{"id":4425,"date":"2025-02-02T11:02:40","date_gmt":"2025-02-02T11:02:40","guid":{"rendered":"https:\/\/keepdabeat.com\/?p=4425"},"modified":"2025-02-02T11:02:42","modified_gmt":"2025-02-02T11:02:42","slug":"tony-allen-the-afrobeats-architect","status":"publish","type":"post","link":"https:\/\/keepdabeat.com\/es\/tony-allen-the-afrobeats-architect\/","title":{"rendered":"Tony Allen: El Arquitecto del Afrobeat"},"content":{"rendered":"<p>Antes de convertirse en el alma r\u00edtmica del Afrobeat, Tony Allen era un baterista autodidacta que navegaba por la efervescente escena musical de Lagos en los a\u00f1os 50 y principios de los 60. Nacido en 1940 en Lagos, Nigeria, creci\u00f3 rodeado de un paisaje sonoro diverso, donde la m\u00fasica tradicional yoruba conviv\u00eda con el jazz, el highlife y los primeros sonidos del pop occidental. Sus primeras influencias musicales estaban profundamente arraigadas en la percusi\u00f3n nigeriana, especialmente en las estructuras polirr\u00edtmicas de la m\u00fasica yoruba, pero tambi\u00e9n qued\u00f3 fascinado por los grandes del jazz como Art Blakey, Max Roach y Elvin Jones.<\/p>\n\n\n\n<p><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img fetchpriority=\"high\" decoding=\"async\" width=\"216\" height=\"233\" src=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/download-1.jpeg\" alt=\"\" class=\"wp-image-4427\" style=\"width:382px;height:auto\"\/><\/figure>\n<\/div>\n\n\n<p><\/p>\n\n\n\n<p>Su primera experiencia profesional en la bater\u00eda lleg\u00f3 de la mano del highlife nigeriano, un g\u00e9nero que fusionaba ritmos africanos con jazz y sonidos latinos. Toc\u00f3 en varias bandas, incluidas las de Victor Olaiya y Sir Victor Uwaifo, perfeccionando su capacidad para mezclar la percusi\u00f3n tradicional con la fluidez y la s\u00edncopa del jazz. Su estilo ya comenzaba a diferenciarse, combinando el pulso constante del highlife con complejas variaciones r\u00edtmicas fuera del tiempo tradicional<\/p>\n\n\n\n<p><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img decoding=\"async\" width=\"260\" height=\"194\" src=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/IMG_7754.jpg\" alt=\"\" class=\"wp-image-4430\" style=\"width:440px;height:auto\"\/><\/figure>\n<\/div>\n\n\n<p><\/p>\n\n\n\n<p>En 1964, su vida dio un giro decisivo cuando conoci\u00f3 a Fela Kuti, un m\u00fasico obsesionado con el jazz que estaba formando una nueva banda, Koola Lobitos. Allen audicion\u00f3 y, al escucharlo, Fela exclam\u00f3: \"\u00bfC\u00f3mo es posible que seas el \u00fanico en Nigeria que toca as\u00ed?\". Ese encuentro marc\u00f3 el inicio de una alianza que definir\u00eda un g\u00e9nero entero.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"WA Dele\" width=\"1180\" height=\"885\" src=\"https:\/\/www.youtube.com\/embed\/lTGcCmROzOc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>A medida que avanzaban los a\u00f1os 60, Koola Lobitos evolucion\u00f3 de ser una banda de highlife-jazz a algo mucho m\u00e1s revolucionario. Inspirados por el funk de James Brown, el jazz libre de Coltrane y la agitaci\u00f3n pol\u00edtica de Nigeria, Fela y Allen dieron forma a un nuevo sonido: el Afrobeat. Aunque Fela fue la mente ideol\u00f3gica y el principal compositor del movimiento, fue la bater\u00eda de Allen la que le dio su esencia r\u00edtmica. Desarroll\u00f3 un groove complejo pero bailable, donde la improvisaci\u00f3n del jazz, la fluidez del highlife y la hipn\u00f3tica repetici\u00f3n de los ritmos africanos tradicionales se fund\u00edan en un solo lenguaje. A diferencia de la bater\u00eda convencional, que suele centrarse en llevar el tiempo, el estilo de Allen era multidimensional: cada extremidad tocaba un patr\u00f3n diferente, creando un di\u00e1logo percusivo dentro de s\u00ed mismo.