The death of Chief Stephen Osita Osadebe on May 11,2007, in the United States at the age of 71, has robbed the Nigerian music scene of one of its pioneers and strong advocate of Highlife music genre, a cultural icon, music maestro and performer extraordinaire. Osadebe believed so much in the Highlife music that he dedicated his entire life to its propagation. This was evident in his quantum contributions to the evolution and development of the music.
Like a colossus, the late versatile composer and multi-instrumentalist bestrode the musical scene in the 1950s and remained so till his demise.
Born in March 1936 in Atani, Ogbaru Local Government Area of Anambra State, Osadebe’s foray into music manifested early in life when he doubled as a chorister in the church and a member of his school’s boys’ band. This phase marked the development of his interest in music. Besides, the young Osadebe was actively involved in the traditional African music genres like Amakaekwu, Kokoma Agidigbo and other local forms that were in vogue then. It was the membership of these musical groups that enabled him to be among those that entertained people during burial and marriage ceremonies and other festive occasions.
Although Osadebe’s musical talent is phenomenal, he might have inherited his musical ingenuity and prodigy from his late parents, Chief Dennis Obi Osadebe and Madam Nwanyiego Osadebe who were also musicians.
Aside this, Osadebe was influenced by the late African–American great musician, Nat King Cole. Apart from drawing some musical inspiration from King’s music, Osadebe also had interest in classical music. His love for music was further sharpened and given artistic expression when he played in a musical concert in Onitsha as a guest artiste.
His other musical influences include the ace trumpeter, Zeal Onyia and leading singers like Joe Mensah, Tunde Osifisan and Godwin Omabuwa. But Osadebe towered over them because he was a prolific composer. This brought him fame and at the same time pressure from home to quit music and go back to school; a call he heeded and went to the then Soviet Union for studies in trade unionism.
Upon his return, Osadebe formed The Nigeria Soundmakers International Band. His early recordings include such hits as One pound, no balance and Oyim lotam.
His musical art suffered from the vagaries of the Nigerian Civil War. But after the tribulations, he repackaged his music and continued to dish out his peculiar call and response type of highlife music laced with deep melodious rhythms characteristic of Igbo musical idioms. His lyrics and vocal dexterity were evocative, enchanting, mesmerizing, didactic and philosophical.
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