In honor of "One Man Thousand" Alex Konadu who passed away last month (see obituary in previous post), I offer you this 1983 album Dua Ayi Me. Here we have Konadu at his finest, joined by B.B. Collins Marfo of "Powerful Believers" fame on lead guitar and backing vocals.
Also, be sure to check out Alex Konadu's first album Nsa Dwa Se, which was recently posted over at Global Groove. Enjoy!
According to several online sources, highlife musician Alex Konadu passed away some weeks ago on the eighteenth of this month. Below is an obituary written by George Ernest Asare, which may be found here.
Alex Kwabena Konadu, the man who hit the limelight in the late 1970’s with his brand of highlife songs such as Asaase Asa, Agya Ata Wuo, Aweie and Asem Bi Adi Bone has died. He died in Kumasi on January 18, 2011 at the age of 63.
Popularly known as One Man Thousand, Alex Konadu died at a time he and his bosom friend, Professor Kofi Abraham, had accepted an invitation to rock the Sunyani municipality with a highlife and gospel music concert at the end of January. Barely two weeks before the ‘D’ day, Konadu was taken ill, and with support from Kofi Abraham, he sought medical care at various health care institutions in Kumasi. Just as he was gradually recovering, he suddenly relapsed and was taken to Bomso Clinic in Kumasi by Kofi Abraham but as if to say that enough was enough, he gave up the ghost a few hours later.
“His death is a great loss to me. This is because he was more than a friend, and we have totally become inseparable over the years. We were a great pair at this stage of our lives, and did almost every thing together," a wet-eyed Prof Abraham told Showbiz. When asked to describe Kwabena Konadu, Professor Abraham said, “ he was in a class of his own in terms of highlife music. This is because he did not only use his music to comfort mourners at funeral grounds, but also succeeded in encouraging the downtrodden to appreciate their values in society. He also used highlife music to entertain all classes of people at drinking spots, festivals and marriage ceremonies among other programmes to make life more meaningful to them”.
Stressing, Professor Abraham noted, “What endeared him most to music lovers was his desire to entertain his fans by honouring all manner of programmes. He was down to earth, and easily socialized with all classes of people, so his death is a huge loss, not only to me, but many lovers of highlife music, especially our generation, who were completely consumed in highlife music” he said.
According to family sources, the ace highlife musician left behind a wife, Adwoa Fordjour, and 12 children.
The legendary King Onyina is well-known and loved for his old-time guitar band music, in particular the variety found on I've Found My Love and the African Guitar Series CD. Kwabena "King" Onyina himself was an occasional concert party performer (like his peer E.K. Nyame), a musical pioneer, and an inspiration to younger guitarists like Koo Nimo who sought to expand highlife "guitarism" into new territory. A full biography may be found online at GhanaWeb.
Akwantu Mu Nsem, however, is one of several unique albums released later in Onyina's career, in this case the late '70s. A more modern sound is featured here (with light synthesizer accompaniment), and Onyina is joined by several male & female singers who often take the forefront. This album is quickly becoming one of my favorites, mainly because these songs are just so strikingly beautiful and unique. Take a listen to the title track below and I'm sure you'll fall in love like I did.
Interesting history about Ghana's legendary African Brothers Band from leader Nana Kwame Ampadu's personal website:
"Since 1969, the African Brothers Band organized a yearly “Miss African Brothers Band Int.” which was very highly patronized. The criteria for the competition was not so stringent but was limited to females who were not above 25 years only. Any contestant who won was crowned Miss African Brothers Band for that year, won a cash prize and records of the band, and was also privileged to attend any of the band commercials or private functions free of charge. The 1st and 2nd runner-ups were also given befitting prizes. The contestants prepared themselves well, especially with hairdo, make-ups and dresses where some were proudly sponsored by designers. The competition was carried on for 9 years from 1969-1978."
I am rather fascinated by old-time highlife music featuring female singers, perhaps because these recordings are so difficult to come across. Female highlife singers in Ghana were largely marginalized through the first half of the 20th century due to social taboos and public perceptions of sexual promiscuity and impropriety. To quote concert party pioneer Bob Johnson, "A girl on stage would be branded a girl without morals." So, male actors took on the role of the female impersonator in the concert parties, while male "treble singers" strained to reach high, female-like vocal ranges. The few female singers who did make successful careers for themselves in the 1950s, '60s and '70s included Julie Okine, Charlotte Dada, Adwoa Badu, and Janet Osei, and these women surely faced some tremendous adversities.
