Samaka Music

Michael Jackson - Billy Jean (1983) Motown 25 Live

2009-06-27T11:28:00.000-07:00

Michael Jackson Rushed to Hospital From his Home

2009-06-27T11:25:00.000-07:00

Remembering Eddy Okonta, the Obi of trumpet

2009-04-07T10:12:00.000-07:00

By Benson Idonije
IF Eddy Okonta, the late great trumpeter and highlife musician were still alive, today's musicians would be learning the technique of articulating 'rhythm' as an essential musical component at his feet. While he lived, he pretty well appreciated the fact that the main essence of African music is 'rhythm' and he used it to full advantage, thoroughly Africanising his own brand of highlife in the process.

He had served an initial apprenticeship with the Sammy Akpabot Sexlet, an aggregation that revolved this same name even as it increased or diminished with time. He was there with the late Oba Funso Adeolu on auto and tenor saxophones. He enjoyed sharing solos with him while bandleader Akpabot himself provided an ideal background for highlife and dance music to blossom with his dexterity on the vibraphone, an instrument which only Akpabot could play at the time in the whole of West Africa.

As an instrument, the vibes has a special way of resonating sounds and floating them through harmonies and arrangements. But Eddy's high notes helped to put all the reverberation in check for dancing and easy listening.

Eddy later served a long term of apprenticeship with the late Bobby Benson of Africa, this time culminating in outstanding professional musicianship, with proficiency in arranging and composing. He not only put the final polish to his accomplishment with the Bobby Benson Jam Session where he stood out the way Chief Bill Friday and Zeal Onyia before him did, his artisting now reached its apotheosis in the area of improvisational design. He began to use the vast resources of his creativity to construct solos that contained revolutionary melodic language and rhythmic subtlety.

As one of the pioneering big bands in the country, the Bobby Benson Jam session offered all its graduates a well rounded musical experience and discipline as they were exposed to all dance music forms including swing, Latin American , Jazz, Afro Cuban, the ball room type that dominated the colonial era with the music of Joe Loss and Victor Sylvester, and all.

Eddy was not only involved in this unique experience, he was also part of the revolution, the formative processes of highlife which eventually led to the studio recording for the big hit, Taxi Driver, Bobby Benson's greatest.

It was not surprising therefore that when he eventually struck out on his own in the mid-fifties to form his star Aces, he had a wealth of experiences to draw from. He did not find it difficult to establish a highlife direction for himself. He immediately became the resident band at the paradise night club in Ibadan, the Oyo State capital. He became the new highlife Sensation attracting people to his shows from various parts of the country who came to dance to live performances of such hits as Asili, Oriwo, Abele, Okokoko, Otajele among many others.

But perhaps the greatest attraction for the dance floor community which was usually packed, was the prolonged version of Abele, a Ghanaian hit song previously made popular by Emmanuel Tetteh Mensah, but given a rhythm treatment whose arrangement refereed a repetitive figure behind singer Nat. Buckle.

Abele had away a detailing into Oriwo, Eddy Okontas original composition whose essence was derived from rhythm, with Buckle at his very best.

The same enthusiastic fans followed him to Lagos in the mid sixties when he moved bases, playing at Central Hotel Yaba where he alternated night stands with other musicians.

I had been a fan of Eddy Okonta all the way from Ibadan but I came into close contact with him in the 70s as music producer with Radio Nigeria. I recorded him extensively for Dance and highlife music programmes.

It became extremely difficult at this time to maintain and keep a band type that Eddy had preference for, for economic reasons. Consequently, for all engagements, including radio and television shows, he relied on ad-hoc arrangements with session men. He had such a large pool to draw from that the sessions looked like 'United Nations' kinds of groups, assemblies of musicians from various backgrounds and settings who had not rehearsed enough to be able to blend together. But he had the organising ability of a good bandleaders, and the musical talent for grooming musicians on the spur of the movement, at short notice, to play whatever he wanted.

Most of his colleagues sounded boring with the same repetition of their old songs in live performances, but Eddy Okonta's evergreens were often revitalised because he introduced new elements and perspectives to a song each time he played it.

Eddy's trumpet was one of the strongest on the scene as strong as Chief Bill Friday's or Zeal Oniyia's. As a trumpeter, he played around with the top most notes most of the time, moving in and out with ease in the manner of Louis Satchmo Armstrong ad Harry James.

Another attribute which set him apart was the propelling force of his rhythmic concept which made dancing irresistible; and it is no wonder at all that he stole the show in 1983 at a highlife might organised by the late impress and, Steve Rhodes at the Glover Memorial Hall were several other band performers.

Eddy Okonta has a lot of singles to his credit, but has recorded two albums, with the very first being one of the biggest hits in West Africa even though it failed to make the desired impact in terms of sales because of poor marketing and promotion.

Titled, Victory, Fire back To Town, the album was recorded in 1978, at a time highlife was already unpopular, with promotion, it would have surpassed the Ramblers Hit Sound which had Eddie Floyds knock on wood watered down to highlife.

Influenced by the prevailing tradition of that period, the songs, three of them, have taken on long duration, an attract which helped to shore up highlife to the level of juju music in terms of popular appeal, danceability and as a social music type.

Eddy Okonta had always had the knack for big band highlife, and on this recording session, he paraded a 17-piece band where he sang and played the trumpet.

The most attractive material, and the one which continues to recommend the album is Bisi, a girl's name, based on a melody that has been in existence for years, and has been popular with highlife since its palm-wine oriented days. It is the second track on the second side, preceded by the one he calls life, a monologue that ruminates on the elusive possibilities of man's existence. The first side is one whole groove titled Janeth 78 Nkwuto.

Recorded on Ekimogun label, the entire session was arranged by Eddy Okonta who also played trumpet and acoustic guitar, saxophonist and highlife star Etim Udo, who was at the time a polygram recording engineer also made production inputs that boosted the quality of the sound and the overall cohesiveness of the ensemble.

However, based other success of this album, phodisk records signed Eddie Okonta on for a follow up in the 80s. Titled Obi of Trumpet, the album paraded a good choice of songs which were all marred by poor production, even though the studio was supposed to offer one of the best facilities around.

Notwithstanding, this recording did not in anyway detract from the fact that Eddie Okonta was truly the Obi of trumpet.

Playboy Jazz Festival announces lineup

2009-03-01T13:02:00.000-08:00

Photo by Jack Plunkett, AP

The Neville Brothers, Sharon Jones and the Dap-Kings, the Wayne Shorter Quartet and Kenny G are among the performers slated to appear at the 31st Annual Playboy Jazz Festival, June 13-14 at the Hollywood Bowl.

In addition to the Neville Brothers and Sharon Jones, Saturday's lineup will feature a 50th anniversary salute to Miles Davis' class album "Kind of Blue" by Jimmy Cobb's So What Band. Also performing on the festival's first day with be Summer Storm featuring Norman Brown, Wayman Tisdale and Eric Darius, the Jon Faddis Quartet, the Jack Sheldon Orchestra, the Pete Escovedo Orchestra featuring Sheila E., Esperanza Spalding, Cos of Good Music, the New Birth Brass Band and the Los Angeles County High School for the Arts Jazz Ensemble.

Besides Shorter's quartet and Kenny G, the festival's second day will boast Patti Austin, King Sunny Ade, the Dave Holland Big Band, Monty Alexander's Jazz & Roots, Oscar Hernandez and the Conga Room All-Stars, the Anat Cohen Quartet, Alfredo Rodriguez and the North Hollywood High School Jazz Ensemble.

Besides Shorter's quartet and Kenny G, the festival's second day will boast Patti Austin, King Sunny Ade, the Dave Holland Big Band, Monty Alexander's Jazz & Roots, Oscar Hernandez and the Conga Room All-Stars, the Anat Cohen Quartet, Alfredo Rodriguez and the North Hollywood High School Jazz Ensemble.

As always, Bill Cosby will serve as master of ceremonies.

Tickets, $20-$145 per day, are available at Ticketmaster locations, at www.ticketmaster.com, by calling 714-740-2000 or by downloading a ticket form www.playboyjazzfestival.com.

Rewinding Back That Heavy Metal Invented By Deep Purple

2008-12-22T12:11:00.000-08:00

Ever since bassist Roger Glover, vocalist Ian Gillan, organist Jon Lord, drummer Ian Paice, guitarist Ritchie Blackmore with managers Tony Edwards and John Coletta invented that heavy metal stuff from the “Machine Head” album following “Made in Japan,” heavy metal music has come a long way from its origin in the late sixties as was ushered in; and had made sex, drugs and alcohol an era that commenced how mission statements determined the way we do the stuff that we do in what eventually became popular culture.

