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Igbo Christian Music (also referred to as Igbo gospel music) is an Igbo traditional musical genre written, performed, and sung to narrate or express Christian faith, values, or topics.[1] The genre is vibrant and spiritually uplifting. It combines Christian religious themes such as Praise, hymnals, worship, and other Christian themes with traditional Igbo musical/cultural versions or elements.[2][3] It reflects the fusion of faith, cultural identity, and musical expression within the Igbo Christian community.[4]

Highlife is a music genre that started in West Africa, along the coastal cities of present-day Ghana in the 19th century, during its history as a colony of the British and through its trade routes in coastal areas. It describes multiple local fusions of African metre and western jazz melodies.[1] It uses the melodic and main rhythmic structures of traditional African music, but is typically played with Western instruments. Highlife is characterized by jazzy horns and multiple 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]

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Highlife gained popularity and the genre spread throughout West African regions. Pioneers like Cardinal Rex Lawson, E.T. Mensah, Victor Uwaifo, all perfected this sound by infusing traditional Africa drums and western "Native Blues."[1] After the war its popularity came back within the Igbo people of Nigeria, taking their own traditional guitar riffs and the influence of the diverse culture and flavor of Nigeria, mixed and perfected it to form Igbo highlife which became the country's most popular music genre in the 1960s.[4]

Highlife has remained a part of popular music for Ghanaians and their diaspora globally through its integration with religious institutions and the positive effect it had on immigrating Ghanaians leaving their homeland.[5]

The following arpeggiated highlife guitar part is modeled after an Afro-Cuban guajeo.[2] The pattern of attack-points is nearly identical to the 3-2 clave motif guajeo as shown below. The bell pattern known in Cuba as clave is indigenous to Ghana, and is used in highlife.[3]

Palm-wine music, also known as maringa in Sierra Leone, was one style that originated on coastal locations when local musicians began using portable instruments brought by traders and fused it with local string and percussion instruments. It was usually played in a syncopated 4/4 metre. This music was played in low class palm-wine bars at ports where sailors, dock workers, and working class locals would drink and listen to the music. Eventually this genre worked its way inland and a more Africanized version came containing 12/8 polyrhythms, this would be known as the "Native Blues". This style would gain popularity up until World War 2 when production of the records were stopped.[1]

A style of highlife that resembled western brass bands in European forts across West Africa. The military would use local musicians in their brass band regiments and taught them linear marching music. After these musicians saw how the West Indian regimental bandsmen practiced traditional music in their spare time it inspired them to do the same. The fusion of linear marching music with polyrhythmic local music created a danceable style called adaha, as well as a style with cheaper, local instruments called konkoma. This fusion was similar to the birth of jazz in New Orleans.[1]

In the 1940s, the music diverged into two distinct streams: dance band highlife and guitar band highlife. Guitar band highlife featured smaller bands and, at least initially, was most common in rural areas. Because of the history of stringed instruments like the seprewa in the region, musicians were happy to incorporate the guitar. They also used the dagomba style, borrowed from Kru sailors from Liberia, to create highlife's two-finger picking style.[4] Guitar band highlife also featured singing, drums and claves. E.K. Nyame and his Akan Trio helped to popularize guitar band highlife,[7] and would release over 400 records during Nyame's lifetime.[4] Dance band highlife, by contrast, was more rooted in urban settings. In the post-war period, larger dance orchestras began to be replaced by smaller professional dance bands, typified by the success of E.T. Mensah and the Tempos. As foreign troops departed, the primary audiences became increasingly Ghanaian, and the music changed to cater to their tastes. Mensah's fame soared after he played with Louis Armstrong in Accra in May 1956, and he eventually earned the nickname, the "King of Highlife".[4] Also important from the 1950s onward was musician King Bruce, who served as band leader to the Black Beats. Some other early bands were, the Red Spots, the Rhythm Aces, the Ramblers and Broadway-Uhuru.

