SJR341 NIGERIA FREEDOM SOUNDS Onesheet 1

Total Page:16

File Type:pdf, Size:1020Kb

SJR341 NIGERIA FREEDOM SOUNDS Onesheet 1 Soul Jazz Records Presents NIGERIA FREEDOM SOUNDS! Calypso, Highlife, Juju & Apala: Popular Music And The Birth Of Independent Nigeria 1960-63 22nd July 2016 No shipments outside of North America Soul Jazz Records’ new Nigeria Freedom Sounds! features a stunning selection of TRACKLIST material spotlighting the vibrant musical scene in Nigeria at the start of the 1960s. 1. I K Dairo & his Blue Spots - E Ma Mobun Saya With a wealth of musical and cultural history and newly independent from Britain, 2. Chris Ajilo and his Cubanos - Ariwo Nigerian music during this era was complex, diverse and forward-thinking, with 3. I K Dairo and his Blue Spots - Aye Wa Kael musicians as excited in exploring their country’s own musical lineage with styles 4. Charles Iwegbue and his Archibogs - Baby I Tire such as Juju and Apala as they were in adapting and absorbing outside influences 5. Haruna Ishola and his Group - Iba Awon Agba such as Ghanaian Highlife, Caribbean Calypsos and Mambo and more. 6. E.C. Arinze - Chukwu Fulum Nanya 7. Victor Ola-Iya and his Cool Cats - Cool Cats This album features many of the defining artists of this time who helped shape the Invitation Nigerian musical scene. Artists include I.K. Dairo and his Blue Spots, Haruna Ishola 8. Ganiyu Kale and his Guinea Mambo Orchestra - and his Group, E.C. Arinze, Sammy Akpabot and His All Stars, Godwin Omobuwa Iyawo-ile and his Soundmakers, Ganiyu Kale and His Guinea Mambo Orchestra and many 9. E.C. Arinze - Freedom Highlife more. 10. I K Dairo and his Blue Spots - Bonfo 11. Haruna Ishola and his Group - Owo Ni Fari Few nations on earth are as diverse as Nigeria, and the wide assortment of 12. Apolos Empire Rhythm Orchestra - Cut Your Coat Nigerian music styles collected on this album reflect the country’s rich variety of According To Your Size cultures. Western-influenced dance music, played on European instruments such 13. E.C. Arinze - Lumumba Calypso as guitar, brass, and woodwind sits alongside traditional musical styles, made with 14. Sammy Akpabot and his All Stars - Save For A Rainy Day indigenous instruments such as the talking drum, marimba, or obo. And there is 15. Ishie Brothers - Onyeoma Rosa also religious musical styles first brought to Nigeria by European Christians and 16. Godwin Omobuwa and his Soundmakers - Look, Islamic traders from North Africa. And of course, there are points where these Look, Look musical styles overlap, merging into one another to create unique new sounds. 17. E.C. Arinze - Saturday Night 18. J.O. Araba and his Rhythm Blues - Iyawo Ma Pa This album is released in two formats, as CD and as heavyweight gatefold double Mi vinyl edition. The CD includes a large outsize 48-page book containing extensive 19. Godwin Omobuwa and his Soundmakers - You sleevenotes, original photography, artist biographies, as well as selection of Cheat Me Nigerian adverts celebrating its independence and original artwork from some of 20. E.C. Arinze - Ozo Emena the rare original Nigerian 45s on which this music was first (and only ever) 21. Tex Dandies Dance Band - Obo Mi Ebe Mi 22. J.O. Araba and his Rhythm Blues - Olowufuja released. The heavyweight gatefold 2xLP comes with full sleevenotes and Sawa download code. 23. I K Dairo and his Blue Spots - Omo Alara Release Date: 22nd July 2016 Artist: Soul Jazz Records Presents SOUL JAZZ RECORDS Title: NIGERIA FREEDOM SOUNDS! Subtitle: Calypso, Highlife, Juju & Apala: Popular Music And 8 Broadwick Street, Soho, The Birth Of Independent Nigeria 1960-63 London W1F 0DA, England Label: Soul Jazz Records T: +44 (0)20 7734 3341 Format 1: Cat. No: SJRCD341, List Price $22.99 [email protected] UPC: 5026328103419 www.souljazzrecords.co.uk Format 2: Cat. No: SJRLP341, List Price $29.99 twitter: @souljazzrecords UPC: 5026328003412 .