I was going through my music library (I do that quite often, not bored though) and discovered I haven’t listened to any Deep Purple cut in a while. I looked and asked myself, what happened to “Woman From Tokyo” and “Smoke On The Water?” Some brilliant guitar works by Ritchie Blackmore who had bragged he could wipe any floor with his guitar and a powerful lyrics of an arrogant Ian Gillan coupled with the organed magic of Jon Lord just to know how I got my humble self into all these mess and starting something I couldn’t finish ending up probably losing my hearing from attending heavy metal concerts.

Growing up among brothers who were music freaks, Deep Purple was a household name which meant every thirty-three and a half inch vinyl disc of Deep Purple’s heavy metal storytelling was in the house which was kind of crazy to adopt back in the day. But it happened anyway, and hey, what else can I say when it wasn’t my call as a kid? I couldn’t have called it, regardless. Could you imagine a black dude being embedded with some heavy metal stuff? Or what is it with these, Gosh, Igbos surviving a pogrom on Yakubu Gowon’s Genocidal campaign who thought they knew every stuff about rock and roll and how they invaded the pubs in Europe in the early seventies?

And, perhaps, a lunatic asking too many questions about what was going on between Gillan and Blackmore on why they couldn’t get along in the making of “Who Do We Think We Are” album conceived as a result of the band’s turmoil. No, actually the rift between Gillan and Blackmore erupted when Blackmore felt the guitar was the most important approach to a Deep Purple success.

Gillan and Blackmore had too much to offer when the process of brewing heavy metal took off. Gillan had some powerful chords. Blackmore was a wizard guitarist. Both were talented and Deep Purple had devastated Europe topping charts in every category. I was also losing my head upon hearing “Woman From Tokyo,” an album marketed by EMI Records, the Gramophone Company then based at 20 Manchester Square; and the news was spreading just fast in my hood when record shops blasted all that stuff from what Gillan and Blackmore had put together even though they were at loggerheads in jam sessions.

So what is heavy metal and how does it differ significantly from ordinary rock music? The answer is not far-fetched. Rock (soft) is very mellow and enduring, and you won’t be about to lose your head. It wouldn’t move you in knowing how the brain works. Rock is also a liberal thing (I’m not trying to be political here) compared to hardliners, I mean when you hit the stuff real hard to bring the best out of it and the outgoing president George Bush knows that very well. You can also ask the clowns at Aerosmith, UFO, Blue Oyster Cult, Motor Head, AC/DC, Van Halen, Saxon, Paul Stanley’s KISS, Boston and Judas Priest who thought he was the maddest of all heavy metalists.

It makes it very clear Deep Purple invented heavy metal because before the above-mentioned lists of “hardliners” there was Deep Purple and “Rat Bat Blue,” a scenario where worn-out pub-crawlers pick up loose chicks for the night which takes one aback to Suya Spot, Phoenicia, Club 22, Ritz Hotel, Gondola Night Club, Hotel Bobby’s Caban Bamboo, Suru Lere Night Club in-housed by flutist Tee Mac, Lloyd’s Night Club, Astor Night Club, the local Blue Horse off Kirikiri Road, Durbar Hotel Night Club and Pool Sessions and all that bad spots that had made the Chief Priest, Fela, look like a saint, never minding body and soul being one (ask Leon Isaac Kennedy).

However, Deep Purple, without much ado, and that instrumental “First Day Jam” when the making of “Who Do We Think We Are” began in the Summer of 1972 in a villa outside Rome invaded by a crowd of flirting Italian broads following a remarkable success of the “Machine Head” album, gets every credit for the genesis of heavy metal.

And I’m now feeling pleased listening to “Woman From Tokyo,” “Mary Long,” “Super Trooper,” “Smooth Dancer,” “Rat Bat Blue,” Place In Line,” “Our Lady,” “Painted Horse” and that moving instrumental “First Day Jam.”

And thinking about it, “who do I think I am?” I love music, that’s all!

Femi Kuti: Ist Album in 7 Yrs

2008-10-07T09:51:00.000-07:00

FEMI KUTI Day By Day

(Mercer Street Records; November 18th, 2008)
First studio album in seven years by reigning King of Afrobeat

Not content to merely follow in his famous father, Fela Kuti's footsteps, Femi Kuti continues to expand his musical palette with his latest studio release, Day By Day, a hybrid of Afro-pop, jazz and urban influences. The album has been a long time coming: seven years since his last studio album Fight To Win and four years since the live Africa Shrine, on which he recorded early versions of three of the songs on this new album. On November 18, Day By Day will be released on American shores by leading independent label Downtown Records' newly launched imprint, Mercer Street. The label, Mercer Street, was created as a vibrant outlet for eclectic adult-oriented and world music artists.

Femi's sabbatical from recording surprisingly allowed him to learn a lot more about being a musician. Femi learned to play piano properly and returned to the trumpet, his first instrument, which he gave up in favor of the sax. The benefits are immediately apparent on Day By Day. Femi says, "Listen to 'They Will Run' and 'Better Ask Yourself,' they are more jazz than anything I've done before. That's the effect of playing the trumpet coming out."

As the album launches into opening track "Oyimbo," the benefits of recording with Positive Force, his 17-piece band, become immediately apparent. Femi might shun the 24-minute diatribes favored by his father - indeed "One Two" could be the shortest Afrobeat track ever – but in many other ways Day By Day is a return to the glory days of Nigeria's big bands, of wailing organs, frantic poly-rhythms and behemoth horn sections playing against each other. Yet now the palette is broader. "Do You Know" and "They Will Run" are undeniably Afro-jazz. "You Better Ask Yourself," and "Eh Oh" carry the air of lost messages from Marvin Gaye or Curtis Mayfield. And then there is the title track, infused with gospel, suffering and ghostly echoes of work songs.

As with all Femi Kuti releases, stay tuned for remixes of these new tracks from internationally renowned DJs. Femi is currently recording the music video with fellow Downtown Records artist, Brett Dennen, for his single titled, "Make You Crazy" due for release this fall. Check back on JamBase for January 2009 live U.S. dates.

Day By Day Track List:
1. Oyimbo
2. Eh Oh
3. Day By Day
4. Demo Crazy
5. Do You Know
6. You Better Ask Yourself
7. One Two
8. Tell Me
9. They Will Run
10. Tension Gripp Africa
12. Let's Make History

Shannon's "Let The Music Play"

2008-04-01T16:41:00.000-07:00

Another great 80s hit which drove the hippies nuts. I enjoyed it and the best generation, I think.

Bufallo Gals and Breakdance

2008-02-11T19:48:00.000-08:00

Yes, that was the breakdance that drove 80s youngsters crazy when it popped up on NTA and the madness followed not knowing Mclaren was digging into all kind of stuff to keep his vibes going.

Osibisa Bronze/Pye Anthology

2008-02-07T04:57:00.000-08:00

I think Osibisa proved a lot with how they changed and revolutionalized African rhythms when the word Afro Rock was coined as a trademark to the kind of music Teddy Osei and his colleagues invented which started World Music.

Prior to Osibisa's deal with the Bronze label, the group was originally cntracted to Warner Brothers/MCA Records in its early years when the album "Osibisa Heads" was released on the MCA Record label. In 1976, Osibisa signed with Bronze Records and the first single "Sunshine Day" was released on the Bronze label. This vocal and instrumental group would record three albums--"Welcome Home," "Ojah Awake," "Mystic Energy"--thereafter with the Bronze/Pye label. Just as some African musicians have had to make themselves known or gain fame in their native land or to make their reputation, Osei, Mac Tontoh and Sol Amarfio did not need all that. Osibisa's hit in its early years and during the Bronze/Pye years went high in UK and the US without even being heard in the group's native Ghana and elsewhere in the Caribbean.

Everything about the group's success took place away from home with the original personnel of Teddy Osei (Ghana), Mac Tontoh (Ghana), Sol "Rhythm Man" Amarfio (Ghana), Wendell Richardson (Antigua), Spartacus R (Grenada) Loughty Lasisi Amao (Nigeria) and Robert Bailey (Trinidad).

The Bronze/Pye Anthology starts with the single "Sunshine Day," and later released as an album titled "Welcome Home." "Welcome Home" was a major hit which firmly established the group as the originators of World Music even though founding members Spartacus R. and Robert Bailey had already left the group when percussionist Kofi Ayivor, bassist Mike Odumosu and pianist Kiki Gyan were ushered into the group.

