Crave [music] Mag

[music]Rhythm is Life

NO 004

cravemusicmag.com

FLAW

SSQ

FEATURES

Soweto String

CroonsQ U A R T E T

Zach Njoroge

Ali Kiba STLNavio

DJ Kaytrixx

TURNTABLES

CRAVEMUSICMAG.COM 03

PlaylistHighlights

ISSUE NO 4Samsung I5800 Galaxy 3 is a mid-range Android phone with a custom paintjob on the OS and few nice software surprises including Sw-ype, a novel way to type on a virtual QWERTY keyboard.

CLASSICAL

NOVEMBER 2010 — JANUARY 2011

Who is Dj Kaytrixx?Let’s face it, if you haven’t heard of DJ Kaytrixx then you probably live under a rock or you may be

stuck in another time dimen-sion. Born and raised in Mom-

basa, 21 year-old Kabochi Gakau who decks for KTN’s

interactive music show, Str8 Up, has become a household

name among the generation x.

CONTEMPORARY

An Operatic OdysseyAlthough he went through a primary school sys-tem that did not carry out music exams, and was part of a choir that was banned from the Kenya Music Festivals, Zach Njoroge went on

to pursue an extremely difficult art, Opera.

14ARTIST INDEXABBA 9Abura, Achieng 46Aceda, Dan 46Aerosmith 9ALEMBA 49Aliwa 7Antwi, Kojo 6Atlas, Natacha 7Ave, Swangz 7Awadi, Didier 7AY 11ba, Bassekou Kouyate & Ngoni 7Band, Kachumbari Seven 47Band, Villager’s 46Beatles 47Beyonce 6Chameleone, Jose 7Chicago 9Chipmunk 6Cissoko, Ba 7Club, Culture Musical 7Dee, Lady Jay 11Dela 46Dikonge, Henry 11DJ SADIC 49Estelle 6Fotso, Kareyce 4Gordon, Denise 11HHP 6Jay, Professor 11Jay-Z 6JULIANI 49Kante, Mory 11

Kanza, Lokua 24Karuri, Shiro 3Keita, Salif 24Kidjo, Anjelique 35Kidum 11Kiwuwa 7K’Naan 6Maal, Baaba 11, 47M.I. 6Mtukudzi, Oliver 11Music, Jagwa 7Nameless 11Naore, Dobet 24Ndogo, Nyota 7N’Dour, Yousour 11Nola, Nick 7Ogot, Nina 3Owiyo, Suzanna 11P-Square 6Rae, Corinne Bailey 6Rascal, Dizzee 6Redsan 11Sade 6Seck, Mansoor 47Sembera 7Shammah 11Sol, Sauti 46Thandiswa 7Thiong’o, Jemimah 11Wahome, Esther 11Wahu 11Washington 7Wine, Bobby 11 24

66

Three Looks One Perfect WomanThis season’s Carat features the homemaker, the party girl and the good girl.

6 NewsRound up of music news

10 Power PlayaThe Business of Music andEntertainment in East Africa

20 StylePhileHot Sizzling Celebrity Fashion

24 SkratchMarried to the turntables

28 Gadgets GaloreAudi R8 GT, Samsung 8530 Wave II, Philips Fidelio DS9000

50 Club SceneLaikiana, Club Afrique, Havana

56 CD ReviewsDollar Brand, The Villagers Band

60 Fashion Hit ListVacation Wear

66 Event PictorialSafaricom Classical Fusion, Salif Keita and Spread the Love

Regulars

52 l

PlaylistNOVEMBER 2010 — JANUARY 2011

ISSUE NO 4

CRAVE CARAT

Highlights

Aly KeitaFor the last 15 years he has been travelling the world and thrilling his fans with the sounds of the balafon.

46 lTRADITIONAL

04 CRAVEMUSICMAG.COM

28

Size Matters

It’s hard to believe that we’ve hacked a whole year bringing you rich content on musical

matters. The best part was meeting the musicians; each one with a dream of one day

making it big in the industry. The worst part was…well, we need more time to figure it

out. The biggest party on the Christian calendar is round the corner and you can be sure there

will be enough concerts and lotteries to go with it.

The MTv Africa Music Awards are here again, much much bigger and this time the compe is

so stiff. With the waKare trio (PUnit), the Drummer queen (Muthoni Ndonga) and King of Kapun-

gala (Daddy Owen)nominated against hot West African acts, it’s imperative that we implore you

to vote vote VOTE and bring that MAMA home. Last year’s event was so crazy with Akon and

Wycliff battling it out on stage, boxers style. It created such a buzz in the international music

arena, perhaps not the kind of publicity MTv wanted, just bigger. Much much bigger. It’s all going

down on December 11 in Lagos, Naija.

In this issue, the biggest yet, we bring you the KAMP boss, June Gachui, the rockers next door

Murfy’s fLaw, SSQ, Aly Keita the Ivorian balafon player and of course, gracing our covers, DJ Kay-

trixx. Jazz enthusiasts will find Dollar Brand’s African Sketchbook in the review pages interest-

ing. Those contemplating finances should check out Broke Artist vs. Poor Artist on our finance

column. And if you missed out on those big concerts visit the pictorials.

In short, it’s been a blast and we’ll be doing it all over again in 2011, bigger and better, as

long as you CRAVE [music].

Happy hols!

crew

The First Note

KenyaKenon Court, KileleshwaP O Box 20319 00100 Nairobi020 202 59 77 [email protected] .email

Publisher: Music Gallery Limited

Editor: Mufu [email protected]

Art Direction & Design: Charbel [email protected]

Stylist: Joy [email protected]

Sales and Advertising:Arthur [email protected]

Contributors: Alenga Bouyo, John Murray, Ana Letik, Patrick Wameyo

Photographers: Paul Munene, Peter Cacah, Sylvia Gichia

Production Manager: Charbel [email protected]

© Music Gallery Limited 2010. All rights reserved. No part of this magazine may be used or reproduced without the written permission of the publisher. Music Gallery Limited is registered in Kenya. All information contained in this magazine is for infor-mation only and is, as far as we are aware, correct at the time of going to press. Music Gallery cannot accept any responsibility for errors or inaccuracies in such information. Readers are ad-vised to contact manufacturers and retailers directly with regard to price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Music Gallery a licence to publish your submission in whole or in part in all editions of the magazines. Any material you submit is sent at your risk and although every care is taken, neither Music Gallery nor its employees, agents or subcontractors shall be liable for loss or damage.

[music]

ON THE COVER

DJ KAYTRIXXPhotographed by PETER CACAHStyling by JOY MWIANDIClothes KAYTRIXX’S OWN


The Bigger the Better

Best VideoFally Ipupa – Sexy dance (DRC)P-Square f/t J. Martins- E No Easy (Nigeria)The Parlotones – Life Design (South Africa)Banky W – Strong Ting (Nigeria)

Brand:NewMo Cheddah (Nigeria)Diamond (Tanzania)Muthoni (Kenya)JoJo (Gabon)

Artist of The Year2 Face (Nigeria)P-Square (Nigeria)Jozi (South Africa)Fally Ipupa (DRC)

Song Of The YearD’Banj – Fall In Love (Nigeria)Liquideep – Fairytale (South Africa)JR – Show Dem (South Africa)Banky W – Lagos Party (Nigeria)

Best AnglophoneSarkodie (Ghana)Wande Coal (Nigeria)Daddy Owen (Kenya)Big Nuz (South Africa)

Best FrancophoneFally Ipupa (DRC)Awadi (Senegal)DJ Arafat (Ivory Coast)Ba Ponga (Gabon)

The nominees for the 2010 MTV Africa Music Awards with Zain are

Eric Wainaina will feature as a guest artist on Soweto String Quartet’s next albumMTV Networks Africa and Zain have announced the nomi-nations for the 2010 MTV Africa Music Awards with

Zain (MAMA) at a star-studded celebration at De Marquee, Lagos, Nigeria, attended by artists, nominees, celebrities and VIPs including 2Face, Sasha and Mo Cheddah. The nominations were revealed by Senior Vice President and Managing Director MTV Networks Africa, Alex Okosi, Chief Marketing Officer Airtel Group, Andre Beyers, and CEO Zain Nigeria, Rajan Swaroop.

Nigerian artists scored an impressive 13 nominations including three nominations for duo P-Square (Artist of the Year, Best Group and Best Video), and two nominations each for MAMA 2009 winner 2FACE (Best Male, Artist of the Year), Wande Coal (Best Anglophone, Best Male) and Banky W (Song of the Year, Best Video). Nigerian female art-ists also rated well with Best Female nods for Nneka and Sasha, and a nomination as Brand:New artist for Mo Cheddah. D’banj, a four-time MAMA winner, received yet an-

other MAMA nomination for Song of the Year for “Fall in Love”.

MAMA 2008 Best Live Performer win-ners Jozi (South Africa) notched up anoth-er ‘nod’ from the MAMA academy with a nomination for Artist of the Year. Six further South African artists were recognised by the MAMA Academy, with nominations for Teargas (Best Group), JR (Song of the Year), Black Coffee (Best Male), Big Nuz (Best An-glophone), Liquideep (Song of the Year) and The Parlotones (Best Video).

Fally Ipupa scored the highest individual number of the nominations with four sepa-rate MAMA award nominations. The charis-matic artist from the Democratic Republic of the Congo (DRC), who is also performing at MAMA 2010, has been nominated for Artist of the Year, Best Male, Best Video and Best Francophone. Barbara Kanam brought the DRC nomination tally to five with a first-time nomination in the Best Female category.

East African artists continued their posi-tive nominations run with five nominations from Kenya, Tanzania and Uganda. Ke-

nyan Gospel crossover artist Daddy Owen is nominated for the first time in the Best Anglophone category while hip hop outfit P-Unit gets a mention for Best Group and Muthoni Ndonga is recognised in the Brand New category. In Uganda there is a first time nomination for Radio and Weasle (Best Group) while Tanzania’s Diamond gets his commendation in the Brand New category.

Four US mega-artists are to fight it out in the Best International category which sees Rihanna representing the girls against Eminem, Drake and Rick Ross in the ultimate urban music face-off.

Two new categories in 2010 have broadened the scope of artists eligible for the MAMA.

The nominees for the 2010 MTV Africa Music Awards were shortlisted by the MAMA Academy – a handpicked group of music in-dustry experts and taste makers from across the African continent. The winners for the 2010 MTV Africa Music Awards will be re-vealed on Saturday 11 December 2010 at the Eko Expo Centre, Lagos, Nigeria.

