In a hall full of contemporary Nigeria female vocalists, diminutive Yinka Davies would stand gaping metres taller than other songbirds. The spirited performer packs under her belt over two decades of active stage acting, live music performance and consistent voice quality to earn her the title of 'High Priestess of Afro Soul'. Set for an outstanding performance tomorrow at the 2013 MUSON Jazz Festival in Lagos, Davies sat with Arts Editor, ADENRELE NIYI, to talk about her craft and life changing experiences. EXCERPTS:
You've been around for a while and have remained relevant till date. What is attributable to your staying power?
First of all, I'm grateful for the grace, it's been wonderful. Really, I came into entertainment having fun. My school, Our Lady of Apostle (Yaba-Lagos), went for excursion at the National Theatre in 1986, and I thought, 'this is a place to come and get lost'; like literally get lost, because it's beautiful. So, I decided to get lost in theatre. It is like throwing me inside an ocean and I am floating.
I really never think it is staying power, I am having fun. Except that now, you must know why you are in this profession; why are you still here over the years and what the mission is. But sincerely, I'm just having fun.
Have you discovered the mission?
It will come and it will make sense.
One thing I'm totally in love with is this country; I love Nigeria so much and I know we have a lot to offer. So whatever is it, everything I do is to get Nigeria into prominence and respect. There is culture here; let's exploit it. If we celebrate our culture, then the whole world will celebrate us. Most importantly, let us know why we are who we are as a people; you are not here by mistake or default, but for a mission.
How did you cut your teeth at National Theatre, as a musician or stage actor?
I wanted to be a Fine Artiste after I saw a lot of fascinating drawings at the National Theatre. When I saw drawings being translated into movement on stage, I got lost again and that was how I became a theatre person. Then I saw Onyeka Onwenu who came to perform at the Banquet Hall of the National Theatre, her singer and dancer, Zubi Enebeli inspired me so much I wanted to do dance.
When did you discover your singing voice?
I went to Ajegunle (a Lagos suburb) to see Zubi Enebeli and Sam Ukwa (of Kilimanjaro Entertainments) and they invited me to the studio to do Zubi'z work. I was asked if I could sing and that was the first time I handled a microphone, I was 19 years old. Apparently, because I had been projecting in theatre, my voice filled the whole studio, so they had to keep moving me farther from the microphone. Sam came back later to tell me that Alex O wanted me to put up a band for him.
Initially, I was reluctant because Amaka Igwe had called me for audition for Checkmate –that would have been my introduction to television and acting. But Sam insisted I must go on a tour with them; meaning I had to abort Checkmate. It was my first experience going on tour around Nigeria and at the time, I was making N300 to N500 a set! Imagine playing 25 hotels on a street, that's N500 multiplied by 25 hotels, before you move to the next street and so on.
That was how they were performing then. Alex O and Mike Okri were big. It was great! In November 1990 alone, I had about N40,000 in my bank account, that's to tell you how big the business is. Entertainment is big business, but needs a lot of structure to keep it steady and sound. Let the artiste be the artiste and let the agent remain the agent. That's how I became a musician.
As a young artiste, you had the opportunity to work with talented and established musicians, how much of this influenced you?
I was coming from the theatre where projection is learnt and is a gift at the same time. You have to stand on stage and someone far off must hear you. A lot of this training helped stretch my chest and abdominal area when I got into music. Theatre was the training ground and music was the money making ground. But music was a shock for me.
I have been through stage where you have to do presentations, dramatise, sing and stretch. But now, you tell me to stand on a spot and just sing? I felt shocked! This continued between 1990 and 1992 until I met Bisade Ologunde. It took a while to get to this place, I was on the field learning, and I had to find a way of presenting what I love to do so that nobody is choked on either side.
Tell me about your years of experience with Bisade Ologunde and the Colours Band?
It wasn't so long, just for six months but we have an album tog e t h e r i n 1992. We recorded Colours of Rhythm with the Colours Band and then we recorded Side By Side with Lagbaja. It was very interesting and a major transition between Alex O and the Colours Band.
