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Highlife (full title Music from the New African Nations featuring the Highlife) is an album by American jazz pianist Randy Weston recorded in 1963 and originally released on the Colpix label. [2]
Highlife is characterized by jazzy horns and guitars which lead the band and its use of the two-finger plucking guitar style that is typical of African music. Recently it has acquired an uptempo, synth-driven sound. [2] [3] Highlife gained popularity and the genre spread throughout West African regions.
This is a list of notable Nigerian highlife musicians arranged in alphabetical order. There are several other genres of music in Nigeria these include Ikorodo, Igbo gospel, Owerri Bongo, Fuji music, Ekpili Jùjú music, Apala, Were music and Highlife.
Osibisa has been credited with introducing African music to European and North American audiences [10] with their fusion of African and Western music styles. [11] The band's style encompasses elements of rock, progressive rock, acid rock, Latin, jazz, afro-funk, jazz fusion, soul, highlife, reggae, calypso and pop.
African High Life is the debut album by Nigerian drummer and percussionist Solomon Ilori, recorded in 1963 and released on the Blue Note label. [1] The album was reissued on CD in 2006 with three bonus tracks recorded at a later session.
Afrobeats, not to be confused with Afrobeat or Afroswing, is an umbrella term to describe popular music from West Africa and the diaspora [1] [2] that initially developed in Nigeria, Ghana, and the UK in the 2000s and 2010s.
Owerri Bongo (Bongo/Igbo Bongo) is a style of Igbo highlife music that has its origins in the Igbo people of Owerri and spread around all Imo State, which is in eastern Nigeria. The musical style is a sub-genre of Igbo highlife music. [1] Unlike Igbo highlife, which is known for its brass horns and often somber feel.
Victor Abimbola Olaiya OON, (31 December 1930 – 12 February 2020), also known as Dr Victor Olaiya, was a Nigerian trumpeter who played in the highlife style. Though famous in Nigeria during the 1950s and early 1960s, Olaiya received little recognition outside his native country.