This is classic collection of Highlife, Palm-wine music & Juju from Nigeria & Ghana, from the 50's & 60's....
and includes unavailable tracks by Earnest Olatunde Thomas, known as Tunde Nightingale or The Western Nightingale, who was a Nigerian singer and guitarist, best known for his unique jùjú music style, following in the tradition of Tunde King... As well as legendary Afrobeat pioneer Fela Ransome Kuti's first recordings of highlife and calypso, recorded in London in 1959...
Highlife, type of West African popular music and dance that originated in Ghana in the late 19th century, later spread to western Nigeria, and flourished in both countries in the 1950s. The earliest form of highlife was performed primarily by brass bands along the Ghanaian coast. By the early 20th century these bands had incorporated a broader array of instruments (primarily of European origin), a vocal component, and stylistic elements both of local music traditions and of jazz. Highlife thus emerged as a unique synthesis of African, African American, and European musical aesthetics.
In the 1930s the popularity of highlife stretched inland and eastward along the coast, garnering an especially large following in Nigeria. There highlife experienced an important transformation: asymmetrical drum rhythms derived from traditional drumming practices of the Yoruba people were combined with syncopated (displaced-accent) guitar melodies to accompany songs sung in either Yoruba or English. By the mid-1960s, however, highlife had lost much of its audience to guitar-centred popular styles. One of these styles, a predominantly Yoruba-based outgrowth of highlife called juju, gained widespread international recognition in the 1980s and remained popular in Nigerian “hotels,” or nightclubs, into the 21st century.
Highlife music has not been a single movement, it has not been a statement of political intent, of uprising or the idealism of a particular group; no use of it to channel a particular message has subsumed its sound. No one group has made it their own, and therefore it has remained a wonderfully rare example of free spirit and expression of the human experience.
The foundations of the tradition are grounded, initially separately, in the north and south of Ghana. The sub-Saharan north has long acted as a cultural catch-all for the traffic of Western Africa at large. The Songnai and Mali empires caused ethic migration and the blurring of cultural borders in West Africa, bringing praise-singing traditions of the Frafra, Ghurunsi, and Dagomba people in the northeast together with that of the Dagara, Lobi, Wala, and Sissala in the northwest.
This spiritual identity is tempered by the osmotic folk music of the south. The music of southern Ghana seems historically to have taken a more internal and pragmatic focus; the settled Ashanti south incorporated music as a relief and pleasure in and of itself rather than as a billboard for their identity as a tribal entity. This is reflected in the simpler folk style, which has simmered into existence with a gradual influence from neighboring Benin and Tongo.
The emergence of the music that has come to be defined as “Highlife” can be traced back to the early 20th century and the international interest in Africa’s Gold Coast, as it was known. The constant influx of Europeans since the 15th century introduced the indigenous population to hymns, shanties, and marches, and as the Ashanti people organized and attempted the uprising which resulted in the War of the Golden Stool, a musical tradition was born, and the seeds of Ghana’s identity were sown.
Though the Ashanti uprising against the British was initially unsuccessful, it was their assertiveness which led to the creation of an art powerful enough to hide in plain view what it was intended to express. The Ashanti people wanted to be free and this shared objective gave rise to musical union. Traditional African instruments such as the seperewa harp-lute and the gankogul bell were combined with European harmonies and guitars as people expressed themselves through song. Perhaps, even the appearance in which the genre took its name is indicative of the cultural displacement effected upon the colonizing forces.
With the failed uprising behind them, and no opportunity for self-governance forthcoming, attention was given to social matters and the formation of strata. As it became fashionable for people to be seen in certain hotels with certain bands playing, the media and fledgling record companies attached an aspirational label to the by-then sonically defined genre. The music was not simply part of “living the highlife,” it was, in itself, Highlife. The self-confidence of bands and musicians took off and has continued for generations, allowing the evolution of the form. In the wake of the Second World War, jazz, blues, reggae, and even funk influences gave rise to acts like Osibisa, who carried Highlife beyond Africa and into the living rooms of the world and influenced the Afro-Breat...
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Esta es una colección clásica de Highlife, Palm-wine music & Juju de Nigeria y Ghana, de los años 50 y 60....
e incluye temas no disponibles de Earnest Olatunde Thomas, conocido como Tunde Nightingale o The Western Nightingale, que fue un cantante y guitarrista nigeriano, más conocido por su estilo musical jùjú único, siguiendo la tradición de Tunde King... Así como las primeras grabaciones de highlife y calipso del legendario pionero del afrobeat Fela Ransome Kuti, grabadas en Londres en 1959...