Nominations2010 MTV AFRICA MUSIC AWARDS

NEWSWHAT’S HAPPENED. WHAT’S HAPPENING.words The Svengali


Pan African Entertainment outfit Rockstar 4000, is putting togeth-er a music group termed ONE8. The group, comprising eight Afri-

can pop artists include Nigerian superstar 2Face Idibia; Ghanaian trio 4x4; France-based Gabonese duo (Lord Ekomy Ndong and Maat Seigneur Lion) Movaizhaleine; Uganda’s king of Hip hop Navio, Zambia’s RnB star JK; Fally Pupa, the super hot singing sensation from DRC, Tanzania’s lyrical singer Ali Kiba and Kenya’s lovely songstress Amani. Together with an undis-closed American artist, it is reported that ONE8 will produce a music track and shoot a video produced by a well-known American producer and songwriter, R Kelly.

Incidentally, barely six months ago, eight leading African artists of international re-

pute were appointed to lend their voices in support of a United Nations campaign in South Africa, to encourage commitment to the achievement of the 8 Millennium Devel-opment Goals (MDGs). Eight African artists

(one for each MDG) from across the continent recorded and performed the song 8 Goals for Africa, pro-duced by world-renowned music producer, Arthur Baker. The mu-sic for the song was composed

by South Africa’s Jimmy Dludlu, and the lyrics written by Kenya’s Eric

Wainaina. The other artists included were Baaba Maal from Senegal, Angélique Kidjo from Benin, Zimbabwe’s Oliver Mtu-kudzi, Mingas from Mozambique, South Africa’s Hip Hop Pantsula, Yvonne Chaka Chaka and Hugh Masekela, with the chorus provided by the Soweto Gospel Choir. Check it out on YouTube.

Super Music Group

Collabos

It is reported that ONE8 will produce a song and shoot a video produced by well-known American producer andsongwriter, R Kelly.

ONE8: African Pop Music Group

SSQ to record with Eric

After a very successful Kenyan tour, the Soweto String Quartet will feature Eric Wainaina as a guest artist in their next album. In an exclusive interview with

Crave [music], viola player Makhosini Mnguni let the cat out of the bag. “We were supposed to do it [yesterday] (25th September) but we got a dinner invite to the South African ambassador’s residence. We will do it in the course of the year.” The Kwela musician said they had not yet set a date; neither had they any idea of the song or songs in which to collaborate.

The Soweto String Quartet, which is made up of Makhosini Mnguni and the Khamese trio Reuben, Sandile and Thami, made their debut appearance in Kenya at the recently held Safaricom Classical Fusion. They performed at all three venues; Haller Park in Mombasa, at the exclusive dinner concert at the Aboretum and at the main event on Impala Club grounds, where they shared the stage with Eric Wainaina and other classical musicians.

Eric, who has collaborated with various African musicians with international acclaim, will be the first East African artist to record with SSQ.


pirate listWhat we’re listening to this season?

1. One Mic Nas

2. Bedrock Young Money

3. I Will Survive (remix) Chantay Savage featuring Common

4. Zosi Sauti Sol

5. Thina Simnqobile Soweto Gospel Choir

6. All Summer Long Kid Rock

We want to hear from you. Send your letters to [email protected] and stand a chance to win a shopping voucher courtesy of Silverbird.inbox Your emails, tweets and letters


GADGETS GALOREThanks for the innovative

features you have on gadgets. Some of them are very futur-

istic and awe-inspiring. However, it would be nice to have some easily available, round the corner gadgets featured that people may not know about.

Going by the disastrous All Star performance at the Prom-ulgation Ceremony in August, it’s easy to see that the use of micro-phones, or the lack of, is an area of concern in this industry.MARK ODONGO, NAIROBI

KEEPING WARM THIS SEASONWhoa! I know the warmth was to come from the woolen clothing, but I

could swear the two models had something going on! Not only were the im-ages hot, the prices and stockists are right up my alley. Finally, a magazine I can relate to. Thanks Crave!PAUL MAGUNZO, NAIROBI

BREAKING OUTI was impressed to find that

the last issue of Crave [music] had a new column for new comers in the industry. It seems everyone is try-ing to be famous and for that reason alone, many up and coming artists rush through the production process to release half baked tracks.

I just hope that after your critique on the album, many other artists will get the lesson. It’s not about fame, it’s about the work. If you release mediocrity you cannot expect to impress. But if your work is done with meticulous precision, it will be noticed.

BTD should keep working at his music; it may not take overnight success, but with focus he will nail it, eventually.MAUREEN LODUAR, MOMBASA

DISCOVERING NINAI’ve known of Nina Ogot for a while. After reading the feature on

her I discovered that I’ve wasted plenty of time trying to choose my career. Here’s someone who has strengths in both music and media. Trying to find a strong footing in both is not easy. Nobody says you have to do one and forget about the other.

For Nina, music may be working for her now, and maybe, this may lead to a great career in the media like it has for Nikki. This reflects in my own life; I’m torn between music and drama.

The article has opened my mind to see that I could do both, if I want. What’s stopping me?LOVELACE CHOGE, NAKURU

Fun FactsGET ENTERTAINED AND KNOWLEDGEABLE ▶▶▶cravemusicmag.com

KwelaThe term “kwela” is derived from the Zulu for “get up”, though in township

slang it also referred to the police vans, the “kwela-kwela”. Thus it could be an

invitation to join the dance as well as a warning.

Nkosi Sikelel’ iAfrikaIn 1897, Enoch Sontonga, then a teacher, composed the hymn Nkosi Sikelel’ iAfrika (God Bless Africa), which was later adopted by the liberation movement and ultimately became the National Anthem of a democratic South Africa.

Billie Jeanby Michael Jackson was

the first video to air on

MTV by a black artist.

When Madonna was 15 years old, she got grounded for the whole summer, for sneaking out to see

David Bowie in concert.

Dollar BrandDollar Brand, the first African to cut a jazz record, Verse 1, in 1959.

Music TriviaA What rock star was trying to bite the

head off a bat in concert when the bat decided to bite back?

B What trumpeter became the oldest person ever to score a chart-topping single, in

1964?

C What are the two most common un-bowed stringed instruments found in a

symphony orchestra?

D What jazz trumpeter was dubbed the “Prince of Darkness”?

E What legendary soul singer wrecked his Corvette the first time he drove it?

A: Ozzy Osbourne. B: Louis Armstrong.C: The Harp and the Piano. D: Miles Davis. E: Ray Charles.


Power Playa

General Manager, Kenya Association of Music ProducersJune Gachui

THE BUSINESS OF MUSIC AND ENTERTAINMENT

The Kenya Association of Music Pro-ducers (KAMP) was founded in 2008. What triggered this?There was need for a Collective Man-agement Organization (CMO) that could collect revenue on behalf of the owners of sound recordings rights and distribute royalties to them. MCSK is only mandated to collect on behalf of authors, compos-ers, arrangers and publishers of musical works. This leaves out the producers, who are now taken care of by KAMP. Who governs the association and how are they selected?The organization is governed by a board of directors elected by the members at an Annual General Meeting. Each elected Board member or Director serves a three-year term before being re-elected or re-moved and replaced.

What role does KAMP play in the music industry today?The primary role of KAMP is to collect royalties from users of recorded music and fairly distribute the same to its mem-bers. KAMP also provides legal support in the event of copyright infringement and other legal issues that may arise. How-

ever, this only applies to issues affecting the members collectively and not neces-sarily affecting just one individual; we do our best to lobby on such collective issues.

Does the ministry of culture recog-nize KAMP as a point of authority for music producers?KAMP is legally recognized under the laws of Kenya, Companies Act, CAP 486 of the Laws of Kenya and licensed by the Kenya Copyright Board and there-fore recognized by the Government as a legal entity. In addition, KAMP also takes part in musical related events that are associated with the Ministry of Culture.

In what circumstances has KAMP worked with the ministry of culture/government?Our key collaborating government de-partment is the Kenya Copyright Board (KECOBO), which is under the Attorney General’s Office. KECOBO is the govern-ment regulator and the licensing authority for Collective Management Organizations in Kenya. The Kenya Copyright Board of-fers advisory support to KAMP and has also provided capacity building support in sourcing for training opportunities for

its staff both locally and abroad. Other collaborative activities between KAMP and KECOBO are holding joint press meetings, public awareness seminars, etc.

Who are KAMP’s partners and how do they contribute?KAMP is currently working on a partner-ship with the Performers Rights Society of Kenya (PRSK) in the area of joint rev-enue collections. KAMP has in the past also partnered with MCSK in joint rev-enue collections. The modalities of this partnership are currently being reviewed to take PRSK into account. KAMP has partnership with KECOBO and plans to partner with other international organiza-tions that have the same mandate and objectives as KAMP.

How successful has KAMP been in carrying out its mandate?KAMP has been working hard in the past two years to get ourselves ready to ef-fectively collect royalties and distribute to our members. By the beginning of next year (2011) we expect that the company will be up and running with all the systems in place.

A fter seeing the position advertised in the print media, an Intellectual Property lawyer submitted her

application to become General Manager at the Kenya Association of Music Producers (KAMP). Running

the young organization since August this year, as well as her own consultancy boutique, JGIP Consul-

tants, she’s got her hands full with a huge task ahead: to transform KAMP into an internationally recognized

organization within the next three years. Crave [music] brings you the woman with this mission.

Power Playa



How does KAMP deal or cope with the piracy menace?KECOBO is the institution that is mandated to deal with music piracy menace. However, KAMP strongly supports KECOBO’s work as our members are the first to suffer by virtue of the financial investment they make in production of music in CDs and DVDs. KECOBO is currently implementing the anti-piracy se-curity device (bar code) in which KAMP members and other music producers fix on their legitimate products.

What are some of the laws artists ought to be aware of?Split of rights for different players in the music in-dustry; more specifically, the rights of the perform-ers, the authors and composers, and the producers are all very different rights under Copyright law. Copyright Act of 2001 of the laws of Kenya; and

although this is a public document,

sensitization is key to make it accessible and easily understood by the lay per-son. Piracy is considered an economic crime here in Kenya. Basically, one engaging in acts of piracy is denying the rightful owner of an opportunity to derive financial gain from their property. In law, this is tantamount to the crime of theft and it is the Government who will prosecute.

What areas affecting music production do you feel need to be addressed? (By producers, artists, and government)What area in music production is wanting or could be improved?Producers, composers, authors and other stakehold-ers in the music industry need to be better educated on their rights and obligations as far as Intellectual Property is concerned. Government needs to create incentives so that the music industry is taken more seriously; as demonstrated by various studies (World Bank 2004), the creative industries in Kenya are actually a significant contributor to the country’s economy and hence should be given more atten-tion and support. Music industry needs to follow international trends and go digital, and the legisla-tion needs to be amended to cater for online trade and marketing.

