Femi Kuti
Fela’s oldest son joined his father’s band in 1979, at age 17. As a solo artist, Femi has gone on to earn six Grammy nominations. He oversees Fela's album reissues and compilations. <femikuti.wixsite.com/femikuti>
What are some of your strongest memories of recording with your father?
Oh! First of all, before he records, he performs the song live for at least, I think, about two years. Then it goes to the studio. And from the time he starts to compose until it goes into the studio, the song probably will have changed a couple of times – in order to add or subtract some things. After he records it, he never performs those tracks onstage again. That's the end of that song.
Right.
He was very strict. Nobody could interfere in his compositions. When people say things like, “Tony Allen used to put the drum patterns,” that was the biggest lie. Fela used to give everybody their parts, including Tony Allen. Yes, Tony Allen was a good drummer. But that he put the drum patterns, that was a big lie. Again, I'd like to let people know – all the journalists – that Fela never said, “Without Tony Allen, there would be no Afrobeat.” I think that quote must’ve come from Tony Allen’s camp on the internet. I think there are about three biographies about Fela, and Fela says nothing like that about Tony Allen in any of those books. Fela was very strict. He would call the rhythm section – which comprises of bass, guitars, and keyboard. He added the keyboard with the Egypt 80 band. Those musicians would play for maybe a week or so. Then he'd call the percussionists, which includes the drums. And when the groove was to Fela’s satisfaction, he’d bring in the horns and then rehearse for another week, or two or three weeks. Whilst all this is going on, he is putting lyrics. And when he’s convinced that this is the music he wants, then he starts to put the words and teach everybody the chorus lines, the singing parts. Then, he plays it in The Shrine [The Afrika Shrine was Fela's venue] for a couple of years. Then he records it. From the 1970s on, this was how he did recording.
He would record 100 percent live, correct?
Yes. But he used to overdub some parts sometimes after the full band recorded live. Solos, chorus, and his parts. This was when he felt some parts weren't performed to his satisfaction.
You say he was strict. Do you think he was stricter with you, or less strict since you were his son?
No, I think he was strict with everybody. When he came onstage you just had to keep quiet, be attentive, and play your part diligently – don't miss your notes! The only time he was strict with me was if I played the same solo line. He called me once and said, "Why are you always repeating the same solo?” I was quite upset then, but that helped me in future. That was about the only time, I would say, that he told me off. It seemed like he was telling me off, but probably it was just his only way of advising or correcting.
And what did you learn most about recording from him.
He didn't joke with his compositions or performance, or in the studio. But he could probably sometimes be a bit lenient in the studio, especially with the soloists. He’d let people play the solo, then ask, "Are you satisfied?” And whoever – the trumpeter, guitarist, saxophonist, me, or whoever – if you said you were satisfied, then we’d leave it. Let it go. He produced all his albums. He mixed it himself. He practically did everything himself. But he would always come to the studio or rehearsals very late.
Like, how late?
Very late. [laughs] He called practice for maybe 4 or 5 in the evening. He might not turn up until 10. And everybody had to be waiting. I mean, very late. Always late. [laughs]
What else do you remember about recording with him?
I think he was more of a composer than an instrumentalist himself. I remember when he was playing the trumpet, and he picked up the sax. He picked up the sax because he and the saxophonist had some issues. I love that saxophonist, Igo “Chico” Ojukwu. But when he left, that was why my father picked up the instrument. Then he taught himself the saxophone – to play the saxophone. But I think he never saw himself as an instrumentalist. He was more of a composer. Because the design process was really on his compositions. I would hear him practicing on his instruments, but…
What were the recording sessions like?
