Hykkers can only be described as some of the most powerful and innovative ever to be recorded, but as noted in the liner notes of the World's End album, he always saw himself as a Guitarist and duly took his place as a same with the Funkees, Osibisa and a solo career. I recommend the tracks "Deiyo Deiyo" and "I need a breakthrough" by the Hykkers to fully appreciate the talent of this man. Sadly he also died- in 1985.

Kenneth Okulolo 2nd from right with Monomono

Baba Ken Okulolo

Kenneth Okulolo- Better known nowadays as Baba Ken, Okulolo was the Bassist of the ground-breaking Steve Rhodes voices- a nurturing ground for some of Nigeria's greatest musical talents (under the tutelage of the Heidelberg musical Scholar, Producer and Impresario- the late great Steve Rhodes). This was however after he had came to the fore as the Bassist- firstly as part of Dr Victor Olaiya's band and the in one of the most important Afro-Funk albums ever recorded- "The Dawn of awareness" the product of a Band called Monomono- led by Joni Haastrup. Needless to say Okulolo's execution of his brief in two tracks in particular- "Give the beggar chance" and "Ipade Aladun" are better experienced than described, as well his execution in the track – "Kenimania" in the follow up album. Okulolo was plainly a student of the great Olu Pedro Santos and simply carried on the stylistic journey Pedro had started. This style was to be the fare of many a schoolboy Bassist in several Afro funk Bands that were to mushroom all over Nigeria. He didn't start it, but he certainly took it higher. Okulolo, later trabnsfered his skills to King Sunny Ade's African Beat's, touring Europe/North America- with him between 1983-1985. Now based in the USA, he continues to perform as leader of his own hugely successful combo.

Mike Odumosu- from the cover of Osibisa's Ojah Awake!

Mike Odumosu- The son of the enigmatic Jesu Oyingbo. Mike Odumosu stakes his claim to a place in the hall of fame, based on his work with the seminal Afro-Rock bands- The Clusters, SALT (with Ginger Baker) , Osibisa and BLO. His work on BLO's albums- especially Phase 1 (featuring the tracks "Preacher Man"; "Beware"; Phase II- "Don't take her away from me"; "Native Doctor"; "Atide"; "A good day" and on Osibisa's 1976 album "Ojah Awake" featuring the massive hits "The Coffee song" , "Ojah awake" and "Dance the body music" earn him is place as one of the true great Bassists of not just Afrobeat, but global popular music.

One World- Sam McKnight extreme right

Sam McKnight (Thanks CombandRazor!)- He was the Bass Guitarist of The Strangers and subsequently One World, for the reason of his contributions to the tracks "Love Rock"; "Onye Ije". "Nobody called me" and One World's – "Look at the world"; "Truth is the way"; "Mind searcher" etc positions him as one of Afro-Funks finest Bassists. McKnight's style embodied the eastern style which was a counter balance to Pedro (and Okulolo's) western 6/8 genius. The eastern style was a syncopated style which imitated the phonetic nuances of the Igbo language combined with the native Calabash Bass (Udu), this style was a counterpart of the drum style which emerged from Aba in the early 70's - which the old boys described as "Ariaria". In short Bassists were told to "speak Igbo with de Bass".

Paul Alade and Ofege

Paul Alade- Credited as the Bass Guitarist of the seminal Afro-funk boy band- Ofege, whose album "Try and love" featuring Berkely Jones and Laolu Akins, is in the annals of Afro-funk history as one of the best selling albums.

Peter Fisher- This guy in my view and the view of many, had to be one of the most talented Slap Bassists born under African skies, I first saw him as part of Remi Kabaka's combo in 1980 and for that and his sheer mastery of the instrument, he earns his place in the hall of fame.

Femi Elias

Femi Elias- Yes I had to get my man into the frame. Femi in my view is one of the most talented Jazz Bassists alive, however his work in Afro-Funk- starting from the halcyon days at Jazz 38 in Lagos and his present catalogue of performances with Dele Sosimi's Afrobeat Orchestra, earns the dude his place in the hall of fame.

PART 2

Subsequent to the previous write-up, I considered it sensible to stretch the field of coverage somewhat since it appeared that the last one seemed to focus on Nigeria, so we're covering a wider field this time. I can't pretend that I'll be able to recall all the great Bassists who have contributed to the growth of the genre, my limitations being fairly obvious, but this is a resource that's meant to educate- so that for many of the guys, they are not forgotten and for those still in the public eye that their worth is re-acknowledged.

Many of us have been privileged as a generation to benefit from the talent, work and legacy of these gentlemen- (sadly there are no women, perhaps CombandRazor or Jean Christophe and I should do something on the great African female instrumentalists- another time) and in my small way, this is a way of saying thanks. Anyway, enough talk, enjoy..

Manfred Long (Cameroun)

The track Soul Makossa, is a staple of modern music having been copied by many a popular musician- you know who they are, no need to mention – Michael Jackson, Jay-Z. De La Soul, Rihanna etc, etc. Not that many of the captive audience of these tracks, have heard of Manu Dibango, who composed and first released this track in 1972. Fewer if any outside of Cameroun know who the Bass Guitarist on this iconic track was- well I give you Manfred Long, a native of Cameroun, who was part of Manu Dibango's ensemble from 1970 and who recorded Soul Makossa and a number of other massive tracks like the incredibly Funky- "African Battle" and "New Bell" which are now House music mix staples and collectors items. Manfred Long today lives quietly in Paris, having been replaced by a number of other Bassists, including the talented Vicky Edimo (below) in 1978.