What challenges do you face in your job and what are you doing about it?The biggest challenge for me is the lack of adequate knowledge amongst the music users and the play-ers in the music industry. This results in a lot of unnecessary delays, as we spend majority of our work time trying to explain the legal framework and

justification. There has been and continues to be resistance from the users – owners of restaurants, hotels, shops, malls, public service vehicles as well as broadcasting houses, especially after the two new entrants were licensed (KAMP in 2008 and the Performers Rights Society of Kenya (PRSK) in 2009). It is clear that this is due to the lack of information and so we are planning country wide seminars to help curb this problem.

What are you doing to encourage more women into the music production profession?KAMP is an equal membership company and has no bias towards any gender. Just like any other profes-sion, we believe skill is more of a requirement to be able to excel and do well in a particular industry. We would, of course like to see a well balanced member-ship, but not if it would mean that we compromise on the quality of the sound recordings or albums that are being produced by our members.

Music makes a significant impact on our creative economy. What measures are you taking to convince the government

to invest in this industry?By virtue of the three CMOs in the music industry collecting and distributing royalties, in addition to the live performances, sale of CDs, DVDs, endorse-ments, use of music in movies, etc…musicians and producers can now solely depend on their music as livelihood and their quality of work improves, we hope that the Government no-tices this step and sees the need to support this industry until it becomes a formal sector of our economy.

Where do you want to take KAMP in the next three years?KAMP will be internationally recognized as an efficient collective management organiza-tion, with reciprocal agreements with worldwide associations that are like KAMP and through which we can encourage airplay of Ke-nyan music in different coun-tries. We will have increased collections from users, which translate into more royalty distribution to our members to improve their lives sig-nificantly. We will also have greater collaborations with our fellow CMOs, MCSK and PRSK, to increase awareness of the industry rights and ob-ligations

We make little successes every day. Yours would be…The pursuit of wisdom; I try and impart some knowledge, however little, that has a positive and profound im-pact on someone’s life.

KAMP also provides

that may arise

legal support in the event of copyright infringement

and other legal issues

Currently, there are 52 registered members as at October 2010 with more than 30 applications awaiting approval.

Any music producer in Kenya with at least one sound recording that is available on the market is eligible for membership. This could be an incorporated label or record company or an individual.

KAMP’s membership requirements include:• Copy of National ID, VAT Certificate

and Certificate of Registration for incorporated companies and registered business names

• Two passport size photos for individual membership applicants

• Copies of works in format such as au-dio CDs, DVD, VCDs, audio tapes, etc

• Copies of signed agreements with artistes if declared works are not own productions

• Membership application fee of Kshs 1,500

KAMP Membership


Music Distribution

Independent music distribution is now a great and effective way for artists to get their music out there. Trying to make it on your own in the music industry is not easy and anyone who is a music artist knows that. One of the many ob-

stacles that we musicians face is distribution of our music. It is one thing to flip the bill for recording, then having to pull some money together for packaging, then finally having to come up with ways to distribute it, and keep low costs if any.

I think the cheapest way to sell your songs is online in mp3 format. There are services and sites out there that let you up-load your music and have it available for people to purchase and download. I believe that most of these services charge a fee per download but it is worth it for the conve-nience, for you and the consumer.

Another way to distribute your music online is through your website. It is the same concept as using an-other service that provides your music ready for download but instead you host the mp3s. Upload the songs into the C-panel of your website. Put each song in its own folder so you can charge a fee per song. You will need a payment processor account for this but most of them are free to use. For us in Kenya, we have mpesa, zap, yu cash, etc. People will simply come to your website, pay a small fee for the song, and then instantly download it. That’s a fast, easy, and convenient way to distribute your music.

And if you must have your music in the shops, go to and ask them if they will let you sell your packaged music there. They may want a percentage for each copy sold but who cares, your music is in a record store. Having your music in stores makes your group seem a bit more professional than other groups that don’t. When you are trying to impress important people in the music industry little things like having your music in a few outlets does make a difference.

Independent music distribution has improved so much in the last two years. You now have the resources to have you music heard all over the world..

Easy Ways to Distribute Your Music Independently

OperaticZachA lthough he went through a primary school

system that did not carry out music exams,

and was part of a choir that was banned

from the Kenya Music Festivals, Zach Njoroge went on to pursue

an extremely difficult art, Opera. Clearly a foreign form of expres-

sion in this part of the world, it is therefore fair to surmise that this

decision was both an act of bravado and sheer madness. Today at

23, within just two years at Buchman Mehta School of Music, Zach

has acquired a discography encompassing his great opera roles,

as well as lieder and Broadway music. He shares with Crave [music].

AN

ODYSSEY WITH

njoroge

Classical


T he only boy among 3 siblings, Zach’s musical journey stretches back to his childhood days but it was not until he joined high school that the passion was evoked. He was appointed music captain and trained the school

choir, but that was short-lived as the school got a five-year ban from the Kenya Music Festivals.

Straight after high school Zach signed up for instrumental lessons at the Kenya Conservatoire of Music in piano, voice and later violin. Seizing every opportunity to nurture his singing talent, he joined the Nairobi Music Society, Nairobi Chamber

Chorus and the on-again-off-again Nairobi Loves Opera as a tenor. It was during this period of searching that the opera came calling, “I was tired of this choral

stuff,” says Zach, “I wanted to be on stage…alone.” He admits that most sopranos and tenors crave for limelight and attention but is quick

to add, “We baritones are more chilled out.” Seeing that he could sing much lower than the ordinary tenor, Zach

had settled for Baritone. After nailing the scholarship for the Adler-Buchmann Internatioal Program for

Outstanding Foreign Students, he was off to Israel, where a whole new world of music performance awaited to unfold.

Established in 2005 the Buchmann-Mehta School of Music of Tel Aviv University is Israel’s most prominent music institution. It is an inter-national learning centre attracting students from all over the world. It still took a while for Zach to settle down socially even though there are many blacks there. “Socially, it takes a while for them to warm up to you,” says an extroverted Zach, “You know they’re like this guy is from Africa, but after they do, they are very good people.” His main challenge was catching up with music theory. Having not covered much in this area at home, he needed a lot of extra coaching and patience from his lecturers.

While Zach is among other guinea pigs in this program, he explains that the course is intense and well thought out. Opera is not just about singing, says Zach, “We have acting classes where we’re taught how to be confident on stage. We have class where we just sit down and analyze what opera is

all about. We’re taught about stage presence, and so on. Then we have other classes where we

do small productions like a scene from an opera. We learn the music and act it out. In most of these

operas, you have to sing in another language, so most of the time people don’t understand what it is you’re say-

ing.” Zach continues to explain that when preparing for a production one has to consult with a diction coach so that

the open and closed e’s and o’s in Italian operas for instance, are everywhere observed. “The coach would come and listen to

you as you perform,” says Zach, “Because it’s different when you sing.” The libretto is translated to give meaning to the artist in order to create a genuine feel for the language.

In the two years studied so far, Zach has conquered four operas. With limitless energy at his command he is not the most subtle of actors; his roles always portray a character with great conviction. “I did Henry Purcell’s Dido and Aeneas where I took both Aeneas and sailor roles, which were both big roles,” says Zach, “After that we did Les Enfant des Sortileges by Maurice Ravel, here I played both the clock

Classical

and the cat. Then we did a bigger one, Mozart’s Cosi fantutte, which is huge production - two and a half hours of singing - and I was Gulieglmo, which was one of the main characters. We then did a smaller one by Kurt Weil called The Yes Sayer. It was in Hebrew. It’s actually a German opera which they translated to their local language.”

While he still has only two more years to complete his undergraduate studies and another two for his masters, Zach is aware that the road ahead will be tedious and far more challenging. “Right now I want to do competitions in Europe. They are many but the competition is very tough. I want to get into that and get exposure.” He goes on to explain that there are many European musicians but not as many Opera houses, and that creating a name is what determines success in this industry.

It is therefore fitting that the career of this young artist be launched in his native land, belying the notion that singers must work their way through small recitals and church concerts before earning the respect of critics and audiences in Europe and the world at large. Marking the high-est point in Zach’s career so far was his debut appearance at this year’s Safaricom Classical fusion concert, the biggest Classical event in East and Central Africa. He shared the stage with lyric soprano Liz Njoroge, the Norwegian based singer, Rhoda Ondeng Wilhelmsen among other musicians, as well as with the world renowned Soweto String Quartet.

While Zach is yet to conquer the great opera capitals of the world such as the Royal Opera at Covent Garden, La Scala in Milan, Berlin’s Deutsche Oper, the Paris Opera and others, he states that the art needs a big boost locally, “People [here] are not familiarized with it at all. When you say you sing opera they’re like, what is that? It’s like something strange. We have to popularize it. Another thing is we don’t have teach-ers here. Fact is, we Africans have very good, powerful voices but we don’t have somebody to guide.”

Zach shows us that opera singing is, in fact, a very physical, scientific art which requires loads of training and persistence. To those aspiring to follow this path he says, “Go for it. Opera takes a while and a lot of patience. So, go for it if you want, but know that it’s tough. Just take it one step at a time.”

Zacharia Njoroge and Liz Njoroge perfomring at the 2010 Safaricom Classical Fusion concert

Classical

The vocal cords are the critical system in a healthy functioning voice. Singers who injure their voices generally have damaged their vocal cords, while singers who project with ease and power have vocal

cords that are healthy, strong and coordinated. Many singers are unaware of the simple and effective techniques that can be used to keep their vocal cords healthy:

1. Stay hydrated, drinking at least two litres of water daily2. Avoid clearing your throat3. If you feel your voice getting tired with a scratchy or tingly sensation,

stop singing4. Avoid using a glottal attack5. Engage the vocal cords by actively speaking the words of your song

The Structure of Your Vocal CordsYour vocal cords are capable of amazing feats. They can vibrate at

more than 1000 cycles per second, and resist large amounts of pressure and energy with great speeds and dexterity. The vocal cords are surrounded by three layers of mucous that act as a lubricant; a special protective coating that allow the vocal cords to contact each other and cycle through the sound waves at very high speeds and volume. It is helpful to consider the water structure of the vocal cords, and recognize the essential role the mucous plays in the health of the vocal cords. In order for them to function properly, you must drink enough water!

Similarly, clearing your throat should be avoided, because it scrapes off this precious mucous so necessary to the high speed vibration of the vocal cords. When you clear your voice because of “phlegm”, your body will immediately send more to continue to protect the vulnerable layers of vocal cords that lay beneath the outer layers of mucous. If you continue to clear and sing, these inner layers of the vocal cords will swell up, preventing an even closure and resulting in a broken sound. That is why if you feel your vocal cords starting to get inflamed with a scratchy or tingly sensation, it is important to stop singing right away. Sometimes it only takes a minute or two for them to recover, but sometimes longer, much longer to recover depending on the extent of the injury to the inner layer of the vocal cord.

