A Jazzy Comeback for Oti Bazunu

Yinka Olatunbosun

Sixteen years ago, something shifted in the cultural landscape of Lagos. As the city edged towards megacity status, its notorious traffic had become a defining feature for professionals and expatriates navigating its commercial energy. Then came Oti Bazunu—fresh from stints in Montreal and New York—with an understanding of the work-life balance that sustains vibrant global cities.

A businessman and arts enthusiast, Bazunu is best known as the founder of the Lagos Jazz Series (LJS), an initiative that introduced a refreshing way for Lagosians to unwind in a safe, relaxed atmosphere. What began as a curated musical experience soon evolved into an annual outdoor festival, promoting high-quality music and positioning Lagos as an international jazz destination. He also spearheaded the “Bring Back the Music” (BBM) CSR initiative, underscoring his long-standing commitment to the arts.

For nine years, the Lagos Jazz Series thrived—until what Bazunu describes as “sponsors’ fatigue” set in. Without sustained funding, it became increasingly difficult to maintain the ambitious model of pairing local talent with international stars and transforming public spaces into soulful havens. Muri Okunola Park in the Victoria Island neighbourhood, once reimagined with colourful mats and a laid-back picnic ambience, became a sanctuary for music lovers. The memories linger: performances by global icons such as Marcus Miller, Bob James, and Mos Def, all set against the Lagos skyline.

“LJS was quite extensive at the time,” Bazunu recalled. “It cost about a million dollars every year. It was a three-day festival, and we didn’t always have sponsors. We managed it for a while, but we couldn’t sustain it. We had to shut it down.”

Now, Bazunu is staging a comeback—this time, more intimate and deliberately scaled. His former residence in Victoria Island has been transformed into Oti’s Jazz Bistro, a cosy, curated music hub that channels the spirit of a modern-day Harlem Renaissance.

A walk through the garden—past a vintage car—ushers visitors into a sensory blend of coffee, conversation, and music. The bistro has quickly become a gathering point for celebrities, executives, and discerning music lovers. With its Afro-inspired cuisine and close-knit ambience, it functions as a mini concert venue designed to rekindle the city’s fading jazz culture.

During a recent media parley, Nina Simone’s voice floated through the lounge, setting the tone for conversations about reviving jazz in Lagos. Relaxed and witty, Bazunu—every bit the urbane host—spoke candidly about the music scene and his renewed vision.

April, globally recognised as Jazz Appreciation Month, promises a highlight: Lisa Simone, daughter of the legendary Nina Simone and a Grammy-nominated artist in her own right, is scheduled to perform two shows at the bistro on April 5 and 6.

“Lisa Simone is a world-class artist,” Bazunu said. “It’s a rare opportunity for Lagos audiences. We don’t get artists like this often. We’re trying to use music to calm the tempo—the ‘ra ra ra’ of Lagos.”

For Bazunu, jazz remains foundational to much of modern music. Referencing Fela Anikulapo-Kuti, he emphasised jazz’s deep imprint on Afrobeat and global sounds.

“When you listen to Afrobeat, you feel the jazz,” he noted. “Fela started as a jazz artist before evolving his sound.”

This view is echoed by music critic Benson Idonije, who documented in This Fela Sef that Fela recorded one of Nigeria’s earliest jazz albums.

Bazunu’s work has long extended beyond performance. Through the Lagos Jazz Series, he created bridges between local and international artists, even taking Nigerian bands to global festivals in places like Cape Verde. His goal remains clear: to elevate Nigerian musicians to international standards.

“We’ve seen artists who performed at LJS go on to succeed globally,” he said. “Whenever I bring international artists, I ask them to hold masterclasses at MUSON [Centre, Onikan]. That’s how talents like trumpeter Etuk Ubong were discovered and given international exposure.”

Inside the bistro, a Steinway grand piano—renowned for its craftsmanship and prestige—commands attention, signalling both ambition and readiness. Outside, shaded spaces hint at the venue’s capacity to host intimate yet vibrant gatherings.

The scale may be smaller, but the intent is no less profound. With Oti’s Jazz Bistro, Bazunu is not merely reviving a legacy; he is reimagining it—creating a space where good music, rich culture, and meaningful connection converge.

As he moves through the venue, cigarette in hand and a look of quiet satisfaction on his face, one thing is clear: this comeback is not just nostalgic—it’s purposeful.