Afrobeat is a dynamic fusion of palm wine style, Kwokrikwo, ‘Gelede,’ Highlife, and Hiplife. In the 1990s, many emerging West African musicians avoided categorizing their music as Highlife, as they believed it was reserved for older musicians. After exploring different genres for a new identity, many artists began incorporating and experimenting with makossa/soukous, the typical music genre of Eastern Africa, along with their dance moves. The influence of West Indies sounds like Reggae and Calypso started to permeate our music. However, it soon became clear that these trends were not sustainable. In the early 2000s, every innovative music producer returned to their roots, embracing the classic Highlife style that has now evolved into what we know as Afrobeat. This genre is now the primary category for songs marketed on all major digital platforms.
When researching the origins of Afrobeat and how the genre developed, the search results will credit Fela Kuti as its creator. However, there is minimal information available regarding the heroes of highlife music, such as pioneers like Emmanuel Tettey Mensah (E.T. Mensah), Bobby Benson, Victor Olaiya, Sam Akpabot, Ray Stephen Oche, Eddy Okonto, Roy Chicago, Chris Ajilo, Rex Lawson, Celestine Ukwu, and many others. Examining the timeline of when these legends began making Highlife music provides a clearer picture of who created Afrobeat.
E.T. Mensah established the Accra Rhythmic Orchestra around 1939, while Bobby Benson debuted in 1944 with the Negor Bullet, becoming the first African musician to tour parts of Europe. Victor Olaiya, influenced by Bobby Benson and Sam Akpabot, founded his band, the Cool Cats, in 1954. Unfortunately, Sam Akpabot remains unrecognized for his significant contributions to the West African music industry.
In Nigerian music culture, younger artists frequently ignore the contributions made by those who came before them. Radio DJs and television networks tend to keep their distance from these veterans, categorizing them as “old school.” Consequently, the works of these legends are often pushed into the forgotten corners of history. Our music icons endure neglect and poverty, living and passing away without the rightful recognition they deserve.
Contrary to popular belief, Fela Kuti, often solely credited with creating Afrobeat, began his musical journey by forming the Highlife Rakers in 1959. Before establishing the Kola Lobitos and later the Kuti Quintet, Fela Kuti was a band member for Victor Olaiya in 1957 and also learned from Bobby Benson. The narrative of Afrobeat’s origins becomes clearer by examining the timelines of Fela’s highlife beginnings compared to Bobby Benson, E.T. Mensah, Ray Stephen Oche, and other highlife legends.
Many documentarians discuss the creation of Afrobeat and credit Fela as its creator. However, the Nigerian Entertainment industry has undergone significant changes in the last six decades and has seen the emergence of tribal biases. There is a shortage of musicologists in Nigeria, and most entertainment writers are not musicians; they often write to promote their fellow tribe folks or artists who bribe them. The songs we hear on the radio and watch on television, domestically and internationally, do not truly represent the best of Nigeria.
In the early 90s, I had the opportunity to back up several Nigerian Highlife music artists during a Nigerian Television Authority-sponsored program. This experience allowed me to closely observe many Highlife and music legends who had started their careers before I was born. I sat down with many of them and asked questions to learn the proper rhythm that represents Nigerian music culture.
To declare Fela Kuti as the sole creator and king of Afrobeat would be disrespectful to the memory and legacy of those who paved the way before him. Fela Kuti’s music contained elements of Afro Jazz, distinguishing it from Afrobeat. AfroJazz and Afrobeat are distinct genres with different chord progressions and instrumental arrangements. Afrojazz typically features more percussion and instruments compared to Afrobeat, as well as a complex musical arrangement.
Afro-jazz is also differentiated from HighlifeHighlife in terms of melody and lyrics. Backup singers in Fela’s Afrojazz sang in unison, while choruses in Afrobeat were typically harmonized, following a similar style to Highlife music. Fela Kuti’s AfroJazz featured a simple two-chord progression, while Highlife typically incorporates third chords and, in some cases, more than four chords. The introduction to Afrojazz tends to be longer than that of Afrobeat, a topic I will delve into further.
Late Fela created AfroJazz, a fact Orlando Julius disputed in the 1990s upon returning to Nigeria from an extended stay in the United States. Orlando Julius claimed he had created AfroJazz, but his music lacked the various elements that define AfroJazz. He attempted to push this narrative and even challenged Fela to a public debate, but Fela never accepted the challenge.
In addition to Fela Kuti, Ray Stephen Oche, a musician from Benue State in Nigeria, West Africa, also played Afro Jazz. Known for his talents as a singer, drummer, flutist, and primarily a trumpet player, the late Ray Stephen Oche began touring internationally with his band before Fela Kuti. It is worth taking the time to listen to the songs of Ray Stephen Oche and Fela Kuti side by side.
Ray Stephen Oche’s album included elements of Highlife, Afro-Jazz, and percussion. Despite this, he has yet to receive the recognition he deserves from those who document the history of Nigerian music.
I have many friends who performed alongside the late Fela Anikulapo Kuti. If you were to ask them about the type of music the legendary figure played, they would undoubtedly tell you that he played Afro Jazz. Afrobeat is modern Highlife. What has changed is that today, with the evolution of digital recordings, one can make a song within minutes.
Watch out for part 2. If you disagree with me, please use the contact page to submit a rebuttal.
Agu ike ( better known as Allah-bama) is a Nigerian-American musician.