Adduction or Vocal cord closureWhen you make a sound, the vocal cords begin to vibrate or adduct. The

critical moment of a singer is when adduction is initiated after breathing, be-cause the first wave of vocal cord closure requires the most energy and sets

up the dynamics for whatever notes follow. In other words, when you start to sing, do not blast your vocal cords with too much air, avoid any muscular motion in your throat. When you initiate adduction properly, your voice flows effortlessly with power and emotion. This we will refer to as balanced initia-tion, where air meets vocal cord in perfect balance and energy.

The chief enemy of this balanced initiation of vocal cords is the glottal attack. A glottal attack happens when the epiglottis closes and releases at the moment of initiation. This can be a little subtle to detect at first. You can feel the epiglottis when you swallow or cough, but the most dramatic feel-ing comes if you pretend to throw up. The epiglottis closes the throat and protects the voice and lungs from liquid intrusion. When you sing, it is easy to use a glottal attack to initiate adduction, but it will lead to damage of the vocal cords, limit your range, cause you to run out of breath and sing off key. In other words, it is simpler for the brain to figure out pitch with the glottal attack, but everything that happens after that first split second of initiation is doomed! This is why:

Immense pressure can be restrained with the epiglottis, much more than the vocal cords can handle generally. Once the epiglottis is released, the vocal cords become overwhelmed with air pressure, and cannot sustain the adduction for very long.

The action of the glottal attack scrapes the mucous off the vocal cords, causing strain and inflammation.

The closure of the windpipe at the epiglottis causes the resonant spaces above the larynx to become blocked, preventing the pharynx and head voice from resonating, and preventing an even blend between the chest voice and the head voice.

The Vocal Cords


John Scott is a professional vo-cal coach, sound engineer, mu-sic director, piano accompanist and performing jazz vocalist based in USA.

StylePhile

PatriciaKihoroOne FM presenterAffiliation: Finalist and Reality TV star,Tusker Project Fame III

What image do you like to portray?I like to exude confidence, simplicity and unique style no matter what I’m wearing. I also like to portray pride in Afro centricity with loads of African inspired items in my closet to complement my urban, contemporary stuff. I can be very eclectic.

What are the most functional fashion items in your closet with regards to your lifestyle (work and entertainment)?Skinny jeans or long flowing African print skirts, singlets and boots. (There’s a pair of very comfortable ankle boots that I wear all the time, I’ve gone from corporate functions to hiking in them.) Long African skirts are also very versatile, I can go from chilling at the movies to performing on stage and the outfit will still look very elegant

What fashion accessory can’t you go without?Afro inspired cocktail rings from Masai Market and my button earrings in all colours.

Ankle boots or knee-length boots?Ankle boots definitely. They are understated but give an outfit massive pizzazz, if worn right. Plus if the weather gets hot, you won’t feel uncomfortable, or look ridiculous.

Big bags or clutch bags?Big bags. Because, along with the thousands of items a girl needs to carry around, a clutch also fits in there so if you need to ditch the big bag, you have a clutch on standby.

Chunky heels or stiletto heels?Chunky heels definitely. I’m more prone to embarrassing accidents in stilettos.

How would you dress your date?Slim fitting jeans, a smart casual shirt, comfortable shoes and sexy confidence. No bling and definitely no baggy pants.

What do you have for the hot season?Lots of singlets, flat sandals and sunglasses.

What fashion rules do you live by?To have an open mind and to always create my own style with items that are not necessarily ‘in fashion’. I also love colour so I am a tad daring with colour combinations. I try to be up-to-date on what’s hot, and what’s not, and how current trends work for me and my shape.

Fashion advice?Do not get swept away by fads, they never last. Don’t copy looks, rath-er, be UNIQUE and CONFIDENT in what you like, and in everything be simple and appropriate. A little goes a very long way.


WEBSITE WWW.FINANCIALACADEMY.CO.KE

Broke Artist vs. Poor Artist

BUSINESSADVICE ON TALENT & WEALTH MANAGEMENT ▶▶▶

This issueFinancial success just like music is a talent developed over time through various ways.

WORDS PATRICK WAMEYO

Advice on personal finance and wealth management


My coaches shared with me his first hand experience with being broke

in a civilized fast paced society. He was very emphatic that being broke is not a joke. And so is Burke Hedges, a leadership expert and network mar-keting consultant. He says broke is…

Being able to pay only the minimum on your credit card balance

Renting instead of owning because you can not afford the down paymentPutting off going to the movies because it is cheaper to rent a video

Lying awake at night wondering how you are going to pay the rentIt means having to choose between going deeper in debt or going without.

Every day, I meet new people at my training seminars, website and di-rect mails professing different symp-toms of being broke. I have a first hand experience with it too. Many people making their money from art and sports, for example, musicians go through many cycles of financial problems. They overcome poverty challenges to develop talent pool

for producing good selling music. However, handling money is still

a handicap for many young and old guards. Often the

cycle ends when they are back deep in

poverty.

Earning big money is not equal to

knowing money. Otherwise how else do you explain the rags-to-riches-and back-to-rags cycle. Knowing money starts with knowing yourself, then managing your thoughts and weak-nesses that could potentially lead you to make big mistakes with big money. You might not know it, but your be-haviours were programmed in you between nine months and age seven.

While many people have over-come the restrictions of these early patterns and become very success-ful, it was not coincidental. That took specific decisions that altered their thoughts permanently, which means they planted new seeds. Their sub-sequent actions and results are the product of their refreshed thoughts, not of the programs infused in them by parental behaviors and the envi-ronment.

Like Burke, I don’t be-lieve there is any

shame in being broke. But there is shame in staying broke

and accepting it as a way of life. John Hope Bryant, the author of Love Leadership says that being

broke is a temporary eco-nomic situation while poverty is

state of mind – is suffocating and permanent. Poverty is manifested in your thoughts and reflects through your words about money. It is dis-played in earning, spending, savings,


Rhythm is Life

borrowing and investing habits and attitudes which eventually become your life.

Burke Hedges enumerates a few reasons why so many people live “broke”. Top among them is that money is not the key to happiness. He believes that when one has more money, the easier it is to get the key to happiness made. But how many with access to a lot of money make this key?

You can change a poverty mind set to broke and eventually to wealth by taking new choices to build finan-cial literacy. Financial literacy is having the knowledge, skills and confidence

to make responsible financial deci-sions particularly regarding how to earn, save, invest, spend and borrow.

More money (cash) does not make you rich if cash flow manage-ment is the problem. Judiciously take control of your earning, savings, in-vesting, spending and borrowing by first knowing yourself well. Match your incomes to spending. If you find yourself spending more than seventy percent of your average daily income, you have invited poverty into your household. Poverty must be chased out, it never takes a walk.

I am reminded, and remind you too, that free enterprise is NOT the

right to “do your own thing” without taking responsibility for the conse-quences.

Patrick Wameyo is a Financial Coach and the Execu-tive Director at Financial Academy, a unique academy that teaches adults how to manage their money to create wealth. He’s email address is [email protected]

BUSINESSMUSICMONEY

Rhythm is Life



LET’S FACE IT, IF YOU HAVEN’T HEARD of DJ Kaytrixx then you

probably live under a rock or you may be stuck in another time dimen-

sion. Born and raised in Mombasa, 21 year-old Kabochi Gakau who decks

for KTN’s interactive music show, Str8 Up, has become a household name

among the generation x. The raising CodeRed DJ has deejayed for over

1000 parties in his career so far and there’s really no stopping him. Here,

DJ Kaytrixx shares with Crave [music] about the tricks up his sleeve.

Kaytrixx

What motivated you to take up vj-ing and who have been your inspirations?Most of what I have learnt in my career has been from basically, watching other deejays and listening to what they do then go try it out later at home. I never went to any deejay-ing school or anything of the sort. I guess it’s just in me. Motivation most definitely is that I love making people happy, I love entertaining. It is my job. That’s what keeps me going! My Inspiration comes from God; he gives me the will to go on even when things are thick!

About Str8up, how did you get into that? (For how long had you been in the industry when you went in)Str8 Up….hmmm…It is CodeRED that got me here and I thank them fully for giving me the opportunity and the support and not forget-

How and when did your relationship with CodeRed begin?About a year and a half ago. I was back in campus in Eldoret and I used to DJ in some club there using a computer and virtual DJ. I had never used turntables before in my life but my pals from campus forced me to join the first Pilsner Mfalme DJ competition and I was forced to teach myself how to use the decks right before the competition. To my amazement I went through to the next round. I continued practicing and luckily enough I made it the the 2nd round in Kisumu, then 3rd round in Nakuru and to the National finals in Nairobi. That’s where Dj Stylez spotted me and offered me a Job. It was a tough decision to make but I know I made the right one by taking up the job.

ting KTN for putting me on air! When we started Str8 Up, I had been in the Industry for like 6 months and most of that 6 months I had been training my a** off and doing screen tests coz I was still a learner back then… I still am a learner up to now but a more grown up kind of learner.

Live gig or tv audience, what’s your preference?I prefer a Live gig coz that is where you will understand what I mean when I say I am an entertainer. The full package deejay, veejay, MC, incorporate a couple of stunts and lotsa tricks so that’s my preference. TV audience is limiting coz on TV you can’t do lotsa stuff. You just play music and since it also means playing videos its also very restricting.


Dj Kaytrixx on the decks

I have to be up to date

with all the new trends, music

videos and I always have

to bring my A game


Is deejaying your full time job now? Is this your calling? Or a stepping stone to something bigger?Everyone has a bigger picture! I am not just a deejay but an entertainer and enter-taining is my full time job. I am hoping to open my own international entertainment company in the future (deejay, sound, mu-sic production, a school or two for teach-ing guys music, video production, events management, stage facilities and light-ing)…that’s my plan so God help me!!!

And if you weren’t a dj you’d be a…?One way or the other I would end up as an entertainer.

As a dvj you’ve got to entertain audi-ences, however what music gives you a kick at the moment? We think your Wednesday sets really rock…I’m an all round deejay, which means I’m strong in all areas. You’ll get me doing soul, lingala, mugiithi, new jack, hip hop, lo-cal and the rest…I’m basically new at this Rock music bit. It was actually a challenge that I put myself up to like 4 months ago, coz it was the only kind of music I had nev-er worked on and so far so good, I guess.

What were you up to in Mombasa recently?I had gone to do Smirnoff in the Mixx par-ties at Bella Vista and club Full Moon.

Tell us some of the parties you’ve decked for? Any of these outside the country?I can comfortably say I have deejayed for over 1000 parties all over. In Kenya, I don’t think there is a town I haven’t been to and if I haven’t I am going to be go-ing there real soon. I’ve done Uganda, it was crazy, over 50,000 guys just rockin’ to the music. That felt really good! I’ve done Tanzania also. It was a bachelorette party which also got a bit crazy…won’t go into details!!! Did Rwanda a few weeks ago; did radio shows there and two shows at their national stadium which was packed and as usual…it was CRAZYYY…As you can see mostly it has been within East Africa for the past year and I think its about time I took it to the rest of the world. I got some shows lined up already so I’m happy.

