Chronicles Of The Late Highlife Evil Genius Of Dr. Victor Abimbola Olaiya (OON)

BY IFECHI OKOH

February 12 this year makes it exactly one year, Highlife light in southwest  of Nigeria, Dr. Victor Abimbola Olaiya (OON) joined his ancestors. But sadly, Covid-19 restrictions made it impossible for his families, friends, associates and fans to bid him a befitting fare-well.

However, his family will remember him on that faithful in their own best way.

Let use this medium to take fans down the memory lane of life and times of the musical genius.

Those who stamped the sobriquet “the highlife evil ” on Dr Victor Abimbola Olaiya (OON), years back must have been convinced, roundly, that he was the artiste to beat in all ramification as far as highlife music is concerned in the west Coast of Africa.

His star has been shining since then, justifying Olaiya’s placement as numero uno (number one) among his peers, with his captivating and dramatic performances, here and there, leading credence to this fact.

One of such performances was when he took the centre stage during Queen Elizabeth II’s visit to Nigeria in 1956.

Four years later, Olaiya consolidated that recognition when he dusted other contemporaries to play as the band during Nigeria’s independence in 1960. On that auspicious occasion, he actually mesmerized all, especially those in government. That, expectedly, fetched him another big time engagement when Nigeria became a Republic in 1963.

During that landmark gathering, Cool Cats Orchestra led by Dr. Olaiya shared the stage with Famous American Jazz player, late Louis Armstrong.

Olaiya who hails from Ijesha-Ishu in Ekiti State capped these national outings with his appearance at the famous Prague International Jazz Festival in Czechoslovakia, where he represented Africa and made her proud.

Olaiya recalls with nostalgia how he was besieged to sign autographs for his teeming fans who witnessed the grand razzmatazz.

On the heels of this, the man nicknamed “Evil Genius of highlife” because of his successful adaptability of the traditional music of Nigeria’s many tribes stormed and thrilled troops of the United Nations Forces During the Congo (New Zaire) Crisis.

Back to Nigeria, he faced his music career, churning out what observers regards as evergreen release which not only fetched him popularity, but also honorary academic awards by various university and professional bodies.

These include the city of Los Angeles, California, where he was conferred with a honorary degree and later fellowship of the Institute of Administrative Management of Nigeria.

His performance for soldiers during the civil war was considered patriotic and fetched him the honorary Lt. Col. Insignia.

The musical evolution of Dr. Victor Olaiya, who was born on December 31, 1930 dates back to his early Day in Calabar, the Cross River State capital when his late father, Pa Alfred Omolona Olaiya was a Church organist, and his mother, late Mrs. Batsheba Ayodele Olaiya, was a folk singer.

These parental traits, which may have been passed to Olaiya, propelled him into music quite early.

A past pupil of RCM Primary School, Owerri, Olaiya started his career in 1946 with blowing the French horn for the School Band at African College, Onitsha, Anambra State.

Olaiya stunned observers when he suddenly advanced to the B Flat Cornet, before graduating to Trumpet Bb. This he took to the Lagos City Orchestra in the early 50s moving over to late Bobby Benson’s Jazz Session and finally Sammy Akpabot’s band before going solo in 1954.

That Band named ‘Cool Cats Orchestra’ was formed in conjunction with the late A.B.C Cole. There, Olaiya’s talent began to rise like the morning sun from the East.

Hits followed in quick succession on Badejo’s sound label.

Olaiya, celebrated for his knack for love songs, sports a rough voice which he soon learnt to blend well with his brand of music, making it pretty agreeable and acceptable to the ear drums.

He has since complimented that with his dexterity on the trumpet which actually qualified him to play alongside the legendary American Jazz Whizkid Louis Armstrong. That too brought the acclaimed Highlife giant of Africa and the late Ghanaian top highlifer, E.T Mensa close.

Both did one popular and evergreen joint album which actually became a bestseller. His philosophical leanings has since been displayed in song like “Aiye Soro” where he admonished those who have everything going for them to soft pedal because nobody knows where the pendulum will swing to before their very eyes.

Like other musicians identified with a unique dress sense or any physical attribute, Olaiya has successfully singled himself out on the stage with his horn and white handkerchief. In fact, over the years, the horn, white handkerchief and Dr Olaiya have remained like triplets. Their inseparability is visible and interesting.

That may be as a result of the effective synchronization of his songs, horn and white handkerchief whenever he is on stage. He confesses that the handkerchief symbolizes his success.

Olaiya does not only romance, but confesses his love for white handkerchiefs, he has same for his horn. It is what he live by and all that he lives for. The horn, according to him, is the man. It is the musician. Without it, Olaiya couldn’t make music or music that is peculiarly his.

This distinctive highlifer has embraced this openly. Hear him, “Anytime I am with the horn, I must carry my white handkerchief, the symbol of my success.”

Beneath the veteran musician’s showmanship lies his ability to pen philosophical, poetic and melodious songs which appeals to both old and young.

He has so many songs in his repertoire and there is virtually no issue under the sun that he has not sang about. That is, from love to the socio-economic issues and vanities of life. For instance, in Adogan, he lamented the perceived sweet-pain of pint-sized men who are into relationships with fat women, satirizing their supposed suffering.

In his task as a foresighted musician, he prophesied Nigeria’s ever ailing economy in a number “Kosowo Lode” which literately means monetary scarcity.

His music is not only philosophical and poetic, but educative. In his twilight, all tumultuous passions and quick sensations appear to have subsided in him. No more turpentine caves or boisterous pleasures to agitate him.

More than ever before, he insisted on the externalizes of life. That, he did without necessarily betrayed his love for music which he played every Saturday in Papingo Nite Club, an annex of the massive Stadium Hotel, Surulere, Lagos.

Few meters from there, Olaiya ran a sprawling business of importation and distribution of musical instrument and accessories. This business spanned the entire West African sub region, grouped as ECOWAS.

Beyond Olaiya’s musical and business inclination, laid his sports disposition. This the “Evil” Genius confirmed years back, when he played for the football association in 1954, excelling in high jump, pole vault and swimming. He loved tendering bird and pet like dogs and cats.

His unquenchable thirst for music and relevance, was boosted in a recent year before his death with a musical package which observers maintained, cut across age and social strata. With this, it was evident, that although, God created Dr.Victor Abimbola Olaiya for the last century, but through hard work and perseverance, he found himself in this century and from strong indications has since qualified for the next century.

Olaiya’s invaluable contribution to highlife music shall forever be cherished by music scholars, connoisseurs and player of the music.