Recommended publications
  • Halifu Osumare, the Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 Pp., $85.00 (Hardcover)
    International Journal of Communication 7 (2013), Book Review 1501–1504 1932–8036/2013BKR0009 Halifu Osumare, The Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 pp., $85.00 (hardcover). Reviewed by Angela Anima-Korang Southern Illinois University Carbondale Ghana’s music industry can be described as a thriving one, much like its film industry. The West African sovereign state is well on its way to becoming a force to reckon with on the international music market. With such contemporary rap artists as Sarkodie, Fuse ODG (Azonto), Reggie Rockstone, R2Bs, and Edem in its fold, Ghana’s music is transcending borders and penetrating international markets. Historically, Ghana’s varying ethnic groups, as well as its interaction with countries on the continent, greatly influences the genres of music that the country has created over the years. Traditionally, Ghana’s music is geographically categorized by the types of musical instruments used: Music originating from the North uses stringed instruments and high-pitched voices; and music emanating from the Coast features drums and relatively low-pitched voice intermissions. Up until the 1990s, “highlife” was the most popular form of music in Ghana, borrowing from jazz, swing, rock, soukous, and mostly music to which the colonizers had listened. Highlife switched from the traditional form with drums to a music genre characterized by the electric guitar. “Burger-highlife” then erupted as a form of highlife generated by artists who had settled out of Ghana (primarily in Germany), but who still felt connected to the motherland through music, such as Ben Brako, George Darko, and Pat Thomas.
    [Show full text]
  • 1 Chapter Three Historical
    University of Pretoria etd, Adeogun A O (2006) CHAPTER THREE HISTORICAL-CULTURAL BACKCLOTH OF MUSIC EDUCATION IN NIGERIA This chapter traces the developments of music education in the precolonial Nigeria. It is aimed at giving a social, cultural and historical background of the country – Nigeria in the context of music education. It describes the indigenous African music education system that has been in existence for centuries before the arrival of Islam and Christianity - two important religions, which have influenced Nigerian music education in no small measure. Although the title of this thesis indicates 1842-2001, it is deemed expedient, for the purposes of historical background, especially in the northern part of Nigeria, to dwell contextually on the earlier history of Islamic conquest of the Hausaland, which introduced the dominant musical traditions and education that are often mistaken to be indigenous Hausa/northern Nigeria. The Islamic music education system is dealt with in Chapter four. 3.0 Background - Nigeria Nigeria, the primarily focus of this study, is a modern nation situated on the Western Coast of Africa, on the shores of the Gulf of Guinea which includes the Bights of Benin and Biafra (Bonny) along the Atlantic Coast. Entirely within the tropics, it lies between the latitude of 40, and 140 North and longitude 20 501 and 140 200 East of the Equator. It is bordered on the west, north (northwest and northeast) and east by the francophone countries of Benin, Niger and Chad and Cameroun respectively, and is washed by the Atlantic Ocean, in the south for about 313 kilometres.