Bapius Muaka Mbeka

Bapius Muaka Mbeka (Congo)-

The schoolboy band- Zaiko Langa Langa was formed in 1969, by the quartet of Papa Wemba, Sam Mangwana, Felix Waku, Nyoka Longo, Meridjo and a certain Bassist by the name of Bapius Muaka Mbeka. Congo had been in the grip of Rhumba from the 40's through the 60's, till the advent of a group of upstart youths- Zaiko Langa Langa, who turned the establishment on its head with their joyful, youthful rebellious fare or wild (standards raucous music) Zaiko Langa Langa (which was derived from Orchestre Zaire- and the words Langa Langa- which is Lingala for a drunk or drunken movement) introduced the animation (a-nee-mah- si-on) – basically the raucous call and response chant of Soukous music of today. This was built on the introduction by the great Franco of the Sebene – up tempo Guitar and vocal solo- meant to get the audience on the dancefloor. Zaiko took things to a different level after James Brown's visit to Zaire for the rumble in the jungle, by adopting some of his dance styles- as did many Zairean musicians. They didn't stop there however; they adopted Funk, playing a hybrid of Soukous and Funk, which was driven by the drums of Meridjo and the Bass of the great Bapius Mbeka. Bapius had a simple but muscular and tonally perfect style which belied the complexity of the rhythms they produced. The tracks "Liwayo Moyibi", "Petrole" and "Zaiko Wawa" are exhibitions of Bapius' quiet and powerful mastery and foray into a blend of "Congolese Funk", never before seen or heard on the continent.

Danny Ibe

Danny Ibe- (Nigeria)-

The Funkees were formed in 1970, with a core of Harry Mosco (Guitar), Jake Sollo (Guitar), Sonny Akpan (Congas), Chike Madu (*Drum), Bill Ike (Organ) Mohammed Ahidjo (Vocals) and Danny Ibe (Bass). As Danny told me- the Funkees recorded their first single "Akula" featuring the genius of Ahidjo on vocals (Ahidjo and Akpan had guested with Dan Satch and the Atomic 8 of Aba, year earlier, hence Akpan had introduced him to the group), the track had been recorded in a crude 4 track studio in Enugu (with the band's female groupies as backing vocalists). Marcel the band's Manager had hustled a tape of the track to the ENBS (Radio station) and passed it on to popular DJ, who had was so fascinated with the track, he played and replayed it for almost the whole morning and thus the legend of the Funkees began.

Danny Ibe's powerful, assertive Bass line was the bedrock of the bans's hits, no doubt and this fact was brought home to me when I guested with the Funkees as lead vocalist on their reunion tour of 2003. The Funkees went on to a hugely successful career, moving to the UK in 1973 and performing in some of Europe's biggest venues, opening for the Chi-Lites and Earth Wind and Fire, as well as recording a number of critically acclaimed albums- with tracks such as Ole, Breakthrough, Abraka and many more.Ibe's greatest skill being his timing and tonality, his contributions to the hits of the Funkees- one of the greatest Afrofunk bands earns him his place in the hall of fame. Danny Ibe currently works as an Immigration Lawyer in London.

Bhakithi Khumalo

Bakithi Kumalo (South Africa)-

Kumalo was born in Soweto, South Africa to a modest but musical background. His legendary first performance being at the age of 7, when he had to fill in for the Bassist in the resident band in his uncle's bar, who was too drunk to play. He continued his career into his teens, playing in a variety of local bands, whilst supplementing his income by working as a mechanic. His focus being the Marabi genre, of which he became a master instrumentalist over time and developed a huge following around Soweto.

Whilst pursuing his trade as a mechanic and part-time musician, he was invited by Paul Simon to record his Graceland album and his memorable fretwork in "Diamonds on the soles of her shoes", "Graceland", "You can call me Al" cemented his reputation as a global star. He cemented his reputation further by recording with Herbie Hancock, Chaka Khan, Gloria Estefan and many other. Khumalo is revered for his broad style, encompassing Jazz, Funk,Latin and more but withan underlying allegiance to his South African township roots. On his solo albums however, Khumalo has displayed a strong innovative streak combining his native style with Funk in a seamless hybrid, for which I salute this great musician.

Kotto Bass

Kotto Bass (Cameroun)

Cameroun's greatest musical export is Makossa music (not to be confused with Soukous), an up-tempo, funky groove, combining elements of the native vocal styles and western instrumentation. A constant staple of modern makossa styles being the funky hard driving Bass line, with a solid native interpretation .From that reservoir of Bass Guitar talent comes the great Kotto Bass (Kotto Nyamsi Auger) paralysed from the waist down, he learnt his art in his native Bamenda, playing with local Makossa bands, propped up with his ever present wooden pole. His reputation grew slowly till he came to be regarded as one of Cameroun's greatest ever Bassists- no mean feat in a country where the Bass Guitar is a revered instrument. Kotto Bass played on the albums of some of Cameroun's greatest Makossa artistes- Guy Lobe, Charlotte Mbango, Sam Fan Thomas and many more. Koto Bass was famed for his funky, driving, fast, fretwork. He died in 1997 and for his contributions to combining Makossa with Funk and his prevailing over his disability to become one of Africa's greatest Instrumentalists, he is on this list.

The Aktions

Rennie Pearl- Nigeria-

Rennie started his career in his teens as Bassist of the Figures, subsequent to which he formed the Aktions with Lemmy Faith, Essien Akpabio, Lemmy Faith and Emeka Aseme. The Aktions released a number of hard driving Afro-Funk albums, driven by the raw vocals of Essien Akpabio and Lemmy Faith as well as the raw, powerful Bass of Rennie Pearl on tracks like Active Aktions, Kpokposikposi, Sugar Daddy and Masquerade to name a few. Rennie's contributions to this band and session work he continued to do after the Aktions especially out of Harry Mosco's studio in the 80's and 90's earns him his place as one of Afro-Funk's Bass guitar heroes.