Highlife, tipo de música y baile popular de África Occidental que se originó en Ghana a finales del siglo XIX, se extendió después al oeste de Nigeria y floreció en ambos países en la década de 1950. La primera forma de highlife era interpretada principalmente por bandas de música a lo largo de la costa ghanesa. A principios del siglo XX, estas bandas incorporaron una gama más amplia de instrumentos (principalmente de origen europeo), un componente vocal y elementos estilísticos tanto de las tradiciones musicales locales como del jazz. El highlife surgió así como una síntesis única de la estética musical africana, afroamericana y europea.
En la década de 1930, la popularidad del highlife se extendió hacia el interior y hacia el este, a lo largo de la costa, y obtuvo un gran número de seguidores especialmente en Nigeria. Allí el highlife experimentó una importante transformación: los ritmos asimétricos de los tambores, derivados de las prácticas tradicionales del pueblo yoruba, se combinaron con melodías de guitarra sincopadas (de acento desplazado) para acompañar canciones cantadas en yoruba o en inglés. Sin embargo, a mediados de la década de 1960, el highlife había perdido gran parte de su público en favor de los estilos populares centrados en la guitarra. Uno de estos estilos, una derivación del highlife basada principalmente en el yoruba y denominada juju, obtuvo un amplio reconocimiento internacional en la década de 1980 y siguió siendo popular en los "hoteles" o clubes nocturnos nigerianos hasta el siglo XXI.
La música highlife no ha sido un movimiento único, no ha sido una declaración de intenciones políticas, de sublevación o del idealismo de un grupo concreto; ningún uso de ella para canalizar un mensaje particular ha subsumido su sonido. Ningún grupo lo ha hecho suyo, y por ello ha seguido siendo un ejemplo maravillosamente raro de espíritu libre y expresión de la experiencia humana.
Los fundamentos de la tradición se asientan, inicialmente por separado, en el norte y el sur de Ghana. El norte subsahariano ha actuado durante mucho tiempo como un cajón de sastre cultural para el tráfico de África occidental en general. Los imperios Songnai y Malí provocaron la migración étnica y la difuminación de las fronteras culturales en África Occidental, lo que hizo que las tradiciones de canto de alabanza de los Frafra, Ghurunsi y Dagomba del noreste se unieran a las de los Dagara, Lobi, Wala y Sissala del noroeste.
Esta identidad espiritual se ve atenuada por la música folclórica osmótica del sur. La música del sur de Ghana parece haber adoptado históricamente un enfoque más interno y pragmático; los asentados del sur de Ashanti incorporaron la música como un alivio y un placer en sí mismo, más que como un cartel para su identidad como entidad tribal. Esto se refleja en el estilo folclórico más sencillo, que se ha ido gestando a fuego lento con una influencia gradual de los vecinos Benin y Tongo.
La aparición de la música que ha llegado a definirse como "Highlife" se remonta a principios del siglo XX y al interés internacional por la Costa de Oro de África, como se la conocía. La constante afluencia de europeos desde el siglo XV introdujo a la población indígena en los himnos, las barracas y las marchas, y cuando el pueblo ashanti organizó e intentó el levantamiento que dio lugar a la Guerra del Taburete de Oro, nació una tradición musical y se sembraron las semillas de la identidad de Ghana.
Aunque el levantamiento de los Ashanti contra los británicos no tuvo éxito en un principio, fue su asertividad la que llevó a la creación de un arte lo suficientemente poderoso como para ocultar a la vista lo que pretendía expresar. El pueblo ashanti quería ser libre y este objetivo compartido dio lugar a la unión musical. Los instrumentos tradicionales africanos, como el arpa-laúd seperewa y la campana gankogul, se combinaron con las armonías y las guitarras europeas mientras el pueblo se expresaba a través del canto. Tal vez, incluso el aspecto en el que el género tomó su nombre es indicativo del desplazamiento cultural efectuado sobre las fuerzas colonizadoras.
