Osibisa – The Warner Bros Albums

Osibisa – The Warner Bros Albums

The history of Osibisa goes way back to Ghana in the 1950s, when saxophonist Teddy Osei was a member of a highlife (a fusion of traditional African music with Western jazz) band. He moved to London on a music scholarship in the early sixties and, after persuading the drummer (Sol Amarfio) and trumpeter (Mac Tontoh) from his African bands to join him, Osibisa was born. The band quickly grew to include members from the Caribbean islands and Nigeria, incorporating a mélange of influences along the way. The band released their first couple albums in 1971 (famous for their Roger Dean flying elephant cover artwork), becoming one of the progenitors of what would become known as world music.

The two albums compiled on this disc were originally released in 1973 (Happy Children) and 1974 (Osibirock). Both are a stew of punchy horns, numerous percussion instruments, African tribal chants, and rock instrumentation. The band had begun to tour internationally, and significant growth can be heard from one album to the next.

Opening with the title track, Happy Children starts promisingly with blasting horns, clavinet and various and sundry percussion instruments. The tune feels stuck in a rut until the vocals come along at the two minute mark, yet there is little melodic development in either the voices or the horn charts. It is down to the keys to provide something for the band to hang its proverbial hat on, but what results just adds to the monotonous gumbo where everything and nothing seems to be going on at once. On song after song, you’re waiting for the horns in particular to break loose, ala Chicago or Earth, Wind & Fire. Instead, they colour within the lines. On We Want To Know (Mo) the horns provide competent but unflashy solo and ensemble playing. Not until Kotoku, a short instrumental, do the horns and flute lay down a relaxed, satisfyingly jazzy vibe. A very active drum pattern forms the basis of Take Your Trouble…Go, over which guitar and bass provide some hopeful riffing. Instead, we get numbingly repetitious chanting which eats the rest of the song alive.

Adwoa rescues the album with a plethora of percussive devices providing a real treat for the ears. While the vocals rarely rise above serviceable, the flute carries an uplifting melody buoyed by string synth. Toe-tapping funk featuring bass and organ give Bassa-Bassa an edge before the vocal chants take over again for Somaja. The album closes with Fire, propelled by electric piano and groovy bass . Percussion is everywhere, and even the vocals manage to achieve a small level of dynamism.

A year later, Osibirock upped the ante. Who’s Got The Paper crackles out of the speakers with a bright, happy sax lead, although the nonsensical vocals remain an acquired taste. Organ and congas introduce a Santana vibe and a much-improved vocal approach. It’s the sax here that’s the star, squealing, honking and blowing to raise the roof. The percussion volcano explodes around three minutes, setting up a new vocal chant and, surprisingly, a fantastic guitar solo that makes for a very satisfying conclusion. Another up-tempo collision of rock, soul and Afrobeat arrive in the form of Osibirock’s title track. This short instrumental is exhilarating, if not exactly innovative. Tuned percussion introduces Kelele, a track that builds with additional percussion and vocals, but no other instrumentation. Yet there is a palpable energy that drives the song through a variety of moods with the chorus the only constant.

Fusion makes a return in the form of African Jive, following super short instrumental Atinga Bells. An unstoppable Hammond attack breaks Jive wide open, paving the way for another shining guitar moment, eerily reminiscent of early seventies Isley Brothers. Tribal drumming gives way to a fabulous flute and trumpet solo on We Belong, only to be trampled by a vocal that feels totally out of place. Thankfully, the vocal is short-lived and sax returns to save the day. Flute leads the melodic charge on Komfo (High Priest). The song is beautiful and mysterious, with bass and percussion creating their own layer of intrigue. The organ break is also a delight, especially when augmented by the horns.

Propulsive rhythm guitar and horns make for a soulful brew stirred by an assortment of percussion instruments in Kangaroo. Without vocals to provide distraction it is easier to appreciate the flavours of this concoction. Home Affairs closes with a joyous Caribbean conglomeration of horns, woodwinds and, of course, more percussion.

Overall, Osibirock is a vast improvement over Happy Children. The instrumentation is essentially the same, but on the latter album the vocals are used more judiciously, and the songs seem more thought-out. There is nothing essential here, but it is interesting to see how the lure of American musical idioms combined with African sensibilities in a European crucible can lead to something familiar and foreign at the same time. Intriguing, frustrating and enlightening in equal measure.

TRACK LISTING
– Happy Children

01. Happy Children (6:31)
02. We Want To Know (Mo) (5:56)
03. Kotoku (2:39)
04. Take Your Trouble…Go (4:03)
05. Adwoa (4:14)
06. Bassa-Bassa (4:55)
07. Somaja (3:33)
08. Fire (5:25)
– Osibirock
09. Who’s Got The Paper (2:23)
10. Why (5:36)
11. Osibirock (2:57)
12. Kelele (5:14)
13. Atinga Bells (0:32)
14. African Jive (3:59)
15. We Belong (4:17)
16. Komfo (High Priest) (4:42)
17. Kangaroo (2:45)
18. Home Affairs (4:56)

Total Time – 74:37

MUSICIANS
Teddy Osei – Tenor & Soprano Saxophones, Flute, Percussion, Vocals
Mac Tontoh – Trumpet, Flugelhorn, Percussion
Sol Amarfio – Drums, Percussion
Kofi Ayivor – Congas, Percussion
Jean-Karl Dikoto Mandengue – Bass, Percussion
Jean-Alain Roussel – Keyboards (1-8)
Kiki Djan – Keyboards, Percussion (9-18)
Paul Golly – Guitar (9-18)

ADDITIONAL INFO
Record Label: Cherry Red Records
Country of Origin: International
Date of Release: 8th November 2024

LINKS
Osibisa – Facebook | Bandcamp | Instagram | Info at Cherry Red Records