{"id":773,"date":"2020-05-16T17:57:03","date_gmt":"2020-05-16T22:57:03","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=773"},"modified":"2021-06-24T17:09:50","modified_gmt":"2021-06-24T22:09:50","slug":"review-michael-olatujas-lagos-pepper-soup","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-michael-olatujas-lagos-pepper-soup\/","title":{"rendered":"Review: Michael Olatuja\u2019s \u2018Lagos Pepper Soup&#8217;"},"content":{"rendered":"\n<p>It can be incredibly difficult to be creative at the culinary arts. Insufficient attention to detail or excessive or inordinate amounts of particular ingredients potentially create a bland or inedible product. Masterful creation requires a background on how to best use materials and a desire to mix them in the best way possible. When done correctly, the meal can stir emotions in its consumer, possibly even heal their spirits. An entree known to have this power is the Nigerian pepper soup. Originally from the Efik-Ibibio people of the southeastern coast, its popularity has spread throughout the world. It is so special that many believe it relies on a \u201csecret\u201d ingredient for its taste and aroma. Similarly, on <em>Lagos Pepper Soup<\/em> (Whirlwind Recordings, 2020), Michael Olatuja deftly mixes diverse flavors to create a magical dish.<\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_77-5Au5I-gw\"><div id=\"lyte_77-5Au5I-gw\" data-src=\"\/\/i.ytimg.com\/vi\/77-5Au5I-gw\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/77-5Au5I-gw\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/77-5Au5I-gw\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p>It helps that the bassist has a wide assortment of sonic ingredients available to him. Whether Gr\u00e9gory Maret\u2019s melancholic harmonica on \u201cBola\u2019s Song\u201d,&nbsp; the soaring joy of Regina Carter\u2019s violin on \u201cThe Hero\u2019s Journey\u201d, or the soulfulness of Joe Lovano\u2019s tenor saxophone on \u201cLeye\u2019s Dance\u201d, Olatuja assembles a line of guest artists who each present a unique voice. This also includes vocalists, ranging from Thana Alexa to Camille Thurman to Becca Stevens to Laura Mvula. Then there is also Brandee Younger whose heavenly tone on \u201cMa Foya\u201d, just further cements her place among today\u2019s finest musicians.&nbsp; Even the core band is superpowered, featuring pianist Aaron Parks (<a href=\"https:\/\/postgenre.org\/staging\/4567\/review-aaron-parks-little-big-ii-dreams-of-a-mechanical-man\/\">read our review of his Little Big II here<\/a>) and drummer Terreon Gully. Serving as a broth to blend these sounds is the bandleader\u2019s bass lines. At times reminiscent of Jaco Pastorious (\u201cEven Now Prayer\u201d, \u201cThe Hero\u2019s Journey\u201d) and others John Pattitucci\u2019s acoustic work (\u201cShadows Fade\u201d, \u201cMa Foya\u201d), he expresses his own individuality while binding together the rest of the compositions.&nbsp;<\/p>\n\n\n\n<p>Like its edible counterpart, Olatuja\u2019s offering can be savory and full of heat. This is accomplished primarily by adopting ideas from perhaps Nigeria\u2019s greatest export, Afrobeat. Although recorded well before his passing, in many ways, these uptempo pieces can be seen as a testament to the continued viability of Tony Allen\u2019s melding of elements historically associated with jazz, funk, highlife, and fuji. On the title track, this takes the form of a heavy groove across which Angelique Kidjo\u2019s vocals glide. \u201cSoki\u201d takes a similar approach with Dianne Reeves singing in Yoruba. However, it adjusts the recipe, to also incorporate strings and Senegalese, and Malian music.&nbsp; Due to the skillful guitar of Lionel Loueke on both compositions and the more laid-back \u201cMivakpola\u201d, a Beninese influence is also present.&nbsp;<\/p>\n\n\n\n<iframe style=\"border: 0; width: 350px; height: 786px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3725914876\/size=large\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless=\"\"><a href=\"http:\/\/michaelolatuja.bandcamp.com\/album\/lagos-pepper-soup\">Lagos Pepper Soup by Michael Olatuja<\/a><\/iframe>\n\n\n\n<p><br>But the album&#8217;s brightest moments are in its evocation of pepper soup\u2019s purported healing qualities. Some in West Africa believe a new mother should eat the soup after giving birth due to its supposed ability to control blood flow circulation and stave off uterine hemorrhages. That is, it helps calm after one of the most physically demanding circumstances a person can experience. This corresponds with Olatuja\u2019s stated purpose behind the themes of \u201chope, inspiration, and new beginnings.