Rashy’s roots shows us that great music can be simple

There is something nice about a producer who realizes that every song doesn’t have to be full of many different sounds to create an impact. On Roots, Nigerian producer Rasheed Segun Tijani (better known as Rashy) uses a relatively simple method to produce three different types of music based upon highlife, jazz, hip-hop and traditional African rhythms. This is a short instrumental album that has some similarities to other albums you’ve heard before; however, it has enough originality to keep your interest.

The first song on the album, “FRO,”takes us straight into highlife. Guitar is the primary instrument used throughout the song. It provides a bright, melodic progression that reminds me of the type of music played by a live band at a Nigerian wedding or an old-school family gathering. Drums provide a consistent bounce, while the piano adds to the overall arrangement without taking away from the rest of the instruments.

What makes the song great is how well all of these instruments fit together. Rashy doesn’t seem to want to make highlife something new. Rather, he wants to use what makes highlife great already: a good guitar melody, lively percussion and a rhythm that will get people moving without having to convince them too much. It is a nice way to start off the album, but I think a little more development at the end of the arrangement would have made it even better.

“Still” is where the album gets really interesting. Rashy goes from the happy energy of the first song to a much calmer place, combining aspects of jazz and laid-back hip-hop. Saxophone and trumpet are the main focus of the song, floating over a relaxed beat that gives the melodies plenty of room to breathe.

There is almost a thoughtful feeling to the song. It sounds like the kind of instrumental that could go under a thoughtful rap verse, but the horns give it enough personality to stand alone. Production is purposely minimal, and that helps.

However, “Still” also raises a question about how far Rashy could go with this type of sound. The instrumental sets up its mood very quickly and stays close to it. A larger melodic change or an unexpected instrumental section could have given the song another layer.

Regardless, it is probably the most interesting song on the album for those who enjoy the more soulful side of instrumental music.

The last song on the album, “Ijo,” brings back the energy. Its name, meaning dance in Yoruba, is appropriate because rhythm is clearly what drives this song. African percussion dominates the arrangement, while melodic additions give the music a distinctly Afro-jazz feel.

There is something communal about the sound. It reminds me of the atmosphere of a true Nigerian celebration, where drums do most of the talking and people respond almost automatically.

Unlike “FRO,” where guitar is the main source of musical identity, “Ijo” relies more on its percussion. Therefore, “Ijo” feels like a return to the central theme of the album: African musical traditions.

One thing Rashy does well throughout *

Roots is understand instrumental balance. He knows when to let guitar lead, when to turn down drums and when to allow horns to be the main focus. Understanding instrumental balance is a valuable skill for a producer, especially when working with genres where each instrument has a strong musical identity.

However, Roots is not without its flaws. With only three songs ranging between significantly different styles, Roots sometimes feels more like a collection of musical ideas than a complete body of work. The transitions between highlife, jazz-influenced hip-hop and percussion-heavy Afro-jazz are interesting, but there is room to explore the connections between these sounds further.

On the other hand, variety is also part of what makes Roots so appealing. Rashy is clearly comfortable working outside of one musical style, and he appears to be especially interested in exploring the relationship between traditional African sounds and contemporary arrangements.

Roots may not be a major reimagining of any of these genres, but it doesn’t need to be. At its best, it captures the simple joy of hearing good instruments arranged with care. Guitar work on “FRO,” mellow horns on “Still” and lively percussion on “Ijo” each provide something unique.

For an album that consists of only three songs, Rashy leaves a clear impression of a producer who knows where these sounds come from and has the musical curiosity to take them somewhere of his own.