Sipho Gumede

Sipho Gumede-South Africa

Sipho Gumede is justly regarded as one of the most technically gifted Bassists to come out of Africa. Gumede was brought up playing the traditional Penny whistle music of the townships, but took up the Bass Guitar in his teens. Gumede is described as " the genius behind the music of Miriam Makeba and Hugh Masekela" as well Letta Mbulu (whose 1976 album destroyed the airwaves in Nigeria and Africa), Jonas Gwangwa and Caiphus Semenya and the role model for younger players like Bhakiti Khumalo. He toured North America with Harry Belafonte, Masekela, Mbulu, Gwangwa and Semenya. I saw him perform with Makeba at Festac 77 in Lagos and even as a child was blown away by his and the band's musical mastery. My particular favourite recordings by Gumede being Miriam Makeba's 1977 album "Promise" produced by Semenya, recorded in Guinea and featuring a cover of the great Wolloff track - "Samba Yeba. Sipho and "Dyambo" by Masekela in 1970. The two characterised by Gumede's funky virtuoso Bass, combining elements of Stanley Clarke oriented skill and Native South African nuances. He died of cancer in July 2004.

Charles Makokova

Charles Makokova (Zimbabwe)

Makokova gained fame as part of Thomas Mapfumo's band, which he joined in the 1970's. Makokova earns his place on the hall of fame for his work in translating the music of the Mbira (Zimbabwean Thumb Piano) into the Bass Guitar (similar to what the Eastern-based Bass Guitarists did with the Udu in the early 70's). Thomas Mapfumo's music being a combination of his native Shona music and Western styles including Funk. He died in 1994.

Sweet Breeze

Vincent Ikeotuonye-(Nigeria)

The Sweet Breeze was a young Afro-Funk band based in Aba Eastern Nigeria, whose mega-album "Across the desert" recorded in 1973. was one of the most popular recordings of the time. Featuring tracks like- "Palmwine Tapper", "Right to do wrong", "Across the desert" and more – with a lot of its push being due to the help of the enigmatic "Ndaa" Pal Akalonu, a popular TV and Music producer of the time, who happened to be the older brother of the band's drummer- Bazy Cole Akalaonu, other members being Dallas Anyanwu on lead vocals, Jackie Moore Anyaorah on Guitar and Vincent Ikeotuonye on Bass.

Vin Ike- as he was called, provided the powerful and memorable Basslines that characterised this band's hard-driving Afro Funk suffused albums. Ikeotuonye was a firm disciple of the Ariaria Igbo speaking Basslines, which characterised the tracks named earlier and in later hits- "She's my choice". Igbaraka belum" and others. Its not clear if he ws part of the Essbee Family, the 1979 offshoot of Sweet Breeze, which produced such brilliant hits as "Chicks and Chicken", "Peace of mind" and "My man understands" amongst others. Comb has the album, I'm sure he'll oblige. For his contributions to a truly awesome body of music by Sweet Breeze, Ikeotuonye has a right to be regarded as one of Afro Funk's finest Bassists.

Aladji Toure

Aladji Toure: (Cameroun)

I have written a fair bit about the Camerounian Bass Guitar tradition, however one has to trace the roots of this trend, well look no further. Aladji Toure is one of Cameroun's greatest Bass Guitarists and who alongside Vicky Edimo and Jean Dikoto-Mandengue spearheaded the Camerounian Bass revolution infusing the traditional lines with modern Funk derivatives, with his contributions to the album's of Dina Bell, Guy Lobé, Ben Decca, Moni Bile and many more. To describe his style under one pigeon hole would be criminal but he alongside the two guys named above- put the Funk into Makossa, moreso after he settled in Paris in 1978. The difficulty with a guy like Toure is not having enough material but knowing where to stop. Suffice it to say that his contribution to the modernisation of Camerounian music by elevating the Bass Guitar to the level of the Guitar, wherein the Bassist is regarded almost as the lead instrumental soloist as well his effortless introduction of Funk lines into Makossa Bass earns him his place as one of the best.

Vicky Edimo

Vicky Edimo: (Cameroun).

Alongside Toure, Edimo is one of Africa's finest Bassists. Trained at the Berklee College of Music. Edimo's formidable cv includes recordings with names like- Manu Dibango, The Gibson Brothers (the album Cuba), Sacha Distel, and many more, as well touring with James Brown, Bob Marley, Maceo Parker, Fred Wesley and many more. My first recollection of Edimo being his 1981 hit- "Thank you Mama", which was recorded in Nigeria. Edimo, as said above was part of the Camerounian Bas revolution, bringing his native Makossa and Makassi rhythms into the forefront of their fretwork. Lets just say very few deserve an accolade in the Afro Funk genre than this guy.

Sunda Bass- (Congo).

I have heard a lot of Congolese Bassists in my time, both old and young, however one of the most technically gifted performers has to be this gentleman. Sunda Bass (not sure of his real name). His work can be heard on the recordings of the great Congolese band- Wenge Musica. Sunda went on to record and perform with JB Mpiana and his Wenge BCBG. The album Toujours humble is a master class in Afro-Funk Bass. Sunda took over the mantle left by Bapius of Zaiko Langa Langa and abandoned by others apart from Ngouma Lokito- who recorded with Pepe Kalle, Loketo, Choc Stars and Soukous Stars etc. The track- "Mohammed Kaniansy" in particular being one of the most incredible exhibitions of Afro-Funk Bass combined with Congolese Soukous. He also recorded with the ex-Wenge vocalist Ferre Gola on his solo album. For his virtuosity and technicality, he earns his place here.

The late Spud NathanThe Wings-Kissing you so hard album cover (including Odenigbo, Single Boy etc)

Arinze Okpala- (Nigeria).