Who are some of the djs you’d die to work with? Both locally and interna-tionally.Most definately DJ Mr Vince of Full Throt-tle Radio and DJ Benny D, Akon’s official DJ.

Mention one piece of innovative dee-jaying equipment that you cannot do without…or you wish you had.My TTM mixer.

What’s your take on the latest software?Basically, it’s just Scratch live [serato] that has made life easy for deejays. Instead of carrying 3000 records you just put all your music on your laptop and you’re good to go.

You’ve a large fan base, what do you attribute this to?I believe that all my fans know what en-tertainment is and are embracing new talent in the industry. I also guess it’s the fact that I am as real as they get. I don’t pretend to be someone I’m not. I just live my life and I think that’s a big selling point. Most guys who become famous start act-ing funny and forget where they have come from.

Have you done your own remixes or do you have plans to do your own mixtape?I have done numerous mixtapes that I post on the interenet and the response I get from there is very positive. I’m also work-ing on something that will change the face of the whole dj-vj industry real soon and I know I can so watch me!!!!!

What are the perks if being a big shot dvj?It’s not easy. I have to be up to date with all the new trends, music videos and I al-ways have to bring my A game, coz there are lotsa haters out there and they are al-ways watching and waiting for mistakes to point out so the only option is to be the best and shut them up! It’s also quite hard to walk around town the way I used to before coz guys stare and it gets quite uncomfortable!!!

What’s your weekday routine like? And how does it compare to your weekends?From Monday to Wednesday, get up at 7 am, take a shower, breakfast, then head to work at the CodeRed offices. There is always a lot to do and learn in the office. Go for lunch from 1 to 2 pm then at around 3pm head to KTN for preparation for Str8 Up live which ends at 6pm, then I call it a day. Thursday its basically the same but after Str8 Up live we usually do Throwback

Thursday at Changes from 10pm to 6 am. So basically Friday morning is for resting, then at 11 am its off to the office, then to KTN for Str8 Up live then now the madness begins…I do party after party after party on weekends… If there is no job on Sunday I rest, then the cycle continues.

What do you do in your spare time, since listening to music and watching videos is your job?I looooooove cooking. I know it sounds bleeerrrghh, but that’s what I do when I’m free. My mum taught me well when I was young. I spoil myself.

Are you a lady’s man?Is that a rhetoric question…of course!!!

Do you possess any other talents we don’t know about?Magic, the ability to steal your girlfriend without you even knowing it…Anyway,apart from cooking, I used to be a good footballer when I was in campus, but I broke my ankle and retired! Any aspirations to go into music produc-tion?YES. I’ll work closely with Madtraxx, who’s willing to teach me a lot and I’m willing to learn. If you could change anything in the industry what would it be?It would be the way Kenyan artists try to ape other cultures and forget about their own. Remember E-sir? I could sing all his songs front to back in reverse coz that was music. Nowadays, most guys are in it for the money and they lose focus and just wanna be famous.

Also, in Kenya, the amount of money guys put into entertainment is quite little. Most guys want to hire you but will want to pay you peanuts and will expect you to deliver 100% which cannot happen. That’s why most guys like doing shows in Uganda, Tanzania and other countries, coz there you get paid well and you have the morale to deliver.

If these two things could change, then we would have a more advanced entertain-ment scene. I’m just saying!

Skratch

THE DETAILS...LCD Size: 5.1cm (2”)Dimensions: 7.2 mmWeight: 114 gDisplay Type: TFT, 256K colorsDisplay Size: 320 x 240 pixels, 2.4 incheswith a Full QWERTY keyboardInternal Memory: 55MB with card slotBluetooth: Yes, v2.1 with A2DPCamera: 2 MP, 1600x1200 pixels

GadgetsGALORE

THIS ISSUE’S HOTTEST GEAR AND GIZMOSThis issue debuts Sony’s noise cancelling walkman, Samsung’s Galaxy 3 Swype virtual QWERTY keyboard, Phillips Fidelio iPod dock and Nikon’s camera projector.words ALENGA BOUYO

Sony have launched the new 7.2mm-slim bodied S750. While this new Walkman doesn’t boast OLED display or a touch screen, it does still churn out a good 50-

hour long battery life for music playback and 10 hours for video playback. What’s more is that it also boasts noise cancelling functionality.

The newest addition to the leg-endary WALKMAN® family is guar-anteed to turn heads with stunning sound and slim, sensational looks in luxurious aluminium.

Measuring just 7.2mm thin for effort-less portability, the colour-ful WALK-M A N ® S750 Video MP3 player lets you en-joy your music, videos and podcasts in unmistakeable style.

Complementing the Digital Noise Cancelling and EX headphones, the S750 is loaded with other Clear Audio technologies by Sony to get the best out of your m u s i c collection. Clear Bass and Clear Stereo are joined by DSEE that restores the high frequencies lost in compressed music files.

Sound quality aside, the WALKMAN® S750 also makes it brilliantly easy to enjoy your existing digital music collection. Supplied Content Trans-fer software simplifies drag-and-drop transfers to WALKMAN® from Windows® Explorer or your iTunes library (not including DRM files).

Windows® 7 even takes care of converting DivX® and AVCHD video files stored on your hard drive to playable format for viewing on WALKMAN®.

The Sony S750 PMPWalkmanThis walkman boasts noise cancelling functionality


Audi R8 GTLimited edition luxury sports coupe

We’ve talked about the Audi R8 in the past, but at this year’s Paris Motor Show, Audi brought out its latest

limited edition R8 GT, to be available in only a limited quantity magic number of 333.

The Audi R8 V10 was already one of our favorite sports cars in the world (sans the R-Tronic transmission) so how could you make it better? In the immortal words of Colin Chapman, “add lightness.” But in a modern sports car required to meet rigor-ous safety standards, you can only go so far short of a complete redesign. Hence, the R8 GT’s lightened chassis benefits from a power boost to boot.

The R8 GT swaps in a thinner glass windshield and polycarbonate rear windows

and replaces many aluminum body panels with carbon fiber. By going over every part of the R8, Audi’s engineers have carved a total of 220 pounds off the standard R8’s curb weight.

The 5.2-liter V10 has been bumped from 525 horsepower to 560, topping its cousin, the Lamborghini Gallardo. The GT is only available with the aforementioned R-Tronic hydraulically actuated semi-auto-matic, and when pushed to its limit, the R8 GT is claimed to accelerate to 62 miles per hour in just 3.6 seconds and on to 124 mph in 10.6 seconds. The terminal velocity has been increased to 198.8 mph.

Only 333 examples of the R8 GT will be built and the price in Germany is €193,000 ($256,000 USD).

Samsung I5800 Galaxy 3 is a mid-range Android phone with a custom paintjob on the OS and few nice software surprises including Swype, a novel way to type on a virtual QWERTY keyboard.

Bowers & Wilkins P5 Headphones provide out-standing noise isolation. Beautifully designed with soft leather earpads for unrivalled comfort these headphones are superbly comfortable

Gadgets Galore

T he new Nikon Coolpix S1100pj has a real lamp projector built into the front of its body, making it possible

for you to project images and video onto flat surfaces and taking (not only) a cam-era everywhere, but a projector too.

The Coolpix S1100pj is retro looking and compact. Nikon has done very well to cram all the technology into this relatively flat body, without turning it into a bulky beast.

The projector and the need for a focus

wheel gives the camera a differ-ent look from run of the mill compacts, but it’s still uncluttered - in fact you only have three buttons on the back. Build quality is good and it feels nice in the hands, it’s very much a decent bit of kit, not a cheap gimmick.

Philips Fidelio DS9000

Nikon Coolpix S1100pj

This iPod dock is a class act through and through

Nikon’s new projector camera

Fidelio is the name of Beethoven’s only opera and is an apt name for this classy, cultured iPod dock from Philips. Like an opera singer,

the DS9000 is designed to project crystal-clear sound into the room, and to do so it boasts a wealth of interesting features and design concepts.

That distinctive design isn’t just for show. The beautifully curved cabinet has been built using Veneer Lamination technology, which is normally reserved for high-end furniture. Multiple layers of lacquered ply wood have been glued together and bent into a curved shape, the stiffness of which helps reduce unwanted vibrations and gives the unit sub-stantial build quality.

On the inside are high-quality drivers, a passive crossover that directs the different frequencies to the appropriate drivers and finely-tuned bass pipes. That’s the science, but on a purely superficial level It’s absolutely gorgeous – minimal and modern without looking excessively ‘techy.’ It will look great in any room.

Samsung S8530 Wave IIAnother Bada OS smartphone

Samsung Wave is a great

smartphone that is using the Bada OS developed by Sam-sung. It seems that Samsung wants to expand the number of Bada OS devices, and the easiest way to do that is to release another Wave phone, Wave II S8530 smart-phone.

Although Wave II S8530 shares the looks of its predecessor, unlike the previous model, Wave II S8530 comes with 3.7-inch WVGA display. Samsung is going to abandon Super AMOLED display, and instead this model will use Super Clear LCD display.

As for the other hardware specifications, Wave II S8530 will use 1GHz processor, microSD card slot, 5-megapixel autofocus camera capable of HD recording, TV out, and GPS. In addition, Wave II S8530 will support HSDPA, Wi-Fi and Bluetooth 3.0 connectivity.


Ess

enti

als

for.

.. th

e ip

od l

over

T hrough a limitless selection of music equipment available, producing a good choice concerning brand, high quality and value is usually a potential minefield. Below are a few things to make note of when you begin buying.

What do you want to use it for? A newcomer guitarist’s necessities will change drastically from the ones from an up-and-coming rock star; for future DJ, you won’t get the best from that costly, state-of-the-art turntable. Make certain the background music gadgets you purchase accommodate to your requirements, without having putting you out of pocket. You can always upgrade. Even though you simply cannot manage to whack the budget on the most expensive saxophone or even speakers in the shop does not imply you cannot still purchase quality merchandise. Stay with respectable manufacturers, do your homework properly and don’t forget: in the event that you turn out to be a mae-stro about the saxophone, you could upgrade.

Buy the highest quality music equipment you really can afford. There exists virtually no limit to what you could devote to equipment, and so the trick would be to shop smartly. As there can be market for good quality, cared-for second-hand music tools, you cannot make a mistake when you purchase the best quality gadgets you can afford.

Ask a specialist. Be sure to understand what you are considering prior to you heading on the shops, in which the sales assistant will make sure to try building success by drawing as much money possible out of you. Realize which questions to ask, which brands to look out for and if possible, check out gadgets before buying.


