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Moving back now to West Africa….this time
to Ghana…it's probably time yet again to get onto my hobby
horse and reiterate to those who may have only dipped a toe into
the African pond, that, despite (or because of) grinding poverty,
war and different ethnicities, the music created even within one
particular area of the continent would be diverse, even if we
were to only concentrate on traditional forms.
Add to that the reclamation of styles such as rock, Cuban son,
jazz, samba, funk, kaseko and hundred of others all taking their
creative cue from call and response to the human heartbeat…and
every Western musical instrument you can think of and that diversity
must seem like kaleidoscopic confusion to the uninitiated. One
thing, though…a hollywood cliché it most definitely
isn't. Ghana is a good place to start, as it is the birthplace
of highlife, the original afro-pop that has been around for almost
a century. It started off as a fusion of traditional rhythms and
melodies with marching band music, sea shanties and church hymns.
In the intervening years jazz improvisation, Dominican merengue
as well as all manner of Latin and Carribean musics have all leapt
on board.
Another Wrasse Records compilation "The Kings of Highlife"
captures highlife at a critical point of evolution, the 60s and
70s when the earlier brass bands were ceding to the exciting electric
guitar bands of the younger generation. As a result the music
exudes a unique charm that is both forward and backward looking.
Virtually all the pieces sparkle with guitar work that is sharp,
distinctive and funky. Although suffering from a bit of distortion
here and there, an unavoidable consequence of trying to give the
original sound a bit of extra beef, the recording quality is generally
better than average for the era.
All the top names of the music are here including Chief Stephen
Osadebe with his funky Makojo stretching out in fine style, Cardinal
Rex Jim Lawson, Sir Victor Awaifo whose catchy "Guitar Boy"
opens the collection, Dr Victor Olaiya, Paulson Kalo, Wura Fadaka,
Chief Inyang Nta Henshaw, Gentle Man Ejeagha and Celestine Ukwu.
Hearing these compulsive melodies, bubbling rhythms and knockout
guitar, trumpet and sax performances that fairly jump out of the
grooves of all 14 selections , one is left wondering how Ghanaian
highlife ever slipped from its once unassailable centrestage position
in the pantheon of African dance music. Let's hope this tasty
compilation helps redress the balance.