The Wings was formed in Eastern Nigeria by a group of young men- Spud Nathan Udensi, Arinze Okpala, Manford Best etc. This band's biggest asset being the sweet high-pitched vocals of Nathan, which spurred a raft of hits like"I've been loving you", "Single Boy" , "Odenigbo", "I've been loving you" and more. However one other factor that drove this legendary band was the "Igbo" Bass of the great Arinze Okpala- particular examples of his mastery of the Ariaria style being the tracks "Single boy" and "I've been loving you". The band sadly split on the death of Spud Nathan and inspite of two offshoots after the fact, the band never regained its starry heights. Arinze Okpala in particular was affected by the death of Nathan, being his very close friend and the two were indeed the founders of the band, often rehearsing and performing together on daily basis, before finally hitting the big time. The Wings was one of the greatest Afro Funk band's to emerge from Nigeria and Okpala's instrumentation was a fundamental part of this success and for this he sits on our hall of fame.

Dieudonne Falna King (r) Funso Ogundipe (l)

Dieudonne Falna King – Cameroun.

I can bet that hardly any of you (apart from maybe Funso and Ayo) would have heard of this guy. Well Dieudonne Falna King, is arguably one of the greatest and sadly unsung African Bassists. Why do I say so? Well, a young man aged 41 this year who has packed in a career playing the following: Zaiko Langa Langa (as an understudy of Bapius and Matima Mpioso), Stephen Osita Osadebe, Oliver De Coque, Lagbaja, Ben Okafor, L'Orchestre Banco Musica, Ayetoro, Diva Musica, Koffi Olomide, I could go on forever, needless to say this guy is one of the most versatile Bassists anywhere, I'll give you an example. I organised a farewell concert for sister Joanna Moffatt in 1999 in Lagos, which featured some of the best musical talents existing in Nigeria at the time. King as he is popularly known backed the following diverse groups on Bass Guitar Dede Mabiaku (Afrobeat); Lucien (Makossa); L'Orchestre Banco Musica/Diva Musica- (Soukous); Duchess- R+B/Gospel; Manouk Hatchadourian/Sotiris Papadopoulous/Nick Bates (Bebop Traditional Jazz- these guys were serious International Jazz musicians by the way), Ikenga (Afro-Funk); Kayode Olajide (Jazz), Demola Olukotun (Highlife) and a thoroughly exhausting host of others- all in succession -on the same night. This guy didn't just play along, he displayed a virtuosity and ease of appreciation of the different styles that needed to be witnessed to be be appreciated.

King's Afrofunk catalogue, being mostly alongside Lagbaja (the Coolu Temper album), Ikenga (my band) and presently with Funso Ogundipe's Ayetoro (alongside Reverend Mindblowin Ayo Ordia). The standing joke between Funso and I at the time being that whilst I had first option on King's services, he had the first right of refusal. King is currently based in Ghana, touring with Ayetoro, an association going back almost 15 years. King in my view is one of the best and most versatile Bassist's to come out of Africa and whose talent has not had the exposure it has merited. This write-up may not change this, but I hope it's a start.

Michael Olatuja

Michael Olatuja- (Nigeria/Britain)

I first saw Mike on stage with Roachford sometime in 2006- alongside another Nigerian brother- Femi Temowo on Guitar. I was enthralled by his muscular, yet technically impeccable, intricate fretwork. A bit more digging showed him to be a Nigerian with a solid pedigree and breadth of skill both on the Electric and Upright Bass. Mike has performed with the following – Stevie Wonder, Lisa Stansfield, Chaka Khan the late Lynden David Hall, Terence Blanchard, Roachford, Terri Walker to name a few. Mike has recently launched a solo project with his wife Alicia and is actively promoting his Afro-Jazz project- The Michael Olatuja project, which is a fusion of Western styles of which he is master and music from Mike's Nigerian roots- . Currently promoting his new album "Speak"(watch out for the track -"Mama Ola") Olatuja is certainly one of the most talented Bassists around today and for his sheer mastery of his art including the Funk Bass and his attempts to reconnect with his roots, he is certainly in our hall of fame. On a lighter note, the last time I saw Mike was less salubrious in fact, I was jamming with Mike Appoh at Obalende Suya in Hackney, when Mike "branched" in with Femo Temowo and an English drummer friend to "collect" their Pounded Yam and Egusi on their way home after a gig- yep- that's a home boy and an incredible talent.

Tunde KuboyeUncle TK in the heyday

Tunde Kuboye- (Nigeria) –

Tunde Kuboye is an Engineer and best known as co-owner of Jazz 38- a Jazz Club in Lagos, which he founded with his late Dentist wife- the great Frances Kuboye (who also happened to be Fela's niece). TK as he was popularly known, is an excellent Jazz Bassist, however what was not generally known was his excellent pedigree as part of Ginger Bakers Afro-Funk/Rock ensemble – SALT, which was strategic in developing the fledg;ing Afro Funk sound. Footage of his work with SALT was unearthed in the Ginger Baker video, featured s part of the Konkombe Afrobeat video release, which a certain Oronbaba alias Combandrazor (you know yaself), very helpfully unearthed. For his contributions to the development of the genre both via SALT and the breeding ground that was Jazz 38, Uncle TK deserves his place in our Hall of Fame. Today he continues to work on his Conservation centre and is a committed Christian.

Last but certainly not the least:

Keziah Jones and Bradley Cooper on the rightRugged International!

Keziah Jones- Nigeria-

This gentleman is more popularly known as a vocalist/Guitarist but consider the following-a. If your Guitar-playing style is critically acclaimed as being more akin to Bass and b. if your Guitar playing is mean, funky, vicious hard, out of this world and surreal, then God help us when you pick up the Bass. I happen to have heard this gentleman on the Bass and suffice it to say that Mr Jones, remains one of the most talented instrumentalists to come out of Nigeria/Britain. It equally doesn't hurt that the brother can write a lyric or two and is equally an acclaimed Poet and Painter. Please don't take my word for it, several mega-hit albums speak for themselves and more importantly a solid, dedicated, burgeoning followership stretching across the Atlantic speaks for itself.

