Tee Mac -1980 - Night Illusion

Tee Mac

1980

Night Illusion

01. Living Everyday

02. Struggle

03. Talk To Me

04. Hit Hit

05. Night Illusion

06. A Certain Way To Go

07. Nam-Myoho-Renge-Kyo

Flute – Tee Mac

Backing Vocals – The Marvellets

Bass Guitar – Sol Simon Oshijo

Congas, Percussion – Friday Pozo

Electric Piano – Sylvester Degbor

Lead Guitar – Nigel Jenkins

Lead Vocals – Majorie Barnes

Rhythm Guitar – Pierre Lezek

Synthesizer – Dave Lawson

Tenor Saxophone – Chris Okonkwo

Trumpet – Fredrick Ndoumbe, John Oaikhena

Drums – Charlie Charles

Bass Guitar, Rhythm Guitar – George Achinni

Drums – Tom K. Buadu

Lead Guitar – Tim Cansfield

Tee Mac Omatshola Iseli, born to a Nigerian princess and a Swiss diplomat, is a multi-instrumentalist, composer, arranger, and flutist whose career spans classical music, Afro-funk, disco, and boogie. Raised in Lagos, Nigeria, Tee Mac began playing the flute at age seven, demonstrating prodigious talent early on. By 17, he was studying classical music in Switzerland under his uncle, the composer J.J. Direndirger, at the University of Lausanne, where he also earned a degree in Economics from the University of St. Gallen. This dual education in music and economics shaped his multifaceted career, blending artistic innovation with entrepreneurial ventures.

Returning to Nigeria in 1970, Tee Mac formed the band Tee Mac and Afro Collection, a heavyweight Afro-rock outfit that included notable Nigerian artists like Johnny Haastrup on keyboards and The Lijadu Sisters on vocals. The band gained international attention when Cream’s drummer Ginger Baker joined them in 1971, an encounter documented in the film Ginger Baker in Africa. At 24, Tee Mac moved to Germany, where he co-wrote and recorded with the European disco group Silver Convention, contributing to their chart-topping hit “Fly Robin Fly” (No. 1 on the U.S. charts). This success provided the financial foundation for Tee Mac to return to Nigeria and establish his own label, SKJ Records, through which he released his self-financed album Night Illusion in 1980 as a private pressing of only 1,000 copies.

Beyond music, Tee Mac’s entrepreneurial spirit led him to invest in two nightclubs and mineral mining companies in Nigeria. His career as a composer continued to flourish, culminating in works like The City of Mer Kailash (2009), a two-hour ballet featuring over 60 dancers and a 100-piece orchestra. Today, Tee Mac remains active in Lagos, traveling globally as a composer and performer, leaving a lasting legacy in Nigerian and international music scenes.

Tee Mac’s Night Illusion, originally released in 1980 on SKJ Records, is a rare gem in the Nigerian music canon, blending Afro-soul, disco, boogie, funk, and jazz into a cohesive and innovative soundscape. Limited to a private pressing of 1,000 copies, the album remained largely unknown outside Nigeria until its reissue by Soul Jazz Records in 2016. Featuring vocalist Marjorie Barnes, Night Illusion stands as a testament to Tee Mac’s versatility as a multi-instrumentalist and his ability to fuse global musical influences with Nigeria’s vibrant musical heritage. This review examines the album’s musical composition, cultural context, and enduring significance, drawing comparisons to contemporaries like James Mason and situating it within the broader Afro-funk and disco movements of the late 1970s and early 1980s.

Night Illusion is a seven-track album, clocking in at approximately 40 minutes, that showcases Tee Mac’s prowess as a flutist, composer, and arranger. The album seamlessly integrates Afro-soul’s rhythmic intensity, disco’s danceable grooves, and boogie-funk’s infectious energy, with subtle nods to jazz and reggae. Tracks like “Night Illusion” (4:25), “Talk to Me” (4:58), and “Nam Myoho Renge Kyo” (5:41) exemplify this fusion, combining tight horn sections, pulsating basslines, and intricate flute melodies with Marjorie Barnes’ soulful vocals.

The opening track, “Night Illusion,” sets the tone with its upbeat tempo and layered instrumentation. Tee Mac’s alto flute weaves through the arrangement, adding a melodic sophistication that distinguishes the track from typical disco fare. The song’s structure, with its driving rhythm and call-and-response vocals, echoes the boogie-funk stylings of American groups like Mass Production and Slave, yet it retains a distinctly Nigerian flavor through its polyrhythmic underpinnings.

“Talk to Me” channels a Grace Jones-esque intensity, blending sultry vocals with a disco groove that invites comparison to the cosmopolitan sounds of the era’s global dance music scene. The track’s production is polished yet raw, reflecting the DIY ethos of its private pressing. Meanwhile, “Struggle” introduces reggae influences, with its laid-back rhythm and socially conscious lyrics, showcasing Tee Mac’s willingness to experiment across genres.