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Fela Kuti - Ako\" width=\"1180\" height=\"885\" src=\"https:\/\/www.youtube.com\/embed\/GPUdbycG33A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>Durante los a\u00f1os 60 y 70, Allen y Fela compusieron algunos de los himnos m\u00e1s ic\u00f3nicos del Afrobeat, como <em>Water No Get Enemy<\/em>, <em>Zombie<\/em>, <em>Caballero<\/em>y <em>Shakara<\/em>ero Allen no era solo un baterista; tambi\u00e9n era el co-arreglista de Fela, ayudando a dar forma a las largas composiciones y a las din\u00e1micas de llamada y respuesta que definieron el g\u00e9nero. Su importancia era tal que Fela lleg\u00f3 a admitir: \u201cSin Tony Allen, no habr\u00eda Afrobeat\u201d.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Caro Mierda\" width=\"1180\" height=\"885\" src=\"https:\/\/www.youtube.com\/embed\/pB76UI8MtB8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>Sin embargo, las tensiones entre ambos crecieron con el tiempo, especialmente por disputas econ\u00f3micas y diferencias creativas. En 1979, agotado por las exigencias de Fela y sinti\u00e9ndose infravalorado, Allen decidi\u00f3 dejar Africa 70 y emprender su propio camino. Fue el inicio de su carrera en solitario, en la que explor\u00f3 el Afrobeat m\u00e1s all\u00e1 del mensaje pol\u00edtico de Fela.<\/p>\n\n\n\n<p><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img decoding=\"async\" width=\"624\" height=\"351\" src=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/image-2.png\" alt=\"\" class=\"wp-image-4441\" style=\"width:532px;height:auto\" srcset=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/image-2.png 624w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/image-2-300x169.png 300w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/image-2-600x338.png 600w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/image-2-500x281.png 500w\" sizes=\"(max-width: 624px) 100vw, 624px\" \/><\/figure>\n<\/div>\n\n\n<p><\/p>\n\n\n\n<p>Su primer \u00e1lbum en solitario, <em>No Discrimination<\/em> (1979), demostr\u00f3 su capacidad para llevar el g\u00e9nero en nuevas direcciones, incorporando elementos de jazz y funk sin perder la esencia hipn\u00f3tica de su bater\u00eda. En los a\u00f1os 80 y 90, sigui\u00f3 experimentando con discos como N.E.P.A. <em>N.E.P.A. (Never Expect Power Always)<\/em> (1985) y <em>Black Voices<\/em> (1999) donde a\u00f1adi\u00f3 toques electr\u00f3nicos y dub a su caracter\u00edstico sonido.<\/p>\n\n\n\n<p><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"700\" src=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/a1466981380_65.jpeg\" alt=\"\" class=\"wp-image-4433\" style=\"width:458px;height:auto\" srcset=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/a1466981380_65.jpeg 700w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/a1466981380_65-300x300.jpeg 300w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/a1466981380_65-150x150.jpeg 150w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/a1466981380_65-600x600.jpeg 600w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/a1466981380_65-100x100.jpeg 100w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/a1466981380_65-500x500.jpeg 500w\" sizes=\"(max-width: 700px) 100vw, 700px\" \/><\/figure>\n<\/div>\n\n\n<p><\/p>\n\n\n\n<p>Durante esta etapa, se traslad\u00f3 a Europa, donde trabaj\u00f3 con una variedad de artistas de diferentes g\u00e9neros, desde bandas franco-africanas hasta m\u00fasicos de jazz. Sus colaboraciones con figuras como Ray Lema y Manu Dibango ampliaron a\u00fan m\u00e1s su universo sonoro, consolidando su reputaci\u00f3n como un percusionista visionario que se negaba a encasillarse en un solo estilo.