From his first big hit- "Rhythm is love" through "Million miles from home", "Liquid sunshine" , "Blufunk is a fact"– and his latest efforts on the Nigerian Wood album- as well some excellent work done on Gboyega Afrologic Oyedele's album (Black Man's Cry/Rugged Internatiional), Mr Jones has broken huge barriers, confounding all expectations, whilst slowly re-inforcing a strong connection with his Nigerian roots. Testimony to this being at a packed concert at the Jazz Café in London a few years ago (promoting the Black Orpheus album), he played two tracks which had inspiration from a recent trip to Nigeria- "Orin Olomi" and "Kpafucation" – proud moments indeed if you were a Nigerian as was his entry which was heralded by the opening bars to the Fela track"Colo Mentality". It was further testimony to his appeal that the crowd that day, which was packed to the rafters, consisted of a broad mix of races, shapes ,sizes and palaver- awesome stuff! Keziah Jones put simply is a globally acknowledged Master Funk instrumentalist (Guitar/Bass/Voice) who went back to his roots and married his craft with the legacy of his African origin, hence lets do the maths Funk + African + Globally acknowledged Master= Afro Funk legend, hence tribute is paid to a true son of the soil.

On another less high-faluting note, the first time Mr Jones and I met was at the Buka Restaurant at Kilburn (don't ask me why the heck I keep jamming people at Nigerian restaurants we are what we eat you dig!) jamming with Mike Appoh again, when Mr Jones walked in to meet up with his friend Ayo Ordia (Reverend Mind Blowin) who happened to be jamming with us. I was in the middle performing the song "Confusion" by Fela, when I recognised him and rather clumsily tried to work the lyrics of "Rhythm is love" into it, after nearly injuring myself, I invited the master (interrupting him in the middle of his Goat Meat pepper soup by the way) to come on stage and finish the job, which he did with ease and characteristic coolness. A true star and a quality performer.

Epilogue

Well that's my homework done, hope this has proven useful and educated. I would probably have left out a large number of deserving musicians, having said that, this is just my own small way of honouring the ones I remember, if you have anyone in mind, please let me know and we'll add them. As usual, if there are any inaccuracies, which are unavoidable. Thanks for reading

Ikoli Harcourt-Whyte- a life

Ikoli Harcourt-Whyte was born in 1905 in Abonnema in the Niger delta of Nigeria to a family of the Kalabari tribe. His parents- Munabo and Odibo named him Ikoli, however he adopted the name Harcourt-Whyte later on in his life. He was trained by his parents in the vocations of the Kalabari people, fishing and trade and also was schooled in the traditional vocal traditions of the Kalabari.

He was diagnosed with Leprosy in 1919, at the age of 14 and was sent first to the Port Harcourt Hospital- the closest hospital to Abonnema- by his siblings and then to the Uzuakoli Leprosy Hospital in the East of Nigeria. In keeping with the practice at the time, he and other patients were kept in virtual seclusion since Albert Schweitzer's vaccine had not been developed by then. Its also important to point out that his beloved mother and father died in 1916 and 1919 respectively thus making him both an orphan and a victim of one of the most dreaded diseases of the time at a very young age.

Substantial background about Harcourt-Whyte's affliction with Leprosy is provided by the research of Hazel Mae Rotimi (wife of Ola Rotimi) and Achinivu Achinivu who wrote a PhD dissertation at the University of Berlin on the life and works of Harcourt Whyte- the symptoms of the disease were first noticed in 1918, and the symptoms aggravated very quickly until its full blown manifestation in 1919. Especially noteworthy was that In ancient lore, leprosy was considered a curse from the Gods and Lepers were banished, resulting in most committing suicide.

Harcourt-Whyte however sought a deeper meaning for his fate and conviction that his life had a greater purpose than his affliction and the attended stigma represented to him.Whilst at the Leprosy hospital, he immersed himself in Biblical text and in particular developed a strong interest in the religious hymns sung in the Hospital chapel and was encouraged to join the choir by the English Missionaries who ran the hospital and soon became an important part of the choir, subsequently becoming its conductor. He was encouraged by the missionaries also to compose choral pieces in Igbo, which though not his native language was the language of expression at Uzuakoli of which he mastered. He is on record as having been the first person to combine Igbo language and rhythmic structure with the classical choral format.

Harcourt-Whyte wrote over 200 choral pieces in his career, an incredible feat for a man with virtually no formal education. In 1949, upon the discovery of the drug Dapsone- Leprotic therapy of which the Methodist Hospital Uzuakoli was central in development, by the team of Missionary Doctors led by Rev(Dr) T.F.Davey) , he was cured of Leprosy, upon which he dedicated the rest of his life to composing inspirational music and educating on the need for care of Leprosy patients.

His music incidentally became a source of comfort for Igbos during the Nigerian Civil war, especially the track Atulegwu. three of the most popular recordings of his work were namely two albums by the Choir of the Uzuakoli Leper Colony (comprising Leprosy patients) and conducted by the legendary Musicologist and poet- Nnamdi Olebara, whose haunting and powerful poetry/narrative make these two of the most important classical works ever recorded in Nigeria. The third being the album "A e na o" by the St Louis Missouri African Choir, the only readily available recorded version of his work. By the way the Choir was composed entirely of Americans.

Harcourt-Whyte died in 1977 in a motor accident, however his compositions gained huge global critical acclaim after his death and whilst not on the same scale as his contemporary Fela Sowande, however his work is immortalised in the published research by Hazel Mae Rotimi (subsequent to a 23-year research), Achinivu Achinivu's work and Ola Rotimi's great play "Hopes of the living dead" which featured the music of Harcourt-Whyte.

In some of my most challenging times- especially when undergoing Chemotherapy 2 years ago, the music of Harcourt-Whyte was inspirational to me - especially the song "Atulegwu" (never fear), also his composition "Umu gi emebiwo uwa gi" (Oh God, your children have destroyed the beautiful world that you created..) is one of the most moving songs I have ever heard and has resonance with several themes of the beauty of this earth destroyed by man's greed, avarice, covetousness and individualism. It is important also that Harcourt-Whyte's ministration never included condemnation of other faiths but focused on the simple philosophy love, compassion and empathy for your fellow men.