Tras el fracaso de la revuelta, y sin que se presentara ninguna oportunidad de autogobierno, se prestó atención a los asuntos sociales y a la formación de estratos. Cuando se puso de moda que la gente fuera vista en ciertos hoteles con ciertas bandas tocando, los medios de comunicación y las incipientes compañías discográficas le pusieron una etiqueta de aspiración a este género ya definido sonoramente. La música no era simplemente parte de "vivir la vida alta", era, en sí misma, Highlife. La confianza en sí mismos de las bandas y los músicos despegó y ha continuado durante generaciones, permitiendo la evolución de la forma. Tras la Segunda Guerra Mundial, las influencias del jazz, el blues, el reggae e incluso el funk dieron lugar a grupos como Osibisa, que llevaron el Highlife más allá de África y a las salas de estar de todo el mundo, e influyeron en el Afro-Breat...
moochinabout.com ...
1 - Prince Adekunle - Oluwa Ki Isoba Ika 06:10
2 - Rex Lawson & His Rivers Men - Numfinye (Nome Alobo) 03:41
3 - Ayinde Bakare & His Meranda Orchestra & Ambrose Adekoya Campbell - Ibikunle Alakija 02:34
4 - Dr Victor Olaiya & ET Mensah - Trumpet Highlife 05:05
5 - Domingo Justus - Bi Ina La Ku Fi Eru Loju 03:17
6 - Stan Plange & The Uhuru Dance Band - Dabra Ba 03:48
7 - Tunde King & His Group - Aronke Macailay 02:56
8 - Victor Olaiya - Iye Jemila 03:07
9 - Jolly Orchestra - Abonsa 02:48
10 - Tunde Nightingale - Tunde Nightingale-Classic Collections 1 08:50
11 - The Original Owanbe Sound Part 2 09:41
12 - Tunde Nightingale - Tunde Nightingale-Classic 08:50
13 - Cuasgo & Gouama - Kikiriga poco 02:59
14 - Irewolede Denge - Orin asape eko 03:00
15 - Stan Plange & The Uhuru Dance Band - Grazing In The Grass 06:51
16 - Victor Olaiya - Feso J'Aiye 02:56
17 - Tex Dandies Dance Band - Obo Mi Ebe Mi 02:48
18 - The Harmonaires & The Modernaires Five - Asiko 02:50
19 - Victor Olaiya and His Orchestra - Asian Udo 03:05
20 - Agu Norris and His Orchestra - The Governor General Calypso 03:49
21 - Roy Chicago and His Orchestra - Maria 02:56
22 - Victor Olaiya - Lekeleke 03:02
23 - The Black Star Band - Ekuona Rhythm 03:02
24 - Joe Nez and His Orchestra - Adaku Maranma 03:02
25 - Fela Ransome Kuti & His Koola Lobitos - Nigerian Independence 03:38
26 - Victor Olaiya and His Orchestra - Ko Fo'run 02:32
27 - Victor Ola-Iya and His Cool Cats - Anyin Ga Na 03:04
28 - Roy Chicago and His Orchestra - Olowo Gba'ya Ole 02:59
29 - Agu Norris and His Orchestra - Plenty Sunshine 02:24
30 - Zeal Onyia and His Orchestra - Onye Maechi 02:51
31 - The Black Star Band - Abrokyiri Gwo Yi 02:06
32 - Tunde Nightingale - The Original Owanbe Sound Part 1 09:51
33 - Adeolu Akinsanya & the Western Toppers Band - Omo Pupa / Awon Angeli / Oni Temi 08:53
34 - Tunde Nightingale - Omo Lafiaji Araba 07:47
35 - Nigerian Union Rhythm Group - Tortoise Mambo 02:27
36 - Nigerian Union Rhythm Group - Ojikolobo 02:37
37 - Rans Boi's African Highlife Band - Highlife Comes to Europe 03:02
38 - Fela Ransome-Kuti & The Highlife Rakers - Aigana 03:27
39 - John Santos Martins - Fancy Baby 02:57
40 - West African Rhythm Brothers - Iwa D'arekere 03:01
41 - Bobby Benson & His Orchestra - Okokoko 02:51
42 - John Santos Martins & Zeal Onyia & His Band - Maggie 02:57
43 - T. Odueso's Akesan Highlifers - Eyo Mano Mi 03:17
44 - West African Rhythm Brothers - Egbe Mi 02:59
