Other Teachers

Thanks and acknowledgement to the many others that have influenced me over the years.
(in approximate chronological order)

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Casey Sokol: Casey was my "musicianship" professor at York in my first year. Some of his teachings, especially about memory, ear training, time and being a musician in general, were invaluable.

Barry Elmes: I studied with Barry while at York University where he taught jazz drumset. I knew a little about jazz from previous experience and what Don had taught me but Barry was the real deal. His classes showed me some things I would not have figured out on my own, or at least not as quickly.

Ferguson Ahor Ahiataku: Ferguson was my initial teacher when I went to Ghana the first time. Twice a day we would meet for a couple of hours..morning and afternoon. He taught me the basics of lead drumming for Ewe music as well as playing the boba drum. Mostly, he taught me the style known as Kinka and also arranged for me to play at a funeral for my very first time...a nerve-racking but positive experience. I remember after the performance, an old man came to me and said that I must have been descended from their grandfathers that were stolen to America. While not true, it certainly gave me some sense of approval for what I had done....and goosebumps.

Sunday "Baba" Nyakpo: Baba is one of my best friends in Ghana. I first met him because I wanted to learn some songs to accompany the Kinka music I was learning. He was happy to oblige and we hit off greatly. He turned out to be a major source for many of the songs I have learned over the past 20+ years and continues to be a friend and teacher (and drinking companion!).

John Wyre (1941-2006): A strong spirit, I first met John in 2000 when he came with the "Heartbeat" ensemble to St. John's and I had the opportunity to perform with them during their show. Soon after, John moved to St. John's with his wife Jean and we got to know each other better. He was a member of my drum/dance ensemble Dzolali for a period of time and in 2002, he asked me to perform with The Scrucheons percussion ensemble in a piece dedicated to Don Wherry at Sound Symposium 2002 (Don and John were old friends back in Toronto). I would visit him often when in his neighbourhood, stopping in to say hi, get some guidance, have some buckwheat tea and hear what he had to say. He would share many of his stories about traveling and various anecdotes about different musicians and his experiences. They were precious times. He gave me a lot of encouragement and smiles while I knew him.

Ledzi Agudzemegah: Ledzi is perhaps my best friend in Ghana. We have shared a lot together. I first met him in 2002 when I returned to Ghana the second time to learn a dance style called Atsiagbekor. Initially I was to learn from Ledzi's father, but I am glad that he connected me with Ledzi instead. We lived together for two months straight as he taught me a large percentage of the drumming, dancing and singing styles for this amazing piece of music, which is a specialty of Ledzi's village of Dzogadze (where we lived). But more than music, Ledzi provided me with great insight into the Ewe customs, history and culture from which I gained a new appreciationa and fascination. Over the years he has let me in on certain secrets and trivial bits of information that have helped me tremendously. We have developed a close relationship as we lived together and also traveled to together to different parts of Ghana, Togo and Benin.

Vodzi Julius Torgboh: I've known "Ollie" almost as long as I've known Ledzi, and they are cousins in fact (brothers, they would say). He is one of the most talented drummers/dancers/singers I know in Ghana. And a great repository of music and culture. We've had many great moments together and I look forward to many more. I was able to invite him to Canada on two occasions which was an amazing experience for both him and I. I know his family intimately and he remains a major friend, knowledge bearer and pillar of his community. He was also a major contributor to parts of my PhD thesis in terms of song translation and explanation.

Awal Mahamadu Alhassan: Awal is my main source for the music of the Dagomba people in Northern Ghana. We met through a mutual friend and I stayed in Tamale for about 3 weeks while Awal taught me the dance/drum known as Bamaya, one of the most stylish of the Dagomba dances. At the time, there was a ban on drumming in Tamale because the main chief of the Dagomba had been killed recently and any music making was a sign of celebration. So we learned dancing in Awal's house and then for the drumming we traveled 2 hours north to Bolgatanga (a non-Dagomba city) to learn the drums. We hung out together a lot during this time and lived together for that time in Bolgatanga. I also contracted malaria while in Tamale and Awal would come each day to visit me in the hospital and give me some company. He even brought a fan for me when it was too hot. Since that time Awal has moved to the US and I have invited him to St. John's once to teach my ensemble Dzolali. Now that I live in Vancouver, we are able to see each other more often and work together.

Suale Seidu: Suale was with me and Awal when went to Bolgatanga to learn Bamaya. In fact, he is more of a drummer than Awal. In 2007 when I returned to Ghana I spent time in Tamale again with Suale and he taught me some of the basics of Takai, another important Dagomba drum/dance.

