In the 18 months since pioneering Afrobeat drummer Tony Allen died, the extent of his legacy has become increasingly apparent. Posthumous releases of exceptional new material continue to pour forth – from the audio-stitched hip-hop features of There Is No End, to the The Solution Is Restless with Joan As Police Woman and Dave Okumu.
Nowhere is the range of Allen’s influence more apparent than in Tony Allen: A Retrospective, his musical tribute taking place as part of the 2021 EFG London Jazz Festival. Curated by longtime collaborator Damon Albarn, drummer Femi Koleoso, writer Ben Okri and Gorillaz bandmember Remi Kabaka, the lineup is one of the most extensive on the festival’s roster, featuring everyone from Finnish multi-instrumentalist Jimi Tenor to composer Nitin Sawhney, vocalist Wayne Snow, and Fela Kuti collaborator Dele Sosimi.
It is a sprawling evening, running at almost three hours, and yet still struggling to encapsulate the full gamut of Allen’s creativity. Meandering through his catalogue, the 20-strong instrumental ensemble open with rousing renditions of Fela favourites Water No Get Enemy and Zombie, bringing the packed crowd to their feet.
Highlights follow in personal moments where the musicians relay their individual musical connections to Allen. Joan As Police Woman duets with Albarn on Get My Bearings, from her beautiful collaborative record, while drummer Koleoso recounts how Allen mentored him. Ben Okri, meanwhile, delivers a powerful rendition of one of Allen’s final recordings, Cosmosis.
The only missing section is Allen’s later, techno-referencing work with the likes of Jeff Mills; although to include this would require another hour. Rather, the evening has been curated with care to mostly feature the music that those on stage had a hand in creating with Allen – and it is all tied together by the rock-steady presence of his signature, syncopated groove.
Ultimately, the Retrospective asks of us how we remember an artistic giant; someone who died with a vast back catalogue and so much creativity still left to give. The answer lies in the playing itself, in gathering those who his music has touched and allowing it to be interpreted anew for changing audiences. That way, there truly is no end.