From the liner notes and music critic Rob Corich's interview with Teddy Osei in 1999, the Bronze/Pye Years of Osibisa was a stepping stone to the group's enormous success:

Rob: Wlcome Home was your first Bronze album.

Osei: This came about after we had done two albums for Warner Brothers. Bronze were our managers and they negotiated us over to their label.

What do you think about the album today?

Osei: I think we set the pace for some of the more modern music. We had a lot of ideas which were ahead of their time and Bronze, being an independent company, worked very hard to push our new direction.

What about the more commercially-minded follow-up album, Ojah Awake?

Because of the success of Welcome Home, Bronze wanted more of a radio sound. They were the record company and we went with the flow and we were already attracting a different audience--and with Ojah Awake, we ended up with three good hit singles. "The Warrior," "The Coffee Song" and "Dance the Body Music," so it worked, I guess...

The third album, "Mystic Energy" was released on the Pye label done by the group's management company, Flying Elephant, when the group parted ways with Bronze.

Tracklisting:
Disc 1 (including non-album tracks and bonus tracks)

Welcome Home

1. Sunshine Day
2. Welcome Home
3. Densu-Trad
4. Chooboi
5. Do It
6. Right Now
7. Seaside Meditation
8. Uhuru
9. Kolomashie-trad
10.Bum to Bum

Ojah Awake

11. The Coffee Song
12. The Warrior
13. Flying Bird Anoma
14. Cherryfield
15. Keep On Trying
16. Hamatan
17. Sakabo

Disc 2
Ojah Awake

1. Dance The Body Music
2. Ojah Awake
3. Sunset

Mystic Energy

4. Meeting Point
5. Celebration
6. Africa We Gogo
7. Oreba
8. Moving On
9. Mama
10.I Fell Pata Pata
11.Fatima
12.Jumbo
13.Meeting Point (12 inch mix)
14.I Feel Pata Pata (12 inch mix)

70s Throwback: "The Harder They Come..."--Jimmy Cliff

2008-02-04T01:24:00.000-08:00

I watched this movie at Empress Cinema, Port Harcourt, when I had no idea what Reggae music was all about, but the rhythm and the slums got me.

Osibisa's Black Magic Night

2008-02-01T18:47:00.000-08:00

The dynamic that occurs when a specific group of players comes together just cannot be predicted, even if they've been together in the past and in other contexts. That is the true story of Osibisa when they played live at the Royal Festival Hall in July 1977 when the band embarked on its UK tour to promote its previously released LP "Ojah Awake." However, and amazingly, "Ojay Awake" was not played during this live in concert, thus promoting the year before album. After a series of gigs and studio albums in the 70s, founders Teddy Osei, Mac Tontoh and Sol "Rhythm Man" Amarfio lined up in a classic performance that included the Antiguan-born guitar wizard Wendell Richardson, Grenadian Spartacus R. and Trinidadian Robert Bailey. Former BLO bassist, Mike Odumosu, would join the band later replacing Amao from the band's early years. The live session at the Royal Festival Hall would be Richardson's last in-session with Osibisa without Spartacus R., though, until 1999 when he reunited with the sensational World Music gurus in a series of live concerts in Ghana to commemorate the band's 30-year anniversary.

I'm not sure if I've seen any live album by any African performer when I purchased this 2-record set upon hitting the record shops in late 1977. I had to play the stuff over and over again just to figure out what exactly made this group unique in the 70s. Osibisa was something else in this live recordings with the Rolling Stones Mobile Studio which took place at the Queen's Royal Festival Hall.

The live recordings starts with the band's usual trademark, Introduction of band and group/The Dawn written and composed by Osei, Amarfio and Tontoh, a track from the band's debut album. The group performed all its original compositions from its Bronze and Pye years in London. It was really a true Black Magic Night notably with flamboyant Tontoh on trumpet, flugel horn, Kabassa, bells, rattles and African Xylophone. The first disc of this live album clock around 9 and 5 minutes beginning with the lenghty opener "The Dawn." Osei leads off by introducing the group with background vocals chanting "Choo boi," and Tontoh's cowbells vibes followed by the bands "criss cross rhythm explodes with happinness" which stands for the symbol of the group. Osei also continues with his trademark flute before saxing it up on Tontoh's trumpet which echoes simultaneously with Richardson's Carlos Santana's flavored guitar. The song ends with the radical drum beats of the "Rhythm Man" Amarfio and Osei thanking the audience for showing up.

"Welcome Home," the second track of CD 1 is another notable Osibisa classic. The track was dedicated to Osibisa's homecoming after being gone for a long time playing gigs in London.

Every track of this live performance was a jam, though I love everyone of them, my favorite of all the tracks on both record sets is "Woyaya," meaning we are going and the vibe had been like an idea implanted in a child's brain making it plausible it can't be erased. Good vibe and Osibisa had a blast and I did recite this sometime ago:

Woyaya means we are going
Only God knows where we are going
We are going
Heaven Knows where we are going
We know we will
We will get there
Heaven Knows how we will get there
We know we will
It will be hard we know
And the road will be muddy and rough
But we will get there
We will get there
Heaven knows how we will get there
We know we will

The disc ends with the track "Spirits Up Above" which was originally released by EMI Music.

Disc 2, starting with "Kelele," a familiar tune in the 70s was from Osibisa's own label "Osibisounds" which was written and composed by Osei, Tontoh, Amarfio and Kofi Ayivor. Osei introduces his brother Tontoh on the African xylophone and the traditional rites of passage commences with Tontoh displaying his talents while the audience applauds and the jam session follows. The track is followed by another radical drum beat of the "Rhythm Man" Amarfio in "Fire" accompanied by Tontoh's trumpet backed vocally by Sonia Lekhela, Ntobi Ndudu,, Tiny Conco and Linda Conco. "Fire" was a national anthem back in the day and Osibisa was happening. "Music For Gong Gong" follows with that Tontoh trademark windy vibes accompanied by some juicy afro beat kind of vibe.

All in all, a brilliant stuff and I think the album is great with that debut live performance at the Royal Festival Hall.

Personnel:
Teddy Osei -- Tenor & Soprano Sax, African Drums, Lead Vocals
Mac Tontoh -- Trumpet, Flugel Horn, Cowbells, Rattles, African xylophone, Vocals
Sol Amarfio -- Drums, Cowbells, congas, vocals
Wendell Richardson -- Guitars, Dondo Drum, Lead Vocals
Mike Odumosu -- Bass Guitar, Bells, Vocals
Robert Bailey -- Keyboards
Daku Potato -- Congas, Percussion
Sonia Lehela -- Backing Vocals
Ntobi Mdudu -- Backing Vocals
Tiny Conco -- Backing Vocals
Linda Conco -- Backing Vocals

Tracklisting:

Disc 1:
1. Introduction/The Dawn
2. Welcome Home
3. Ayiko Bia
4. Living Loving Feeling
5. Woyaya
6. Spirits Up Above

Disc 2:
1. Kelele
2. Fire
3. Music For Gong Gong
4. Beautiful Seven/Y Sharp
5. Sunshine Day
6. Encore/Survival

Highlife Compilations: 'Egwu Agba Ochie' (Oldies But Goodies) 2

2008-01-21T19:53:00.000-08:00

Highlife or palwine music has been around for ages even before they were put on tape. It started from storytelling to improvisation as local kinsmen were entertained during cultural festivities way back as legend indicates, probably the late 1700s. There are no datas to comfirm these dates but oral interpretations passed on from that era to present makes it a tangible source. I have not particularly digged in deeply to retrieve these datas, but I'm quite sure they can be reliable.

But anyway, part 2 and concluding part of this compilation is kind of interesting because of the artists involved and how they shaped the highlife era of the 'Eastside' back in the day.

Much is known about the legend and I need not write more. Stephen Osita Osadebe, without a doubt, is the king of highlife for one particular reason: Longevity. And without a doubt, Osadebe is one of true highlife vocalists coming of age through the 60s to achieve the incendiary prowess of 'Eastside' highlife vocal hero with his moving, powerful lyrics that shattered the walls of sleep whenever his vibes jams. For decades Osadebe assembled the best in highlife grooming the likes of Ali Chukwuma, Vincent Okoroego and the rest who followed his path transforming highlife into dance music as it echoed in jam sessions, local conventions and parties.

The track here in this compilation Egwu Ogolo, was a jam that took place in Berlin, Germany which was shadowed by a huge Nigerian audience during his European tour. Egwu Ogolo is my best.