Tips to Remember When Buying Music Equipment

words John B Murray


Traditional


Murfy’sThe Rockers Next Door

fLlaw,

The band was formed in 2007. What triggered this?Jozie B: In 2007, The Umbilical Cord Party advertised for a group of musicians to come up with a song that would capture the imagination of Kenyans across the land, and lead UCP to victory. We were the group that was eventually shortlisted to

do so. Unfortunately, the song we wrote, Super Nova, failed to impress, and in fact, plunged the UCP into further obscurity. However, the group decided to stick to-gether and keep making music.

How did the name of the band come up? Are you aware of the alternative rock band Murphy’s Flaw based in the States? Coincidence? Jojo: Complete coincidence. They’re a bluegrass band and very little like Murfy’s Flaw. For us, the idea was that the mistake Murphy made was that not everything that can go wrong will go wrong. Our journey has been full of mishaps, strange coinci-

dences and unexpected events. Somehow we found each other and ended up being lucky enough to be able to do something we love together.

Three years down, what milestones have you overcome as a band?Jozie: Well, the single thing I’m happiest about is releasing our debut album Ma-kosa. The second thing is that we’re work-ing towards our sophomore album. There are many bands that have come together, made and released an album, but eventu-ally find that the pressure and tensions are so great, that the band splits up. We have lots of fights, and at times, I’m so sure that we won’t make it to another show, but here we are, and we’re still working together.

What was the Makosa track about, why is it the title of the album? What was the general theme of the album and who were the producers? Vicky: We wanted to have a title track that we felt represented us and rock in Kenya. The general theme of the album is all manner of relationships… we have one song about the relationship of a sword and its owner [hand], another about the rela-tionship of beer and a gal[guy], bad drug [paracetamol] relationships, another about human relationships, about a guy and his guitar… Yeah, basically relationships, all sorts, broken and mended! We produced it ourselves with 64, a friend of the band.

HAVING ALREADY RELEASED THEIR FUNKY Kenyanized rock album,

Makosa in 2008, Murfy’s fLaW sets the pace for Kenyan rock bands. To K-rock lovers, the

sextet is known for hits such as Contagious and Nafasi. As an Alternative Rock band, you

probably won’t find any axe-wielding, hair-tossing, larynx shredding pomp, but you’re sure

to sing along and move to some intoxicating and somewhat dissonant sounds. You can

catch this action at Dass restaurant on every first Friday of the month. Currently working

on their sophomore album, Crave [music] gets a few questions answered before they kill

each other in the madness.


The instrumentation is pretty standard. There are no surprises…or are there? Jojo: Some of the songs are rather bizarre in terms of their composition; if you listen carefully, or try to play the song... you’ll see what I mean. In terms of individual instru-ments, each song is quite different and each instrument has a different life in each song. For example, in one song you’ll get jazzy brushy drums while in another, jungle drums with lots of tom action.

What distribution channels have you ex-plored and how are they working? Reema: We sell the CDs ourselves at our gigs. Locally, our CDs are available at Silver-bird stores at The Junction and Westgate. Our music is available online too, on iTunes.

Have you shot any videos?Reema: We just managed to shoot two vid-eos after 2 years of procrastinating. They will be out probably next month [October], if all goes well. There is however one an-ime video that is available on YouTube for the song Your Friend.

Rock music is deeply expressive and emotional but can potentially be ab-stract and indifferent. Comment.Punky: True lie.

Vicky: No other music offers such mystery and a chance to do practically anything and get away with it. It’s so full of raw energy and emotion! No other music gets

all manner of interpretations even for the most innocent of songs.

Why do you guys keep saying, “Murfy’s fLaw is for the children”, what’s that?Jozie: It’s our slogan; a reminder to our-selves to keep our behavior PG and our content conscious.

Is it possible to localize rock and have it as an accepted genre in East Africa?Vicky: A lot of people growing up listened to rock music even if they did not know that it was rock… the genre is wide. The music we make is a response to what has influenced our lives. If rock artistes were to get the airplay they deserve - most music stations do not play Kenyan rock - the rock audience would grow.

There’s no doubt that international rock music forms a big part of the mainstream music we receive on our radio stations while local rock music is crawling to get there. So what needs to be done?No. 9: Rock bands should now rush in and take over the Kenyan airwaves. 10 years ago when the radio stations started em-ploying urban Kenyan artists as present-ers, the local music scene expanded because they played the music of their friends and peers. Now we have more lo-cal artists as a result. The industry should therefore diversify and employ one or two people from the many rock bands in Kenya per radio station.

About Battle of the Bands...Jozie: Once a month bands from different rock sub-genres, at different skill levels congregate, perform maybe five songs - at least three original compositions - and get judged. It is the only real live, pure rock arena in Nairobi. In the 12 months it’s run, we’ve won about 3 times.

You gave a charity concert for Kenya Breast Health Programme last year. What triggered this? Are you planning any more charity concerts?No.9: The choice was between that and the prostrate cancer charity. The girls felt un-comfortable about the latter though. There were some bizarre mumblings about the male patriarchy and token male models in female rock bands or something like that...

So I was like, whatever. It sound-ed interesting and I am one to always try out new experiences.

Are you all purely musicians and what are you doing for profes-sional development? Jozie: We’re not yet purely musi-cians. However, we do constant-ly work to improve ourselves as musicians. The band had the opportunity to train briefly with classical singer Rhoda Ondeng’ and got to learn a lot of stuff about expression - musically and performance-wise on stage.

Just by being a local rock band, you play a major role in promot-ing the genre in East Africa. Where do you want to be in 5 years?No. 9: Funny thing is, in the earlier part of our existence we actually thought we were a Hip

hop outfit. So it came as a bit of a surprise when people started calling us a rock band. We have asked ourselves many times how we got here... In 5 years I can see us being ushered into the Kenya Rock Hall of Fame. And next to our wax image they shall write: “We aren’t sure why or how they got here, or what they were doing, but you’d have to agree, they looked good doing it”.


She plays with her back to the audi-

ence and spends the entire show

reducing her volume. Away from

stage, she bullies everyone - verbally

and physically. Her entire existence

is rebellion; against apathy, against

the roles society forces on people,

against good behaviour.

RHYTHM GUITARPunky

Band philosopher. There is nothing too

insignificant for him to have hours’ long

debates on. He was born to be a lead-gui-

tarist, because he’s never happy unless his

guitar is at maximum volume.

LEAD GUITAR AND VOCALSNo. 9

She has such a calming presence. When

you’re in a stressful situation, having Jojo

around makes the world slow down to a

more tolerable pace.

KEYBOARD AND BACKGROUND VOCALS

Jojo

She’s the diva and most stable personality in the band,

has great attitude, works hardest, and is probably the

best entertainer.

PERCUSSION AND BACKGROUND VOCALSVicky

Very outgoing and bubbly. She’s

an extrovert and loves being with

people. While this is the perfect

character for a lead singer, it is

also helpful to the band because

she can be counted on to be ex-

cited about the concept of being in

a band when everyone else is tired

and irritable.

LEAD VOCALISTReema

Was once accused of being passive ag-

gressive. “If we play a song that I don’t

really want to play again, all I have to do

is play a crap bass line, and generally, the

band will never want to play it again.”

BASS GUITAR & BACKGROUND VOCALS

Jozie B


SSQ CONQUERING

SSQ CONQUERING CRAVEMUSICMAG.COM 043

Traditional


GROWING UP IN THE APARTHEID ERA, somewhere in the heart of Soweto - amidst the

violence, the oppression, the poverty, the physi-

cal and mental torture subjected to family,

friends and colleagues - four young bantu

South Africans went against all odds to

form a String Quartet. While others took to

violence, they took to violins, eurocentric

instruments not particularly welcome by

their fellow blacks. In the pursuit of music,

they stayed out of trouble and spared their lives

to share the story of the struggle to the world.

Makhosini Mnguni and the Khamese

brothers, Reuben, Sandile and Thami

were in Kenya recently to perform at

the Safaricom Classical Fusion Fes-

tival. Crave [music] caught up with

viola player, Makhosini, who shares

about the struggle in this exclusive

interview.

W hen Mandela was sentenced I was 2 years old. Things changed; it became worse for our parents.

They [government] began to experiment with contraceptives to cut down the number of black people. They were giving our sisters injections which would kill the reproductive system. Similarly, children that were born at the time were given injections to stunt their growth. This made the oppressor ap-pear much bigger and more intimidating. One thing they could not do, was change our minds.

As we grew up, we were like cubs, so in 1976, the children of Soweto stood up to the government. The following year they put up a set force of black trained soldiers, who came and shot people in Soweto; it was black on black. I was a member of a students’ organization called Kosas; it is now part of ANC. We discovered that they passed females and failed most of the males in school. But we stood up against this and then the system of Pass One Pass All came. The culture of learning went down. It was a bad system but it was the only one that could work for us at that time. Kids became ungovernable, because it was like the whole of South Africa’s black kids could proceed to the next class. Dumb or clever, it was the same.

All these things were orchestrated and planned by the government. After Mandela

came from prison, everybody was free – even the oppressors themselves. We were liberated. We were not scared to say what-ever unlike before.

An interview like this one would take me to jail or I would have to stay here in Kenya, I wouldn’t go back home. We want the world to know what we went through and things that still affect us even today because of apartheid. South Africa is one of the fastest developing countries but in terms of human resource it is still very slow. Because of the inferior education system [in the apartheid era], we are still dependent on other Africans to come and help us with their professions. With the new system, the BEE, Black Economic Em-powerment, many youth are in tertiary in-stitutions pursuing all courses; some have started their own companies.

When we started our group it was one of the ways to challenge the oppressors because orchestras

then were not employing blacks. We took private lessons; we qualified, but we could not get work because we were black. So we decided to start the quartet; that was in 1978.

In 1980, the quartet was invited to Aberdeen in England, that’s when Sandile got his scholarship. When he returned the quartet was fully fledged. South Africans, both white and black, loved us.

Our Afrikaans album sold a gold disc in two months; that’s 25,000 units, and dou-ble gold in nine months. Then we started performing in Afrikaans festivals, and we would invite and introduce our friends like the Mandozas to be part of us, like we did with Eric [Wainaina] here. So we broke the monotony of having only white guys on stage or only black guys on stage.

W e are currently involved in vari-ous awareness campaigns; for HIV/Aids and against women and

children abuse. That is something we are very passionate about. When we went to Uganda we found that there were children who could not go to school because they had no wheel chairs. We were very touched and returned to Uganda for another show. This time we got lots of sponsors and raised money for wheelchairs, crutches and polio vaccines.

We have made some impact to the world. Some of our music has been played by the BBC and the Boston Symphony Or-chestras. Orchestra music is very impor-tant to us, we won’t stop. Here in Africa we want to change those young soldiers, the child soldiers; we want to change those ba-zookas and AKs to violins. One of our slo-gans is No to Violence Yes to Violins. This is one of our battles here in Africa.

