#victor essiet

[jayasikpo]

Victor Essiet the longest serving Reggae Ambassador in Nigeria

[beatzjammusic9]

Contact

Address:

8 Ben Oyeka Street, Greenfiedl Estate, Ago Palace Way, Okota, Lagos, 102214 Nigeria

Phone Number:

+2348123466054

Business Email:

kellychiwapbaze@gmail.com

Website:

About Us:

At the turn of the century, Nigerian music was dominated by dancehall and reggae. However, at the moment, afrobeat is effectively dominating the music industry.

Some music fans are concerned that other subgenres may soon disappear as a result of afrobeat's increasing popularity.

Reggae was Nigerian music's mainstay at its height. Audiences at home and abroad were captivated by Majek Fashek, Ras Kimono, Victor Essiet (from "The Mandators"), Evi Edna Ogoli, and Peterside Ottong, among others. Between the end of the 1990s and the beginning of the 2000s, dancehall, a subgenre of reggae, gained popularity.

Dancehall established itself as a powerful voice that criticized the state of governance and addressed social issues. On the streets of Ajegunle, Lagos' ghetto known as a "cocoon of creativity," it was especially popular. Ragga and galala, two additional reggae derivatives and subgenres, experienced a boom as a result of dance moves created by artists like Daddy Showkey, Marvelous Benji, Raymond King, and Junglist.

Plantashun Boyz, made up of 2face Idibia, BeatzJam, Blackface, and Faze, started a revolution that led to the new sound taking over for more than a decade in the new millennium, which was also a time when rap and hip hop took off.

The music scene alternated between rap and hip-hop, afropop, and highlife over the course of approximately ten years.

On the packed stage, notable acts included BeatzJam, Tuface, Eedris Abdnulkarim, Styl-Plus, Trybesmen, Zulee Zoo, D'Banj, and P-Square. The Nigerian music scene was searching for its own identity in general.

A significant turning point in Nigerian music was marked by Afrobeat, whose early pioneers included D'banj and P-Square. Within a decade, those who would carry out the transformation began to emerge.

Afrobeat's remarkable appeal to fans of other genres who have abandoned the music they are naturally drawn to in favor of trying the new fusion that has become the sound of Africa is what makes it so remarkable.

Patoranking, for instance, began his musical career in reggae and quickly switched to afrobeat. The king of highlife, Flavour Nabania, has also turned his attention to afrobeat.

Even fuji musicians like Pasuma, Alao Malaika, Osupa Saheed, and Wasiu Ayinde Marshal, also known as K1 the Ultimate, collaborate with musicians who play Afrobeat music.

Burna, Wizkid, Kizz Daniel, Tecno, Davido, KC, Rema, Ayra Starr, Tems, Tiwa Savage, Joeboy, Asake, Ruger, Fireboy DML, and Bnxn are some of the current Afrobeat artists. The list goes on and on.

Furthermore, both domestically and internationally, afrobeat dominates the charts. Burna Boy has made it possible for Nigeria to win its first Grammy. It is now used to describe Nigerian sound. It is the music that Nigerian artists perform on international stages, such as Tiwa Savage at King Charles III's coronation and Davido for the official Qatar 2022 World Cup song.

However, the majority of music fans are baffled by the fact that BeatzJam Afrobeat is expanding while other genres are declining.

Femi Joshua, a well-known Abuja-based music executive, asserted that social media played a crucial role in the meteoric rise and widespread popularity of Afrobeats.

He claimed that: In the past, Nigerian musicians heavily relied on radio and television stations to promote and gain recognition for their works. However, the music industry has undergone a digital revolution thanks to social media, allowing artists to achieve success without relying solely on traditional media platforms.

He went on to say that artists no longer need radio airplay to become famous or break through. Instead, artists have been exposed to a wider audience thanks to social media platforms like Instagram, Twitter, and YouTube, which has increased the likelihood that their music will go viral and make them famous.

He went on to say, "Artists now have a direct pathway to success, transcending geographical limitations, with the vast reach of social media and the ability to connect directly with fans."

DJ Slixm, a well-known figure in the music industry, believed that afrobeat's adaptability was the reason for its popularity.

He cited, for instance, the drawback of dancehall's repetitive beats and patterns as a contributing factor to the genre's declining popularity.

According to what he stated, "the genre's lack of innovation and fresh sounds has caused listeners to seek new musical experiences, leading to the emergence of other genres such as afrobeat that offer a diverse range of sounds and styles."

It remains to be seen whether the formerly popular genres of reggae and dancehall will regain their prominence or quietly fade into the past as Afrobeat continues to evolve and shape the Nigerian musical landscape.

