Highlife… the ‘60s scene

INDEPENDENCE anniversary celebrations are now low-keyed, with key activities limited to prayers in mosques and churches, all because things are no longer what they used to be. But the attainment of independence in 1960, and the memories of the years that followed up till the civil war in 1966, were celebrated with lavish jollification and nationalism — a situation which gave every one a feeling of oneness and belonging. Those were the days, and these good days can come back again.

Behind the facade of its political implications, people saw the arrival of Independence beginning of life more abundant. And so the celebration needed heavy doses of heart-throbbing ‘highlife’ for its entertainment value as well as social significance. Highlife was at its best.

The two highlife groups that reigned supreme upon independence were the International All Stars led by Victor Olaiya, and the Rhythm Dandies fronted by Roy Chicago. Both leaders were trumpeters and ex -students of Bobby Benson of the famous Bobby Benson Orchestra, but they had their distinct styles.

 Victor Olaiya, who was directly influenced by E.T. Mensah, patterned his highlife along Ghanaian melodic lines and rhythmic structures. His own popularity spilled over from the decade of the 50’s as he had some of the finest instrumentalists while the band played at prestigious parties– with Cool Cats Inn, Apapa Road, Lagos as its base and residency.

Roy Chicago came into the limelight at Abalabi Hotel, Mushin Lagos even though he previouslyhad  a successful stint leading a  band at the Central Hotel, Ibadan. His popularity came on the threshold of Independence, with his introduction of the talking drum into highlife in 1960 through Iyawo Pankeke composed at the time by Apollo Aramide who later joined the Nigerian Navy.Chicago’s highlife style had its accent anchored on rhythm, as he executed Nigerian folksongs with vocals by Tunde Osofisan, one of the finest singers on the highlife scene of that period.

Performing in the same Nigerian traditional style was Adeolu Akinsanya, master lyricist and singer who wrote and sang in a style that was immediately recognisable. Based at the Western Hotel, Mushin, he led a formidable group that was fronted on trumpet by Kendy Alex with star guitarist Apaipah Jay, as he reel out social commentaries that were topical and well informed.

Rex Jim Lawson, who later became the King of highlife, and in fact one of the greatest across Nigeria and Ghana from where the name of the music originated, made his impact at the Mayor’s Hotel, Onitsha as leader of the Mayor’s Dance Band. Transforming into Majors Band in 1964, he came down to Lagos where his influence and fame increased. A fine singer, trumpeter and composer, his melodies and rhythms were drawn from the rich cultural heritage of the Rivers people.

As an artiste, Lawson’s star qualities were many and varied. He sang with great feeling and was able to put across his message with clarity and meaning. He was not only an accomplished trumpeter within the context of the music that he played,he also had the unique ability to put the band’s ensemble sound perfectly in tune at short notice. And this is an artistic feat that many bands still find difficult to accomplish today. He had an ear for good music, so he had horn men with good, pleasant tonal qualities who were able to evolve a clean, straight ensemble sound.

ALSO contributing to the celebration of Independence in the 60s was E.C. Arinze, a fine trumpeter who led a popular and successful band at Kakadu Hotel, Yaba, Lagos in 1961, nurturing such stars as Etim Udo, a saxophonist of no mean stature, and Victor Uwaifo, guitarist and singer who later struck out to form the Melody Maestros.

A giant of highlife who made his influence felt on the scene was Eddy Okonta. A foremost graduate of the Bobby Benson Orchestra as well as the Sam Akpabot Sextet and one of the greatest trumpeters on the scene; he was based at Ibadan with his Star Aces and succeeded in evolving a unique African rhythmic pattern for highlife. He died in early 1997, and leadership of his memorial band was passed on to the guitarist, Appaiper Jay.

 Saxophonist Chris Ajilo gave the Bobby Benson Orchestra stiff competition in the 50s when they both played various dance music forms. But Ajilo’s Cubanos played night club dates in the early 60s, and even though it was a small group, it posed challenge to bigger bands; and served as a source of inspiration to young musicians, thus taking highlife to progressive heights.

 The likes of Charles Iwegbue and his Archibogs,  Stephen Amechi and his Rhythm Stars, Agu Noris and his band exploited rhythms and melodies from Igboland as they played at Lido Bar, Empire Hotel, Lagos Arcade and the like around Idi-Oro and  Lagos Island.

Eric Onugha led a fine band at Central Hotel, Yaba on trumpet, and it was this aggregation that nurtured Stephen Osadele who was then a vocalist, to stardom, having previously performed with E.C. Arinze at Empire Hotel. He eventually struck out on his own with the hit success,  One Pound No Balance, around 1964 to contribute his own Individuality to the burgeoning highlife of the sixties.

 The likes of trumpeter Dan Satch were holding the forte at Aba in those days at the Travellers’ Lodge, where renowned saxophonist Tex Becks eventually led a second set for a brief period  in 1965. And in Port Harcourt, David Bull, a Rex Lawson- influenced group made a lot of sweet highlife music.  The sound was richer than that of Rex Lawson, especially at the rhythm section level and front line section, powerfully enhanced by the tenor saxophone of Boma Bonny. Trumpeter Sunny Brown, another graduate of the Rex Lawson outfit was also in Port Harcourt, leading his own band. They both owed their harmonic progressions and melodic explorations to the influence of their mentor, Rex Lawson whose songs have become evergreens today.

HIGHLIFE was quite popular in the northern part of the country. Aside from the fact that bands made good money from regular tours to that part of the country from the south, trumpet player Satch Ayo led an explosively big band,The Sahara All Stars, which was resident at Jos, but popular all over the north.

One highlife band that captured the true Ghanaian feeling on the spot was the Ambassador Downbeats led by trumpet player chief Bill Friday whose tea Time Dance sessions helped to introduce a new dimension to entertainment in Lagos. Most of the musicians were Ghanaians who included guitarist Stan Plange, ace saxophonist Joe Amisah and vocalist Joe Mensah.

  Afrobeat King Fela Anikulapo-Kuti played highlife in England during independence. Called the Highlife Rakers, (which later transforenmed to The Koola Lobitos) the group recorded highlife that is reminiscent of the conventional Victor Olaiya tradition.

  The group was, however reformed in Nigeria in 1965, and being a jazz musician, he played the music from the jazz standpoint and brought a complete revitalistion, a new highlife sound.

  Victor Uwaifo made considerable impact upon forming his Melody Maestros in 1965(the same year that the Nigerian version of the Koola Lobitos was inaugurated). His was Akwete, a highlife variant rooted in Edo musical culture.

Highlife was also played in the small group, guitar band style in the sixties. Prominent among exponents of this trend were Dele Ojo and OralndoOwoh, not forgetting Ralph Amarabem (and The Pea Cocks) who was famous for unleashing the palm wine guitar style.

Associated with good times and jollification, highlife was the music that celebrated our Independence in 1960; and two of the  surviving musicians who fueled the fire of highlife at the time are Victor Olaiya and Stephen Osita Osadebe. We should use this opportunity of Nigeria’s 60th independence anniversary to remember all the highlife stars who have joined their ancestors – Bobby Benson, Baby Face Paul, Chief Bill Friday, Rex Jim Lawson, Charles Iwegbue, Eddy Okonta, Adeolu Akinsanya, Roy Chicago, Fela Anikulapo-Kuti,  Inyang Henshaw, Agu Norris among others.

(Sourced from The Beats of Africa (tentative title), a forthcoming book, by Benson Idonije)