A simple man, he never sought acclaim, money or fame, he believed his life had a purpose beyond the challenges he faced or merely acquiring material achievement. One of the greatest African's who ever lived, if you asked me.

The Nigerian Civil War Photography of Hakan Gottberg

This note is essentially a condensation of an email received from Hakan Gottberger a Swedish photographer, who had spent 6 months in Biafra between 1968-1969 - not as a photographer, but as a volunteer with the Red Cross. He was however able to document some of the work of the Red Cross in Biafra and by his own account spent time behond the lines in such theatres as Item, Olona and eventually at Uli, where he participated in the night movements of relief materials into Biafra- hazardous work as we now know. I was introduced to Hakan by an old-school mate and friend- Ebele Obumselu, also a Historian in his own right.

Hakan set up a photographic museum chronicling his works in general and the images he captured during the Biafran war. His mission and the motivation of Ebele Obumselu and myself in publicising this obeing not to inflame sentiment and arouse emotions, but to give spotlight to an incredible body of work that has not achieved wide exposure and has not been published in any of the popular photographic works of the Nigerian Civil War we are familiar with. These photographs are the creation and private property of Hakan Gottberger done with his own hand and skill and whatever your position on either side of the divide, they should be appreciated for what they are, another original chronicle of a watershed in Nigerian History.

I have reproduced his note here after the photographs, with minimal editing, however the story is told more comprehensively by his excellent photographs, which are published above the text of his note . Thanks very much Ebele and Hakan

Note- This photographs are not to be copied or reproduced without the permission of Hakan Gottberg.

My name is Håkan Gottberger and was invited to the group by my friend Ebele Obumselu. I met him through a mutual friend, Obi C Agora in conjunction with my exhibition Two x Africa, where I showed my pictures from Biafra 1968-69, at an exhibition together with pictures from Kenya 2007th

It was my first show in more than 40 years, I am a photographer by profession but experiences in Biafra gave me a different outlook on life. Ebele has expressed himself as so "Your pictures are amazing. Coming from eastern Nigeria myself, I have a special interest in the Biafran Catalogue and think you capture Human Suffering and Strife in a very Immediate and human way. I Hope That more People who live in what was Biafra - Eastern Nigeria - get to see your photographs. They are a powerful, compelling and personnel record of the Biafran war, Which sometime devastated Many Lives. "

I attended the Swedish Red Cross Biafra team for about six months 1968-69 as a volunteer, not a photographer, but I offered to document the work of the Red Cross, for I had the resources in Stockholm who could take care of the rolls I sent home with returned air and thus provide the RC images for information.

My niece, who is a renowned painter, wanted to write something personal about me on my catalogue, when I consulted her about how to do an exhibition.She is the one that best describes me:

”My uncle Hakan ....It has always been a magical glow over my uncle Hakan. When I was little, he lived far away in Malung, north of Sweden and I met him and my cousins a few times a year. I had several uncles, but none as Hakan, with the noisy laughter and the sad eyes.

I always knew that Hakan was a photographer. He was a photographer, but without a camera. I can not remember during my childhood saw him take a single picture. There he must have done, but there's nothing I can remember. There were pictures taken Hakan. Pictures that swept into my mother's story of a movie star light. A black and white photo of my mother in profile with a blank page so that you felt every hair, where the mother is present, but completely inaccessible. My parents' wedding photo. A Dalmatian in the snow. Images that I illustrated for my parents 60. All photos taken with the same attention, focus and clear contrasts. It's Hakan look that says.

My grandmother had on the wall of her bedroom a picture or a photo that Hakan taken. It was a remarkable image, an abstract photo. A black vastness that was marred by a jumble of white and red light dots and lines.How can one photograph the abstract? I never understood the image as a child. It showed nothing. My grandmother loved the photo. She told me repeatedly about how Hakan won first prize with it and how it had to grace the cover of the Philips Annual Report 1966th I have not seen that image in more than 20 years, but when I called Hakan and asked him about it as I remembered it perfectly. What image is that can burn itself into memory like that.

Hakan's life became a part of our family's history. A story as a child I never heard from beginning to end and had served in fragments. The story of how he, after his return from Biafra, left a promising career as a photographer and moved to the forest in Dalarna. He acquired sheep and began working with handicapped children. My grandmother never stopped to talk about what a great photographer Hakan was. It was reported about the images from Biafra. That they demonstrated in newspapers in Sweden and how strong they were.They had an almost mythical dimensions. The first and only time I saw the pictures was on a visit in Malung.I must have been around 14 years. There were large black and white images in a black portfolio folder.Mostly I remember the eyes, I found it hard to believe that it was true and that Hakan really have been there. It was great.

When I today see them again, I recognize the feeling of unreality, but now I see also the joy of life in several images. I see the lovely people behind the famine. There are amazing pictures. Hakan has managed to capture these individuals in their misery, and every boy, girl, man and woman becomes a living human being, a destiny. While the photographs are not afraid of the horror, hunger, death, violence. To Hakan not traveled there as a photographer but as aid workers for the Red Cross affect images. He was not there to observe and record, he was there to help and alleviate suffering. He became part of these people's lives and so he came close in his portraits. He documented not an emergency, he portrayed it.

One can understand that it was difficult for Hakan to get back to everyday life in Sweden and use the camera as a tool for advertising and stylish portraits again. It must have rung empty.

When Hakan again took up the camera scarce forty years later and traveled to Africa again, it feels like the end of a mourning process. Image Series at a wedding in the Masai are so full of exuberance, color and beauty. What unites the two image series in the exhibition is partly Hakan interest for the individual but also his sharp gaze that strips away all unnecessary in the composition, until only the essence remains.