African Rhythm Messengers, a group of old school ensemble played gigs in Northern and Southern California for a while. Led by Babatunde Garaya and featuring Friday Jumbo on congas, Tunde Williams on trumpet and Danjuma Adamu on lead and rhythm guitars, the band without question performed to the true meaning of its name. A combination of salsa, soukous and highlife makes this particular album a masterpiece taking a look at the mixes and extractions from sounds of the past. The track here Onye Ga Agba Egwu from the album "Bottom Belle" is a song originally released by Onyeka Onwenu in the 80s. I had watched Onyeka perform a duo with Kris Okotie at Lloyd Nite Club in Maryland, Lagos. It was a burning sensation as both performers kissed before exiting the stage.

Cardinal Rex Jim Lawson was a phenomenon. Not knowing much about him until I began to study his music and adoring his style of play, I don't think there is any musician of the day that has equalled his pattern of composition and arrangement. But the fact of the matter is that, not much has been written about this artist who took highlife to a whole new level. The track from this classic, Oko, had been recorded by many after the musician's death. Musically, Lawson goes deep into his Kalabari dialect to send a message of a variety of socialisation that pops up the high spirit of his listeners and audience. Lawson showed that the melody was his beacon and he never lost that focus showing his skills. Brilliant stuff!

Tracklisting:

1. Anam Ele Chi -- Oriental Brothers International Band
2. Unzulu Onye Ige Gbupi -- Nkengas In London
3. Aki Special -- Prince Nico Mbarga & Rocafil Jazz
4. Egwu Ogolo -- Stephen Osita Osadebe
5. Onye Ga Agba Egwu -- African Rhythm Messengers
6. Oko -- Cardinal Rex Jim Lawson

Labels: Highlife Compilations, Egwu Agba Ochie, Palmwine Music, Oldies but Goodies

Highlife Compilations: 'Egwu Agba Ochie' (Oldies But Goodies)

2008-01-20T22:58:00.000-08:00

Somehow, I thoght about doing something different, and in this case, reliving the good-old-days of palmwine music better known as Highlife from the 'Eastside' perspective. I have collected a series of highlife sounds from back in the day and decided to make my own compilations based on the songs that I like. It may not be the best but as one who has delved into music of all categories, I made up my mind to do what is good for me in that aspect. When you are a music enthusiast, I do not think there is a limit on how far one can go to study and learn with regards to musicology.

So to cut my long story short, I have these compilations that has taken me aback to the days of nkwu elu, fresh brewed palwine, when hanging around the elders for story telling, folklore and cultural festivals was fun back in the day. For sure, I had no idea when I hanged around the elders as a little brat growing up to figure out what was actually going with all that strange stuff that came along with the cultural producers of our time. My selections here aren't the best, but I'm sure they did leave a mark in the days of highlife explosion from the 'Eastside' back in the day.

Among these compilations, I would say this, only Stephen Osita Osadebe and perhaps Oriental Brothers International Band are a little bit known universally. But think about it though, it was the kind of highlife and ikwokirikwo invented by Ikenga Super Stars and Prince Nico Mbarga's Congolese blended rhythms that morphed into pure funk of the late seventies. And here is my best list of Egwu Agba Ochie, oldies but goodies, and I hope my choice was fair enough compared to how much I knew while growing up coupled with my interest in that very category of music even though I now collect every musical genre that crosses my way, right now.

ORIENTAL BROTHERS INTERNATIONAL BAND: "Anamelechi." Without a doubt, there was something special about the Oriental Brothers International Band when band leader Godwin kabaka Opara, Ferdinand Dan Satch Opara, Prince Ichita, Christogonus Ezebuiro "Warrior" Obinna and Nathaniel Ejiogu emerging from Owerri started what would be a superb Highlife group within the 'Eastside' upon ceasefire in a 30-month civil war. Guitarists Kabaka (Ngor Okpalla born) and Dan Satch kindled a relationship inviting Mbaise born Warrior because of his Owerri accent and velvet voice, which set the stage for the advent of Oriental Brothers International Band legacy, rocking every household in the 'Eastside' from every aspect of life. Oriental Brothers arrived and their music created a scenario whereby Warrior's proverbial lyrics sent a message of social ills attracting surprisingly a very large audience.

I picked "Anamelechi" here on many grounds. As a kid growing up, never minding the fact I wasn't too much in touch with highlife of the day, thus being carried away with the imports I thought the vibes were something totally different from omenala, traditional music and folklore, researching and paying a good attention to the arrangements and compositions of superb work done, I have come to accept the fact that these musicians could have gone places if the exposure was widespread for universal awareness back in the day.

NKENGAS IN LONDON: Unzulu Onye Ige'Gbupi. I first had a glimpse of this very album when my older brother brought it home and was playing it, admiring the rebels led by Vincent Okoroego who had taken Osadebe's original recordings to London reproducing it under a different name, as the story goes, anyway. The album "Asampete Special" was brilliantly made and every track tells a different story from a variety of perspectives related to Igbo culture and things like that. The title of this album sounds more like a beautiful woman whom everybody wants. With alternating line-ups, this album was, like I said, recorded in London before hitting the pubs and social gatherings all around the 'Eastside.'

I like every track of this particular album, but I chose "Unzulu Onye Ige'Gbupi" in this compilation because of the track's pounding bass lines, rap-in-session echoes, guitar works and more. No doubt, Osadebe was live in session doing his original stuff in this track. The album now produced and marketed by Onitsha-based Benoka Records samples the digging of putting together the vibes of back in the day.

PRINCE NICO MBARGA: Aki Special .I do not know of any African social gathering that Prince Nico Mbarga is not mentioned when highlife and ikwokirikwo kind of vibe is the subject matter. Mbarga was something else and his talent was extraordinary. I was moved hearing the track 'Sweet Mother' and how I got stuck with the emotional impact of the cult of true womanhood as nurse and mother. Just like once in a while when you dabble into an artist whose talent proves he can't be wrong by crossing over, Mbarga was one of such artists who combined the East African kind of rhythms to his pigeon English lyrics that brought out a different vibe connoting the highlife explosion of the time.

I did something different here. I chose 'Aki Special' which in fact was the title of the album, and notably mixed, remastered and digitally waxed by several DJs and recording studios. Listening to this very track you will get a feel of some heavy metal stuff combined with pure funk morphed with the usual story telling of a real ikwokirikwo music. The track's kind of flow without a doubt makes this very album Mbarga's best project. Whenever I'm in the mood, the groove takes me all the way until I'm saturated because the vibe is just good.

Labels: Egwu Agba Ochie, Highlife Compilations, Ikwokirikwo, Oldies but goodies, Palmwine Music

Part 2 next.

Happy New Year

2008-01-01T05:23:00.001-08:00

2008 IS NOW HERE! "IT'S NOT DARK YET BUT WE ARE GETTING THERE!"

How US and European Imports Rocked Lagos

2007-12-28T20:56:00.000-08:00

I had thought I was going to get this piece done earlier, but nevertheless, I have, for sure, made it before the year of Our Lord, Two Thousand and Eight, the election year that is now too close to call, considering the ongoing campaigns which without question is now full of uncertainties with the left leaning to the right as the right leans toward the left. Life goes on and as they say, "politics makes strange bedfellows." That's politics, so let's leave it alone and reflect on how US and European imports rocked Lagos, back in the day.

As it happened, it all began when in January 1977 Lt. General Olusegun Obasanjo in his opening address declared open the Second World Black Festival of Arts and Culture. Every college dorm talked about FESTAC and the trooping of black artists from all over the world into Lagos for the festivities and merry-making of an event never seen before on the face of the African continent. The opening was Obasanjo's finest hour. Every prominent black artist showed up. Grammy Award-winning Brazilian guitarist Gilberto Gil, legendary trumpeter Hugh Masekela, Trinidadian Chief Omo Wale of Ikoyi Mighty Sparrow, Miriam Makeba, Margaret Singana and the musical Ipi N'Tombi, Stevie Wonder, Nelly Uchendu, Osibisa and the rest too numerous to mention graced the occasion. Fela was the man of the hour. He had unleashed "Zombie" which caught the military juntas unawares. His shrine was the most popular happy and after hours during the festival. Fela's life, henceforth, would never be the same again. The military juntas destroyed everything he had built.

