Best known as the drummer for Afrobeat legend
Fela Kuti,
Tony Allen is an icon in his own right, an innovator, and a vital architect of
Kuti's percussively funky, jazz- and R&B-soaked sound. On his full-length Blue Note debut, 2017's
The Source,
Allen expands upon those contributions with new compositions inspired by the jazz that shaped his early years. 77 years old at the time of this recording,
Allen grew up in Lagos, Nigeria, where he soaked up Juju and other traditional West African music styles. Initially, however, it was American jazz that caught his imagination, specifically bop artists like
Max Roach and
Art Blakey -- the latter of whom he paid homage to on his 2017 EP,
Tribute to Art Blakey and the Jazz Messengers. On
The Source, he balances both his jazz and Afrobeat sides, delivering buoyant songs that are equal parts funky jams, harmonic engagements, and modal workouts. Helping him achieve this synergistic combination is Paris-based saxophonist
Yann Jankielewicz, who previously appeared on
Allen's 2009 effort,
Secret Agent. Here,
Allen and
Jankielewicz have crafted songs that showcase the drummer's muscular, kinetic style and ability to lead a robust ensemble. Making up that ensemble are an adventurous cadre of
Jankielewicz's fellow Parisians including bassist
Mathias Allamane, guitarist
Indy Dibongue, pianist Jean Phi Dary, trumpeter
Nicolas Giraud, trombonist and tuba player
Daniel Zimmermann, saxophonists
Jean Jacques Elangue and
Remi Sciuto, and organist
Vincent Taurelle. Also making an appearance is
Allen's
the Good, the Bad & the Queen bandmate
Damon Albarn, who slips in for some piano hijinks. The opening "Moody Boy" starts dramatically with a bluesy rubato tuba statement from
Zimmermann, played with a soulful urgency that improbably brings to mind
John Coltrane, and then leaps headlong into a crisp, funky groove marked by
Vincent Taurelle's juicy organ. Also engaging are cuts like the celebratory "Push and Pull," which impossibly marries
Preservation Hall-style group improvisation with a bouncy highlife-jazz energy. Yet other cuts, like "Tony's Blues" and "Ewajo," sound like something
Charles Mingus might have written for
Fela Kuti. One of the most satisfying aspects of
The Source is just how nuanced and harmonically varied these arrangements are. There's a real chamber jazz aspect to many of the songs as the band swells and vibrates against
Allen's intense drum tumult until the entire ensemble erupts into a cacophony of soulful, winding skronk. If
Allen felt the impulse to celebrate his idol
Art Blakey on his previous EP, with
The Source, he offers an open-ended coda to that influence; an earthy, majestic, endlessly inventive album that caps both his own storied career and points the way toward the future. ~ Matt Collar