    [Show full text]
  • FOR CODESRIA Anyidoho/Madame Virginie Niang Sept 17-19
    1 THE IMPORTANCE OF AFRICAN POPULAR MUSIC STUDIES FOR GHANAIAN/AFRICAN STUDENTS by John Collins INTRODUCTION A) The role of popular music and mass entertainment in the independence struggle and the consequent importance of local popular performance in the vision of pioneer African leaders: i.e. a mass music for a mass party (eg highlife as the product of the ‘veranda boy’ class). Thus the state support of popular as well as traditional and western type art/religious music sectors by the pioneering leaders Nkrumah, Nyere, Sekou Toure, President Keita. Their approach can therefore be considered as tri-musical B) The failure of this tri-musical approach being transmitted into the Ghanaian tertiary education system. This became rather bi-musical; i.e. the training of students only in traditional African and imported western art idioms C) Some reasons for this intellectual university hostility to popular music/culture 1) imported elitist, Marxist and Frankfurt School ideas concerning the ephemeral, frivolous, low status and inconsequential nature (cf. high art) of popular music and performance. 2) Residual African traditional attitudes towards professional musicians. Low regard and apprehension of such indigenous professional traditional groups as West African jalis/griots, praise drummers and goje players D) The negative consequences of the narrow bi-musical approach has effected both the university students and the evolution of local musical forms such as highlife music and the concert party. It fosters elitist attitudes by students who do not consider the creative role of the masses and intermediate classes important in musical development. It has in a lack of intellectual input into local popular music: few books and biographies on the topic, no intellectual input into it.
    [Show full text]
  • Identity, Nationalism, and Resistance in African Popular Music
    Instructor: Jeffrey Callen, Ph.D., Adjunct Faculty, Department of Performing Arts, University of San Francisco SYLLABUS ETHNOMUSICOLOGY 98T: IDENTITY, NATIONALISM AND RESISTANCE IN AFRICAN POPULAR MUSIC How are significant cultural changes reflected in popular music? How does popular music express the aspirations of musicians and fans? Can popular music help you create a different sense of who you are? Course Statement: The goal of this course is to encourage you to think critically about popular music. Our focus will be on how popular music in Africa expresses people’s hopes and aspirations, and sense of who they are. Through six case studies, we will examine the role popular music plays in the formation of national and transnational identities in Africa, and in mobilizing cultural and political resistance. We will look at a wide variety of African musical styles from Congolese rumba of the 1950s to hip-hop in a variety of African countries today. Readings: There is one required book for this course: Music is the Weapon of the Future by Frank Tenaille. Additional readings are posted on the Blackboard site for this class. Readings are to be done prior to the week in which they are discussed Listenings: Listenings (posted on Blackboard) are to be done prior to the week in which they are discussed. If entire albums are assigned for listening, listen to as much as you have time for. The Course Blog: The course blog will be an important part of this course. On it you will post your reactions to the class listenings and readings. It also lists internet resources that will prove helpful in finding supplemental information on class subjects and in preparing your final research project.
    [Show full text]
  • Igbo Popular Music: a Historical and Sociological Discourse with the Intent of Redefining Its Musical Typologies Since 1960
    Trabzon University State Conservatory © 2017-2020 Volume 4 Issue 2 December 2020 Research Article Musicologist 2020. 4 (2): 248-261 DOI: 10.33906/musicologist.752422 CHINEDUM N. OSINIGWE Ajayi Crowther University, Nigeria [email protected] orcid.org/0000-0003-2101-1916 Igbo Popular Music: A Historical and Sociological Discourse with the Intent of Redefining Its Musical Typologies Since 1960 ABSTRACT In Nigeria, music making has been the most dynamic and evolving KEYWORDS process, involving all forms of musical genres - traditional, religious and popular. Music does have a significant cultural and sociological role, Igbo popular music especially among its many ethnic groups, whereby it is employed in Typologies every facet of their socio-cultural existence, from childhood to adulthood respectively. This study examines the Igbo popular musical Tagging genre in Nigeria through its creative forms (highlife and other Periodized hybridized forms), exhibited within the period from 1960 up to the present. The main objective of this study is to capture all musical Hybridized typologies within the period stipulated and tag them, using socio- cultural parameters, such as language, age, group philosophy, musical form, etc. It adopted descriptive and socio-musicological approaches in evaluating the musical trends through periodized format and also using the socio tagging system as its conceptual framework. The following musical typologies (Égwú Nñùtá, Égwú Ìkwǫkìlìkwǫ, Ēgwū O ̣̀gbàrà-o ̣̄fūù, and Égwú A gwàrà ǫgwa) were, however, discovered and tagged appropriately in the course of the study for easy reference, recognition, and for ethnic identity. Received: June 13, 2020; Accepted: December 11, 2020 Introduction Popular music is an extension of several musical typologies, which could be indigenous or acculturated, incorporating both local and foreign elements.
