Nigerian-born drummer and composer, Tosin Aribisala, has been actively involved in professional music for over 12 years. Tosin’s brainchild, the Afrikan Rhapsody band is a vehicle for exhibiting a cross-cultural musical spectrum by merging African musical idioms with jazz, gospel, neo-soul, and other contemporary music genres. Tosin writes in English and his native Nigerian language - Yoruba.
Besides leading his band, Tosin also performs drum solos which he dubs Drum Monologue. The Monologue is an expression of polyrhythmic, groovy, and poetic ideas on the drum set. And sometimes, he makes it a Drum Dialogue by featuring other percussion player(s).
Knowing that a tree does not make a forest, the individuals whose artistic ingenuities have influenced Tosin’s musical awareness include Haruna Ishola, Bob Marley, Maxwell, Majek Fashek, Sikiru Ayinde, Sade, Fela Kuti, Bobby McFerrin, Art Blakey, John Coltrane, and Bill Stewart.
To his credit, Tosin has performed and recorded with some world-renowned musicians, such as afrobeat exponent, Femi Kuti, music producer – Andres Levin – in the recording of “Red Hot Riot” CD – a tribute to the late legendary Nigerian musician and socio-political activist – Fela Kuti. The CD featured such notable artists as, Macy Gray, Erykah Badu, D’ Angelo, Sade, Baba Maal, and Taj Mahal. Tosin has also performed and recorded with Julie Dexter and Yerba Buena, and many others.
In 2008 and 2009, Tosin was nominated for the best world music instrumentalist for the Wammies Awards by WAMA – Washington Area Music Association. In early 2009, Tosin served as artist-in-residence at Strathmore Music Center, Rockville, Maryland. Currently, Tosin teaches and conducts drum workshops at Washington, DC, and Maryland public/private schools. Tosin is an endorsed artist of Vic Firth Drum Sticks Company.
To date, Tosin and his group have performed at the following venues:
The Kennedy Center, Strathmore Music Center – as artist-in-residence – the National Harbor, Blues Alley, Zanzibar, Busboys and Poets, Loyola College, Bohemian Caverns, the Annapolis Music Festival, Twins Jazz, and several local clubs.
To watch videos of Tosin’s band, please visit – www.youtube.com/tosinmusik
What do we have in common? Are we somewhat related? Those were the questions that ran through my mind when I was growing up. Primarily, my exposure to different genres of music began at an early age. Whenever my father listened to music (of any style) he would call on me to listen along with him. In the process of listening, he would analyze the music - its origin(s), the musicians, the instruments and other vital elements of the music. For instance, as we were listening to a jazz ballad one night, I observed that the tone of the snare drum was a bit different from what I was used to, so he pointed out that the drummer was playing with brushes instead of sticks. That was how I discovered the use of brushes and the way they sound on the entire drum set. In summary, I learned some vital music lessons from my father, a music aficionado, who was never a musician.
Besides listening to music, I read the liner notes and the details of recordings like the artists involved, the studio(s), and other details. In a sense, that gave me an insight into the business of music. By the time I heard the music of James Brown, Art Blakey and other jazz artists for the first time, I felt a sense of Déjà vu as if I had always known their music. I also felt a sense of oneness with the music, much like I share something in common with these legends. As a result, I aspired to play their style of music and so began my journey into Jazz.
On the other hand, I cannot deny the fundamental influence of the indigenous music peculiar to my roots as an African; from African church worship music to the groove of tribal drummers who performed at various social events. There was also the strong influence of Nigerian contemporary music like Afrobeat, Juju, Fuji, and Highlife music. These were the “hands” that fashioned my formative years musically.
Other than being a drummer, I discovered that my calling surpasses drumming simply because I imbibe music beyond the realm of percussion. Somewhere down the line my interest in music gradually gravitated towards the art of songwriting, music production and other art forms. This discovery has led me to critically draw comparisons between my African musical heritage and musical forms specific to the western world in order to strike a balance in my compositions. For I have come to realize that there is a sort of “extended family” notion going on, partly due to the transatlantic exodus that took place many hundred years back; which in turn produced similarities in the artistic characteristics between Africa and the West.
Above all, as long as music remains a universal language, I believe that it will always be a remedy or therapy for the soul, regardless of race, color, culture, religion or social status; for we find solace in music.
Alafia!