\u201d Sonically, the music&#8217;s focus on recuperation emerges primarily through its inspired utilization of orchestral arrangements on approximately half of its tracks. Here too, the recording draws upon multiple artists &#8211; Joseph Joubert, Jason Michael Webb, Jon Cowherd, and David Metzger. Although distinct, each provides an emotional lushness. This is best seen on \u201cThe Hero\u2019s Journey\u201d where Metzger builds upon his long history of film scores to build a story out of the sounds that surround him. If one could levy any criticism about the orchestral pieces, it is that there are not enough of them. While this is not to denigrate the other songs, a superior album could have been made if the orchestration was used throughout and the entirety weaved into movements of a singular suite.&nbsp;<\/p>\n\n\n\n<p>Across many cultures, soup &#8211; whether chicken noodle, miso soba, or pepper- has been used to help recover from illness, Unfortunately, a meal itself is unlikely to cure the coronavirus pandemic ravaging the globe. However, at a time in which people\u2019s stress levels, fear, and distrust are at their peak, it can assuage divisions and provide peace. Chef James Beard once noted that \u201cfood is the common denominator that brings people together.\u201d In inviting listeners to the table, on <em>Lagos Pepper Soup<\/em>, Michael Olatuja emphasizes that music is as well.&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/michaelolatuja.bandcamp.com\/album\/lagos-pepper-soup\"><strong><em>Lagos Pepper Sound<\/em> will be released by Whirlwind Recordings on June 12, 2020. <\/strong><\/a><br><br><strong><em><a href=\"https:\/\/amzn.to\/3g6vBvj\" rel=\"sponsored nofollow\">Or, if you would like to both purchase the album and help our site offset its operating costs, you can buy it from our Amazon affiliate store.<\/a><\/em><\/strong><\/p>\n\n\n\n<p>Tracklist: 1. Even Now Prayer, 2. Lagos Pepper Soup, 3. The Hero&#8217;s Journey, 4. Soki, 5. Ma Foya, 6. Brighter Day, 7. Shadows Fade, 8. Home True, 9. Bola&#8217;s Song, 10. Mivakpola, 11. Leye&#8217;s Dance, 12. Grace<\/p>\n\n\n\n<p>Personnel: Michael Olatuja (electric bass, synth bass (1), percussion (5)), Aaron Parks (piano (2, 3, 7, 9-12), Etienne Stadwijk (keyboards (1-5 7, 11), Terreon Gully (drums (1-4, 7-12)), Magatte Sow (Percussion (2-4, 6, 9,11)), Samir Zarif (Tenor and soprano saxophone (8,10,12)), &#8216;Lagos Pepper Soup&#8217; String Orchestra under the conduction of Joseph Joubert (3,4,6,7, 9), Lionel Loueke (guitar (2,4,10)), Ayanna George (backing vocals (2-4)), Cassondra James (backing vocals (2-4), Rasul A-Salaam (backing vocals (2-4), Joseph Joubert (orchestration (6,7)),  Camille Thurman (voice (9,12)), Brandee Younger (harp (5)), Regina Carter (violin (3)), David Metzger (orchestration (2)), Jason Michael Webb (orchestration (4)), Jon Cowherd (orchestration (9)),  Joe Lovano (tenor sax (11)), Gr\u00e9goire Maret (harmonica (9)), Becca Stevens (voice (8)), Angelique Kidjo (voice (2)), Thana Alexa (voice (3)), Dianne Reeves (voice (4)), Laura Mvula (voice (6)), Onaje Jefferson (voice (7)), Alicia Olatuja (vocal arrangement (4)), Troy Miller (drums (6)), Femi Temowo (guitar (6)), Herve Sambe (guitar (11)), Michael Aarons (guitar (12)), Robert Mitchell (piano (8)). <\/p>\n","protected":false},"excerpt":{"rendered":"<p>It can be incredibly difficult to be creative at the culinary arts. Insufficient attention to detail or excessive or inordinate amounts of particular ingredients potentially create a bland or inedible product. Masterful creation requires a background on how to best use materials and a desire to mix them in the best way possible. When done [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":774,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":39,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[80,514,509,501,508,59,504,502,505,511,523,495,516,507,517,521,506,522,499,492,512,500,497,518,493,513,503,142,519,498,496,510,520,515,494],"class_list":["post-773","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","tag-aaron-parks","tag-alicia-olatuja","tag-angelique-kidjo","tag-ayanna-george","tag-becca-stevens","tag-brandee-younger","tag-camille-thurman","tag-cassondra-james","tag-david-metzger","tag-diane-reeves","tag-dianne-reeves","tag-etienne-stadwijk","tag-femi-temowo","tag-gregoire-maret","tag-herve-sambe","tag-jason-michael-webb","tag-joe-lovano","tag-jon-cowherd","tag-joseph-joubert","tag-lagos-pepper-soup","tag-laura-mvula","tag-lionel-loueke","tag-magette-sow","tag-michael-aarons","tag-michael-olatuja","tag-onaje-jefferson","tag-rasul-a-salaam","tag-regina-carter","tag-robert-mitchell","tag-samir-zarif","tag-terreon-gully","tag-thana-alexa","tag-tony-allen","tag-troy-miller","tag-whirlwind-records"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/05\/olatuja-bts-04-2-60.jpg?fit=1600%2C1066&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-ct","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":2764,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-xii\/","url_meta":{"origin":773,"position":0},"title":"A History of the Newport Jazz Festival \u2013 Chapter XII: Expansion, 1995-2003","author":"Rob Shepherd","date":"May 27, 2021","format":false,"excerpt":"In the four decades since the Newport Jazz festival first took place in 1954, it became a global brand with its production company-\u00a0 Festival Productions, Inc.