Avu Kobla Adukpo: Though I've known Avu since 1999, it was only in 2007 that I started learning from him directly. Along with Kwasi, Avu is one of the best Ewe drummers I have heard in Ghana. He has been my source of knowledge for various styles of drumming including Akpoka, Afa and Adzro. Blessed with great singing voice as well, when he picks up the drum, all ears turn towards him. Blinded when he was in his late twenties, I believe his lack of sight enhanced his already prodigious musical talents. Along with Baba, he also has taught me many songs of different styles. Also a trusted drinking companion ;-)

Dizu Plaatjies: I met Dizu in 2004 when I first visited Southern Africa and landed in Cape Town, where he teaches at the University of Cape Town. A great human being and musician, he was in fact the first to teach me some mbira music. A complete musician, he is equally adept at Xhosa traditional music, drumming, marimba, mbira and various other Sub-Saharan traditions. I was grateful to connect with him again in 2019 when I visited Cape Town. Always with a smile and doing great work to keep indigenous African music alive in the current age.

Medicine Kanengoni: "Baba" as he is affectionately known to his family, is my source for mbira music. I met him 2004 and stayed with his family for a couple of weeks in Dzivarasekwa, a "high-density suburb" outside of Harare. He is originally from Mhondoro, a heavy mbira-playing region of Zimbabwe and his 3 brothers also play mbira quite well in the traditional style. I won't forget arriving at his compound the first time as he organized a small mbira party with some local players (who were quite virtuosic). Lots of chibuku (local beer), dancing, singing and mbira!! I returned in 2005 and stayed for over a month and learned more mbira music from him. Connected with him again in 2013 when I travelled to Zim with my good buddy Kurai.

Richard Chiyaka: Richard, a Karanga-Shona, and is the one who taught me some of the awesome Zimbabwean drumming of his tribe, notably Dine and Mbende/Jeruselama. A talented mbira player, marimba player, drummer and dancer, he leads his own dance ensemble. We lost touch over the years after he based himself in Beijing. Not sure if he still there or not.

Agbo Setsoafia: I met Agbo in 2007 when I returned to Ghana for the 3rd time, wth the intention of learning a serious drum/dance named Adzogbo. I was lucky to have a friend of a friend who connected to me Agbo and his family, including his grandfather Yibor Setsoafia, who was one of the first people to bring Adzogbo into Ghana. I would meet twice daily with Agbo over a period of 3 weeks or so, Ledzi accompanying me. It was a wonderful time as we would learn in the shrine (less distractions). He also taught me some Gota drumming. I also count him as one of the better drummers I have met in Ghana. On subsequent visits to Ghana I continue to visit Agbo and the family.His grandfather, whom everyone called Oluwa often came by to listen. He and I would often play Ludu and though he was a formidable opponent, I did beat him once! Very much reminded me of my Pop Dean in that respect. Oluwa was also a serious azagunor, a torbokor, and hunor with many vodu under his care. May he R.I.P.

Kurai Blessings Mubaiwa: What can I say about this man? Probably my best friend here in Vancouver (or anywhere!). I met Kurai in 2009 just when I moved to Vancouver and became fast friends. Though we play together in several groups, I consider him a teacher as he has shown me some amazing secrets of the mbira and how it can be played...furthering the potential of the instrument. One of the best mbira players I have met. Further, he introduced me to the marimba which I had never touched before. He's also a talented drummer, actor, dancer, visual artist...so talented. Comedian as well, storyteller. He's come to Newfoundland several times and we were lucky to travel to Zimbabwe together in 2013, where I met much of his family. More things on the horizon for us I am sure.

Joel Gboja Zodji: I first met Joel during my first trip to Benin in 2009 but it was in early 2010 that I started learning from him. He comes from a royal family of drummers in Agbomey and introduced me to that world. The drumming of the Fon (his ethnic group) is some of the most polyrhythmic music around and Joel let me in on some of it. I stayed with him and his family for 2 weeks in Benin, sleeping on the floor with him, driving around on his moped, attending ceremonies. Returned again in 2011, 2013 and 2014. Much more to learn from him.

Dr. Kofi Gbolonyo: We hit it off from the start. We both moved to Vancouver at around the same time and I quickly made a point to reach out to him. We soon formed Adanu Habobo together and through that group, as well as through his classes at UBC I've learned a lot from him. Besides being a fabulous, drummer, singer, dancer, and teacher, he has an astute understanding of the academic world and geo-politics. He has a lot to share with the world.

Dr. Micahel Tenzer: He really got me back into academic shape when I started grad school in 2013. A razor-sharp intellect that is tempered with heart and humbleness, he's also an expert Balinese musician, composer, pianist, and even knows some Carnatic music. But he mostly taught (and inspired) me how to write better, which is excels at as well. My PhD thesis wouldn't be what it is without him.

Dr. Nathan Hesselink: Nathan also played a major role in shaping me into some form of an academic. I took several enlightening classes with Nathan and always admired his open nature, always being ready to learn, and his sense of humour.