Economic problems led to a mass migration of Ghanaians in the 1960s looking for more opportunities and after that political instability in the '70s and '80s would cause more people and many prominent highlife musicians to leave and create clusters of communities across the west with Germany being a preferred destination because of its relaxed immigration laws.[5]

Ghanaians in Germany created a secular style of highlife that combined the genre with funk, disco, and synth-pop. It is believed it was called burger highlife because the largest communities of Ghanaians resided in Hamburg. The music became associated with migrants who would travel between Germany and Ghana. It also would become defined by its use of modern technologies; by the late '90s, productions used solely electronic instruments.

Considered one of the most popular music genres to both Ghanaians and its diaspora, gospel highlife has outlived burger highlife because of its success in blurring the lines between religion and pop culture. This genre is similar to burger highlife but its inspiration comes from Charismatic Christianity and Pentecostalism. Its significance within the communities stems from the religious institution's ability to provide social and cultural infrastructure for the Ghanaian diaspora in Germany.

E.T. Mensah and Kofi Ghanaba were important musicians in Ghana. From the late 1950s, famous jazz musicians began to visit Ghana, such as Ahmad Jamal and Louis Armstrong who played in Ghana (1956 and 1960). Armstrong's All Stars member Edmond Hall came to Ghana in 1959 to set up a short-lived jazz in Accra.

Guy Warren was one notable musician who played with E.T. Mensah and the Tempos before moving to America and working with musicians such as Red Saunders to record the album Africa Speaks, America Answers, as well as playing with Duke Ellington in Chicago for a short time. Warren is credited with introducing highlife to the United States in an attempt to bring African-American musicians back in touch with the music of Africa, as awareness of African influence on Afro-American music was lacking before the "African musical renaissance" of the late '50s.[8]

The high point of this video is that it is very clear with a great sound quality. The lyrics written on the screenflow directly with the renditions by the vocalists. All the musical instruments work harmoniously to produced sweet melodies as an accompaniment to the song. However, the low point of the video, which is no way diminishes the excellent performance of the entire band, is that the dancing steps of the vocalistsare not well choreographed.

At a time when Nigerian music industry has been taken over by obscene tracks, songs and albums as well as their visuals, Ukor offers his music, in praise and worship, which is morally and theologically different.

This piece was created in partnership with Afro Nation. Billboard and Afro Nation recently launched the first-ever official Billboard Afrobeats U.S. Songs Chart, tracking the most popular rising new music in the rapidly growing genre. The 50-position Billboard U.S. Afrobeats Songs chart, which will go live on Billboard.com on March 29, ranks the most popular Afrobeat songs in the country based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of leading audio and video music services, plus download sales from top music retailers.

In this present age, Afrobeats is an electronic extension following this same route, taking in Nigerian Afrobeat and Ghanaian highlife with reggae and dancehall sensibilities, which has crossed over to the mainstream and is slowly infiltrating U.S. air waves. Its global popularity is marked by Grammy wins, viral dance challenges and sold-out arena tours.

Upon his return, the band changed their name to Africa 70 as well as his local Afro-Spot club to the seminal Afrika Shrine. The venue became a key spot for Kuti to fine-tune his showmanship through call-and-response musical arrangements to keep the African element at its core, alongside the increasing influence of inspired soul on a nightly basis.

In Ghana, the late 70s would see the decline of the live popular music scene due to mismanagement and the military regime governments, where the Ghanaian economy collapsed. A combination of a nighttime curfew between 1982 and 1984, and a heavy import tax duty on band equipment, persuaded a number of Ghanaian musicians to leave the country to relocate abroad. Hamburg was a location in which a large influx of Ghanaian economic migrants settled, with the port city becoming well-known for a new fusion genre called Burger Highlife in the early 80s, highly computerised in nature compared to live horns and drums of highlife. This North German city is a key location where the close proximity to state-of-the-art music technology in synthesizers and drum machines often had sonic siblings in disco and funk.

Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal. 2351a5e196