They understood that I was coming from the theatre and they could tell me to do a chant. I later met Ayo Bankole, the pianist, who gave me a music tape, that changed my perspective too and that was it. All of these happened between January 1992 and June 1992. All of the experience that was to tailor what you now see as Yinka Davies happened in six months! It was very short but impactful.
After Colours Band and Lagbaja, what did you get up to?
I had a baby, I had an accident on January 21, 1994 and went through surgery. When I had my baby, I went back to my Bisade to continue working and I also went back to the theatre. It was in the theatre I had the accident. So between 1994 and 1999 I had to rebuild what was broken. After the accident, I went through the 'flushing process; it's taken me so long, but I'm really grateful for where I am today.
I won't say motherhood affected me, you know there are lots of us who bumped into being mothers. Whichever way you get there, you are a mother. In 2002, I started singing in Abuja and got nine young men together to start training and listening to intricate sounds; jazz, soul, spiritual, and native music. We wanted to see how to fuse our music with the West and still not lose the essence of us. I also decided to marry the theatre that I love with music and sound. And that's how the flushing became refilling and refilling went on till 2010 when I started recording my album.
Your album Black Chiffon is a fusion of so many music genres; jazz, soul, highlife, rap, fuji. What is your style of music?
It is better to continue to search so you don't get bored or go stale quickly. I will continue in the mystery and just enjoy remaining there.
Black Chiffon wasn't given much publicity, why is that?
I figure that using yourself as example for other people is serious no matter how painful it maybe. You must be an example, you must be the first scapegoat in what you believe in. I'm a Christian and I believe in Jesus, and I go according to what He says, not my way.
There is a way and standard by which things must be done; there are distributors, agents and promoters. I will not go to Alaba Market and look for people who will promote my work; I will not give you my album to sell for N100; I will not insult my work and I will not insult you, the buyer. When the market believes in you, they will find a way to you. How long is not progress, but how well.
You will be headlining the 2013 MUSON Jazz Festival tomorrow; is this your first time performing at the festival? Any new songs to debut on stage?
The last time I performed at the festival for MUSON was 10 years ago, In spite of all my drama, I was still in the picture. Yes, I may possibly debut a new song. But when there is a mandate, when you don't do it right first, you will come back and do it again. So, that is the mandate. But really, you will have a great time with Yinka Davies and the 5 & 6 Band tomorrow.
Do you have concert or festival engagements outside the country?
That's another aspect we are working on because I believe it is time to start doing such things. We must export, but first of all cook it before exporting and when you're done, it's unbeatable. Artistes are like town criers, we are explaining what our culture is to other people; that's who we are.
Describe your experience on Nigeria Idol, hearing incredible singers and not so incredible ones; what do you think of the future of our music industry?
I remember there was a talent competition we did, Nokia First Chance.
I was a very hard judge on that one because I know about coming into theatre, music and you give me something trashy, I will definitely walk you off that stage, without question. When I got to the Nigeria Idol years later, I was now told to be polite. I was angry, that word struck me hard, why polite? Then I realised it, we don't have music schools (the only school available is MUSON Centre), we don't have music boxes, how can a labourer afford a music box for his son who wants to be a musician? Now, they have been able to get a television, and what the children see on TV they will emulate.
Thinking about it, 'be polite' is even an understatement; you must respect people for doing what they can. I can't really blame anybody. In our own generation, we had schools, we had organs. But what does this generation have? The cost of a flute right now is somebody's salary, a cello cost about N350,000 which is the salary for about 20 low income earners. This is where we are in Nigeria right now; we are feeding them with what they need most.
How did you juggle parenthood and music in earlier years?
I never did it, I was too much of a performer, I don't know how to beat children; my family took care of them for me.
What other projects are you into apart from music?
I'm working on that seriously. I would love to do something, I really want to get to the people, but there is no point being in front of people giving instructions when I don't have anything to offer. Only God would help me out because I really need to be part of people's life.
How would you like prosperity to remember you?
What have you done will speak for you, what matters most is whatever you do, do it well.
Source: Artman In The House: Artistes are like town criers –Yinka Davies (http://nationalmirroronline.net/new/artman-in-the-house-artistes-are-like-town-criers-yinka-davies/)