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Ojapiano is a fusion of the traditional Igbo instrument Ọjà and subgenre of amapiano which emerged in Nigeria in the early 2020s. The term was coined by Kcee in the 2020s. There have been several pioneers of the genre since its emergence including Kcee, Snazzy the Optimist , Oxlade and renowned American pop rock band OneRepublic .
Pages in category "Amapiano songs" The following 17 pages are in this category, out of 17 total. This list may not reflect recent changes. 0–9.
Kcee, a talented musician, has his roots in Uli, Anambra State, despite being born and raised in Lagos. He was born on April 18, 1979 [3] and grew up in Ajegunle, a vibrant neighborhood known for fostering emerging artists.
ọjà. The ọjà // ⓘ is an integral part of the rich cultural heritage of the Igbo people and continues to play a significant role in their musical traditions. The Igbo people, who are indigenous to Nigeria, are renowned for the utilization of the ọjà (flute) traditional musical instrument in cultural activities or events.
JaySynths has produced songs such as "Case" which won Best Pop Single at The Headies 2019, and its cover titled “Upgrade" which was performed by Nigerian musician Snazzy the Optimist. [2] Other singles he has produced include "Wait", "Fake Jersey", "Marry" and "Power Rangers" by Teni, "Daz How Star Do" by Skiibii.
In Popular Music Perspectives, edited by David Horn and Philip Tagg, 52–81. Göteborg and Exeter: A. Wheaton & Co., Ltd. Frith, Simon (1996) Performing Rites: On the Value of Popular Music. Cambridge, Massachusetts: Harvard University Press. Holt, Fabian (2007) Genre in Popular Music. Chicago: University of Chicago Press.
Working Week were a British jazz-dance band active in the 1980s and 1990s. [ 1 ] Working Week was formed in 1983 by guitarist Simon Booth and saxophonist Larry Stabbins from the band Weekend , [ 2 ] which ended when singer Alison Statton left to become a schoolteacher.
The Penguin Guide to Jazz states: " 'Work Song' is the real classic, of course, laced with a funky blues feel but marked by some unexpectedly lyrical playing." [8] In a musical analysis of Adderley's improvisational bebop style, Kyle M. Granville writes that the song is "connected to the soul-jazz style that Nat Adderley and his brother Cannonball Adderley immersed themselves into during the ...