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"RES T Allen Ray Lema B Maal Un - No hay Acuerdo\" width=\"1180\" height=\"885\" src=\"https:\/\/www.youtube.com\/embed\/C2wEyamWoYc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>Los a\u00f1os 2000 marcaron un renacimiento en la carrera de Tony Allen, con una nueva generaci\u00f3n de m\u00fasicos que buscaban colaborar con \u00e9l. Trabaj\u00f3 con Damon Albarn en <em>The Good, The Bad &amp; The Queen<\/em> (2007) y Rocket Juice &amp; The Moon (2012), llevando su ritmo inconfundible al mundo del rock alternativo y la m\u00fasica experimental. Estas colaboraciones le dieron una visibilidad global, permiti\u00e9ndole conectar el Afrobeat con escenas musicales contempor\u00e1neas.<\/p>\n\n\n\n<p><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"746\" height=\"500\" src=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/The-good-the-bad-the-queen.jpg\" alt=\"\" class=\"wp-image-4435\" style=\"width:501px;height:auto\" srcset=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/The-good-the-bad-the-queen.jpg 746w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/The-good-the-bad-the-queen-300x201.jpg 300w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/The-good-the-bad-the-queen-600x402.jpg 600w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/01\/The-good-the-bad-the-queen-500x335.jpg 500w\" sizes=\"(max-width: 746px) 100vw, 746px\" \/><\/figure>\n<\/div>\n\n\n<p><\/p>\n\n\n\n<p>Albumes posteriores en solitario de Allen, tales como <em>Secret Agent<\/em> (2009) y <em>Film of Life<\/em> 2014), demostraron su capacidad para innovar sin perder sus ra\u00edces. En 2017, rindi\u00f3 homenaje a sus influencias jazz\u00edsticas con <em>The Source<\/em>un proyecto inspirado en su amor por Art Blakey y el bebop. Su \u00e1lbum p\u00f3stumo, <em>There Is No End<\/em> (2021), lo mostr\u00f3 trabajando con una nueva generaci\u00f3n de artistas, mezclando Afrobeat con hip-hop y m\u00fasica electr\u00f3nica, dejando claro que hasta el final de su vida, su visi\u00f3n segu\u00eda siendo vanguardista.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Tony Allen - Agente Secreto\" width=\"1180\" height=\"664\" src=\"https:\/\/www.youtube.com\/embed\/pD8C3UnqQIg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>M\u00e1s all\u00e1 de su carrera en solitario, su versatilidad le permiti\u00f3 colaborar con m\u00fasicos como Flea (Red Hot Chili Peppers), Jeff Mills y el productor de techno Moritz von Oswald. Ten\u00eda una capacidad \u00fanica para adaptarse a cualquier contexto\u2014jazz, rock, m\u00fasica electr\u00f3nica o africana\u2014sin perder su esencia.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"La Semilla (Edit)\" width=\"1180\" height=\"885\" src=\"https:\/\/www.youtube.com\/embed\/wweN3aNph_Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>La influencia de Tony Allen en la m\u00fasica es incalculable. No fue solo el baterista de Fela Kuti; fue el arquitecto r\u00edtmico del Afrobeat, un innovador cuya t\u00e9cnica y creatividad transformaron la percusi\u00f3n a nivel global. Su estilo, basado en la fusi\u00f3n de polirritmos, s\u00edncopa e improvisaci\u00f3n, estableci\u00f3 un nuevo est\u00e1ndar para los bateristas en todo el mundo. Mientras que la bater\u00eda tradicional suele anclarse en un ritmo constante, Allen creaba un flujo din\u00e1mico y siempre cambiante, pero que a la vez manten\u00eda un groove irresistible.