    [Show full text]
  • Music/Anthropology Course Number and Title: MU/ANTH 232 Soundscapes-Music As Human Practice Division: Lower Faculty Name: Dr
    SEMESTER AT SEA COURSE SYLLABUS Colorado State University, Academic Partner Voyage: Spring 2020 Discipline: Music/Anthropology Course Number and Title: MU/ANTH 232 Soundscapes-Music as Human Practice Division: Lower Faculty Name: Dr. Shumaila Hemani Semester Credit Hours: 3 Meeting: B day, 1540-1700 in Adlon Prerequisites: None COURSE DESCRIPTION The official CSU catalog description is: Musical communities and soundscapes from around the world provide exploration points for how music and sound inform human life. Study everything from playlists to music of distant lands. Ability to read notated music not required. Additional description: Do you recall the sounds of the town or city you grew up in? Are your memories of hometown associated with specific sounds of traffic, church bells, call to prayer (azan), farm animals or birds? What makes a soundscape of a city different from that of another and how does movement of people from rural to urban areas or processes such as colonialism shift the soundscapes? Is the difference in class and status of a neighborhood reflected in its soundscape? How do people who inhabit the city influence its soundscape and in what ways do states and government seek to control the soundscape of a city? We will explore these broad range of questions connecting soundscapes with city-life by studying music ethnographies that document sonic cultures of a city. With a particular emphasis on understanding modernity and its impact on pre-industrial cultures within cities, we will learn about circulation of western music and jazz in Japan and South Africa and indigenization of western instruments such as violin and guitar in South India and Ghana.
    [Show full text]
  • African Popular Music Ensemble Tuesdays (7:20 PM-9:10 PM) at the School of Music Dr
    1 FALL 2021 MUN 1xxx - section TBA World Music Ensemble – African Popular Music Ensemble Tuesdays (7:20 PM-9:10 PM) at the School of Music Dr. Sarah Politz, [email protected] Office: Yon Hall 435 Office hours: TBA Credits: 1.0 credit hours The African Popular Music Ensemble will specialize in the popular music of the African continent, with a special focus on Afrobeat, highlife, soukous, African jazz, and the brass band traditions of Africa and the diaspora. Together we will listen to, perform, and arrange music from the works of Fela Kuti (Nigeria), Salif Keita (Mali), Hugh Masekela, Abdullah Ibrahim, Miriam Makeba (South Africa), Mulatu Astatke (Ethiopia), and the Gangbe Brass Band of Benin. Instrumentation will vary based on personnel each semester, and will typically include a rhythm section, horn section, and vocal soloists. The ensemble will also draw on the participation of faculty performers, as well as guest artists specializing in African popular music from the community and beyond. These collaborations will contribute to the diversity of musical and cultural experiences related to Africa that are available to students throughout the semester. Course Objectives The African Popular Music Ensemble is dedicated to learning African culture through musical performance. After completion of this course, students will be able to perform in a variety of African popular music styles on their instrument. These skills will be developed through a combination of listening to recordings, developing skills in listening and blending within the ensemble, and individual study and practice outside of rehearsals. Students who wish to develop their skills in improvisation will have many opportunities to do so.
