Difference between revisions of "E.T. Mensah and the Tempos"
| Line 9: | Line 9: | ||
[[Ghana, Guinea, Mali]] | [[Ghana, Guinea, Mali]] | ||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
Revision as of 11:58, 25 September 2007
For an example of highlife's Ghanaian social commentary, infused by American-Cuban musical style, listen to the Inflation Calypso.
Mensah composed over forty highlife tunes in support of Ghana's first leader, Kwame Nkrumah, provide music at major CCP rallies and accompany the leader on State visits to neighboring countries.
E.T. Mensah composed the following songs in support of Ghanaian nationalism, utilizing the highlife idiom, strongly influenced by jazz, even as nationalism was influenced by African-American intellectual figures, such as WEB Dubois.