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"188\" height=\"268\" src=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/IMG_7756.jpg\" alt=\"\" class=\"wp-image-4442\" style=\"width:278px;height:auto\"\/><\/figure>\n<\/div>\n\n\n<p>Fue un puente entre \u00e9pocas, desde la edad dorada del highlife hasta la era digital de los beats electr\u00f3nicos. Su legado resuena en innumerables artistas influenciados por el Afrobeat, desde Antibalas y Seun Kuti hasta productores electr\u00f3nicos como Four Tet. Su impacto trasciende g\u00e9neros; fue un baterista de bateristas, un artista de artistas, una de esas figuras raras cuyo legado sigue expandi\u00e9ndose con el tiempo.<\/p>\n\n\n\n<p>Cuando Tony Allen falleci\u00f3 en abril de 2020, el mundo perdi\u00f3 a un verdadero pionero. Pero su ritmo sigue vivo. Cada vez que suena un groove de Afrobeat, ya sea en un club de Lagos, en un festival de jazz europeo o en un estudio de Londres, su esp\u00edritu sigue ah\u00ed, marcando el tiempo y llevando la m\u00fasica siempre hacia adelante.<\/p>\n\n\n\n<p><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"681\" src=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/dsc_2030r-1024x681.jpg\" alt=\"\" class=\"wp-image-4443\" style=\"width:707px;height:auto\" srcset=\"https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/dsc_2030r-1024x681.jpg 1024w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/dsc_2030r-300x200.jpg 300w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/dsc_2030r-768x511.jpg 768w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/dsc_2030r-600x399.jpg 600w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/dsc_2030r-500x333.jpg 500w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/dsc_2030r-800x532.jpg 800w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/dsc_2030r-1280x851.jpg 1280w, https:\/\/keepdabeat.com\/wp-content\/uploads\/2025\/02\/dsc_2030r.jpg 1353w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p><\/p>\n\n\n\n<p><strong>Aqu\u00ed tienes la discograf\u00eda completa de Tony Allen con Fela Kuti, cubriendo su trabajo conjunto desde los a\u00f1os 60 hasta finales de los 70, antes de que Tony dejara Africa 70:<\/strong><\/p>\n\n\n\n<p><strong>Con Koola Lobitos (Pre-Afrobeat \u00c9poca, Highlife-Jazz Fase)<\/strong><\/p>\n\n\n\n<p>1. Fela Kuti Y Su Koola Lobitos (1965)<\/p>\n\n\n\n<p>2. Fela\u2019s Special (1968)<\/p>\n\n\n\n<p><strong>Con Africa 70 (Afrobeat \u00c9poca, 1969-1979)<\/strong><\/p>\n\n\n\n<p>3. The \u201969 Los Angeles Sessions(grabado en 1969, lanzado m\u00e1s tarde)<\/p>\n\n\n\n<p>4. Fela Fela Fela (1970)<\/p>\n\n\n\n<p>5. Fela\u2019s London Scene (1971)<\/p>\n\n\n\n<p>6. Why Black Man Dey Suffer (1971)<\/p>\n\n\n\n<p>7. Shakara (1972)<\/p>\n\n\n\n<p>8. Roforofo Fight (1972)<\/p>\n\n\n\n<p>9. Afrodisiac (1973)<\/p>\n\n\n\n<p>10. Gentleman (1973)<\/p>\n\n\n\n<p>11. Confusion (1974)<\/p>\n\n\n\n<p>12. Alagbon Close (1974)<\/p>\n\n\n\n<p>13. He Miss Road (1975)<\/p>\n\n\n\n<p>14. Expensive Shit (1975)<\/p>\n\n\n\n<p>15. Everything Scatter (1975)<\/p>\n\n\n\n<p>16. Kalakuta Show (1976)<\/p>\n\n\n\n<p>17. Ikoyi Blindness (1976)<\/p>\n\n\n\n<p>18. Upside Down (1976)<\/p>\n\n\n\n<p>19. Yellow Fever (1976)<\/p>\n\n\n\n<p>20. No Agreement (1977)<\/p>\n\n\n\n<p>21. Stalemate (1977)<\/p>\n\n\n\n<p>22. Johnny Just Drop (J.J.D.) (1977)<\/p>\n\n\n\n<p>23. Sorrow Tears and Blood (1977)<\/p>\n\n\n\n<p>24. Fear Not for Man (1977)<\/p>\n\n\n\n<p>25. Opposite People (1977)<\/p>\n\n\n\n<p>26. I.T.T. (International Thief Thief) (1979).