By Our Wednesday Columnist
Jazzville, an emblem of Nigeria’s rich musical heritage, began as a humble gathering space, little more than an ambitious idea seeking fertile ground in the heart of Lagos. It started as a beacon for restless young souls with a passion for rhythm and melody, those who walked through its doors as raw, unpolished and polished talents hungry for more than fame—they sought mastery. Jazzville’s founder envisioned a haven where talent could grow organically, nurtured by the seasoned guidance of Nigeria’s music icons and maestros.
Like any great tree that once relied on its modest roots to grow, Jazzville’s seedlings blossomed, becoming the nurturing humus for Nigeria’s musical elite. Musicians who arrived at its doors as seekers left as prodigies, their raw energy shaped into rhythmic genius. Seasoned musicians, seeking viable avenues to connect with wealthy and influential clients, reveled in its robust and far-reaching social networks, which included expatriates and members of the diplomatic corps. It was within these walls that the alchemy of mentor and mentee sparked creative collaborations, transforming nascent skills into undeniable brilliance. Through Jazzville’s embrace, emerging artists transformed tentative melodies into resounding harmonies, leaving indelible imprints on Nigerian music and culture across generations.
For eleven years (from January 1990 to 2021), Jazzville enlivened our sensibilities as more than a venue; it’s a legacy, a birthplace of sounds capes that span decades. Each note played and song sung under its roof stands as a testament to the artistry it has cultivated—a soulful monument to those who have grown and those who continue to rise within its storied embrace.
Jazzville began as a spark in the mind of its founder, the enigmatic Muyiwa Majekodunmi—a man with an enduring passion for jazz and classical music. More than a musician, he is a mentor to countless artists and the force behind many of Nigeria’s dynamic live bands that pulse through today’s music scene. Yet Majekodunmi’s vision for Jazzville was never about fame or glamour; it was a sanctuary where emerging talents could thrive, sheltered from commercial pressures, free to dive into self-expression.
Under his guidance, Jazzville evolved beyond an entertainment hub, becoming a crucible of creativity and camaraderie, where artists, film makers, music producers, jazz and classical strains meld with the aspirations of those who grace its stage. Majekodunmi’s Jazzville remains a legacy in motion—a vibrant ecosystem that has nurtured talents who shaped and continues to shape the future of Nigerian music with originality and soul.
From the musical duo Wunmi and Tunde Obe to Femi Kuti, son of the legendary Fela Kuti, from Sam Okposo, the Excite Band to the indomitable Asa, Akiin Shuga of Shuga Band fame, Sharp Band, Eboni Band, from Black Jesus to every aspiring artist in Lagos’ vibrant music scene of the early 1990s—Muyiwa Majekodunmi was instrumental one way or another in their rise. He crafted some of their first exposures, secured gigs, and provided critical promotion when they were just starting out. Although his humility keeps him from embracing the title of mentor, preferring instead to be known as a promoter, his work at Jazzville was foundational. Without the stage he proffered and the audience he cultivated, these artists may never have reached the heights they achieved or made such an indelible mark on Nigeria’s entertainment or live music history.
It may surprise many to learn that the globally acclaimed Asa owes her initial discovery and early promotion to none other than Muyiwa Majekodunmi, also known as Majeks. It was he who recognied her talent at a local show shortly after Zazzville’s closure, guiding her into the right circles that would eventually open doors on the international stage. Remarkably, Majeks’ own son was among Asa’s first drummers, and many of her early band members were talents he personally recruited—laying the foundation for what would become her rise to global fame.
Once a pulsating hub of culture and creativity, Jazzville, sadly, the seems to have faded into the shadows of history. The man behind its brilliance, Muyiwa Majekodunmi—a visionary who dedicated his life to bringing joy to others, creating a stage for untapped talent to be seen and heard—seems to have receded into the background. Though he may not be daunted by life’s challenges, his revolutionary vision for entertainment and the space that embodied it no longer radiates with the vivid flames of its prime.
This haven for the crème de la crème of music, once alive with the echoes of saxophones, trumpets, and applause, now resembles a forgotten relic, abandoned by time. The musical prodigies nurtured within Jazzville have scattered across the globe, earning accolades and recognition, yet few pause to honour the birthplace of their journey. It is the tragic irony of life that we seldom celebrate greatness when it is within reach.
Today, rust and neglect mark what was once a vibrant tribute to music and artistry. In another land, 21 Majaro Street, Onike, Yaba—where Jazzville blossomed and legends were born—would stand as a national treasure, celebrated and preserved. But in our society, talent and artistry are often left to wither without the recognition they deserve.
The neglected legacy of Muyiwa Majekodunmi and his remarkable creation, Jazzville, despite its origins as a private venture, compels a deep reflection on the state of our national creative conscience. Why do our brilliant minds, those whose talents ignite rare cultural sparks, remain largely uncelebrated in our collective ethos? Why does the national conscience lack the urgency to elevate such visionary initiatives into treasures of cultural heritage or to honor and rehabilitate the people who, through their genius, have elevated our identity across various fields?
Is the national conscience so impervious, so complacent, that it fails to recognize the need to preserve and venerate the figures and creations that have enriched our social and cultural fabric? Why do we allow such genius to languish, rather than enshrining it within the legacy of the nation itself?
Where, indeed, are the prodigies of Jazzville? The countless talents Majek nurtured the very souls for whom this place was a sanctuary—a refuge steeped in rhythm and resilience. Where are the circles of friends and benefactors who found their solace here, which thrived under the mentorship that once flowed so freely within these walls? Why, in this hour of crisis, when the place teeters on the edge of ruin, has the chorus of gratitude fallen silent?
It’s often said that a life lived only for itself is no life at all—that true purpose lies in lifting others over the peaks and valleys of their own journeys. And if that is so, then Jazzville deserves more than remembrance; it deserves a second breath. For Majek’s gift to the world was never just music, but a bridge across hardship, a place where dreams found shelter and rose above circumstance. In its hour of need, surely, there must be voices willing to rise and lend their strength to restore what once was, to preserve a legacy that inspired so many.
The Lagos State government, alongside the Federal Government, should take the lead in honouring this icon of the entertainment industry—not merely with token gestures, but with tributes that capture the depth of his legacy. For a figure whose brilliance has shaped generations, it’s overdue that they remember the roots from which their once-humble ambitions grew. Celebrating his profound impact requires a more deliberate and meaningful recognition, echoing the rich blend of talent and tenacity that paved the way for the thriving entertainment landscape we know today.