Before the January - February, 1977 FESTAC, I had watched the movie "Car Wash" at Roxy Cinema, Apapa, Lagos, after listening to the soundtrack superbly composed, arranged and produced by Norman Whitfield, which won the multi-talented Motown rat a Grammy in Original Score. It was his first. A hell of a comedy directed by Michael Schultz and shot at Deluxe Car Wash on the corner of 6th Street and Rampart by the Wilshire Corridor in Los Angeles, earning Richard Pryor the king of comedy. I'm not sure if he was, but I also like Red Foxx's "Sanford & Son." Many would follow Pryor's path, thereafter, including Eddie Murphy. Pryor was a rare gem. The line "would you allow me the privilege to shine your shoes free of charge" was my favorite. I saw a big difference in what had been entrenched in Lagos movie theatres. It was a time when blaxploitation movies had begun to make headway in the big screen with Fred Williamson, Richard Roundtree, Jim Kelly, Isaac "The Black Moses" Hayes, Pam Grier, Leon Isaac Kennedy and all that black stars emerging, changing instantly the Chinese Shaolin cast of David Chang, Alexander Fuseng, Chen Sing, Ti Long, coupled with the love triangle magical charmed Indian movies which played all around the big screens in Lagos including the newly built Danjuma Cinema at Agege. "Car Wash" changed all that and as FESTAC was fast approaching with news stories about black performers invading Lagos, the gist twisted with feelings soul-funk and rhythm & blues will be leaving a mark when the festival is over. Of course, the funk got heavier and heavier and the imports began to pour in and every pub in Lagos metropolis jammed.

The oil boom had made Lagos the hub of Africa's New York City and Los Angeles. The feel of Yankee life was obvious through the walks, outfits and gestures. From fashion to music, everything changed. On the streets, the alley at the back of Mandilas Building and Kingside, the Fashion District, everyone improvised Yakee way of life. "What's going on, man?" "Where have you been man?" "Life is tough, man!" "you've not changed, man!" "I'm gonna get you, man!" "Excuse me baby, what you up to, man!" Like the Andrew commercial, "I'm checking out, man!" and the "mutchafucker" kind of stuff, and things like that. It was the vibe of the time.

The "Afternoon Jump" at Racecourse just a stone throw from where Sidi Ali pulled out his gun to smoke any legislator that crossed his way was a real thriller. Pat Oke and Fred Oshodi disc-jockeyed part time and it was a whole lot of fun hearing the jams of the P-Funk band Mandrill, O'Jays, Hi Tension, Jimmy Castor Bunch, Ralph Cameron, Lipps Inc., Funkadelic, Heatwave, War "The Music band," Change, David Joseph, Evelyn "Champaigne" king, Stephanie Mills, The Isley Brothers, Indeep and series of US and European import vibes. Michael Cleveland's Indeep "Last Night A DJ Saved My Life" was another blast when it popped up in 1982. And then there was Yarborough & Peoples with that smash hit "Don't Stop The Music."

The hangouts--Tagged Restaurant, Apapa; Jazz Temple, by Navy Town; Blue Horse, off Wilma, Olodi; Astor Nite Club, Mazamaza; Durbar Hotel Nite Club, Mile 2; Fantasy Nite Club, Yaba; John Chukwu's Class, Ikeja; Club Ace, Allen Avenue, Ikeja; Ritz, Surulere Nite Club; Suya Spot; Club 22, Apapa; Bobby Benson's Caban Bamboo, on Ikorodu Road--was something else. My favorite of all, even though I was regular at Astor Nite Club was fantasy Nite Club in the busy night life district of Yaba. I was there many times especially on Fridays to watch Skid Ikemefuna supervised "Gong Show" where Ben Murray Bruce picked on talents for exposure.

If the pubs were all about US and European import jams, you ain't seen nothing yet. There was a new kid in town. Before I proceed about this new kid in town, while producer and multi-instrumentalist Steven Greenberg scouted for a female vocalist in his years of trying to stay away from the heavy metal stuff, he finally found a police department secretary in Minnesota by the name of Cynthia Johnson who had won in 1976 "The Miss Black Minnesota" beauty contest. In 1979, "Funky Town" was released and it instantly became a smash hit sending the waves all around Lagos, driving the hippie goners and Yankee wannabes nuts. The discos were nothing but smoke and young punks who just happened to be having fun, the right time of their lives.

Yes, it was "got to make a move to a town," and the town was "Funky Town" and the music everybody was hearing was worth hearing. But as "Funky Town" was spreading fast, the new kid in town was doing his home work to start a new decade that would change everything. University of Southern California-trained businessman, Ben Murray Bruce had brought along with him, his business acumen back home from the City of Angels. The foundation for Silverbird was laid and the rest would be history. I watched most, if not all that Bruce imported from the US and United Kingdom. National Theatre, Iganmu, was bursting loose as foreign bands after one another slammed National Theatre. The Whispers, Shalamar, Dynasty, Brothers Johnson, Delegation, Third World, Lakeside and lots more kept Lagos intact with the grooves of the era. My favorite was the sold out concert of Dynasty. I had arrived with my entourage but was behind schedule, thus missing the first show. We sat on the lawn until the first show was over and Kevin Spencer had appeared on the balcony of the theatre signing autographs. He was young and energetic and we had begun to emulate some rhythms, typical of "you got rhythm kind of stuff." The Delegation show was also awesome. Jamaican-born Ricky Bailey whose velvet voice had the audience wanting more as bassist Alan Jones kept swinging. The track "You and I" did it and after that the airwaves took over.

We couldn't wait to watch Dynasty perform as we had talked much about this group Leon F. Sylvers III had assembled. The moment finally came and we had checked in, seated and waiting. The lights turned off and when it came back on, Kevin Spencer was upfront on stage and "Groove Control" was the first song performed and the audience was aloud, loud enough to blow out ones eardrums. It was all fun and as youngsters we enjoyed and seized every moment.

LABELS: US-European Imports FESTAC Pure Funk Black Artists

Legendary Jazz Pianist, Oscar Peterson Dead at 82

2007-12-24T20:03:00.000-08:00

The Montreal-born legendary jazz pianist, Oscar Peterson died Sunday evening at his home in Mississauga, Ontario, Canada. Peterson played alongside Louis "Satchimo" Armstrong, Coleman "The Hawk" Hawkins, Lester Young, Ella Fitzgerald, Dizzy Gillespie, Count Basie, Duke Ellington and many, many others. Peterson won eight Grammy Awards including a Lifetime Achievement Award. Peterson is remembered all over the world.

Entries on Peterson's Death:

Jazz Great Oscar Peterson Dies At Age 82

Jazz great Oscar Peterson dies

Review of Peterson's 2004 Vancouver concert

Legend Lost: Canadian Jazzman Oscar Peterson Dies At Age 82

McCallion mourns loss of friend, legend

Jazz giant dies

'Maharajah Of The Keyboard' Is Dead

Merry Christmas

2007-12-24T00:30:00.000-08:00

O Come All Ye Faithful
Joyful and triumphant,
O come ye, O come ye to Bethlehem.
Come and behold Him,
Born the King of Angels;
O come, let us adore Him,
O come, let us adore Him,
O come, let us adore Him,
Christ the Lord.

O Sing, choirs of angels,
Sing in exultation,
Sing all that hear in heaven God's holy word.
Give to our Father glory in the Highest;
O come, let us adore Him,
O come, let us adore Him,
O come, let us adore Him,
Christ the Lord.

All Hail! Lord, we greet Thee,
Born this happy morning,
O Jesus! for evermore be Thy name adored.
Word of the Father, now in flesh appearing;
O come, let us adore Him,
O come, let us adore Him,
O come, let us adore Him,
Christ the Lord.

MERRY CHRISTMAS!

Reliving 70s 'Eastside Bands' and Popular Culture

2007-12-20T04:21:00.000-08:00

The 70s 'Eastside Bands' to be precise, came about post-civil war ensembles in Eastern Nigeria gathered at various aspects of the region performing at college and community school classrooms which were in most cases converted to ballrooms for its respective shows reminiscing the pop culture of the 60s which eventually dragged on to the 70s when Motown's Norman Whitfield's Sly Stone inspired psychedelic funk and a series of rock imports invaded the record shops. Harry Mosco Agada, Jake Solo and Sonny Akpan had succeeded in forming The Funkees and the hit single 'Akula Owu Onyeara' had exploded and was all over the airwaves becoming an anthem at the market square, the streets of Aba and wherever the 'Akula...' stuff was played.

Interestingly, 'Akula Owu Onyeara' has been scheduled for release in a compilation put together by Brighton, England-based Soundway Records in collaboration with Ekostar Records founded by Kayode Samuel, entitled "Various: Nigeria Special: Modern Highlife, Afro-Sounds and Nigeria Blues, 1970-1976."

