IT is over two years now since Anco Momodu, the pioneering highlife legend who influenced whole generations of highlife musicians in Etsako, creating what can now be described as Edo Highlife, died.The legacy he left behind in terms of authenticity and cultural relevance continues to serve as a source of inspiration.With real name as Yakubu Momodu, he set the pace for the scene to thrive in the 50s and ruled it with a cultural dimension that tilted towards the way of life of a people and tribe known as Kukuruku. These people have evolved through Afemai and Etsako over the years; and it was this cultural dominance that spread all through the old Bendel State after the likes of Apollo, Okonkwo Adigwe, Ayeni, Paul Ede and a few others had appeared as forerunners. Anco's consistency helped to establish a highlife revival that has inspired generations of musicians from Edo State today.While Okonkwo Adigwe, Richard Bello and Paul Ede from the Benin and Asaba axis patronised the big multi-national record companies, Anco Momodu opted for private local labels, which did not quite put the professional polish on his recordings until he began to release on singles in the 50s and 60s. He was the only star in Afemai until the late Bolivia Osigbeime emerged on the scene. Indeed, Anco has the credit of establishing Bolivia on the scene.Influencing Bolivia's career in a rather positive way, he contributed to his first release, a single called Akara Okhuomo, meaning, 'the akara ball cannot fill a child,' with Ogho Okhade ' 'when the night draw near' ' on the flip side. This single launched Bolivia out on a professional path that has been taken over by his son, Costance.Anco was a great composer and lyricist whose songs mainly focused on the philosophy of life. He had great talent for naturally creating melodies that endured. When Cardinal Rex Jim Lawson, the late highlife king visited Auchi in the '60s, he attended one of Anco's rehearsals, which he found purposeful, and musically rewarding.Lawson was moved by the palm wine guitar chords he heard, and began to sing on the spur of the moment. This experience was later incorporated in one of Lawson's hit songs.Ando had a crazy guitarist called Otumagba whose solos were so inviting and sweet that the band kept the audience dancing endlessly at parties and engagements. After Otumagba's death, he found a replacement called Paddy who kept the tradition going.Consistent with the prevailing guitar band tradition of that period, the guitar was the main stay of Anco Momodu's band, providing the leading role at the rhythm section level.Anco's popularity cut across the entire country and, apart from regular gigs in Edo and the Eastern parts of the Nigeria, he was often contracted in Kano, Jos, Kaduna, other parts of Northern Nigeria and Lagos.Maliki Showman, who played with almost all the highlife greats before going his separate way in the 70s, was very close to Anco Momodu who in fact inspired him greatly. Said he, 'I was at Kano in 1970 when Anco Momodu came. I introduced him to a hotelier called Ebuwa who owned Ebuwa hotel. After two night stands, the hotelier pleaded for Anco to stay and alternate gigs with me at the club because of the surging crowd he attracted. I was forced to join in with my saxophone ' to elevate the sound to a protean orchestral level. The audience was very happy.'Paying glowing tributes to Anco Momodu, Maliki said, 'It was from Anco Momodu that I got the inspiration to venture into the music profession and pursue it seriously.' Maliki died two years ago.As a matter of fact, Anco is a big influence and inspirer of the typical Afemai highlife that is currently thriving in Edo State 'with Waziri Oshioma, Costance Osigbeime, Ben G and others in the forefront.Anco Momodu's greatest asset was the power of lyricism. His feat was comparable to Baba Eto, Adeolu Akinsanya, Ayinla Omowura and IK Dairo. He never really took time out to sit down and write songs. The inspiration usually came on the spur of the moment ' either in the recording studio while working on an album release or playing a gig in live setting. Praise songs which have formed an inseparable part of our social musical culture, and social commentaries flowed naturally, freely as he stood before the audience. He made a great impact in Lagos where he performed at such specific venues as Shell Club, Surulere Night Club, Surulere Community Centre among others. He was usually engaged by Afemai Women's Societies, Auchi leaders and businessmen among other communities.He played music until his death, he was not deterred by age, executing his repertoire with a ten-piece band of two guitars, a bass guitar, drums, maraccas, claves, conga and chorus boys.Maintaining an original approach, he recorded extensively and released singles as well as albums with many hit songs, among them, Ire Northena, Erepie, Agbobesi, Iyeokhai, Agwiele Nogbagbo, Anco Momodu, Ede Okhakha, enili Owaka, Abumekhelu, Omomeli, Ikposo, Agere Alelemhe, Ivbia Okpohoge, Odifiri. They were all done in Afemai language.In the beginning, it was a quartet of guitar, conga, bass guitar and vocals, but he increased the size of the band in later years as the music began to keep pace with modern trends and dimensions. He was a member of the Performing Musicians Association of Nigeria (PMAN) and was loved by all.Anco Momodu is greatly missed by the numerous musicians who were in the habit of borrowing lyrics from him, learning the art of vocal articulation at his feet.
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