<\/p>\n\n\n\n<p>Aqu\u00ed est\u00e1 la <strong>discograf\u00eda completa<\/strong> de <strong>Tony Allen en solitario<\/strong>que abarca sus \u00e1lbumes desde finales de la d\u00e9cada de 1970 hasta su fallecimiento en 2020.<\/p>\n\n\n\n<p><strong>\u00c1lbumes En Solitario<\/strong><\/p>\n\n\n\n<p>1. <strong>Jealousy<\/strong> (1975)<\/p>\n\n\n\n<p>2. <strong>Progress<\/strong> (1977)<\/p>\n\n\n\n<p>3. <strong>No Discrimination<\/strong> (1979)<\/p>\n\n\n\n<p>4. <strong>Never Expect Power Always (N.E.P.A.)<\/strong> (1984)<\/p>\n\n\n\n<p>5. <strong>Afrobeat Express<\/strong> (1984)<\/p>\n\n\n\n<p>6. <strong>Secret Agent<\/strong> (2009)<\/p>\n\n\n\n<p>7. <strong>Film of Life<\/strong> (2014)<\/p>\n\n\n\n<p>8. <strong>The Source<\/strong> (2017)<\/p>\n\n\n\n<p>9. <strong>There Is No End<\/strong> (2021, p\u00f3stuma)<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>\u00c1lbumes colaborativos y proyectos de bandas<\/strong><\/p>\n\n\n\n<p>\u2022 <strong>Con Tony Allen &amp; Afrobeat 2000<\/strong><\/p>\n\n\n\n<p>10. <strong>Live!!<\/strong> (1985)<\/p>\n\n\n\n<p>11. <strong>Never Expect Power Always<\/strong> (1985)<\/p>\n\n\n\n<p>12. <strong>Afrobeat Express<\/strong> (1992)<\/p>\n\n\n\n<p>\u2022 <strong>Con Ray Lema<\/strong><\/p>\n\n\n\n<p>13. <strong>Afro Jazz<\/strong> (1995)<\/p>\n\n\n\n<p>\u2022 <strong>Con Ernest Ranglin<\/strong><\/p>\n\n\n\n<p>14. <strong>In Search of the Lost Riddim<\/strong> (1998)<\/p>\n\n\n\n<p>\u2022 <strong>Con El Doctor L<\/strong><\/p>\n\n\n\n<p>15. <strong>Black Voices<\/strong> (1999)<\/p>\n\n\n\n<p>16. <strong>Psyco on da Bus<\/strong> (2001)<\/p>\n\n\n\n<p>\u2022 <strong>Con Jimi Tenor<\/strong><\/p>\n\n\n\n<p>17. <strong>Inspiration Information Vol. 4<\/strong> (2009)<\/p>\n\n\n\n<p>\u2022 <strong>Con Damon Albarn &amp; Flea (Rocket Juice &amp; The Moon)<\/strong><\/p>\n\n\n\n<p>18. <strong>Rocket Juice &amp; The Moon<\/strong> (2012)<\/p>\n\n\n\n<p>\u2022 <strong>Con Jeff Mills<\/strong><\/p>\n\n\n\n<p>19. <strong>Tomorrow Comes the Harvest<\/strong> (2018)<\/p>\n\n\n\n<p>\u2022 <strong>Con Hugh Masekela<\/strong><\/p>\n\n\n\n<p>20. <strong>Rejoice<\/strong> (2020, publicado a t\u00edtulo p\u00f3stumo)<\/p>\n\n\n\n<p><strong>EPs &amp; Libera Especial<\/strong><\/p>\n\n\n\n<p>\u2022 <strong>HomeCooking<\/strong> (2002)<\/p>\n\n\n\n<p>\u2022 <strong>Lagos No Shaking<\/strong> (2006)<\/p>","protected":false},"excerpt":{"rendered":"<p>Antes de que Tony Allen se convirti\u00f3 en la r\u00edtmica, la columna vertebral de Afrobeat, fue un autodidacta baterista de navegar por la vibrante Lagos escena de la m\u00fasica de la d\u00e9cada de 1950 y comienzos de 1960. Nacido en 1940 en Lagos, Nigeria, Allen, creci\u00f3 rodeado de un variado paisaje sonoro, donde la tradicional Yoruba m\u00fasica coexistido con el jazz, el highlife, y las primeras formas de pop Occidental.<\/p>","protected":false},"author":1,"featured_media":4437,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[129,91],"class_list":["post-4425","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-afrobeat","tag-music"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Tony Allen: The Afrobeat&#039;s Architect - keepdabeat.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/keepdabeat.com\/es\/tony-allen-the-afrobeats-architect\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tony Allen: The Afrobeat&#039;s Architect - keepdabeat.com\" \/>\n<meta property=\"og:description\" content=\"Before Tony Allen became the rhythmic backbone of Afrobeat, he was a self-taught drummer navigating the vibrant Lagos music scene of the 1950s and early 1960s. 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