Coincidentally, as the airwaves spinned Funkees mega hit, the imports popped in and the jams got concocted blending the psychedelic flavor of Motown and the rock classics derived from Motown's only rock group Rare Earth. "Get Ready" released in late 1969 joined the forces followed by Rare Earth's "One World" hit "Any Man Can Be A Fool." The jam vibrated in all college dorms and social gatherings with many of the hippies not knowing Rare Earth was a rock import with its origin from what Berry Gordy had assembled in the Motor City and it was called Motown. Motown was everywhere and had become a model. Songwriter, composer, arranger and producer Whitfield and Barrett Strong went to work writing songs and producing artists in the likes of Temptations, Undisputed Truth, Edwin Starr, Marvin Gaye, Gladys Knight and the Pips and several other performers that popped up in the recording studio including Whitfields debut label, Whitfield Records which catapulted the group Rose Royce to the top with that amazing soundtrack, "Car Wash" which featured comedians Richard Pryor and Franklin Ajaye in the movie.

Meanwhile, I have spoken at length with Mike Egi of Naija Records whose "Flashback III" should be out before the Summer and had compiled "Flashback II" following the first compilation, Egi had dedicated "Flashback II" to the memory of Spud Nathan. I think Nathan (Jonathan Udensi) was the best male vocalist of that era especially when one looks back to his powerful lyrics in that hit single 'If You Don't Love Me Girl' which echoed in every ballroom back in the day. Actually, the rock imports and psychedelic funk invented by Sly Stone cojoined in establishing how the Eastside bands performed at night clubs and university campus squares. Nathan's vibes was absolutely rock and now we know why most hippies of that era love rock music. Rare Earth started it all, even though the band crossed over when in 1973 Whitfield composed, arranged and produced the "MA" album for the group.

And then there was Bob Miga and the Strangers who came out with a different kind of rock, blending it with the kind of vibe that changed the rock scene in UK during the 70s. The Strangers had released the hit singles 'Survival' and I'm So Lonely' which blasted everywhere including the spots at Lagos. The organ session of Miga was awesome in both tracks. But The Strangers life was shortlived when Ani Hoffner and his colleagues parted ways with Bob Miga and formed the group "One World." Then came Black Children, another offshoot of Strangers and One World. The irony of the Eastside bands was that they couldn't stay together perhaps because of the pattern of pay and contracts. Hoffner's One World had exploded and had begun to play gigs at Lido Night Club and Restaurant in Warri. They were sensational outperforming most resident bands including the Benin-based Black Souls whose origin was then unknown. The single 'Look At The World' obviously moved the hippies and Hoffner had become an icon among the youths.

But then, UK imports made some impacts too. There was a band that erupted from Scotland made up of Sally Carr, the hairdresser; Ken Andrew, film cameraman; Eric McCredie, a sales representative and his brother Ian McCredie, chatered surveyor--all professionals in their own rights. Middle Of The Road was the name of the band. Their hit singles had invaded the record stores and one can feel the presence of 'Love Rock' which grooved and was the kind of music to which the young demographic of the time listened to. No one growing up then could resist what they had to offer. Hearing "Sacramento (A Wonderful Town)" it was hard to figure where exactly the genre of music could be placed. It was rock and the Eastside bands had its own blend too. Middle Of The Road's hit had everyone singing wherever it popped up. They had brilliant singles--'Sacramento,' 'Tweedle Dee Tweedle Dum,' 'Chirpy Chirpy Cheep Cheep,' 'Samson and Delilah,' 'The Talk of the USA, and 'Soley Soley'--and the one I loved most was this one right here.

On one windy day, I had breezed in to U. B. "Hollywood" Umoren's Entertainment World Studios in Gardena, California and he took me round his studio showing me some stuff he'd been putting together regarding the jams of the time when Apostles invaded Aba. He had brought out "The Acts Of The Apostles" album and was working on its compilation with various artists. His studio manager, a white folk, who knows sound engineering, remixing and producing beats quite well was on deck directing, digitizing and waxing on how the compilations could emerge. Sadly, he complained about how these artist are living in penury even though some of these hits are still being produced without giving credits and paying royalties to the finest musicians that erupted during the 70s and had made us proud with the kind of music they produced. Most notable bands without trace in any archive--The Strangers, Semi Colon, Doves, Aktion, Jerry Boyfriend and Herald 7, Stoneface Iwuagwu, Black Children, Heads Funk, and the rest underground performers of the time--could be attributed to time factor and not taking seriously the importance of keeping records. "We are not embarking on research projects," Umoren would tell me. Of course, we are not, and that is why most of the works done by the 70s Eastside performers went down the drain, if not entirely vanished.

When one band was disbanding after another, others popped up with the same cast and the same flavor of music. I remember the place where Emma "China" Chinaka, Arinze Okpalla and co. use to hang out in Port Harcourt some few years after the death of Spud Nathan. They did have jam sessions but couldn't produce any other hit during the course of Original Wings struggling days overtaken by newer recording artists who began to look Westward. Though the Original Wings played gigs at Orupolo Night Club in Port Harcourt, their jam sessions didn't last that long as the band collapsed. Chinaka later married Eunice Okeihu Ihekwoaba who as a neigbor where I dwelled on at 21 Item Street, D-Line, Port Harcourt was the finest lady on the block and the entire complex that was popular for its routine beer parlor talks.

Sweet Breeze had done well with its debut album and that success took Daniel Anyanwu and his colleagues to play gigs in London pubs, an idea originally started by The Funkees. Sweet Breeze reminds one of the Commodores with its unique academia kind of stuff blending it with showbusiness. The had jammed every pub in the Eastside before departing for UK and later "metamorphosizing" to Esbee Family when the funk was getting heavy, heavy and heavier.

The mid-70s was too hyped up when disco and psychedelic funk took over. Imo Broadcasting Service (IBS), for instance, where the late Teddy "Oscar" Uju and Onyema O. djayed, the funk was all that mattered as Uju had become an overnight celebrity, killing instantly the appetite of Eastside band fans who had begun to adopt the vibrations of TK Records' T. Connection that invaded the Miami area when they arrived from their native Bahamas. Brothers Theophilus and Kirkwood Coakley in collaboration with David Mackey and Anthony Flowers got the funk and it was blasting all over as long as Uju called the shots. There was also Teddy Pendergrass who had left Harold Melvin and the Blue Notes on pay terms going solo, waxing strong with that hit single "When Somebody Loves You Back." It was Uju's favorite and he had spinned that at a jam session in then College of Science and Technology, Port Harcourt. The crowd went amok when Uju had accidentally broken the pin of the turntable which abruptly stopped the music. The music was back on after the needle was replaced and the cheering and fun continued.

By this time, many of the Eastside bands had disappeared, some now as session men while disco-funk completely took over and rap music initiated by Wonder Mike, Big Bank Hank and Master Gee had began to emerge when Sugarhill Gang released "Rappers Delight." TK Records sales clerk Harry Wayne "KC" Cassey and Richard Finch had joined together to form KC & The Sunshine Band and hits upon hits were made; multi-talented Nile Rogers and Bernard Edwards had joined together for a classic Chic band which produced the hit singles "Le Freak Ce'st Shit" and "Good Times"; Kenneth Gamble and Leon Huff's The Sound of Philadelphia Records (TSOP)had produced a whole lot of cast in urban Philadelphia catapulting O'Jays, McFadden & White Head, Sharon Paige and Pendergrass to the top, while Dick Griffey's Sound of Los Angeles Records (SOLAR) founded in 1977 juiced the The Whispers, Shalamar, Dynasty, Lakeside and the rest crew at SOLAR, which ultimately changed everything with pop culture looking elsewhere.

Producer Leon F. Sylver's increasingly progressive soul-funk production at SOLAR, Gamble and Huff teamwork projects at TSOP, Strong and Barrett compositions and songwriting at Motown and later Whitfields own independent label, Whitfield Records, the studio rat Quincy Jones was at Epic Records cooking Michael Jackson's debut album "Off The Wall," and the era would swiftly move to more commercially successful music which chased away the local ensembles.

A whole lot has really changed with an evolving musical genre in present day show business. But the 70s, we must bear in mind was the origin and model toward the commercial success enjoyed today by present day musicians who predominantly left the East for better contracts and gigs in Lagos and Abuja.