- hosting hundreds of festivals worldwide. But only one other of their events took place in the city-by-the-sea; the Newport Folk Festival. This changed in\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/BeFunky-collage10.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/BeFunky-collage10.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/BeFunky-collage10.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/BeFunky-collage10.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1213,"url":"https:\/\/postgenre.org\/staging\/4567\/thumbscrew-braxton\/","url_meta":{"origin":773,"position":1},"title":"Review: Thumbscrew&#8217;s &#8216;The Anthony Braxton Project&#8217;","author":"Brian Kiwanuka","date":"July 20, 2020","format":false,"excerpt":"It would be hard to find a trio better equipped to tackle an entire album of saxophonist Anthony Braxton's compositions than Thumbscrew. Braxton is an accomplished veteran of the avant-garde, free improvisation, and everything in between. Mary Halvorson (guitar), Tomas Fujiwara (drums, vibraphone), and Michael Formanek (bass) do not approach\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/thumbscrew.jpg?fit=1200%2C900&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/thumbscrew.jpg?fit=1200%2C900&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/thumbscrew.jpg?fit=1200%2C900&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/thumbscrew.jpg?fit=1200%2C900&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/thumbscrew.jpg?fit=1200%2C900&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2556,"url":"https:\/\/postgenre.org\/staging\/4567\/thumbscrew-never-is-enough\/","url_meta":{"origin":773,"position":2},"title":"Review: Thumbscrew&#8217;s &#8216;Never is Enough&#8217;","author":"Brian Kiwanuka","date":"February 24, 2021","format":false,"excerpt":"It hasn't even been a year since Thumbscrew released their superb record in tribute to Anthony Braxton, but the trio is already back with Never Is Enough (Cuneiform Records, 2021). Braxton's influence is still apparent, especially in the more rigid moments, but this album is a completely different experience. For\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/thumbscrew.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/thumbscrew.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/thumbscrew.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/thumbscrew.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5549,"url":"https:\/\/postgenre.org\/staging\/4567\/thumbscrew-multicolored-midnight\/","url_meta":{"origin":773,"position":3},"title":"Review: Thumbscrew\u2019s \u2018Multicolored Midnight\u2019","author":"John Chacona","date":"January 22, 2023","format":false,"excerpt":"The fourth cut on Thumbscrew\u2019s\u00a0Multicolored Midnight\u00a0(Cuneiform, 2022) is entitled \u201cShit Changes.\u201d You don\u2019t have to be a climate scientist or Sam Bankman-Fried to appreciate the truth of that phrase, and it could just be another of bassist Michael Formanek\u2019s cheekily subversive titles. Yet despite ten years of consistently provocative and\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/artist_photo-Thumbscrew-2022-1-credit_Brian_Cohen.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11264,"url":"https:\/\/postgenre.org\/staging\/4567\/review-george-coleman-strings\/","url_meta":{"origin":773,"position":4},"title":"Review: &#8216;George Coleman with Strings&#8217;","author":"Jim Hynes","date":"September 8, 2025","format":false,"excerpt":"There are no written rules for NEA Jazz Masters. 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PostGenre: How did Elvis\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/LEONHART-BERLIN-NO1-2017-BY-FRANK-JERKE-small.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/LEONHART-BERLIN-NO1-2017-BY-FRANK-JERKE-small.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/LEONHART-BERLIN-NO1-2017-BY-FRANK-JERKE-small.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/LEONHART-BERLIN-NO1-2017-BY-FRANK-JERKE-small.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/773","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=773"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/773\/revisions"}],"predecessor-version":[{"id":2865,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/773\/revisions\/2865"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/774"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=773"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=773"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=773"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}