After Toluwani Ajayi’s outstanding symphony, ‘Òjò N Rò’ unlocked heavy childhood nostalgia, last year, it seems the acclaimed double bassist and composer is back on that train this year with the release of his four-tracker extended play, Lifestyle (Ìgbésí Ayé Ojoojúmó).

The EP consists of a four piece composition, released on March 14. The EP, which unfurls as an Afro classical piece, explores Yoruba folk music, with a large ensemble including the viola, violin, piano, cello, and African musical instruments which are conga, Udu drums, wood block, bass drums, and a host of other string and percussive sounds. With a delicate arrangement where his double bass is the primary melodic voice, Ajayi achieves his most impressive display of tonal clarity and harmonic balance with this symphony.

The EP kicks off with ‘Kí ni n ó folè ṣe láyé tí mo wá’, a popular Yoruba folk tune sung to children to encourage contentment. Ajayi phrases the tune with the hollow, dark rhythms from his double bass, flipping it into a sombre melody. He wields the bass’ deep timbre in creating the solemn tune, setting the tone for the song and EP as well.

Also, he melds a very expressive Arco with his lyrical bowing, as he establishes the double bass as the melodic voice. This sort of roll-on melody eases the listener into the immersive soundscape, while acting as a transition to the percussive section. It’s like a dirge before a dance groove, flanked by equally haunting repetitive low-range piano notes that help to unlock that sober atmosphere that is popular with Ajayi’s work and ancestral Yoruba folk melodies as well. It segues into the next track,

‘Wẹ̀ kí o mọ́’, which is another popular Yoruba folk tune that teaches the virtue of good hygiene. Here, he shifts from sober to airy tonal structures, establishing the sober feel with the piano, before repositioning the double bass as a lead melodic voice. The moody brass and piano sections support the song’s overall catharsis, while the strings add that catchy, energetic, vibrant tempo that keeps the tune alive till the end.

What stands out most in the above track is how precisely he handles the phrasing, clearly articulating each idea embedded in the lyrics: “Wẹ̀ kí o mọ ́” (wash to be clean), “Gé èkọ́ọ́nọ́ rẹ” (cut your nails), “Jẹun tó dára lásìkò” (eat right at the right time), and “Má jẹun jù” (do not overfeed). Each phrase rings out with a clear tonal clarity and intense bowing emphasis, helping the listener to feel the depth of the message even without hearing any vocals. Altogether, it becomes a carefully shaped progression, showcasing Ajayi’s mastery of tone, phrasing and arrangement. Ajayi’s emphasis on expressiveness and resonance also takes centre stage in the EP.

The remaining tracks, ‘Ìyá ni wúrà iyebíye (Mother is a gold of great value)’, and ‘Òjò N Rò (rain is falling)’ equally possess that fluid tempo restraint and dynamic phrasing that charges the EP as a progressive Yoruba classical fusion folk symphony. While the EP naturally features Yoruba folk songs that teach morals, Ajayi’s expressive playing adds respect to each music track. For instance, on ‘Ìyá ni wúrà iyebíye’, the song honours maternal sacrifice through a slow highlife rhythm: “Tí a kò le fowó rà (That which cannot be bought with money)/ Ó lóyún mi fún oṣù mẹ́sàn án (She carried me in her womb for nine months)/ Ó pọ̀n mí f’ọ́dún mẹ́ta (She carried me on her back for three years) Ìyá ni wúrà iyebíye, Tí a kò le fowó rà (Mother is a gold of great value that money cannot buy),” and Ajayi’s double bass doubled down with that chilling sombre timbre on each melodic line cited above, while leaving the percussion, piano, strings and horns to offset a giddy-but-gentle groove.

On the EP’s ‘Òjò N Rò’, the focus shifts slightly to accommodate a more cinematic feel. The song is also a Yoruba children’s folk tune, and it is arranged in a full orchestral setting. Interestingly, Ajayi’s articulation shines in this particular piece, as he phrases the tune with a strikingly descriptive arrangement using the woodwind melodies (Contrabassoon) and piano for that soft, brownish feel of rainfall, while the percussion (timpani, bass drum) and brass section (flugelhorn, French horn) texture the soothing rumble of thunder. His careful layering of instruments reveal his maestro, as he flips each melodic section to mirror natural elements.

The outro rings off with the most intense expression of tension-and-release in the EP, boosting its catharsis and replay value.
Overall, Lifestyle (Ìgbésí Ayé Ojoojúmó) is not just a richly textured soundscape; it is also a very ambitious record.

Arranged and composed as a bridge between Western classical music and Yoruba folk traditions, with 4-track (8-mins long), the music flourishes with a warm, conjugating pace that ensues harmonic balance and tonal clarity. He particularly focuses on inducing lyrical emphasis, even for a non vocal record like this, by layering the double bass as his main melodic voice and with the darker, sombre tones, while leaving the accompanying instruments to bring that warmer, smoother, relieving tones to his brilliant compositional recipe.

As an avid lover of West African folk music, Ajayi’s Lifestyle (Ìgbésí Ayé Ojoojúmó) is a significantly rare fusion. His signature style of contrasting compositions, emphatic bowing (for lyrical emphasis), dynamic phrasing and rib-soothing outros heighten both his expressiveness and resonance in this EP. There’s quite enough shock and replay value within such a short body of work to actually acclaim Ajayi as a maestro who knows his onion within this classical scene.

Interestingly, Ajayi also introduces a rich display of ancestral Nigerian drums like the Akuba and Udu drums, promoting the use of such disappearing local instruments. By positioning Yoruba folk music and the Solo double bass as the heart of the music, Ajayi creates a very enjoyable and enriching musical texture on the record that highlights his heritage driven artistry as both a breath of fresh air and also a blueprint for the future of Western-African classical fusions. It sits at 9/10.

Ajayi Toluwani John is a Nigerian double bassist, composer and arranger known for his lively performances, Yoruba folk compositions, and fusions Though he initially studied Mechanical Engineering, his commitment to music led him into formal training, earning certifications in music theory and double bass performance from the Associated Board of the Royal Schools of Music (ABRSM) in the United Kingdom. He has also trained under notable music figures such as British bassist Chi-chi Nwanoku and German conductor and cellist Walter-Michael Vollhardt.

Since 2020, he has performed as a resident double bassist with the Àkójọpọ̀ Music Foundation, where his 2023 concert appearance marked a defining moment, drawing attention to his interpretive range and stage presence. Outside the concert hall, Ajayi’s work extends into arts and health, where he has been involved with the Global Arts in Medicine Fellowship since 2017. Through this platform, he has performed in clinical and institutional settings including the Sickle Cell Foundation Nigeria, LUTH, oncology and emergency wards, and the Ikoyi Custodial Centre, using music as a tool for care and engagement.

His contributions also include participation in Arts & Health Week Nigeria alongside partners such as the World Health Organization and the U.S. Consulate in Lagos. In 2023, he co-led the Tunis-Nigeria Music Ensemble as part of a cross-cultural exchange initiative, and remains active with Young Leaders for Arts & Health. He presently teaches with the East London School of Music and performs with the HACS Philharmonic Orchestra in the United Kingdom