Egi's "Flashback II" Tracklisting:

1. 'If You Don't Love Me Girl' -- The Wings
2. 'Ballard Of A Late Hero' -- Original Wings
3. 'Help' -- Sonny Okosun
4. 'Satisfaction' -- Black Children
5. 'Groove The Funk' -- Aktion
6. 'Music In Me' -- Apostles
7. 'Beautiful Woman' -- Cloud 7
8. 'I Need Someone' -- Kris Okotie
9. 'Chasing After Rainbow' -- Sweet Breeze
10.'Look At The World' -- One World
11.'Ife' -- Christy Essien
12.'Juliana' -- Rex Williams
13.'Mr & Mrs Fool' -- Sweet Breeze
14.'Joromi' -- Victor Uwaifo
15.'Item Eka Mi' -- Nichorlas Mbarga
16.'She's My Love' -- Tony Grey
17.'Sugar Daddy' -- Aktion
18.'Mmere Gi Ni' -- Apostles
19.'Carolina' -- Kris Okotie

Let's stop the bootlegging and support our struggling musicians.

Labels: 70s Eastside Bands, Popular Culture, Imports

The Boyoyo Boys and Township Jive Today

2007-12-09T09:11:00.000-08:00

The history of Township Music in South Africa can be traced as far back as the 50s when black performers were thrown in and out of jail just for doing what they loved - showcasing their talents. One of the prolific performers was Jonas Gwangwa who played "with every important band of the era."

The 70s and 80s took another shape when the Apartheid regime was winding down and many unknown black groups began to emerge as the native township jive or mbaquanga style of music gained popularity worldwide. One of the unknown groups outside South Africa was The Boyoyo Boys comprising of saxophonist Lukas Pelo, Thomas Phale, bassist Vusi Xhosa and guitarist Vusi Nkosi. The group rose to stardom perhaps when Malcolm Mclaren took their titled single "Puleng" and converted it to his own production, "Double Dutch," making it a smash hit all around the world as breakdance and hip-hop began to pop up. However, the group got their share of the cut from Mclaren in an out of court settlement.

Though The Boyoyo Boys appeared in Paul Simon's "Graceland" album, "Double Dutch" would have done it in catapulting these young lads to the top had Mclaren not swindled them. However, after "Graceland" which inspired Simon after listening to an instrumental tape composed by these new emerging group called "Gumboots", The Boyoyo Boys continued to perform in their native South Africa and release of the "TJ Today" album in 1998 which was originally released in 1988 has began to reflect the originality of their music.

"T. J. Today" released by Rounder Records in 1998 has the original jive and flavor of mbaquanga, of the one previously released in 1988.

Tracklisting:

1. Funny Face
2. Boston Special
3. T J Today
4. Eloff Street No 2
5. Gikeleza
6. Sofia
7. Empty Box
8. Nkosi Special
9. Tsou Tsou
10.American Jive

Label: The Boyoyo Boys, T. J. Today, Motherland Africa

The Desert Blues of Ali Kamiya Dit Ba Ali Baba

2007-12-06T03:33:00.000-08:00

"Black Township" and the historical Leimert Park is Ali Baba Ali Kamiya Dit Ba's hangout. He shuttles back and forth Degnan Blvd. and 43rd Pl selling and promoting his CD produced locally in Los Angeles.

Spending time and recording this twelve track songs in his native Mali before sojourning to the shores of the United States to compose and produce the album, much went amiss for Ali Baba in locating his market for the kind of music that is rare in urban Los Angeles. He had been discovered by a Santa Barbabra tourist in Bamako, nevertheless, and he had shown his potentials as a desert bluesman, convinced and good enough to make things happen in every aspect of showcasing his talents in the United States. It did not work out well. Ali Baba fell out with the scouts who were about to blow him up. Kind of cinderella story turned sour, huh? "That's life," Ali Baba would say.

When I listened to the CD, there was much influence of Farka Toure vibes which sums up the original Malian theme played with ngoni, an ancient 5-stringed lute which has been around before the kora. Ali Baba talks much about purity and the effect that would have to the world had every single soul been pure in heart. The CD titled "Return To Your Heart" according to Ali Baba, is a reflection of knowledge passed on to him by his ancestors which indeed has made him beat all odds despite the hardship and struggle to overcome his predicament. Ali Baba is a moslem and still shuttles around the "Black Township" neigborhood preaching and selling his CD.

The tracks aren't bad at all. It's typical Malian folklore, the origin of the desert blues. Ali Baba once performed to a cheering crowd at the popular Temple Bar in Santa Monica, California. For ten bucks you will get a copy of his CD and blessings for a peaceful world. I got mine for that price without questioning and bargains. It's just a way to support our own, and "that's life."

Tracklisting:

1. Sekou Amadu Bamba
2. Wouro Moudi
3. Baba (Djenne Baba)
4. Koti Soudu Baba
5. Bamba De Mama
6. Samba Kamiya
7. I See God People Like
8. Djam Wale (Have a wonderful night)
9. Pouchi A Tcholi (Horse and Bird)
10.Habo Mojani
11.Creation' Fal
12.Maodo Tampi (The Chief is Tired)

CD Title "Return To Your Heart"
Genre: Desert Blues
Year: 2006

Label: Return To Your Heart, Desert Blues,

That Explosive Entertainment's Afro Funk Explosion

2007-12-02T09:46:00.000-08:00

Earlier this year, in one of my random routine stops at Amoeba Records on the corner of Sunset Boulevard and Cahuenga in Hollywood, California, I checked out some CDs including that of Afro Funk Explosion, a compilation of various African performers put together by Explosive Entertainment. This compilation was well-done but lacked detailed information and background of the artists. I shall attempt to discuss a little bit of that in this piece, gathering every information that is accessible.

The seventies unquestionably were the golden age when indigenous African music exploded universally. The Compilation starts with the track "Afro Funk" by Afro Funk, one of the leading pure funk ensembles in the early seventies featured regularly at the Grand Hotel in Accra, Ghana, when pure funk was developed in a format the legendary James Brown got it together. Afro Funk came up with their own brand of stormy funky tunes with saxy flavors differing entirely from other funk groups that rocked the African Continent in the seventies. The track "Afro Funk" was culled from the groups "Body Music" album released in 1973 on Kabana Record label.

In all sincerity, the compilation features a whole lot variety of jazz, funk, fusion and ikwokirikwo maestros of the day, when one thinks of Destruction Ikengas. How Vincent Okoroego got in here is something to ponder, but good, though Okoroego's Destruction Nkengas crossed over and I'm quite sure it didn't work out. I couldn't make anything of the second track of this compilation. I'm not sure what the erstwhile Stephen Osita Osadebe session man was trying to prove here with "Nkengas Special." The highlife vibe was very obvious. Okoroego, for sure, at the time of this recording knew he was going the wrong direction with that mixture of pop-blended vocals and Ikwokirikwo beats he invented, which didn't add up.

Matata came up here strong with that "Wanna Do My Thing" Vibe which as usual connected to the Matata trademark of Brown's new new super heavy funk era. Anwar Richard did not fail here in his Brown's kind of move which gave the band the real touch that gave it recognition when it played gigs at London pubs back in the seventies. I like the track selected here by Explosive Entertainment. It's a rare pick.

The selection, however missed some remarkable hits in the seventies. Zimbabwean Thomas Mapfumo and his Halleluja Chicken Run Band, the East Side bands - Funkees, Strangers, Heads Funk, Wings - rock groups from Eastern Nigeria were not included which probably suggests these groups did not attain the level of musical heights during the funk era when afro funk and like vibes invaded the shores of the West.

The superb compositions of Malawi-born drummer Dick Khoza who regularly featured at the South African Pelican Night Club in johannesburg reminds one of Jazz Messengers' Art Blakey. The horn sessions of the track "African Jive" echoes well with Los Angeles-born Herp Albert and his Tijuana Brass. Three tracks were featured here from Khoza's "African Jive" album. Enter BLO, seventies Nigeria trio, who changed the concept of highlife and funk, popping up with the kind of sound which exploded in the sixties when The Beatles, Rolling Stones and the rest in UK changed entirely the sound of the fifties. Guitarist Berkely Ike Jones, drummer Laolu Akins and bassist Mike Odumosu had formed this group touring the UK, United States and playing gigs at Lagos pubs. The track "BLO" jammed at every known spot in the Lagos area during the seventies when highlife had waned.

South African born Dudu Pukwana had left the shores of Apartheid South Africa and landed in London carrying along with him members of The Blue Notes due to racial problems. Signed by Vertigo Records in London, Assagai was formed with trumpeter Mongezi Feza and drummer Louis Moholo while Pukwana led the band for that short period it hanged around. The track "Cocoa" was a cut from the band's first release titled Assagai.