Here we have a 7" single by "Highlife Sister no. 1" Vida Rose, released on the Gapophone label. According to John Collins, Rose was a guitarist in addition to being a singer, setting up her own concert party group in the late sixties. I've been intrigued by Rose since Voodoo Funk's "Big Mama Unice" mix back in 2007, and I humbly offer these two additional songs by the very cool Vida Rose.
Kakraba Lobi was one of Ghana's truly great gyil (xylophone) players, introducing musical innovations while working within traditional, "highlife," and "art music" styles. Recently I've enjoyed watching a short 10-minute film entitled "A Great Man Has Gone Out" by ethnomusicologist Brian Hogan, which documents Kakraba's 2007 funeral. Here we see some fantastic xylophone performances by such artists as Aaron Bebe, Hewale Sounds, SK (Kakraba's son), and others, while learning about the cultural context surrounding Ghanaian funerals and the complex gyil music of Northern Ghana. If you have ten minutes to spare, take a moment to watch this nice film all the way through. Watch it HERE
Kakraba Lobi - Funeral for an Old Man (aka Gandayina)
"A Great Man Has Gone Out: The Funeral of Kakraba Lobi" by Brian Hogan
Here we have a classic album from "Bosueman" Joe Mensah. Recorded in Lagos, Nigeria, "The Afrikan Hustle" features Mensah's hit tune "Bonsue." This 17-minute long track incorporates elements of jazz, dance-band, and funk, all built over a Yaa Amponsah riff. I love this song for Mensah's rhythmically spoken outbursts (Bo Bo Bo Bo Bonsue!), but also for its unique opening. Here, each instrument enters one after the other, creating the effect of layers being built upon each other (a process which lasts for over two and a half minutes).
The other three songs on side two of this album are just as good, no surprise considering that Mensah is backed by none other than the Sweet Talks! Smark Nkansah & A.B. Crentsil appear here as guitarists, while providing backup vocals throughout the album. Who knew!
Joe Mensah - Rokpokpo
Here, we also have a rendition of "Bonsue" performed live by Ebo Taylor and Gyedu-Blay Ambolley, via Youtube. I think Ambolley is perfectly suited for this song, with his own interpretation of the tune's signature spoken sections (Bo Bo Bonsueee!). This performance looks like it was a blast, and its a shame that this video ends prematurely as the group is about to launch into "Yaa Amponsah." Enjoy!
Alex Kwabena Konadu, the man who hit the limelight in the late 1970’s with his brand of highlife songs such as Asaase Asa, Agya Ata Wuo, Aweie and Asem Bi Adi Bone has died. He died in Kumasi on January 18, 2011 at the age of 63.
"Since 1969, the African Brothers Band organized a yearly “Miss African Brothers Band Int.” which was very highly patronized. The criteria for the competition was not so stringent but was limited to females who were not above 25 years only. Any contestant who won was crowned Miss African Brothers Band for that year, won a cash prize and records of the band, and was also privileged to attend any of the band commercials or private functions free of charge. The 1st and 2nd runner-ups were also given befitting prizes. The contestants prepared themselves well, especially with hairdo, make-ups and dresses where some were proudly sponsored by designers. The competition was carried on for 9 years from 1969-1978."
Kakraba Lobi was one of Ghana's truly great gyil (xylophone) players, introducing musical innovations while working within traditional, "highlife," and "art music" styles. Recently I've enjoyed watching a short 10-minute film entitled "A Great Man Has Gone Out" by ethnomusicologist Brian Hogan, which documents Kakraba's 2007 funeral. Here we see some fantastic xylophone performances by such artists as Aaron Bebe, Hewale Sounds, SK (Kakraba's son), and others, while learning about the cultural context surrounding Ghanaian funerals and the complex gyil music of Northern Ghana. If you have ten minutes to spare, take a moment to watch this nice film all the way through. Watch it HERE