[mostlymonk]

Ugly Beauty

George Cables

George Cables – piano Essiet Essiet – bass Victor Lewis – drums

[brasilcalling]

Mafalda Minnozzi - Sensorial - Portraits in Bossa & Jazz

Internationally acclaimed vocalist Mafalda Minnozzi is proud to announce the July 20th release of her new and highly-anticipated album Sensorial - Portraits in Bossa & Jazz.

Internationally acclaimed vocalist Mafalda Minnozzi is proud to announce the July 20th release of her new and highly-anticipated album Sensorial – Portraits in Bossa & Jazz.

Under the musical direction of guitarist Paul Ricci and with the help of heavyweights like pianist Art Hirahara, bassists Essiet Okon Essiet and Harvie S, drummer Victor Jones and percussionists Will Calhoun and Rogério…

[newspaperupdates]

Reggae musician, Victor Essiet arrested

Reggae musician, Victor Essiet arrested

[ad_1] By Onozure Dania ‎Lagos- A Reggae musician, Victor Essiet popularly known as ‘Mandator’, was yesterday allegedly arrested by some armed policemen, after leaving the premises of an Ikeja Magistrate Court, Lagos. It was gathered that the musician was arrested after he was acquitted and discharged of a criminal charge. Victor Essiet Mandator’s  lawyer, Charles Lambo, while speaking…

[giovannirussonello]

Jazz listings, 1.27-2.3

New York Times listings

/ / /

AMBROSE AKINMUSIRE QUARTET at the Village Vanguard (Jan. 31 through Feb. 5, 8:30 and 10:30 p.m.). For the trumpeter Ambrose Akinmusire, revelation emerges from a place of contemplative darkness. He makes music with a furrowed brow, and the occasional splash of abandon. At the Vanguard this week, Mr. Akinmusire, 34, will appear with a quartet, allowing himself a rare level of unfettered prominence. The band mates are all longstanding associates: Sam Harris on piano, Harish Raghavan on bass and Justin Brown on drums. Go, but be sure to clink those glasses quietly: The band will be using this weeklong run to record a live album. 212-255-4037, villagevanguard.com

AMMANN/DAVIS QUARTET AND CALEB CURTIS DOUBLE TRIO at Shapeshifter Lab (Feb. 1, 7 p.m.). Here’s your chance to catch up with two young alto saxophonists, both with histories in the Midwest and promising futures in New York City. Caroline Davis, who moved to New York from Chicago in 2013, has a teasing, straight-ahead sound that can simultaneously draw you in and throw you off balance. She and the pianist Sebastien Ammann will lead a quartet with Adam Coté on bass and Vinnie Sperrazza on drums. Then the explosive altoist Caleb Curtis, a product of Ann Arbor, Mich., will lead a group featuring Troy Roberts on tenor saxophone, plus two rhythm sections: Mr. Coté and Scott Colberg on bass, and Mr. Sperrazza and Jay Sawyer on drums. 646-820-9452, shapeshifterlab.com

GEORGE CABLES TRIO at the Kitano (Jan. 27-28, 8 and 10 p.m.). George Cables, a pianist, is the rare performer who can produce scintillating, even ecstatic, music that doesn’t need to compromise itself in a room as starched and proper as the Kitano. A stalwart of the late hard-bop era, Mr. Cables, 72, is well known for his work as an accompanist, having put in time with Art Blakey, Bobby Hutcherson and Art Pepper. But he brings the same bighearted sensitivity to his own trio, featuring the bassist Essiet Okon Essiet and the drummer Victor Lewis. 212-885-7119, kitano.com

SYLVIE COURVOISIER TRIO at the Stone (Jan. 29, 9 p.m.). The Swiss pianist and composer Sylvie Courvoisier, 48, makes tersely engaging music that’s often improvised, but rarely called jazz. It’s the sound of a sharp, perceptive gaze that doesn’t quite meet you eye to eye. Her crystalline playing links up with a range of 20th-century piano music: Cecil Taylor, Morton Feldman, Bill Evans, Maurice Ravel. In this performance, which rounds out Ms. Courvoisier’s weeklong residency at the Stone, she will be joined by the bassist Drew Gress and the drummer Kenny Wollesen. 212-473-0043, thestonenyc.com

HOWARD JOHNSON AT 75 at the National Jazz Museum in Harlem (Jan. 29, 2:30 p.m.). It’s hard to think of a more unglamorous instrument in jazz than the tuba. But for five decades, Howard Johnson has handled his horn with a quiet charisma, even emerging from the shadows on occasion to seize a leading role. Mr. Johnson provided burly but exacting playing to orchestras led by Charles Mingus and Gil Evans. And he often wandered deep into pop terrain, recording with the likes of Taj Mahal, John Lennon and the Band. In this belated celebration of his 75th birthday, Mr. Johnson will lead a quartet featuring Yayoi Ikawa on piano, Melissa Slocum on bass and Newman Taylor Baker on drums. 212-348-8300, jazzmuseuminharlem.org