The joy of life following Hakan wherever he goes. No one can laugh as Hakan. Those who once heard, or should I say experienced Hakan laughter know what I'm talking about. Hakan's laughter can overturn a house.It fired a bolt at 100 meters, completely without warning and all that is within audible distance shaken.

I think that there is a balance in life. If you place Hakan laughter on one side of a scale and Biafra, the images on the other, we will find Hakan there in the middle, balancing as all of us but with a greater burden and more light than most of us. The gap between then and now, it is essential. It is in the gap I read of a life story. Not Africas, but Hakans.
Astrid Sylwan Stockholm, March 2010"

I hope you find this of interest for your group.

Yours sincerely,

Hakan Gottberger"

Edwardian Nigeria- High Society in 1920

I first came across the book- "The Red Book of West Africa" in 1980. This work was originally published by Frank Cass and Co in 1920 and authored by Alistair Macmillan, a journalist who visited West Africa in 1919 and compiled a lot of extremely useful, political, commercial and general historical data in a compact but easily readable 305 page book, the version I have was re-published in 1968. The book covers the three main Anglophone colonies of West Africa at the time i.e Nigeria, Gold Coast (Ghana) and Sierra Leone.

The coverage of Nigeria, was naturally of more interest to me (being Nigerian) and the book provided a brilliant insight into life in Nigeria at the time, both on the European expatriates and on the local personalities and organisations. I was particularly struck by the respectful perspective on the local professionals and business personalities, even if certain other perspectives in the book, reflected a slant more appropriate to the 1910's than the noughties, overall it was for me, a brilliant reference work and a book I would recommend highly to any student of Modern West African history.

I had written an article 5 years ago on this blog, on The History of the Palmwine Guitar, in which I referred to the high society of Lagos at the time, this was entirely based on content contained in this book. I however had to rely on residual memory, since I had misplaced my copy. I am however glad to say I have just found it after a particularly strenuous search in my stored archives, through dust, mould and mildew. This post is focused on highlighting several personalities that graced what would have been the equivalent of Tatler in Nigeria at the time, but this time as a more serious historical study of the personalities and an insight on life at the time.

I have highlighted a number of the personalities at the time and their bios. Its necessary to mention the images and information herein are subject to the copyright of Frank Cass and Co (or its successors).

Miss Ore Green b. 1885- Lagos) Educated at CMS Girls Seminary, St Mary's Convent School and Private tuition under Rev WB Euba. Proceeded to London in 1912 and obtained the following qualifications- 1st Class Certificate Music, Theory of Music (London College of Music); Certificate of Central Midwives Board, Honours Certificate- Clapham School of midwifery and Clapham Maternity Hospital, She was the first Black woman to obtain the Apothecaries Certificate of the Pharmaceutical Society of London (A practical Pharmaceutical qualification). Certificate of Westminster College of Chemistry, Pharmacy and Botany and successfully qualified as a Licensed Druggist. She worked as a Dispenser at the Soho Eye and Ear Hospital in London, before returning to Nigeria in 1917, where she first worked as Midwife at Dr Savage's hospital. She later set up her own Nursing practice. She was fluent in English, French and Latin(?!) and was also a gifted actress, who famously played the part of Portia in a production of the Merchant of Venice in 1911.

Dr Oguntola Odunbaku Sapara MB.BS (1861 -1927) Formerly Alexander Johnson Williams )attended CMS Grammar School, Edinburgh University and Glasgow University qualifying as Medical Doctor in 1893 and specialising as a Gynaecologist. He joined the Government Medical service in 1896 and from 1897, dedicated hislife to the eradication of Small Pox and was singlehandedly responsible for securing the the abolition of arm-to-arm vaccination. He famously joined the Smallpox Worshippers Cult "Sopona"- who glorified Small-Pox?!?) so as to obtain info on and fight their practices- thus leading to a Law abolishing the worship of Small-Pox. He was also at the forefront of the campaign by African Medical Doctor's to receive equal pay with their European colleagues.This is one of the most distinguished, but unsung African's. He was famously painted by the pioneer Artist Aina Onabolu. His brother Christopher Sapara Williams, was the first Nigerian Lawyer.

The Hon.Kitoye Ajasa. BL (Inner Temple) Born 1866. A Barrister at Law, he attended CMS Grammar School, Public School in the United Kingdom and The Inner Temple Inn of Court in London and was called to the Bar in 1893. He returned to Nigeria and set up a successful Law Practice. He entered into Politics and was elected to the Lagos Legislative Council and the Nigerian Council in 1914. Greatly respected by the Colonial authorities, he was persuaded by the Sir (later Lord) Frederick Lugard to found a newspaper- "The Nigerian Pioneer" in 1914, which was the first Indigenous Newspaper in Nigeria to voice the opinions of Whites and Black- basically an elite journal. He was the first Nigerian to receive a Knighthood and rose to become a Judge of the High Court of Lagos.

Dr Adeniyi Jones was born in 1876 in Sierra Leone and attended Sierra Leone Grammar School and in 1906 proceeded to Durham University UK, where he studied medicine. He then practised at the Rotunda Hospital Dublin, West London Hospital, Hammersmith London and the Liverpool Institute of Tropical Medicine under Sir Robert Boyce. He returned to Nigeria in 1913 and built his hospital in 1914, containing both male and female wards and an operating theatre.

Debayo Agbebi. b.1886- Lagos) CMS Grammar School, Birmingham University- 1911. Member British Association of Civil Engineers, Life Fellow of the British Geological Society, Member of the Astronomical Society and the Royal Sanitary Institute. Joined the PWD Lagos-1912 as Assistant Engineer, set up a private Firm of Engineers and Licensed Surveyors- 1914.