The standout track, “Nam Myoho Renge Kyo,” draws inspiration from the Buddhist chant, blending spiritual themes with a funk-jazz groove. This track, at 5:41, is one of the album’s longest, allowing Tee Mac’s flute to take center stage alongside Barnes’ emotive delivery. The song’s experimental nature and cross-cultural references highlight Tee Mac’s classical training and global perspective, making it a precursor to the world music movement of the 1980s.

Released in 1980, Night Illusion emerged during a pivotal moment in Nigerian music history. The 1970s saw the rise of Afrobeat, pioneered by Fela Kuti, and the growth of Afro-funk and disco, fueled by artists like Joni Haastrup and Christy Essien. Tee Mac’s work with Afro Collection in the early 1970s, alongside his exposure to European disco through Silver Convention, positioned him uniquely to bridge these worlds. The album’s limited release on SKJ Records reflects the challenges faced by Nigerian artists in the era, including limited distribution networks and reliance on self-financing. Its obscurity until the 2016 reissue underscores the broader issue of underrecognized African musical contributions during the global disco boom.

Night Illusion also reflects Nigeria’s post-independence cultural optimism and economic growth in the late 1970s, driven by the oil boom. Tee Mac’s investments in nightclubs and mining ventures, funded by his Silver Convention earnings, mirror the entrepreneurial spirit of the era. The album’s cosmopolitan sound, blending Nigerian rhythms with Western disco and funk, speaks to Lagos’ role as a cultural hub, attracting international artists like Ginger Baker and fostering cross-cultural collaborations.

Comparisons to James Mason’s Rhythm of Life (1977), another “lost” funk-jazz masterpiece, are apt. Both albums share a DIY ethos, limited initial distribution, and a blend of soulful individualism with genre experimentation. However, Night Illusion distinguishes itself through its Afrocentric roots and Tee Mac’s flute, which adds a lyrical quality absent in Mason’s keyboard-driven work. The album’s rediscovery by artists like Moodyman and Theo Parrish highlights its influence on contemporary crate-diggers and DJs, who value its raw energy and cross-genre appeal.

Upon its original release, Night Illusion was a rarity, with its 1,000-copy pressing making it nearly impossible to find even in Nigeria. Its 2016 reissue by Soul Jazz Records, available on vinyl, CD, and digital formats, brought renewed attention to the album. Critics have praised its “timeless” quality, with Discogs users rating it 4.65/5 based on 95 reviews, reflecting its cult status among collectors. The reissue’s sleevenotes and exact-replica artwork preserve the album’s historical authenticity, while its inclusion in compilations like Nigeria Soul Fever and Nepa Oh Nepa situates it within the broader Nigerian Afro-funk revival.

The album’s rediscovery aligns with a growing global interest in Nigerian music, spurred by reissues of works by Fela Kuti, William Onyeabor, and others. Night Illusion stands out for its accessibility, blending danceable grooves with sophisticated arrangements that appeal to both casual listeners and music scholars. Marjorie Barnes’ vocals add emotional depth, complementing Tee Mac’s instrumental virtuosity. The album’s influence is evident in its appeal to modern DJs and producers, who sample its grooves for their raw, unpolished energy.

Night Illusion is a remarkable artifact of cross-cultural musical synthesis, but it is not without flaws. The album’s production, while ambitious for a private pressing, occasionally lacks the polish of major-label releases from the same era. Some tracks, like “A Certain Way to Go” (9:43), can feel overstretched, with extended instrumental passages that may test the patience of listeners accustomed to tighter disco structures. Additionally, the album’s limited initial reach raises questions about its immediate impact on Nigerian or global music scenes, suggesting that its legacy is largely retrospective.

Nevertheless, the album’s strengths lie in its ambition and individuality. Tee Mac’s classical training and global experiences imbue Night Illusion with a sophistication that transcends the era’s typical disco output. Its fusion of Afro-soul, boogie, and jazz anticipates the genre-blending experiments of later artists, while its rarity adds to its mystique. The album’s rediscovery underscores the importance of archival efforts by labels like Soul Jazz Records, which have brought overlooked African music to global audiences.

Tee Mac’s Night Illusion is a landmark in Nigerian music, blending Afro-soul, disco, boogie, and jazz into a vibrant, cross-cultural tapestry. Its limited 1980 release and subsequent obscurity reflect the challenges faced by Nigerian artists, yet its 2016 reissue has cemented its status as a “lost classic.” Tee Mac’s biography—from his classical training in Switzerland to his collaborations with Ginger Baker and Silver Convention—provides essential context for understanding the album’s global influences and innovative spirit. For scholars, collectors, and music enthusiasts, Night Illusion offers a window into Nigeria’s musical richness and the enduring power of cross-genre experimentation. Its legacy continues to grow, resonating with new generations of listeners and affirming Tee Mac’s place as a visionary in African and global music history.