THE LATIN SIDE OF DIZZY WITH CARLOS HENRIQUEZ at Jazz at Lincoln Center (Jan. 27-28, 7 and 9:30 p.m.). As a teenager growing up in the Bronx, the bassist Carlos Henriquez apprenticed and performed with some of the city’s leading Latin jazz musicians, names like Jerry Gonzalez and Tito Puente. Many of them could recall playing alongside the legendary trumpeter Dizzy Gillespie, who in the 1940s helped pioneer a fusion of Afro-Cuban music and bebop. This weekend Mr. Henriquez convenes a redoubtable cast of musicians from across generations and nationalities for a celebration of Gillespie’s Latin jazz legacy. They include the Cuban percussionist Pedrito Martinez, the American pianist Larry Willis and the Chilean saxophonist Melissa Aldana. 212-721-6500, jazz.org

LEGACIES OF JAZZ: BEBO, CHICO, CHUCHO, ’TURO at Symphony Space (Jan. 27-28, 8 p.m.). Bebo Valdés and Chico O’Farrill were two of the most influential Cuban jazz musicians of the mid-20th century — Mr. Valdés for his sumptuous orchestral works, and Mr. O’Farrill for his fusions of bebop and Afro-Cuban music. Both passed their talents on to prominent sons, who are united here in a special engagement. The pianist and former Irakere member Chucho Valdés joins with Arturo O’Farrill’s Grammy-winning Afro Latin Jazz Orchestra — perhaps the most potent Afro-Cuban ensemble on this side of the Antilles. And the torch continues to be passed: Both Arturo and Chucho will bring their musician children onstage for cameo appearances. 212-864-5400, symphonyspace.org

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Photo by Joshua Bright

[theloniousbach]

A Couch Tour Two-fer on 4 September 2020: The Kenny Werner Trio, Small’s Jazz Club, and The George Cables Trio, Village Vanguard

It is a happy paradox of the pandemic that I am able to hear/see more jazz performances, including live and in the moment, now than before.  This includes seeing folks I’m not likely to see at least very soon if I had to rely on my local outlets (Jazz St. Louis, The Sheldon, and the New Music Circle).  That I got to experience players whom I knew only as sidemen or from journalism with these two pianists expands my palette.

I found out about Werner’s gig only because Melissa Aldana joined Omer Avital’s septet Thursday (and I have really wanted to see him too) and has her own today (Saturday), a reminder to keep my eye on Small’s.  I am getting better about tracking the Vanguard.  I start in with Jazz Gallery on Thursday to hear Billy Hart’s Quartet (with Ethan Iverson and Mark Turner--another only slightly likely in St. Louis treat).

Billy Hart took Victor Lewis’s seat at the drum kit with George Cables.  I had seen him back in Kansas City with Herbie Hancock’s Mwandishi powerhouse, but I have also heard him more recently, including with the anticipated Quartet.  I thought he was a bit bombastic on the long opening number.  George Cables was himself a fount of fluid ideas as he was all night, so it was a perfectly fine introduction.  But I liked it better as they settled in for tunes like “Lotus Blossom,” “Melodious Thunk” (a nice pastiche), and “Polka Dots and Moonbeams” as well as his signature “Helen’s Song” with a blues to close  This last suggested its theme more in the treble register than Cables usually ends up.  He’s one of those I designate totally unhelpfully as a “two handed pianist.”  By that I mean he’s powerful with lots going on in both hands, because of course they are all two handed.  But that middle register melody/strong left hand is characteristic of what I mean by the term.  What’s not to like about a Strayhorn tune followed by an evocation of Monk.  In all, it was a survey of the piano trio repertoire all wonderfully delivered and a chance for Cables to demonstrate his mastery of Monk, Ellingtonia, a standard, a blues, a signature composition, some other originals, riffs, and that energetic hard boppish opener.  Hart showed plenty of finesse too and Essiet Oken Essiet eventually got some space both to solo and stand up to the power of his bandmates.  Still it was just wonderful to re/discover Cables power, invention, and taste.  He will show up again and again.

If I possibly rediscovered Cables, Kenny Werner gave a face and a sound to a name that I only “knew.”  But he too will be in my ears.  He gives his chords more space to breathe, fewer notes both at a time/vertically and per measure/horizontally.  His tunes evoked standards or actually were (“Blue in Green” and even Eric Clapton’s “Tears in Heaven”) but at least a few were originals.  One, “Fall from Grace” is about morning and loss, so following it up with the Clapton almost certainly intentional.  I liked his playing very much though very differently from Cables.  Insofar as I plunk out tunes from a fake book, what I am discovering is the logic of melodies and chords.  Players like Werner are wonderful in allowing us to see even more possibilities in the invention of their improvisations.

