We need a music revolution in Nigeria – Tee Mac

Popular flutist and composer, Tee Mac Omatshola Iseli, has been in the music industry since the 1970s with his debut and sophomore albums making it to the billboard top 10. He recently released another album, ‘Just Like A Dream,’ to critical acclaim. He was awarded an MFR by late president Umaru Yar’adua for his role […]

Popular flutist and composer, Tee Mac Omatshola Iseli, has been in the music industry since the 1970s with his debut and sophomore albums making it to the billboard top 10. He recently released another album, ‘Just Like A Dream,’ to critical acclaim. He was awarded an MFR by late president Umaru Yar’adua for his role in negotiating amnesty for Niger Delta militants. Here, he talks about his career, the trouble with PMAN and the need for a revolution in the music industry.
 
Weekend Magazine: You are reported to have held your first flute at the age of eight. What was the story of that flute and how did the journey into music composition and performance begin for you?
Tee Mac Omatshola Iseli: Since my childhood I loved music and I wanted to play the flute. While growing up I started to remember that I played the flute before, I believe in re-incarnation.
WM: Everything you have done since then has been defined by your love and devotion to music and to your art. Where does this passion come from?
Tee Mac: My grandfather on my Swiss side was a well-known composer and professor in the Music Academy of Zurich. Even his father was a professional and educated musician. I may have it in my genes; two of my sons love music too.
WM: You’ve had numerous albums released, the first coming out in 1973. In the years since then, how would you say your music has evolved?
Tee Mac: I recorded my first single in 1968 as a 20-year-old student of music in Lausanne, Switzerland and had good reviews. Since 1973 I have recorded many albums and CDs and film tracks. My music evolved from my commercial hits (written to make money) to very sophisticated symphonies and classical ballets. I love good and well-orchestrated music. To me, using a philharmonic orchestra is like painting with the tones of all the instruments available.
WM: You have had a remarkable staying power in the industry. There have been artistes who ruled the scene in the 1990s and are nowhere to be seen today. What has kept Tee Mac in the game since the 1970s?
Tee Mac: I have tried my whole life to produce and play good music, music which is not just seasonable and forgotten in a few months. When your lyrics are good and the melody and harmony makes sense, then you have a good song. Then the most important thing is to have a good band or orchestra to perform it, a good studio to record and mix it. Most Nigerian musicians are in a hurry and the song production is poor. I also kept performing since the 70s and always had a good standby band. I am not a musician who likes to play constantly in night clubs. That takes the pleasure out of performing. I love important shows and concerts abroad where one has to prepare himself well and where one is accepted and loved.
WM: Do you feel that changes in the music industry have made it more difficult for you to replicate the success of your albums ‘United’ (1973) and ‘Silver Convention 1,’ which topped the billboard charts when they came out?
Tee Mac: There is more competition now, but the competition is cheap and commercial, so to me it is still not difficult to impress with a good album. My latest, ‘Just Like a Dream,’ did well and is still selling internationally.
WM: Of your numerous albums produced in the span of 40 years, which ones stand out for you?
Tee Mac: I think everyone is better than the last one so I like my last CD, ‘Just Like a Dream,’ but again my next one will be even better and bigger.
WM: We will look out for it. You have been very involved with the music scene in Nigeria, first establishing the Classical Music Society of Nigeria and later help in the founding of PMAN. Why do you feel the need to have these unions?
Tee Mac: Unions are regulators for an industry and help musicians legally and politically.
WM: Ultimately, you were persuaded to become the president of PMAN in 2007. What legacy would you say you have left behind in PMAN?
Tee Mac: I had a difficult time as PMAN president because of an illiterate factional leader causing the union a lot of problems. I inherited a dysfunctional PMAN and had to spend a lot of my personal money and time trying to get things right. We got the tax at source situation sorted out. An agreement with the immigration making temporary work permission for foreign artistes compulsory, opened a professional accounts department with a prime auditing firm, got PMAN land in Abuja back (which was revoked because of non-development) and were working on an arts village in Badagry when PMAN was invaded by the Dele Abiodun faction and I decided to stop all the projects until the situation was sorted out in the courts.
WM: Interestingly, PMAN has always been engulfed in one crisis or the other, the most recent being the controversy between the treasurer, Zimacoy and Pretty Okafor over the missing N100 million. As a founder and former president, what would you say exactly is happening with the association?
Tee Mac: Wherever you have two people, there are two opinions and sometimes they don’t work out together. Also there are many un-educated musicians who look at PMAN like their breadbasket, instead of asking what can we do for the good of the union?
WM: Why is PMAN never far from controversy?
Tee Mac: Musicians get attention from the press because many are popular, so whatever they say or do is in the news. We need to worry when the press doesn’t write anymore.
WM: Do you think PMAN has achieved the objectives for which it was set up?
Tee Mac: No because PMAN has always been under-funded, members do not pay their dues and sponsors are not helping. When there is proper funding with an honest leadership PMAN will be able to fulfill its role.
WM: On a personal level, your son now goes by the stage name Ozzy Bosco and is into music as well. How does this make you feel?
Tee Mac: It’s always great when one’s children follow in one’s footsteps. I will be able to guide him and use my experience for him to make it.
WM: How different do you think he is from you as an artiste?
Tee Mac: He has the advantage that his mother is fully dedicated to helping him and I am trying my best; I had to do all by myself.
WM: In 2009, you were conferred the MFR for your role in bringing Niger Delta militants into the amnesty programme. How did you get involved in these negotiations? Don’t you think you should have gotten a national award for your contribution to the arts as well?
Tee Mac: I don’t do things for awards. I am grateful to (former) president Yaradua for giving me the national honour. If any other president thinks I deserve an award for my contribution towards the development of our music industry, then I will accept it with gratitude.
WM: Today, Tee Mac has got his hands in so many pies. You are a business man, a miner, a teacher, an artiste, among many other things. How do you cope? Do you think your music suffers from your numerous other commitments?
Tee Mac: No, music is the main thing in my life. It has made me rich and famous. The other things are for investment purposes only. I want to leave something for my children.
WM: In the 40 years you have been into the music industry, what would you say has been the biggest change you have witnessed?
Tee Mac: When we were young we studied music, we had bands and rehearsed with them every day. We played 3-5 hours shows. We spent weeks in the recording studio to get it right. Most in the new generation don’t even know in what key they are singing; they can’t play any instrument and most of them cannot even perform with a live band. They mime and fake it on stage. Their music is simple and monotonous and educated people cannot relate to it. We need a revolution in Nigeria: back to good music.