ALHAJI WAZIRI OSHOMAH “World Spirituality Classics 3: The Muslim Highlife of Alhaji Waziri Oshomah” VINYL GATEFOLD 2LP

Description

Across a five-year window, the albums inLuaka Bops World Spirituality Classics series have been few, yet profound. First was a divine selection culled from Alice Coltranesashram tapes; next, a set of gritty, body-moving gospel inThe Time For Peace Is Now. Each compilation has suggestedregardless of denomination or affiliationa path to spiritual understanding through music.

Now comesWorld Spirituality Classics 3: The Muslim Highlife of Alhaji Waziri Oshomah, a Nigerian singer whose body of work stretches back to the 1970s. A devout Muslim who also grew up as a devoted fan of African highlife, Oshomah straddles the line between the secular and the sacred, weaving together traditional Nigerian musical styles with a mind observant of Islamic teachings. Oshomah lives and plays in Auchi, the Islamic center of southern Nigeria, in what might be seen as a balancing act of sort between the two major world religions that exist in the country: fundamentalist Muslims to the north, slightly more liberal Christians in the south. Despite differences in doctrine, Oshomah deals with our shared earthly sins: gossip, lust, jealousy, those that wish evil on their brothers.

Take the opener Forgive Them Oh God Amin Amin, which is rooted both in Luke 23:34 and a repeated call to God closer to what youd hear in a mosque. Oshomahs voice is earthy, incessant, the call-and-response of Amin with his backup singers worrying across the unhurried Afrobeat. It makes for eight seemingly static yet transportive minutes. That leisurely pace gives the music a relaxed pace, but also plays with our notion of time. Oshomah delivers an homage to a big-hearted person on Alhaji Yesufu Sado Managing Director, which stretches beyond 17 minutes yet never wears out its welcome, thanks to airy backing harmonies and an electric organ line that feels like a leisurely stroll through a park.

Aspects of Oshomahs music might bring to mind the likes ofEbo Taylors Ghanaian highlife, the electronic-laced output ofWilliam Onyeabor, the muted-trumpet griots of late 70sSalif Keita, or the vast expanse ofFela Kuti, but his music always dances away from easy assemblage. Chiming keys, spiked wah-wah guitar, and shuffling drums underpin Ovini Omoekeke Alhaji Inu Umoru, giving it a gently psychedelic feel. Jealousy has its synthesizer whinny approximate a siren, before the song blooms to life with percussive shakers, gurgling organ, and guitar, the beat itchy and restless. Meanwhile, Oshomahs voice remains steady and plainspoken. His lyrics are a mix of folk wisdom, sermon, and straight talk. May you not die of hypertension my brother and friend, goes one line. Its punctuated by his deep, knowing laugh, marveling at Allahs teachings as well as mans foibles.