By Nils Jacobson

In Africa, music occupies a central role in human existence--from birth to death, from somber ritual to joyous celebration. Traditionally, music in West Africa has passed from father to son over hundreds of years; because master musicians occupy a very prominent position in society, their art serves many roles. Instruments, forms, and arrangements go back before history.

But upon the arrival of European colonists, everything changed. The occupying forces brought with them a new collection of traditions, ranging from church-derived choral music to marching bands and various other ensembles. Africans began to assimilate these sounds; traditional music was well along in giving way to popular music. And when jazz flooded America, it became a prominent cultural export to the African continent. So did the forms of Cuba, Jamaica, the Antilles, Brazil, and other areas. What resulted was a musical collision of epic proportions.

This special feature documents the music of Nigeria and West Africa, as it has proceeded from ancient traditions to modern adaptations. The '70s get special coverage, since they represented the greatest explosion in Nigerian popular music.

Note: the material reviewed below is available from American online retailers, with the exception of AfroStrut releases, which can be obtained from amazon.co.uk and other outlets.

	Frank Tenaille, Music Is The Weapon of the Future: 50 Years of African Popular Music (Lawrence Hill Books, 2002) In this excellent book, Tenaille examines influential musicians from all over the African continent. He provides information about distinctive styles, history and influences, and essential recordings representing a huge variety of approaches. A fine introduction and a valuable reference.
	Antibalas Afrobeat Orchestra, Liberation Afrobeat Vol.1 (Ninja Tune 2001) The Antibalas Orchestra has taken the ideas of Afrobeat developed in Nigeria in the '70s and adapted them to a modern context. Clear debts to Afrobeat star Fela Kuti emerge through energetic, jazz-inflected funk with a political angle.
	Badenya, Manden Jaliya in New York City (Smithsonian Folkways 2002) The most traditional music in this collection, Badenya presents an active group of musicians in NYC playing pieces representing the Ancient Empire of Mali. Spare and open, this music sounds timeless.
	Blo, Phases 1972-1982 (AfroStrut 2001) The trio known as Blo was born from the funk explosion in 1970's Nigeria. This retrospective covers their ten-year history, spanning a range of music from psychedelic sounds through heavy funk and fresh disco. There's no doubt at any point where these guys are from.
	Toumani Diabate with Ballake Sissoko, New Ancient Strings (Hannibal 1999) The kora, a 21-stringed harp-like instrument whose history dates back centuries, is featured here on a series of duets. These two masters bring traditional forms to life through delicate interaction and tasteful improvisation.
	Fela Ransome-Kuti with Africa 70, Fela With Ginger Baker Live! (FAK/MCA 1971/2001) Fela Kuti's music brought together a global spectrum of sound. This recording, made shortly after Kuti returned to Africa from the United States, feaures Cream drummer Ginger Baker as guest artist. Tasty tunes, tight band, liquid flow.
	Fela Anikulapo Kuti, Music is the Weapon of the Future (Exworks 1998) Out of Fela Kuti's immense discography, this disc is representative material. Fela is credited with the invention of Afrobeat--along with his essential drummer, Tony Allen--a broad synthesis of African drumming, jazz improvisation, and deep funk (among many other things).
	Prince Nico Mbarga, Aki Special (Rounder 1997) Nigerian star Prince Nico's 1977 record was his masterpiece, hugely popular all over the continent: tunes for dance and celebration. The big hit single celebrated motherhood, a revealing fact about Nico and his listeners.
	E.T. Mensah and the Tempos, All For You (RetroAfric 1998) The kind people at RetroAfric compiled 20 singles recorded by E.T. Mensah in the '50s. Mensah more or less invented Highlife, a jazz-influenced style made popular in Ghana and exported to nearby regions, including Nigeria. Highlife has remained a distinctive style ever since.
	Youssou N'Dour, Joko (The Link) (Nonesuch 2000) Afro-pop star Youssou N'Dour, the most popular and influential musician to come out of Senegal, conveys positive energy and an uplifting message. His mbalax style relies on a rich percussion section, lilting melodies, and his own distinctive voice.
	Various Artists, Nigeria 70: The Definitive Story of Funky Lagos (AfroStrut 2001) For listeners curious about what happened when funk collided with highlife, this set is the answer. AfroStrut put together over two hours of music representing key artists from '70s Nigeria, plus a documentary CD on the music with narrative, samples, interviews, and more.