    [Show full text]
  • Highlife in the Ghanaian Music Scene: a Historical and Socio-Political Perspective Micah Motenko SIT Study Abroad
    SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2011 Highlife in the Ghanaian Music Scene: A Historical and Socio-Political Perspective Micah Motenko SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the African Studies Commons, Musicology Commons, and the Place and Environment Commons Recommended Citation Motenko, Micah, "Highlife in the Ghanaian Music Scene: A Historical and Socio-Political Perspective" (2011). Independent Study Project (ISP) Collection. 1107. https://digitalcollections.sit.edu/isp_collection/1107 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. School for International Training Study Abroad: Ghana Social Transformation and Cultural Expression Fall 2011 Highlife in the Ghanaian Music Scene: A Historical and Socio-Political Perspective Micah Motenko (College of Wooster) Project Advisor: Dr. Nathan Damptey University of Ghana, Legon, Institute of African Studies Academic Director: Dr. Olayemi Tinuoye Data Collection Date: November 1 st , 2011 – November 30 th , 2011 Abstract 1. Title: Highlife in the Ghanaian Music Scene: A Historical and Socio-political Perspective 2. Author: Micah David Motenko ( [email protected] ; College of Wooster) 3. Objective: The objective of this project was multifaceted: i. To understand the history of Highlife music and its various offshoots in Ghana, with regards its socio-political and cultural significance over time. ii. To examine the current music scene in Ghanaian cities and analyze it with regards to its socio-political and cultural significance.
    [Show full text]
  • Module 1 AFRO-LATIN AMERICAN and POPULAR MUSIC
    Republic of the Philippines Department of Education Regional Office IX, Zamboanga Peninsula 10 Zest for Progress Zeal of Partnership MUSIC Quarter 2, Wk.1 - Module 1 AFRO-LATIN AMERICAN AND POPULAR MUSIC Name of Learner: ___________________________ Grade & Section: ___________________________ 0 Name of School: ___________________________ WHAT I NEED TO KNOW KkKNOW Music has always been an important part in the daily life of the African, whether for work, religion, ceremonies, or even communication. Singing, dancing, hand clapping and the beating of drums are essential to many African ceremonies, including those for birth, death, initiation, marriage, and funerals. Music and dance are also important to religious expression and political events. However, because of its wide influences on global music that has permeated contemporary American, Latin American, and European styles, there has been a growing interest in its own cultural heritage and musical sources. In this module, it contains review on the different elements of music and to analyze the characteristics of Afro-Latin American and popular music were: African music, Latin American music, Jazz music, and Popular music. Also includes the vocal forms, instruments, vocal and dance, and instrumental forms mentioned above. At the end of this module, you are expected to: 1. Analyzes musical characteristics of Afro-Latin American and popular music through listening activities. ( MU10AP-IIa-h-5) WHAT I KNOW Directions: Read and understand the questions carefully and write your answers on the blanks provided. 1. What is the overall quality of sound of a piece, most often indicated by the number/layer of voices in the music ? Answer: ________________ 2.
    [Show full text]
  • Ghana Highlife – Afrobeat – Palmwine Blues
    KYEKYEKU Ghana Highlife – Afrobeat – Palmwine Blues ‘A fabulous guitarist’ BBC Global Beats ‘Kyekyeku is setting a new tempo for the Ghanaian music scene’ ‘A wizard with a guitar’ CNN African Voices ‘Kyekyeku, the little prince of Palmwine’ ‘Impossible to resist the warm and lively sound of brass, percussion and this contagious joy, this artistic generosity ' [Kyekyeku and his musicians] 'magnify note after note the cardinal virtues of a musical heritage erected in an art of living: sharing, pleasure and openness to others. The trademark of Kyekyeku.’ Forbes Afrique ‘Kyekyeku is a rare cat indeed in Ghana—a talented young guitar player interested in developing the all-but-vanished art of palm wine guitar.’ Afropop Worldwide ‘The young, talented singer-songwriter and guitarist Kyekyeku is flying the flag for an older accoustic folk genre known as Palmwine music’ RFI World Music Matters Twitter/Instagram: @kyekyekofisa - Facebook/Soundcloud: Kyekyeku Website: www.kyekyekumusic.com KYEKYEKU – BIOGRAPHY Kyekyeku (Tche-Tche-Kou), described by CNN African Voices as a ‘wizard with the guitar’ is from a new generation of Ghanaian musicians who makes the distant past meet contemporary idioms of West Africa’s big musical heritage. His music draws from the forest folk Palmwine blues and the cross rhythms of Ghana that gave birth to some of the unique styles to have come out of Africa south of the Sahara. Kyekyeku creates a unique a high-energy sound mixed in with Highlife and Afrofunk of fellow countrymen Ebo Taylor and Pat Thomas erupting in an exciting Afro-urban beat. With lyrics reminiscent of village recreational songs, protest songs, love poetry and old African spirituality, his music touches on themes concerned with the well-being of Africa and the world society.