Music.co.za: Over 300 Years of Hybridization

T he story of South African music is one of dialogue with imported forms, and varying degrees of hybridization over the years. In the Dutch colonial era, from the 17th century on, indigenous tribespeople and slaves imported from the east adapted Western

musical instruments and ideas. The Khoi-Khoi, for instance, developed the ramkie, a guitar with three or four strings, based on that of Malabar slaves, and used it to blend Khoi and Western folk songs.

The penetration of missionaries into the interior over the succeeding centuries also had a profound influence on South African musical styles. In the late 1800s, early African composers such as John Knox Bokwe began composing hymns that drew on traditional Xhosa harmonic patterns.

Gospel, in its many forms, is one of the best-selling genres in South Africa today, with artists such as the Soweto Gospel Choir, who regularly achieve sales of gold and platinum status.

The missionary emphasis on choirs, combined with the traditional vocal music of South Africa, and taking in other elements as well, also gave rise to a mode of a capella singing that blend the style of Western hymns with indigenous harmonies.

The development of a black urban proletariat and the movement of many black workers to the mines in the 1800s meant that differing regional traditional folk musics met and began to flow into one another. Western instrumentation was used to adapt rural songs, which in turn started to influence the development of new hybrid modes of music-making (as well as dances) in South Africa’s developing urban centres; from Marabi, Kwela, Mbaqanga Jazz, new jazz, pop, rock, Bubblegum to Kwaito.

www.southafrica.info


Traditional World Music


ALY KEITA WAS IN KENYA RECENTLY to give us the balafon

experience. The 41 year old Ivorian musician lives in Germany and has

been travelling the world for the last fifteen years, thrilling his fans

with the sounds of the balafon, an instrument he mastered by the

age of eight under his father’s tutelage. He shares with Crave [music]

about the West African xylophone and the perks of being a griot.

I was born in Ivory Coast but my father is from Mali. That complicates my identity to the public. Some people say I am from Mali others say I am from Ivory Coast. My mother however is from Burkina Faso. When we were young, my brother and I returned to Ivory Coast with my grandmother to learn my tradition. I would say

I am Ivorian because I was born there but my tradition is Malian because of my father’s heritage.

As a griot, we are taught all history of our lineage from the time one is born. I know all history of the Jobarteh and Keita and others that were affiliated with us way before the Europeans came to conquer west Africa. The griot was also a messenger. He would an-nounce to the village that ‘we must go the chief’ or ‘tomorrow we are doing this or that…’ When a married couple had a problem, for example, the griot would mediate between the two parties. All this was done through music. So he held the history of the village, was a messenger, organized the ceremonies, and so on. You could say he was the ‘brain’ of the village. One cannot grow up to become a griot, you must be born in a family of griots.

Living in Germany, my son has been isolated from the griot responsibilities because he is in Europe. In the African setting, you can learn easily because it is your everyday life. Going through rituals and ceremonies every now and then forces you to pick up a few things along the way. But for a 20-year old it is difficult to start learning your tradition. He is still a griot, but we are still working on it. He can play the balafon because there are eight in the house! Every time I go home to visit my mother I make and return with one.

The balafon is common in both Ivory Coast and Mali, but the music is not the same. That is because of the many different ethnic communities in either country, with each ethnic community having its own tradition. In ours, we have twenty-five communities and three different types of balafons. Music in Mali is tetratonic, because of the Mandingo and Guinea people. When you come south from Mali to Ivory Coast it is pentatonic. That is where we have the blues sounds like Ali Farka Toure, the African blues.


I play world music, because I have changed the concept of the balafon. Traditionally, the balafon is not normally played alone; you would need two or three, plus percussion and a singer. But now I play the balafon alone while people sit to watch – which is a modern concept. It is not normal in Africa to have people watch without dancing and singing together.

Because of my travels I get to play with many dif-ferent musicians from all over. They employ modern instruments like the saxophone. So the balafon takes the place of piano. The challenge here is that when I practice with other musicians who come with their music already notated, I have to use my hearing to cre-ate my arrangements as my music is not written. So while everyone has notes I have to use my hearing and memory. I have to listen, memorize and play almost instantly.

It is not easy to notate African music because ev-ery community has a different sound and style. We play with movement and we do not have definite endings to our songs. Performed in ritual ceremonies, our songs go on and on for enjoyment. Once we start writing our music we kill the impact and the energy..

Wednesdays: Rock — entry: KShs. 200Thursdays: Urban Legends — entry: KShs. 3001st Friday of every month: New Jack Swing3rd Friday of every month: RhumbaSaturdays: Carnivore Rave — entry: KShs. 200Sundays: Soul — entry: KShs. 200

Wednesday: DJ Sumo plays mixed musicThursday: DJ Zelalem plays House MusicFriday: Afro Fusion with DJ MarkSaturday: Band NightSunday - Tuesday: Salsa

Monday: In-house DJTuesday: Girls Nite and Best of 70’sWednesday: Kool n tha GangThursday: Karaoke NiteFriday: In-house DJSaturday: Gogosimo BandSunday: Nyama Choma Sunday PartyNO COVER CHARGE.

Wednesday: Karaoke from 6.00pm until lateThursday: Divas Night from 2.00pm until lateFriday: Happy House from 6.00pm until lateSaturday: Party’s NiteNO COVER CHARGE.

Club SceneEAST AFRICA

THE HOTTEST CLUBS AND BARS IN THIS ISSUE

Carnivore’s The Simba Saloon, Laikiana in Kili-mani and the goings on at the timeless Club Afrique and Psys.

The Simba SaloonLANGATA ROAD

THURSDAYS

TUESDAYS

SATURDAYS

FRIDAYS

SUNDAYS

WEDNESDAYS

KlubHouse 1OJIJO ROAD, PARKLANDS

PsysUNGA HOUSE, WOODVALE LANE, WESTLANDS

HavanaWOODVALE GROVE, WESTLANDS

PLUS...RezorousWESTLANDSDancehall and Reggae byDJs Nruff and Wesleyfrom 7pm

RafikizWESTLANDSDancehall and Reggae byDJs Nruff and Wesleyfrom 7pm

Blue Times LoungeMUSEUM HILLLive Benga, Chakacha, Jazzand other Kenya tunes byWakurugenzi Bandfrom 8 - 11pm


New Visa PlaceUPPERHILL, MARA ROADKayamba Africa, DJ Siddy and DJ Moha. Family Fun Dayfrom 2pm onwards

Coco Lifestyle LoungeMONROVIA STREETSoul and Oldies Nightfrom 8pm onwards


SUNDAYS

TUESDAYS

WEDNESDAYS

FRIDAYS

MORE...SplashLANG’ATA ROADThem Mushroomsfrom 7pm

Brew Bistro & LoungeNGONG ROADM20, move to overdrivefrom 7pm

Hot HauzNAIROBI WESTWaxxy Wednesdays, music by Dj Dan Mixa, Dj Stone and Dj Scrimmfrom 8 - 11pm


Wednesdays: Reggae NiteFridays: Funky FridaysSaturdays: Party Saturdays

Tuesdays: Jazz Nite with MwaiThursdays: Karaoke hosted by NaaruSaturdays: Gogosimo Band

Wednesdays: Kidum Thursdays: Dan Aceda Fridays: Blazin’ Inferno DJs Sundays: Old School with DJ Dru

Wednesdays: KaraokeThursdays: SalsaFridays: Boogie WoogieSaturdays: Soul NiteSundays: Rock Nite

Mwenda’s Cocktail PubUTALII HOUSE OFF UHURU HIGHWAY

K1 Klub House, Pitcher & ButchPARKLANDS

Rafikiz Bar and LoungeNEXT TO PSYS, LANGATA

LaikianaKILIMANI

Mercury LoungeABC PLACE, WESTLANDS

Club Scene

Mondays: Monday BluesTuesdays: Wine & JazzWednesdays: Sista SistaThursdays: Wine & JazzFridays: NostalgiaSaturdays: MixSundays: Smooth


Elsie: Yellow 50’s inspired strapless dress, KShs. 3,000; Gray peek toe pumps, KShs. 4,000Strapless dress from Steve’s CollectionPumps from Instyle

LooksPersonalities

PerfectWoman

The Homemaker, 1950’s Housewife


Elsie: Ray Ban geeks, KShs. 3,500; Red plade jacket, KShs. 3,000;Green sleeveless graffiti top, KShs. 1,500; Red plade jacket, KShs. 4,000;Ray Bans and Graffiti Top from Cool BeansJacket from Steve’s Collection

The Party Girl


Helen: Black Sweater Dress KShs. 500; Purple Cinch Belt KShs. 1,000Purple Clutch Bag KShs. 1,000; Brown Ankle Boots KShs. 1,500

Sweater from Zedi’s Collection, Elegant Exhibition. Belt from Vostis, Stall F68, Jamia MallClutch Bag from Gikomba Market. Boots from Adams Arcade

Wachira: Luminous Green Sweater KShs. 1,500;Pin Stripped Navy Blue Pants Model’s Own;Stripped Shirt KShs. 1,500Sweater from Elegant Exhibition. Stripped Shirt from Top Shop Discount Bazaar

Elsie: Gray bubble dress with pearl detail, KShs. 3,000; Boyfriend jacket, KShs. 2,500; Red ballet flats, KShs. 1,300;Perspex glasses a.k.a Harry Potters, KShs. 3,000;Brown vintage suede bag, KShs. 2,500Bubble dress, Boyfriend Jacket and Suede Bay from Steve’s CollectionFlats from Instyle. Perspex Glasses from Cool Beans

The Good Girl

Rhythm is Life

Be Smart. Be SafeProtect Yourself

With every album or single we review, we tell it like it is and give it crave [music]’s authoritative microphone rating. Here’s what those microphones mean:

EXCELLENT WORTH IT

OK BY US POOR

AWFUL

ReviewsALBUMS, SINGLES, MOVIES AND CHARTS

Featuring Dollar Band’s African Sketchbook,

The Villagers Band’s The Norfork Hotel,

Samba Mapangala’s Vunja Mifupa, and

Ibrhur’s Ujasiri and many more we present the

season’s best singles and albums.

DOLLAR BRANDPRODUCERS: Horst Weber

African Sketchbook

A dolph Johannes Brand or Dollar Brand (who later Islamized to be-come Abdullah Ibrahim) is the most prolific jazz pianist to come out of

the African soil. Here, in African Sketchbook, he plays around with numerous themes that flow into each other effortlessly and without warn-ing. In this 1969 collection, we are treated with African polyrhythm and freeform American jazz.

