Holy Writings track list:
1. Fa Makoma
2. You Are Jesus (feat. Kwame Amihere & Harbour City Mass Choir)
3. Ayeyi Soronko in Eb
4. Shrine of Our Sanctuary
5. You Are Beautiful
6. Been a While
7. Meeba Lala (feat. Eugene Zuta)
8. Hello, I Still Love You
9. Owui Ma Me
10. The Way (feat. Cwesi Oteng, Koda, Ike Nanor & Sitso “Reazn”)
11. Hiding Place
12. Every Single Word (Asem Biara Meka No)
14. Thank You
15. Safe in You (feat. Rev Joe Beecham & Ewurama Dua Anto)₵10.00₵10.00
Moko Bɛ track list:
1. None Compares (feat. Danny Nettey & Ike Nanor)
2. Moses’ Song
3. Woana Na (feat. Nana Yaa Amihere)
4. Moko Be
5. Moko Be (Reprise)
6. Kwemo (Teaser)
7. Praise Joint
8. Wontse Bo₵10.00₵10.00
Out Of Stock
Six Strings and a Note is a compelling and relevant portrait of the artistic life of Daniel Kwabena Boa Amponsah, known around the world by his stage name, Koo Nimo. Written with a curiosity, simplicity, and a keen memory for detail, the book takes us on a journey through Koo Nimo’s work as an artist, and also as a man with a deep affection for his culture.
From the quiet Ghanaian village where he grew up, to the popular concert halls, leading international universities and renowned institutions, Koo Nimo’s life is nearly a century of extraordinary subplots to a story of hope, determination, and a boundless love for guitar music.
Celebrated in his native Ghana for his infusion of traditional motifs into mainstream music, and his influence on the Addadam music styles and palm-wine guitar, Koo Nimo unveiled Asante culture to audiences all over the world.
A fine blend of a vivid recollection of a memoir and an authenticity woven into a biography to give the reader a richer encounter with Koo Nimo’s life lessons, challenges, and successes through his life and work.
A father, a poet, a folk musician, a teacher, and a philosopher, Koo Nimo would say, “I did not set out to become another [Andres] Segovia. All I have is my culture, my story and my song, and I have to do my best for the sake of a generation who will be listening and learning long after I am gone.”
A must-read for all international music enthusiasts.₵80.00
Highlife is Ghana’s most important modern home grown dance-music that has its roots in traditional music infused with outside influences coming from Europe and the Americas. Although the word ‘highlife’ was not coined until the 1920s, its origins can be traced back to the regimental brass bands, elite-dance orchestras and maritime guitar and accordion groups of the late 19th and very early 20th centuries. Highlife is, therefore, one of Africa’s earliest popular music genres.
The book traces the origins of highlife music to the present – and include information on palmwine music, adaha brass bands, concert party guitar bands and dance bands, right up to off-shoots such as Afro-rock, Afrobeat, burger highlife, gospel highlife, hiphop highlife (i.e. hiplife) and contemporary highlife.
The book also includes chapters on the traditional background or roots of highlife, the entrance of women into the Ghanaian highlife profession and the biographies of numerous Ghanaian (and some Nigerian) highlife musicians, composers and producers. It also touches on the way highlife played a role in Ghana’s independence struggle and the country’s quest for a national – and indeed Pan-African – identity.
The book also provides information on music styles that are related to highlife, or can be treated as cousins of highlife, such as the maringa of Sierra Leone, the early guitar styles of Liberia, the juju music of Nigeria the makossa of the Cameroon/ It also touches on the popular music of Ghana’s Francophone neighbours.
There is also a section on the Black Diasporic input into highlife, through to the impact of African American and Caribbean popular music styles like calypsos, jazz, soul, reggae, disco, hiphop and rap and dancehall. that have been integrated into the highlife fold. Thus, highlife has not only influenced other African countries but is also an important cultural bridge uniting the peoples of Africa and its Diaspora.₵130.00₵130.00
“Dr. Efua Sutherland has once again rescued a couple of folktale mores from our oral traditions and brilliantly merged and polished them into a truly wondrous gem of a tale for young people, as well as the young at heart. This new and dynamic rendering makes some ancient world wisdom accessible to today’s children.” Ama Ata Aidoo, 2006
Voice in the Forest draws upon the traditional fairy tales and folktales of Ghana. Unlike most traditional tales which seek to explain one thing, this story explains several things and practices; the mandatory rest day for farmers, the founding of a village and why calling children bad names is wrong. It’s ambitious. And yet it captures and holds a child’s attention so completely.
The audiobook CD is narrated by Abena Busia.
Abena P.A. Busia is a celebrated Ghanaian poet and professor of literature. Her dramatic narration under the direction of Esi Sutherland-Addy bring the characters of the story to life over a background of original musical composition by Kojo Essah and Yaw Ediko of Takashi Music, a group specializing in the fusion of traditional African percussion instruments with guitar, trumpet, saxophone and voice. The resulting score is uniquely whimsical and delightful.₵10.00
First published as Tahinta! and Vulture Vulture! Two Rhythm Plays for Children by Efua T. Sutherland, the audiobook edition illustrated by Edmund Opare is an irresistible invitation to join the young narrator as he moves the story along with the encouragement of the chorus.
The children of Mmofra Foundation’s Language Club perform the audiobook version, featuring Nii Noi Osuteye as the boy, Maria Bossman as the father, and a group of Language Club members as the chorus.
The Adehyeman Group provides the percussive beat which carries the story.
About the Book
Tahinta is a story with a beat. It is about a boy went fishing in the River Birim. He set his fish-trap in the water. He cast his net but when he drew it out, it was empty. He began to look unhappy. But just when he was getting ready to go home, something came walking across the river. You will find out what it was.₵10.00
The volume in hand deals with modes of inquiry and interpretation broadly organised into sections on theory, and historical and creative studies. The section on theoretical issues comprises papers on: the problem of meaning in African music; musicology and African music; the juncture of the social and the musical; integrating objectivity and experience in ethnomusicological studies; the aesthetic dimension in ethnomusicological studies; universal perspectives in ethnomusicology; and contextual strategies of inquiry and systematisation. The section on creative and historical topics covers the following: the history of music in African culture; history and the organization of music in West Africa; historical evidence in Ga religious music; processes of differentiation and interdependency in African music; African musical roots in the Americas; and developing contemporary idioms out of traditional music.₵25.00
Ace writes music and plays several instruments but calls himself “just a sporadic songwriter and music hobbyist.” He is an Associate of the pioneering, contemporary gospel music group, Joyful Way Inc. and served as its Director of Music & Productions for several years, having a hand in every album produced by the group since 1991.
Flavours of 50: My Yadah is his first music album.₵20.00