The two tracks recorded on this compilation from Roy Oche and his Matumbo seems to be off mark, blending afro funk and traditional African folklore even when the lyrics has a resemblance of mixed vibes of swing/highlife/rock/juju and storytelling. Mfalme, which in Swaziland means a male of a royal family who is the supreme ruler of his nation sounds like a mystery, thus having no trace for detailed information. The track "Maku Penda" is not bad at all. Who, also described as Ndubani has no relation to the South African jazz legend Jonas Gwangwa. Black Truth Rhythm Band "Lfetayo" has a full-fledged flavor of Ralph McDonald's percussion.

All in all, the compilation is great in my own assessment but a liner note would have made it much, much better.

TrackListing:

1. "Afro Funk" - Afro Funk
2. "Nkengas Special" - Destruction Nkengas
3. "Wanna Do My Thing" - Matata
4. "African Jive" - Dick Khoza
5. "African Battle" - Manu DiBango
6. "BLO" - BLO
7. "Oworohooche" - Roy Stephen Oche and his Matumbo
8. "Peace Upon Kenemoland" - Roy Stephen Oche and his Matumbo
9. "Cocoa" - Dick Khoza
10."lfetayo" - Black Truth Rhythm Band
11."Chapita" - Dick Khoza
12."Maku Penda" - Mfalme
13."Switch No. 1" - Who (Ndubani)

LABELS: Afro Funk Explosion, Explosive Entertainment, Motherland Africa

AM FM Stereo Explosion in Lagos

2007-11-30T03:59:00.000-08:00

"This is NBC 2, Am FM Stereo with Tony Ibegbuna reporting. Now it's time for us to bring you the news beat." The year was 1976 and fm radio had just popped up in the waves. Ibegbuna's news beat announcement was normally followed by a theme extracted from a series of Pure Funk vibes including renditions of the Invasion Forces led by General George Clinton. Record stores all around the Lagos metrolpolis made brisk business selling imported records from the UK and the United States.

Guyana-born Multitalented artist Randy Muller who led the sensational Brass Construction had released its first smash hit "Moving," blasting all over on the streets of Lagos and the fm stereo with Ibegbuna and veteran announcer Benson Idonije never gave it up.

The Pure Funk had just exploded and Muller's crew who evolved from the Dynamic Souls to Brass Construction were sending strong messages that music got to be changed as time passes by. Everything had been joined together, from R&B to soul-funk. Muller and his crew's ">"Moving" were favorites of NBC 2 AM FM Stereo as it was played more than the likes of B.T. Express' "Can't Stop Grooving Now," Con Funk Shun formed by Louis A. McCall and Michael V. Cooper's "Con Funk Shun" album released later in 1976, K.C. & the Sunshine Band "I'm Your Boogie Man," Donna Summer's "Four Seasons of Love" album and toooooo many funktified vibes that drowned the funk era.

FM Stereo listerners did not care much about the news beat. The music of the time was what mattered and it did blast all over and not even the juntas could stop the hippies from doing what makes them happy. Local ensembles had their stuff going, too. Not much was heard of them on the air as Ibegbuna concentrated on those funktified imports.

1977 through the 80s changed a little bit of all that when sex symbol Teddy Pendergrass' ">"Life Is A Song Worth Singing" album masterfully produced by the duo Kenneth Gamble and Leon Huff as newer disc jockeys - Jacob Akinyemi Johnson, Fred Oshodi, Bode Seriki, Jones Usen and the rest - emerged replacing veterans Ibegbuna and Idonije.

Everything changed. NBC 2 AM FM Stereo was renamed. Local artist began airing. Tirogo, Bongos Ikwue, Chris Okotie and the rest exploded and were catapulted to the top which gave the new wave some kind of different flavor as the funk era paved way to a whole lot of different music categories.

I enjoyed the funk era and NBC 2 AM FM Stereo was the bomb!

Matata and the Pure Funk Era

2007-11-28T04:48:00.001-08:00

I had thought I should start my African musical commentary from a different perspective, revisiting the years when London pubs were invaded by London-based African bands who had been inspired by the legendary Minister of New New Super Heavy Funk, James Brown, also known as the Soul Brother Number One. London was bursting loose with jam sessions in all pubs and music bands were performing like crazy. Matata had contracted an all star cast of musicians to feature in its debut album titled "Independence Matata."

The awesome solo alto Sax of legendary South African, Dudu Pukwana who had brought along with him the traditional tunes of Township Music gave the Independence Matata album the real jazz-fusion blend which did catapult Anwar Richards and his Kenyan-born colleagues to the top when the album was released in 1974.

Matata was a band that hired the best in recording sessions. The legendary trumpeter Sammy Obot who in the sixties had played for a series of highlife bands when highlife had exploded in Ghana was part of this fine album using his magnificent skills to give the album's recording the flavor that earned the band the reputation as one of the very pure funk bands modeled after the Godfather of Soul even before the funktified versions of Uncle Jam's Army of General George Clinton popped up with all that grooved funk that created Funkadelic, Parliament and joining funkster Bootsy Collins and his Rubber Band Family.

There was also the bongo player Patrice Oluma who had originally been part of the founding members of Matata but later on went solo and added some Latin American jazzy tunes to his new solo career. His radical drum beating gave the track "Return To You" the authentic jungle beat typical of London-based African musicians who started invading London pubs way back in the fifties. Guyana-born tenor Saxophonist Colin Dyall made his impact known, as well, when his Caribbean flavored jazz tunes created some kind of wave that gave the entire album a different touch, differing from the highlife blends of Osibisa, later coined Afro Rock. Dyall had left his homeland to play gigs in London pubs when he was discovered by President Records Label chief executive, Edward Kassner, who scouted the London metropolis for talented musicians.

Anwar Richards, whose data is hard to find applied his strained James Brown kind of vocals running simultaneously with the chords of Tobby Kombo, Andrew Yonah and Isaac Kisembe. These brilliant performers who had arrived London from their native Kenya changed entirely how the pubs were managed with a little touch of everything in music. The jazzy tunes of the funky horns with some Afro Beat flavors, the strings that changed the concepts and brought out the vibes of James Brown alive turning every jam session to a crowded house made Matata a talk of the town in the mid-seventies.

Band Personnel:

Anwar Richards - Organ, Vocals
Sammy Kagenda - Bassist
Eddie Tagoe - Congas, Shaker, Bongos
Patrice Oluma - Bongos
Dudu Pukwana - Alto Saxophone
Mongezi Fega - Trumpet
Sammy Obot - Trumpet
Tobby Kombo - Guitar
John Otieno - Guitar
Andrew Yonah - Lead Guitar
Isaac Kisembe - Lead Guitar
Colin Dyall -Tenor Saxophone
The Sunbeams - Backing Vocals

The tracks "I Feel Funky" and "Talking Talking" is a mind-blowing piece and I would suggest you better watch out. The groove is unquestionably too funky.

Track Listing:

1. Return To You
2. Good Good Understanding
3. Getting Together
4. I Believed Her
5. Good Samaritan
6. I Feel Funky
7. I Don't Have To Worry
8. Something In Mind
9. I Want You
10.Love Is The Only Way
11.Gimme Some Loving
12.Talking Talking

There's a message in the music if you belong to the funk era.

Introduction

2007-11-20T07:31:00.000-08:00

Yeah, I have been asked by those who think I'm a music freak (excuse my language) to start up a special music blog which hopefully would one day evolve into a full blown website with enough resource to blow up your mind. The reason for this whole idea is really overwhelming and I'm beginning to think what really is driving me, to be precise, where am I getting the energy to flow and do all the stuff that I do? Well, it's just that I like to do stuff and that's basically about it.

Quite frankly, I had thought I would be a maestro playing some kind of bad instrument, say, like the sax or something in the horns family. But I did not, I have ended up collecting music of every genre and I believe it would be a good idea to share my treasures with everybody. But Samaka music will only be featuring African music in any format. It will also dig into black music from around the world.

I have enjoyed reading a whole lot musical notes and analysis regarding music from motherland. Steve Ntwiga Mugiri's site was my first port of call, and ever since, I got hooked learning a whole lot more from rumba to soukous. Comb and Razor is quite entertaining, too, and the guy knows his stuff pretty well. Benn Loxo, another guru, has been digging for sometime now, and he's really got it going on, and I'm enjoying every bit of his notes. He is awesome. I have also checked out Shakara and Likembe, and it's good to know these folks are just doing well.

I hope you will find the stuff here fascinating and entertaining. I love music, and that's all!