By Ikenna Obioha
With the sole accompaniment of a saxophone, an artiste can effortlessly evoke a myriad of emotions, whether accompanied by a backing track or not.
Usman Ibrahim, professionally known as Usmansax, revives a sense of nostalgia in Echoes of Eden, a track embedded within his recent Extended Play (EP) titled, Heping.
Echoes of Eden extends a gracious invitation to its listeners, enveloping them in a warm and welcoming tonal embrace that’s gradually crafted from ethereal synths, flowing hi-hats, and impactful drums before the notes of the bass guitar emerge to flesh out the harmony. It maintains this pace for awhile before the sax notes of Usmansax activate the nostalgia within it.
Music lovers acquainted with melodies from the ’70s and ’80s may find themselves immersed in contemplation upon the initial hearing, pondering the familiarity of the song’s tones. This familiarity draws attention, but not because it reveals the sampled song at a go. Instead, it gradually, in a clever way, reveals each layer of the song up to a point where they can discern the works of Lionel Richie’s All Night Long (All Night), the first single off his 1983 sophomore album, Can’t Slow Down.
With the sampled song revealed, Usmansax has cards up his sleeves: he skillfully adapts the familiar pre-chorus lyrics to an African context, substituting “We’re going to party, Karamu, fiesta, forever” with “Africa. Hey, Mama” in the revealed sampled song. He further Africanised the song to include the vernacular of the southern Africans to increase the song’s rich texture.
From this point, where the listener is fully on-boarded, Usmansax explores the ad-lib route with his saxophone, serenading with a proficiency that comes from dexterity acquired from years of practising, and controlled breaths to nuance his tune. This is the point where the listener gets to experience his artistic vision and assess his artistic depths.
The production is warm and shimmering in a way that accommodates the percussion family. In moments when Usmansax isn’t weaving melodies with his saxophone, his musical interludes find solace in the rhythmic embrace of the drums. Despite occasional discordance, it captivates attention, maintaining its allure until he resumes his saxophone enchantment.
Usmansax demonstrates impressive versatility in this mid-tempo effort, pushing the boundaries with extended notes towards the end, yet skillfully returning to the established musical direction.
On the whole, Echoes of Eden is an enjoyable instrumental composition with good replay value, reflecting camaraderie and nostalgia. The seamless interplay of musical elements crafts a captivating experience that resonates profoundly, making it a timeless piece with lasting allure.