A traditional flute solo titled Air introduces the album. Brand plays it himself in free style. Then the piano aptly starts with a heavily tex-tured melody, very likely a processional hymn. Its sacred feel reminds us of Brand’s beginnings in Cape Town, on his church piano when he was just seven. Salaam is stately and simple, with jazzy inflections. It gets dissonant ever so slightly at the very end, just in time for the chaos.

What follows is the clangorous Slave-Bell in free metre, or so it seems. Here lies a con-frontational melody below, which smoothly joins into a rhythmic continuo supporting a folk-like melody in The Stride. This polyrhythmic piano style is expressed in many of the ‘pieces’ in this album, such as Machopi and Tokai. The lat-ter starts as a melody rumbling in octaves and thirds then swiftly goes into a heavy textured melody above a continuo. Occasionally, we can hear Brand’s voice. This happens every now and then throughout the album. Tokai, which is one of the longest pieces, 6 minutes long, sounds like a medley of various short folk songs, but this is not confirmed as fact.

The Dream is haunting and impressionis-tic. It is free from strict metre and any sem-

blance to formal struc-ture falls to the wayside. Occasionally, s o m e t h i n g like time sig-natures seem to emerge…only for a few seconds.

T h o s e looking for song - that is music in s o m e w h a t formal struc-ture - will love Mamma and African Sun, both of which are heavily nostalgic and deeply mov-ing.

This al-bum is a mystical combination of musical influences ex-perienced by the South African pianist of mixed race, who grew up in Africa, moved to Europe and then settled in the United States and later converted to Islam. It is jazz, classical and folk music, all poured into one glass. It may not be the choice album for the beginner jazz enthusi-ast, but it is definitely something jazz pianists would find previous.


words ANA LETIK

WE SAYThis album is a mystical combination of musical influences.

OVERALL:

OUR MICROPHONERATINGS

Here is a collection of a completely new sound dubbed Bengenge. As the genre suggests, it borrows from Benga, but we’re not too sure about the genge in-

fluence. However, listening through the 15 tracks it becomes evident that the album is deeply rooted in world music influences from central and West Africa.

As an intro, Chris Adwar chants out Pake Nya-saye against the glacial synthesizer. It is a solemn peaceful prayer. Then come the blaring brasses in Petero, reprimanding one of the twelve disciples. The percussionist definitely has his work cut out in this number.

It seems The Villagers are on a quest for love in this album. This is apparent in the soul-ful Country Girl and languid Dar es Salaam, Ir Aora (where a boy asks a girl to meet him at the tree by the river, and wants to meet her parents), not forgetting the bluesy Kenchic and the naughty-but-nice Mr. Walker. Liar 2012 could do with a heavier punch in the gut in the conscious message it bears.

Look out for great hits such as Please Wait, the upbeat Obama and the title track No-fork Hotel, which takes us back in time to Les Wanyika’s soukous guitar, perfectly blended with the familiar sounds of benga.

So if you want simple lyrics packed with meaning, ageless content glazed with a good sense of humour, familiar day-to-day happenings wrapped up in unique vocal harmonies and rich instrumentation, then this album is worth your while.

This volume comprises some of East Africa’s great classic and contem-porary hits compiled into 2 CDs. The first CD is all about the Con-

golese invasion. This collection includes the all time favourite Vunja Mifupa by Samba Ma-pangala, the Congolese vocalist who hit the East African music scene in the mid-1970s; first in Kampala with his Les Kinois band in 1975 and then Nairobi with the newly formed Orchestra Virunga.

Kasalo Kyanga of Orchestra Marquiz (also Maquis Original), serenades us with his silky voice in the popular Swahili hit, Karubandika. Originally from southern Congo (DRC), the

band settled in Tanzania around 1972.Les Mangalepa bring in the long guitar interplays in Nyako Konya. Incidentally, it is be-

lieved that their name is a corruption of the French “Marquez les pas” meaning mark time, which comes from the snare drum laying down the beat as in military bands.

Among the contemporary artists is Cool James, a.k.a Mtoto wa Dandu, who died in a grisly road accident in 2002. He does a rendition of Les Wanika’s 1979 classic, Sina Makosa. Other contemporaries are Kidum (Umenikosea), Ambassada (Anyina) , Achieng Abura (Toto Wangu) Joseph Hellon (Apako Nyingi), East African Bashment Crew (Fire Anthem), Kayamba Afrika (Amalwa), among others.

This is definitely a collector’s item worth checking out.

Simple lyrics packed with meaning, ageless content glazed with a good sense of humour

The first CD is all about the Congolese invasion while the second CD features contemporary artists

The Nofork Hotel: The Villagers Band Ear for

the Music

Essential East African Hits vol. 1: Various Artistes

Timothy Callaway Mwangi, 24

I listen to rock and classical. I love international artists like Cheville and System of a Down. My favorite local artists are most def P-unit for sure,

kwanza their latest song Kare and also Sauti Sol..

Muthoni Gathitu, 28I listen to afro fusion, urban soul and rock. My favourite local band-KIDUM,

Harry Kimani’s Waithera.

Lemmuel Agina, 19I listen to rap, hip hop, especially old school...kidogo genge, gospel and reggae. I like Juliani, Jua Cali, Kanjii,

Nonini and Emmy Kosgei. Some of my favourite songs are Kare, I’m Just a Man,

God is Able. It’s hard to pick one…

Reviews


Ibrahim Emu-ron Yusuf a.k.a Ibrhur, is breaking

out with an 8-track album, aptly titled Ujasiri (bravery). The 23-year-old rapper was born and raised in Turkana, then moved to Nairobi after his secondary education, to pursue college studies.

Inspired by his homeboy Akidah (the first in the history of Turkana people to ever record a hip hop track Twaangamia), Ibrhur chose the hip hop genre to express his tough upbringing as in Jikaze.

It seems Ibrhur is all about conscious music. Challenging the status quo is the order of the day. If you are looking for a

cursing club banger with a kick that bursts your speakers… do not look here. Sio Mwisho, Ukimya Wangu, Usitumike and Rise Up are some of the thought provoking tracks in this collection. The messages are clear and the instrumentation is simple.

Ibrhur draws his inspiration from T.I, The Game, and the late Tupac Shakur, and locally from Ka-lamashaka and Tanzanian lyricist Professor Jay. While rapping in Swahili comes effortlessly, Ibrhur’s spitting style could do with more passion and power - something he should learn from Juliani. That, plus a captivating hook to keep his listeners bobbing their heads way after the song is over.

This debut marks a bold step towards a bright future.

Ear forthe MusicUjasiri (Turkland’s Wisdom):

Ibrhur

BREAKING OUT

Geoffery Oketch, 38I enjoy listening to Zilizopendwa,

RnB, bongo flava and classical. My favourite artists are Eric Wainaina

and Michael Jackson

Catherine Ngonyo, 26I’m a die-hard Bongo Flava fan; the catchy beats and poetic lyrics just make my day! You can never go

wrong with anything by Lady JD, Ali Kiba, Professor J and TID

Charles Kimenyi, 26I listen to Afro-fusion and RnB. My favourite local and international

artists are Harry Kimani and Imogen Heap, respectively. I love Hide and

Seek by Imogen Heap.

The messages are clear and the instrumentation is simple.

Reviews


OUR SPEAKER RATINGSWith every album or single we review, we tell it like it is and give it crave [music]’s authoritative speaker rating. Here’s what those speakers mean:

A STAR IS BORN ON THE RIGHT TRACK

SHOWS POTENTIAL BACK TO THE STUDIO

TRY ANOTHER JOB

CRAVEMUSICMAG.COM Video Court 061

KareP-UnitWillie Owusu

Well, here’s a video that defines the word cool. We love the clad, the

kicks and the classy set and, of course, the attitude. These guys went all out. Af-ter all isn’t the song all about the wakare emcees a.k.a PUnit? The video has a simple 5 second plot – this really mkare lady is into this mkare guy at the joint. Kare. She buys a whole bottle of white wine just to get his attention. Kare. Nev-

er mind that she’s got another bottle of red wine waiting at her table. Kare. Her blacked out jamaa gives testimony to this. Kare. She fiddles with her cellphone, probably changing her facebook relationship status before her knight in shining armour steals her away. Kare.

Mwisho Wake LiniTycoon Shah ft Banana Zoro and Afande SeleAdam Juma

A clip of the late mwalimu Nyerere giving some heavy advice to our

brothers, “There’s no future without Uni-ty”…thus begins the video, shot at various locations with focus on a quarry and the famous Kivukoni fish market. The idea is clear - hard working nguvu kazi Tanzani-ans struggling to make ends meet. This idea sinks firmly in our thoughts through-out the video. Big up to bwana director.

But here’s the querry, are all those extras aware that they are in a music video? Even the hijab lady crossing the street and the bibi at the fish market? Unfortunately, some rights to privacy and have been infringed; by law somebody could go to court. But let’s give them the BOD, and assume that consent was sought from every person in the video. Incidentally, Tanzanian BBA contestant Mwisho Mwampamba is also cast, perhaps to highlight the title of the song.

Taunet NelelEmmy KosgeiVideo by PrinceCam

Beautiful location! We don’t know where that was but Emmy Kosgei definitely nailed it. What about the wardrobe selection? Now here’s a classic collection of African themed

gear, which we hear, are her own designs! The clothes blend in with the bush surroundings. Capturing the break of dawn to emphasize the title of the song was a brilliant idea. While the filming and lighting is fantastic, let’s face it, the choreography could have been better if the female dancers were a little more athletic especially with zulu kicks incorporated. Next time they should throw in a daily fitness regime four weeks to the shoot.

TOP 10

12345678910

NIKIII’m Leaving

STLFavourite

NYARUACH FT K-FORCEEgobe

P-UNITKare

COSTARY FT CANNIBALGo Shiner

NONINIGenge Love

A-STARAdios

ALPHA MSANIIMillion Chances

MADTRAXXGet Down

WYRESina Makosa

Video Court


Wear?VacationPhotos PAUL MUNENE Stylist JOY MWIANDI Location SOUTHERN SUN MAYFAIR

Lisa: Shift baby doll dress with crochet detail, KShs. 3,000Gray gladiator platform heels, KShs. 4,000

Dress from Steve Collection. Heels from Instyle.


Lisa: Silk maxi dress, KShs. 4,000; Multicolored scarf, KShs. 400;Green pollilop earrings, KShs. 850Dress and Scarf from Steve’s Collection. Earrings from Yasmin’s Treasure Trove

Eugene: White graffiti T-shirt, KShs. 2,000T-shirt from Cool Beans



Lisa: Animal print shifan cover-up dress, KShs. 2,500; Chanel Sunglasses, KShs. 2,500Dress from Steve’s Collection. Sunglasses from Cool Beans

Crave [music] Mag

Documents

music exams

ktns interactive music

kenya music festivals

mtv africa music awards

club afrique

salif keita

lady jay

party girl