Samuel Herbert Pearse FRGS b.1866. Educated at CMS Grammar School, he joined WB Maciver and Co (a trading company) after leaving school and learnt the skills of trading from his fastidious and knowledgeable Scottish Manager and mentor Mr Carr. At the age of 17, he was poached by another company for his commercial talent and intelligence and at the age of 22, he set up his own trading Firm Pearse and Thompson, with offices in Marina, Lagos and Leadenhall St- City of London (1888). This venture folded up in 1894 as trading suffered following the Native wars in Nigeria, at the end of the 19th century (prior to unification). He engaged in agency trading for a few years and eventually bounced back in 1907, this time in Calabar where he engaged in the export of Rubber and Ivory to Europe. He amassed a fortune from this trade, eventually returning to Lagos in 1912 and re-establishing his trading empire. Samuel Pearse and Joao Da Rocha amongst others, were reputed as two of the richest men in Lagos at the time. He built the magnificent Elephant House in central Lagos,which by any standards was an excellent mansion. He was honoured with the fellowship of the Royal Geographical Society in 1915, as well as membership of the Royal Colonial Insititute.

He was described by the Red Book of West Africa- as "one of the most influential and respected men in Nigeria". His children went on to professional careers, also his Grand-son Dr Femi Pearse became a Medical Doctor. His great grand children, include Professor Femi-Pearse and my mentor- the late Chief (Mrs) Obafunke Akinkugbe.

Two early Nigerian Medical Practitioners

Dr Moyses Joao Da Rocha (b.1876, Lagos) CMS Grammar Schools, Edinburgh University- MB.BS -1913. Private Medical practice from 1914.

Dr Magnus Macaulay (b.1879 Lagos) Methodist Boys High School, Dispenser Lagos Hospital 1897-1907. Edinburgh University MB BS- 1912. Private Medical Practice, Lagos- from 1914

David Evaristo Akerele born- 1876, Lagos. Started his career as a Clerk in the Government Service, firstly in the Railway and later in the Attorney-General's office. He left to set up business in 1906, firstly as a general contractor to the Government, in 1909 he set up his trading business at Balogun, Lagos, which grew exponentially with branches in Douala and Victoria in the Cameroons. He traded in Agricultural produce and mixed goods.

J.H.Doherty- Born Lagos- 1866. He started his trading career in 1891, as an apprentice in a local business at Alakoro (which was to be his base throughout his career), with the small start-up capital of £47. He built up a business empire, based on meticulous attention to detail, uncompromising integrity and pure hard graft, he was known to scrutinise his accounts meticulously and as they say "follow every penny". By 1899, his business had flourished to the extent of his opening branches of his enterprise in Alakoro- Lagos, Oshogbo, Zaria, Lokoja and Kano. He epitomised the true qualities of integrity, hard work and honesty which to a large extent was fairly typical in Nigeria at the time.

Born.Lagos 1881, Karimu Kotun was a successful Merchant and son of the famous Braimoh Kotun of Lagos. He was notable for being one of the few traders who went into business immediately after leaving school in 1896, without going through a period of apprenticeship. A totally confident and intelligent man, he grew his trading business aggressively and astutely, trading all over Nigeria, from Lagos to Jebba to Calabar to Kano. His reputation as a consummate deal-maker grew such that in 1910, he was appointed local Agent to Messrs EH Stein & Co of Liverpool and later Messrs S.L.Behrens (Manchester) Ltd at the relatively young age of 29. He was one of the first Presidents of the Mohammedan Cricket Club of Lagos (i.e the Muslim Cricket Club) and succeeded Adolphus Martins and the Private Secretary.

George Da Costa - born- 1853- was described as "the ablest and best known photographer in Nigeria". Educated at CMS Grammar School, he was the first African Manager of the CMS Bookshop, from 1877-1895, when he resigned to set up as a photographer. He did this after investing £30.00 in special training (the meticulous nature and pride of skill at the time is evident in my view). His skill was recognised by the colonial government, who commissioned him to photograph the whole Railway Construction project at the end of the 19th/ beginning of the 20th century, which he covered all the way from Lagos, through Jebba, to Kaduna. His works adorn most of the coverage in the Red Book of West Africa.

The Calabar Bar and Bench. Most of the Black Lawyers at this time were from Sierra Leone (Saro), many of whom settled in Lagos and Calabar and forged careers. They were mostly either returned freed slaves or the descendants of these (from the UK). Justice Webber went on to a distinguished career as President of the West African Court of Appeal (WACA)

Prince Bassey Duke Ephraim-( b.1878), a member of the Royal House of Duke of Calabar- was a successful Merchant and exporter of Agricultural produce and Ivory. Calabar and Lagos were the most important cities in Nigeria at the time, being seaports. He was the son of the great Obong Duke of Calabar and was educated froma very early age in the UK (1887). First at Seaforth School and then Waterlow College (under Reverend Bain). Reputedly a highly intelligent and ariculate man, he spoke with an English but was still very much steeped in the traditional ways, leading the punitve military expedition of the Efiks against the Ibibio's (to revenge a previous massacre of the Efiks at Itu). He was also Presidentof the Native Court at Calabar and was also a political leader, famously leading the delegation of the Calabar people to London in 1913, to make representations on Land tenure.

Samuel .O.Bamgbose was a popular trader and a Partner in the famous Lagos tradng firm- S.O.Bamgbose and Brothers (estab.1915). Exporters of local produce and importers of Cotton and fancy goods from Europe. Its unclear if Bamgbose street was named after him, very likely to have been named after an older forebear, since this was a popular Lagos family.

G.T Bickersteth was a popular licensed auctioneer based at Victoria Road, Lagos Originally from Porto Novo,he started out as a teacher and rose to become Headmaster of Holy Trinity School- Ebute Ero, but went into trading shortly after in 1909, dealing in Haberdashery and eventually became a licensed auctioneer and commissioned agent of property and personal goods.

Ed Keazor- 2011

Images- property of Frank Cass and Co (and successors)