Fuji music
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Fuji is a style of popular Nigerian music, popularized in the early 1970s by the one and only "Fuji Creator," Alhaji Sikiru Ayinde Barrister. It arose from the improvisation Ajisari/were music tradition, which is a kind of Muslim music performed to wake believers before dawn during the Ramadan fasting season. Were music/Ajisari itself was made popular by the likes of Alhaji Dauda Epo-Akara, the deceased Ibadan-based "awurebe" founder and Ganiyu Kuti or Gani Irefin. The name - fuji - was conceived in a rather funny and unusual way, according to legends. Alhaji Sikiru Ayinde Barrister once said that he came up with it when he saw a poster, at an airport, advertising the Mount Fuji, which is the highest peak in Japan. "Fuji," in this context, should not be mistaken for the Yoruba word "fuja," or "faaji," meaning leisure or enjoyment. ("Onifuja" or "Onifaaji" is Yoruba for 'a socialite, or one who relishes in leisure or enjoyment').
Alhaji Sikiru Ayinde Barrister founded and modernized Fuji music, in the early 1970s, after transforming Ajisari or were music. The Muslim community in Lagos metropolis (consisting of Lagos Mainland and (central) Lagos Island -- Isale Eko) had a sizeable number of ajiwere acts - who are regarded as the forebearers of the modern fuji music. These early performers drew great inspiration from Yoruba Sakara music style (using sakara drum but without the violin-like goje instrument -- which is normally played with an accompanying fiddle). The long list of notable Isale Eko ajiwere performers during the early Independence years included Sikiru Abiba, Ajadi Ganiyu, Ayinde Muniru Mayegun a.k.a. "General Captain," Ajadi Bashiru, Sikiru Onishemo, Kawu Aminu, Jibowu Barrister (under whom Alhaji Sikiru Ayinde Barrister performed), Ayinde Fatayi, Jolly Lawal Kasali, Saka Olayigbade, Ayinla Yekinni, Bashiru Abinuwaye, etc.
Varying styles were beginning to evolve by this time, and it was not unusual for a few to play mouth organs between Ajiwere interludes within their compositions. Alhaji Sikiru Ayinde Barrister was the lead singer/composer of the popular ajisari group, Jibowu Barrister, under the leadership of Alhaji Jibowu Barrister (mentioned above). Alhaji Sikiru Ayinde Barrister and other young ajiwere "rocked" Lagos and its environs until around the time Nigerian Civil war crisis (1966-1970) took many youths (including Alhaji Sikiru Ayinde Barrister himself) into the military draft.
After the war, a few continued their fuji music along with rank-and-file military careers. Although there were quite many fuji groups with collaboration and rivalry alike around Lagos island by this time, the "fuji" transformation originally became prominent with the recordings of Alhaji Sikiru Ayinde Barrister and Alhaji Monsuru Akande, both of whom recorded for the TYC/African-Songs musical labels in Lagos. Alhaji Sikiru Ayinde Barrister as a war-injured was posted to Armed Forces Resettlement Centre for rehabilitation, though playing part-time and was already releasing albums. By 1976, when he fully discharged from the Nigeria Army - launching himself into full-time studio recordings and party performances - he was already the sole star in the forefront of the pack, churning out hits after hits. His success undoubtedly fuelled the emergence of fuji as a mainstream genre in the mould of other Yoruba popular music such as Apala, Sakara and Juju in particular. The popularity blossomed particularly amongst party-goers, socialites and business tycoons.
Around the turn of the decade, the brand of fuji played by Alhaji Ayinla Kollington, himself a discharged soldier-turned-singer and hitherto somewhat lesser-known, also started gaining ground - having broken into the local dancing charts, aided by introduction of traditional Yoruba bàtá drum. By 1981, the duo of Alhaji Sikiru Ayinde Barrister and Kollington had propelled fuji to another level with rivalry stoked, in part, by fans/rumours/banters, and, in part, open feuds followed by challenges in some of the lyrics launched in Ayinla Kollington's abusive and vulgar recordings. However, the two are known to be friends outside of banters. Down the road between 1970 and throughout 1980s, many talented fuji singers made some noticeable impacts in the party scenes. These included Fatai Adio, Saura Alhaji, Student Fuji, Rahimi Ayinde (Kokote), Ramoni Akanni, Love Azeez, Waidi Akangbe, Sikiru Olawoyin, Agbada Owo (who prematurely experimented with the guitar), Iyanda Sawaba, Wasiu Ayinde Barrister (before he changed his name to "Marshall,") and also the Ibadan trio of Suleiman Adigun, Rasheed Ayinde, and Wasiu Ayinla.
Fuji music grew steadily popular throughout the ensuing two decades, especially internationally thanks to the original exploits of Alhaji Sikiru Ayinde Barrister -- who performed it to foreign audiences first (UK, 1978 and USA, 1985/6). It got to the extent that it almost edged out Juju music locally in terms of popularity were it not for the unrelenting efforts of Nigerian superstar King Sunny Ade, as Juju music declined dramatically with the exception of grand old names like King Sunny Ade and Ebenezer Obey. At a point, there was a rumour of a brief professional "beef" between Alhaji Sikiru Ayinde Barrister and King Sunny Ade. It is on record that throughout the late 1970s and until late 1980s, its creator and trademarked flagbearer, Alhaji Sikiru Ayinde Barrister, was the musician to beat, as many other popular musicians/singers in the country (Late Ayinla Omowura, Dr. Orlando Owoh, Alhaji Ayinla Kollington, etc.) took turns to take a swipe at him. Fuji music as a distinct Nigerian genre was synonymous to the sole name of Alhaji Sikiru Ayinde Barrister for the most part of these decades, thus earning him -- perhaps appropriately -- one of his many modern monikers - Mr. Fuji.
Since the early 1980's, Alhaji Wasiu Ayinde Barrister (before he changed his name to Alhaji Wasiu Ayinde Marshall), has gradually emerged (with hits like Talazo 1984) after tutelage under Alhaji Sikiru Ayinde Barrister -- Marshall had served under Barrister in different roles notably as his road manager. Marshall's style evolved through the early 1990's as he added youthful vigour into it. By the end of the 1990s, his brand of fuji had become one of the most popular dance genres in the country.
Today, most fuji musicians originate from the Mushin area of Lagos State. The lyrics are most often in the Yoruba language. Fuji is a percussive style of music, relying on complex interlocking rhythms played on a variety of traditional drums, while also incorporating drum machines and keyboards in its modern incarnation. Due to its popularity with young Nigerians, fuji is featured alongside Nigerian hip hop music. For instance, Nigerian hip hop artists like Tony Tetuila have featured singers like Pasuma in their works.
Popular modern fuji musicians in Nigeria include Wasiu Alabi, a.k.a. Pasuma Wonder; Alhaji Abass Akande Obesere; Konkolo, Shefiu Alao a.k.a. "Omo Oko," Wasiu Ajani, Mr. Pure Water, (Sir) Shina Akanni, Adewale Ayuba; Saheed Osupa; Remi Aluko,Muri Thuner, Sule Alao,Sule Atawewe,Karubey Shimiu and now fuji music have over 10 young kids that are doing good in the industry; the likes of Shanko Rasheed, Wasiu Container, Kokolo, Global T ann many others. In this generation of musicians, Wasiu Ayinde Marshall, known as KWAM1, has been the most recognizable name in the genre since the mid- to late-1990s.
