Toluwani Ajayi’s double bass excellence, African art music techniques and cultural richness

By Emmanuel Daraloye 

Overcoming traffic challenges was easy due to my proper planning and anticipation of the road. Despite my proper planning, I barely made it to my registered seat for this Orin Tuntun 2023, Dr. D.K. Olukoya sponsored a concert which took place at the MUSON, Lagos Island.

The third annual Orin Tuntun concert was presented by Àkójọpọ̀ Music Foundation, The African Art Music Commissioning Project. This provided a platform to experience the dynamic African art music which encompasses a wide range of wisdom, creating a safe ground for a global network of African and Black composers, inspiring new dialogues in art and classical music composition, and encouraging educators to preserve our heritage through art music.

In 2023, Àkójọpọ̀ Music foundation marked an intentional rebirth for the organization under the vision of Founder and Executive Director Daniel Kumapayi, the foundation transformed into a truly Pan-African mission and in the same year. 

Orin Tuntun concert was held on July 22, 2023 with notable highlights of Toluwani Ajayi, a Nigerian born double bassist and composer, demonstrating what it meant to truly evolve.

I was introduced to Toluwani Ajayi during the Africlassical Concert, on January 30, 2022, at Terra Kulture Arena organized by the Vesta Orchestra & Opera Foundation, with support from the Music in Africa Live Foundation. Toluwani performed as a Principal Double Bassist  alongside other musicians showcasing compositions by African composers including Godwin Sadoh, Samuel Akpabot, Ikenna Onuorah, Gabriel Adedeji, S.K. Ore, and Seun Owoaje.

Toluwani Ajayi  maintains regular artistic engagements through the Bi annual Africlassical Concert series, while also collaborating with ensembles such as the Dulcis Music Orchestra, Divine Symphony Orchestra, and Music Society of Nigeria Symphony Orchestra.  

Toluwani commonly called JOHNTBASS by his colleagues and close associates made a brief performance at the Àkójọpọ̀ Orin Tuntun July 2022 commissioning concert, his passion for growth had consistently built him for a better performance for the 2023 concert, he confidently performed as the backbone of the chamber orchestra as a double bassist. The story of his growth will be incomplete without mentioning that unlike his single performance the previous year, Toluwani performed four commissioned pieces, each demanding different techniques, articulation, dexterity, attentiveness, responsiveness to conducting, accurate interpretation of all cues, tempo changes, and expressive performance directions.

His performance in Song of Onugbo and Oko was exceptional considering that this piece felt programmatic and unnatural which aimed to blend Idoma folk traditions with the structure of German Lieder. The piece painted a tragic fraternal killing, where the protagonist transformed into a bird of eternal mourning amidst the Greek-style chorus and ancestral Idoma rhythms.

Toluwani proved his musicianship level, provided a ricochet technique with the double bass bow, producing a grounded presence. His ability to interpret the character in the composition using rhythmic movements alongside the percussion was a testament of his understanding of the piece, it was a joy listening to his bassline giving rootnotes to the harmony from the Flute, Clarinet, Horn, Piano, higher Strings, Percussion, and Chorus.

Atótó Arére is a piece inspired by Yoruba folk songs and the spirit of percussionist Abike Ilu, compared to the piece above, this piece required a complete contrast of ideas. 

Here, the double bass acted as the rootchord, locking in with the piano, shaker, omele bata, clave, and dundun. Toluwani imitated the traditional drums by holding the root of each chord, he matched the energy of the traditional Yoruba elements the composition incorporated. By holding the rhythm, he pronounced the infusion and bridged the gap between the classical style and the African folk art music, keeping the soprano melody in a consistent tempo.

NUSE Translating to something powerful in the Ewe language, is a  Ghanaian-inspired work demanding raw strength. Toluwani used the low-pitched strings of his double bass to imitate the steady, commanding pulse of the Akuba and Atsimevu drums. During the slower movements, his bowing was particularly evocative and resonant, his aim was to capture the serious tone of the Volta Region’s folk history 

Incantation was the most ambitious piece of the night, Incantation blended Yoruba poetic speech with Mexican musical influences. Toluwani responsibly gave  strong beats notes to the ensemble of Flute, Bb Clarinet, four voices (Soprano, Alto, Tenor, Bass), two percussionists, two violins, Viola, Cello, and Piano.

His bowing structure adapted the  call and response style, and his percussive bowing adapted the rhythm from the Sogo (a large Ewe drum) for the bass. Every rhythmic phrase was  held by low-frequency vibrations that controlled the rhythmic flow. He was truly the backbone of the ensemble.

Through these four excellent performances, Toluwani Ajayi demonstrated more than just the skillfulness of the double bass. He, alongside the members of the ensemble, interpreted the beauty of the African folk tunes. Toluwani expressed the very mind of our heritage through his techniques. The pizzicato depth of his bass captured every mind.

Beyond stage performances, Toluwani advocates for health and wellness as a cohort and core member of the Global Arts in Medicine Fellowship. His contributions employ musical interventions to support healing across medical and social institutions including  the Sickle Cell Foundation Nigeria (LUTH), Alima Atta Oncology Ward, Children’s Emergency Ward, Nigerian Correctional Service (Ikoyi Custodial Centre), and Yaba Neuropsychiatric Hospital.

He holds a position in national programs like Nigeria’s Arts & Health Week, partnering with the World Health Organization and United States Consulate in Lagos to advance cultural-health.