Tony Allen interview: Master mercenary

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Born in Nigeria in 1940, Tony Allen is one of the most influential drummers of all time. As the drummer and musical director of Africa 70, the band of superstar Fela Kuti, Allen was responsible for founding a new musical genre, Afrobeat. The hugely infulential sound was based upon his own unique style of playing, combining traditional African rhythms with American jazz and funk stylings. 

Africa 70 developed their style following Allen and Kuti's 1969 visit to the USA, when upon their return, they built a group with an extensive line up that became known for electrifying performances around the world. Their lengthy songs, marked by Kuti's often political lyrics as well as Allen's dance inducing rhythms, made up over 30 albums with Africa 70, covering the best recordings in Kuti's career.

Allen moved to London in 1984 but ended up settling in Paris where he is still based. Since leaving Africa 70 he has worked with the likes of Kid Creole, Jimmy Cliff, Groove Armada, Grace Jones, and Theo Parrish, whilstcollaborating on several projects with Damon Albarn, not least Africa Express and as part of The Good, The Bad & The Queen.

He published his autobiography Master Drummer of Afrobeat in 2013 and continues to be a much in demand and unique session drummer. Shortly Allen heads out on a UK tour, in which he plans to pay tribute to one of his biggest influences, jazz drummer Art Blakey. Prior to dates at The Wardrobe in Leeds and Band On The Wall in Manchester with his own band, we caught up with Allen to talk about aspects of his lengthy career. 

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You wrote your 2013 autobiography Tony Allen: Master Drummer of Afrobeat with Michael E. Veal who wrote a biography of Fela Kuti. Had you read the book he wrote about Fela?

I met Michael in 2000, after he had written Fela's book, and we became friends. He's a musician too, like me, a musicologist. I said “Do you want to write my book?” and he said “Why not”, so we just started. Simple as that.

Where was the first time you heard Art Blakey?

The first time I heard Art Blakey was in Nigeria when I was just starting my musical career. It was the early 60s, on a vinyl record. He came to record in Africa but I didn't see him at that time. I didn't actually see him until London 1985. I was just studying his records. I liked most of his works, The Jazz Messengers especially.

He was known as quite a powerful drummer and also known for being able to play with his limbs working independently of each other. What particular lessons did you take from him that influenced your own style?

Well, it was his flow. It was so original, for me. The way he handles his drums as well, a very powerful drummer.

Which other drummers have had a specific influence on how you play?

I tried to copy everybody as far as contemporary jazz went, Art Blakey, Max Roach. But that wasn't going to help me get anywhere, as far as I'm concerned. To be a drummer, to be one of the best drummers, I just had to find my own way of playing. It had to come from within myself, I had to start without knowing which way I would be going. That's the journey I took. My technique of playing is completely different to anyone else.

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When you started playing with Fela as part of Koola Lobitos in the 60s the words of the songs did not contain politics. What happened to change that?

Politics? I'm not into politics. My music is not politics. That was Fela. We played together and he had his own way of life. He knew what he wanted. The music was like that at first because it wasn't music for militants, it was high life jazz. If we're talking about politics, I'm not in there. Fela had his political awareness, good for him. And he had the music to present that. 

If you're playing as part of a band that has a political message, does that change how you play? Do you respond to what the message of the words is?

My drumming doesn't really have anything to do with what the person is singing. It has more to do with the composition of the music. Whatever words the singer is putting there is their own business, it's the way the music has been written that's more important to me, that's what I have to fit in around. 

You played in the USA with Fela in 1969. What was that trip like for you?

The first trip to America for me was just like another day. I never wanted to stay there, it was just a question of going there to play. It was like an adventure, that was the way I looked at it. We brought back something that made the music change. That's what I think about it.

What was it that you brought back that made the music change?

Afrobeat. Afrobeat is made in a simple way, it's not complicated. Everything was simple after that. Keep it simple.

Were the ambitions of the band changed after this trip?

In what way?

Did you have the ambition to become an international touring band? Did you want to play different kinds of concerts, or different kinds of music or did you want to play to different kinds of audiences? Were your ambitions to go back and play there or did you just want to come home and go back to doing what you'd been doing before?

Well, I didn't so much want to go back to America. I'm not a freak for America. I've been going there ever since, with my own band, I've played there with many musicians. I've taught there too, I've done my masterclasses in the universities. But I don't want to live in the United States. I'm okay in Europe. 

You moved to London in 1984 but eventually settled in Paris. Why did you choose Paris to be your home instead of London?

Well, London couldn't give me what I wanted so I had to move. I don't want to be an illegal immigrant anywhere, so I moved somewhere where I could be legal and to somewhere where the music was appealing to me. 

You've played with a lot of different musicians who play with a lot of different instruments. Which instruments do you like playing with the best?

I like drums. My instrument is what I love the most. 

Are there any particular instruments you like playing with less, maybe because you don't like the way they sound? Some drummers may like to have bass and guitar in their band, but maybe they don't like trumpet.

I don't detest any instrument. It really depends on what sound I want to hear. If I want to change and have trumpet or not have trumpet, I can change, it's not a crime. I've used all the horns. There's no exception. 

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When you left Africa 70 were you concerned about being able to form a band that had a strong personality on stage who could lead audiences in the way that Fela did?

I have my own destiny. I don't copy anybody. I took my own position when I wanted to take it, it was as simple as that. We didn't have no fights or nothing, I just decided I wanted to go, like a stormy day in the weather. I wasn't going to be a stooge for somebody all my life, I just wanted to be myself. So I went. It was an adventure. 

Out of all the musicians you have worked with, which would you most like to work with again?

I never want to think about that. Whoever calls me. Whoever wants to work with me, they call me. Suppose I suggest someone and that person doesn't want me? Where would I be then? I never do that. When they knock at my door, I say yes.

Ha! OK. Are there any musicians who you really admire, who you have not played with yet but you would maybe like to?

I cannot mention any name in particular. All of them! As I said, any of them who would knock at my door. If anyone wants to work with me, knock at my door. 

You can get Tony Allen tickets for his upcoming tour via the boxes below.

Leeds - The Wardrobe, Saturday 25th March

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Manchester - Band on the Wall, Sunday 26th March

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