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They would also go on to play during the Independence Celebration of Zimbabwe in 1980. Osibisa played on several international tours in the late 1970’s including India, Japan, Australia and several African countries. In June 1971, Osibisa, became the first black band to break the iconic, Marquee Club, during the 11th National Jazz, Blues and Pop Festival – poignant, as exactly 50 years on, the band become the debut signing to the new and official Marquee Records, under Right Track Universal. By the mid ‘70s, Osibisa’s enigmatic momentum had bubbled to the surface of mainstream, and UK chart hits followed including ‘ Dance The Body Music’ and the iconic ‘ Sunshine Day’.
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They enjoyed gleaning tips on how to ignite their own live performances with the dazzling energy created by Osibisa.
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The likes of The Rolling Stones, Paul McCartney, Stevie Wonder etc were mesmerised by the roof-lifting ability of Osibisa, and all sought advice and mentorship from Osei. Audiences flocked to become part of the Osibisa live movement of utter elation! During these early days, Osei’s band of musical joy-makers, captured the attention of other musicians of the day.
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With an explosive on-stage vibrance and charisma, the likes of which had never been experienced before outside of Ghana, Osibisa, became an instant success. Osei played the saxophone, flute and African drums.
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In the early days, the band played at psychedelic venues around London, whilst trying to find financial support. What may be the most predominant aspect about Osibisa is that the vast blend of instruments and the playful lyrics inject just enough of a modern element into the album that it's properly kept from being labeled as world music or as new age.About ‘Osibisa criss-cross rhythms that explode with happiness’ – Nile Rodgers The Story of Osibisaįounded in 1969 by Teddy Osei, Osibisa is derived from “Osibisaaba” – a name given to types of music with styles like “palm-wine” and Fante Fishermen’s traditional music. In both "Ayiko Bia" and "Akwaaba," Osibisa's Ghanian and Nigerian roots come alive through the use of the flute, flugelhorn, and trumpet - not exactly the traditional instruments of West Africa, but they are transformed and molded to take on the band's fundamental sound. thanks to the well- balanced vocal charge and the beauty that's felt in the shingled layers of guitar, organ, and drum work. The most impressive track, "Music for Gong Gong," became a minor hit in the U.K. Each song conjures up a certain African mysticism with its stressed rhythms and semi-primordial tempos. Tracks such as "Dawn," "Phallus C," and "Oranges" incorporate fragments of traditional jazz and jazz fusion mainly because of the flute and saxophone into their core, but then fashions the result to resemble the band's true heritage. Even the melodies take bits of rhythm & blues and modern rock and affix them to the accompanying percussion beats to come up with a contemporary feel with an avant-garde atmosphere. Produced by Tony Visconti, Osibisa's extraordinary merger of African drum beats, colorful rhythms, and rock-inspired keyboard and horn parts give it an expansive sound that infuses countless musical influences. Osibisa's self-titled album opened up their unique blend of African and Western styled music to a wider audience, charting in both the U.S.