    [Show full text]
  • SYLLABUS MUH 3530: POPULAR and TRADITIONAL MUSIC of AFRICA (Taught in Fall 2011 at the 2000 Level; MWF 4Rd Period; Music Building 144)
    SYLLABUS MUH 3530: POPULAR AND TRADITIONAL MUSIC OF AFRICA (Taught in Fall 2011 at the 2000 level; MWF 4rd Period; Music Building 144) Instructor: Larry Crook Phone and email: 273-3171/[email protected] Office and Hours: University Auditorium 301; MW—5th period and by appointment GENERAL DESCRIPTION This course examines selected topics in African music history. Class periods include lectures, discussions, music listening, video viewing, live presentations, and interactive participatory sessions involving music making. The course begins by introducing broad issues involving the representation of African music, the role of music in African social life, and the ways in which African musical traditions have impacted and been impacted by colonialism and globalization. The course then focuses on selected musical traditions linked (geographically and historically) to Africa. Several themes run through the course: interconnections of traditional and popular forms of music, the effects of colonial and post- colonial enterprises, internationalization, mass media, and music’s role in shaping identity. We will spend time listening to the sounds created by a wide variety of African musicians and in discussing contemporary topics. Pre-requirements: MUH 2501 or permission by the instructor. OBJECTIVES Increase students’ knowledge and enjoyment of African music Introduce students to diverse of African musical traditions Improve students’ ability to discuss and describe musical styles, structures, and concepts Enhance students’ knowledge of African musical history REQUIREMENTS Each student must attend class, complete required reading, listening, and viewing assignments, participate in class discussions, take three in-class exams, participate in discussion groups, participate in and present a group project be respectful of yourself, other students, and the instructor.
    [Show full text]
  • THE ORIGIN and DEVELOPMENT of JUJU MUSIC: 1900-1990 Abstract the Europeans Introduced Various Forms of Western Music Which Inter
    THE ORIGIN AND DEVELOPMENT OF JUJU MUSIC: 1900-1990 OGISI, ABOYOWA ARUGHA Ph.D Abstract The Europeans introduced various forms of Western music which intermingled with indigenous music resulting in neo-traditional and syncretic forms of music including popular music genres. Until the early 1980s, Nigerian popular music was largely neglected and many key areas such as its history remained unaddressed. Although the history of juju has received some attention, there is a growing need for various perspectives and the advantages that go with such to be investigated. This paper is a contribution in that direction. It examines the development of juju from its early beginnings in the early 1900s to when it ceased being a major popular music genre in 1990. Findings revealed that juju is indebted to several musical traditions: western folk songs, European sea shanties, church hymnody, soldiers' songs, minstrelsy and Yoruba traditional music. Through social intercourse, these traditions fused and produced juju. Until the early sixties its patronage was within Yoruba land but by the early 1960s it had made inroads into other parts of the country and so by 1970 it was a dominant popular music genre in Nigeria. It produced several hits and mega stars arising from the oil boom economy of the early 1970s before it was eclipsed by the rising wave of gospel music. Introduction The ascendancy of popular music amidst other music types from the late 1940s has resulted in its being the most patronised music type in Nigeria. Contrary to expectations that the types of music that receive scholarly attention is predicated on its social significance, popular music remains the least researched among the various types of Nigerian music.
    [Show full text]