45 - Bobby Benson & His Combo - Niger Mambo 02:41
46 - Willie Payne & The Starlite Tempos - Wa Sise 02:35
47 - Adams' African Sky Rockets - A Night in Port Harcourt 02:38
48 - E. C. Arinze & The Empire Rhythm Orchestra - Biko Rapum Paulina 03:17
49 - West African Swing Stars - Omo Africa 03:19
50 - Eddie Lamptey & The Peoples Highlife Band - Maria (feat. Eddie Red Tettey) 02:59
51 - Buddy Pipp's Highlifers - Georgina 02:04
52 - The Quavers - Money Money 03:03
53 - Steve Rhodes & His London Hi-Lifers - Oju Rere 02:53
54 - The Quavers - Kitch 02:35
55 - The Black Star Band - Obaa Amponsa Pandogo 03:53
56 - Afro Rhythm Kings - Donaldo's Samba 02:38
57 - Chris Ajilo & His Cubanos - Afro Mood 02:53
58 - Soundz Africana - Africana 03:08
59 - Fela Ransome-Kuti & The Highlife Rakers - Fela's Special 03:44
60 - Afro Rhythm Kings - Marabi Dance 02:40
61 - Buddy Pipp's Highlifers - Ghana Special 02:06
62 - Victor Ola-Iya and His Cool Cats - Mumude 02:42
63 - Nigerian Union Rhythm Group - Abeni 02:55
64 - Ishie Brothers - Mafara, Kusa da Sokoto 02:49
65 - Ginger Folorunso Johnson & His Afro-Cuban Band - Highlife No. 5 02:38
66 - Victor Ola-Iya and His Cool Cats - Omolanke 02:55
67 - Steve Rhodes & His London Hi-Lifers - Drink a Tea 03:17
68 - Baby Face Paul & His Top-Toppers - Ayakata 03:03
69 - Kwamalah Quaye Sextetto Africana - Son of Africa 02:33
70 - Ganiyu Kale and His Guinea Mamba Orchestra - Iyawo - Ile 02:58
71 - Joe Nez and his Trio - Nsonma Nnem 02:48
72 - Julius O. Araba and his Rhythm Blues - Olowofuja Sawa 03:10
73 - Stephen Amechi and His Empire Rhythms Skies - Igbo Kannaga 02:54
74 - Ishie Brothers - Onyeoma Rosa 02:47
75 - Stephen Amechi and His Empire Rhythms Skies - Nylon Dress 03:13
76 - Boby Benson and his Combo - Gentleman Bobby 02:34
77 - J.O. Araba and his Rhythm Blues - Iyawo Ma Pa Mi 03:24
78 - Chris Ajilo and his Cubanos - Ariwo 03:30
79 - Eric Onugha and His Eastern Aces - Owo Ki Ise Fun Enikan 03:06
80 - J.O. Oyeshiku and His Rainbow Quintet - Oro Re O Repete 02:57
81 - I K Dairo and his Blue Spots - Omo Alara 02:50
82 - Fela Kuti - Highlife Rakers Calypso 02:56
83 - E.C. Arinze - Ozo Emena 02:44
84 - E.C. Arinze - Lumumba Calypso 02:41
85 - Sammy Akpabot and his All Stars - Save For a Rainy Day 02:56
86 - Godwin Omobuwa and his Soundmakers - Look, Look, Look 02:51
87 - Godwin Omobuwa and his Soundmakers - You Cheat Me 02:57
88 - Bobby Benson And His Combo - Taxi Driver, I Don't Care 03:26
89 - E.C. Arinze - Saturday Night 02:43
90 - J.O. Araba and his Rhythm Blues - Olowufuja Sawa 03:10
91 - I K Dairo & his Blue Spots - E Ma Mobun Saya 03:02
92 - Victor Ola-Iya and His Cool Cats - Cool Cats Invitation 02:46
93 - Fela Kuti - Wa Ba Mi Jo Bosue 02:56
94 - Apolos Empire Rhythm Orchestra - Cut Your Coat According To Your Size 02:50
95 - I K Dairo & his Blue Spots - Bonfo 02:57
96 - Ganiyu Kale and his Guinea Mambo Orchestra - Iyawo-Ile 03:00
97 - Haruna Ishola and his Group - Iba Awon Agba 02:41
98 - I K Dairo & his Blue Spots - Aye Wa Kael 02:51
99 - E.C. Arinze - Freedom Highlife 02:47
100 - Haruna Ishola and his Group - Owo Ni Fari 02:56
101 - E.C. Arinze - Chukwu Fulum Nanya 03:00
102 - Charles Iwegbue and his Archibogs - Baby I Tire 02:57
Released October 28, 2020
by Moochin' About
http://moochinabout.com
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