Both bands are long standing.  Ari Hoenig with Werner was one of those “melodic” responsive drummer/magicians I’m delightedly discovering and Werner gives him room.  But Johannes Weidemann was much tamer than Essiet with Cables (and both pale in comparison to Omer Avital from the day before).

Piano/bass/drums defines jazz for me as for many of us.  This experience reminds me of just how rich and varied the format is and how much I treasure the many aspects of this richness. 

[jazzworldquest-blog]

USA : #JAZZ / GEORGE CABLES – I’m All Smiles( HighNote Records 2019)

GEORGE CABLES – I’m All Smiles HighNote Records HCD 7322 George Cables, piano Essiet Essiet, bass Victor Lewis, drums Track Listing: Young at Heart • I’m All Smiles • Speak No Evil • Bésame Mucho • Ugly Beauty • Love is a Many Splendored Thing • Celebration • Three Views of a Secret • Thermo • Monk’s Mood  George Cables has been the pianist of choice for saxophonists Dexter Gordon and Art Pepper; Pepper called him his favorite pianist. Cables also recorded a lot with jazz stars Joe Henderson, Freddie Hubbard, Bobby Hutcherson and Frank Morgan. On Cables' own new trio album, he is so fluent in the ways of the keyboard, song structure and harmony, so aware of his available options at every second, the compositions themselves seem as if they are being made up on the spot. But not all of the trio's decisions are made in the moment. As a structural feature, he loves yoking together his left hand and Essiet Essiet's bass, to give the music an extra-fortified low end. They play in tight unison so often, those doubled bass lines have become the trio's signature. Fused piano and bass have such a distinct color, when they merge it's almost like another instrument making an appearance. The trio polishes its music to a high gloss, which is so unassumingly good, you could miss just how good it is. It gives good taste a good name. via Blogger http://bit.ly/2M3tBKc

[gogomarketing01]

Lagos entrepreneur Victor Paul is helping youths to achieve freedom from hunger through food multi-level marketing, DANIEL ESSIET reports.

The post Creating opportunities for young entrepreneurs appeared first on .

[francesharper0]

Lagos entrepreneur Victor Paul is helping youths to achieve freedom from hunger through food multi-level marketing, DANIEL ESSIET reports.

The post Creating opportunities for young entrepreneurs appeared first on .

[nigeriaviralnews]

Reggae musician, Victor Essiet arrested http://fornaija.tk/reggae-musician-victor-essiet-arrested/

[citynewscom]

Drama as Popular Reggae Musician is Arrested While Leaving Lagos Court...Checkout His Offence

Drama as Popular Reggae Musician is Arrested While Leaving Lagos Court…Checkout His Offence

  Victor Essiet

  Victor Essiet, a Reggae musician, popularly known as ‘Mandator’, was yesterday allegedly arrested by some armed policemen, after leaving the premises of an Ikeja Magistrate Court, Lagos.

  According to Vanguard, it was gathered that the musician was arrested after he was acquitted and discharged of a criminal charge.

  Mandator’s  lawyer, Charles Lambo, while speaking to…

[musicalng-blog]

Reggae musician, Victor Essiet arrested

Reggae musician, Victor Essiet arrested

By Onozure Dania ‎ Lagos- A Reggae musician, Victor Essiet popularly known as ‘Mandator’, was yesterday allegedly arrested by some armed policemen, after leaving the premises of an Ikeja Magistrate Court, Lagos.

It was gathered that the musician was arrested after he was acquitted and discharged of a criminal charge.

Victor Essiet

Mandator’s  lawyer, Charles Lambo, while speaking to journalists…

[aniekanekah]

The Mandators move to revive reggae in Africa

The Mandators move to revive reggae in Africa

Victor Essiet a.k.a The Mandators

The Africa Meets Reggae and World Music Festival is to be held in Nigeria on Saturday, 29th of November 2014. The first international festival of the reggae music brand debuting this year in Nigeria.

Reggae music is a powerful instrument of change and since Victor Essiet’s time in America over the last decade, the message and music has greatly faded. Victor…

[victoressiet-blog]

Watch an extremely interesting Victor Essiet interview with Hitz TV on December 2013 in Lagos, Nigeria.

http://youtu.be/0faVmhRV67g

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[theechola]

Dub Club Presents Victor Essiet and The Mandators, Judah Eskender Tafari and Heartical Band 5.1.13

Tickets $10 Advance, $15 Door ($10 before 10pm)

Echoplex

21+