Day Three: February 18, 2020 (Stonetown, Mpendae, Maungani) Story
…is band. He is a teacher at the DCMA. He teaches the Oud and plays the saxophone. All the students at the DCMA study traditional music such as Taarab as well as Western music. Members of the group: Suleiman Makame (keyboard, director), Hassan Mahenge (Saxaphone, assistant director), Mahsin Basalama (contra base), Christopher Weston (Cajon and high hat), Regina Juma (singer). There was supposed to be a violin player but unfortunately he couldn’t ma…
Group 4: Urugangaze Ballet Story
…dance. As with the other Intore we saw, there was a group accompanying the dance on the amakondera (horns). A couple of facts we learned about the Intore today: firstly, the Intore name is derived from the verb “gutora” (to choose/select) as a large number of the trainees originally were recruited from the children of upper middle class families. Secondly, the lion manes that the dancers wear are made of wood that is beaten so fine it becomes hair…
Mchele Mchele Sanaa Group Group
…This group, from the Sukuma community, was formed in 2010 and performs with a number of styles: Bukomia Lume, Buchheye, Wigashe. Their instruments are: Ng’oma (Drums), Pembe (animal horns, large impala), Firimbi (flute), and Njuga (shakers). …
Day Four: January 21 2019 Mwanza Story
…s group, from the Sukuma community, was formed in 2010 and performs with a number of styles: Bukomia Lume, Buchheye, Wigashe. Their instruments are: Ng’oma (Drums), Pembe (animal horns, large impala), Firimbi (flute), and Njuga (shakers). We recorded five performances: Ntale Atabihyala: ‘The boss, who is always wrong, wants to be always right. Just accept it’ Ba Tanzania (Malima): Praising country, encouraging farmers and hard work – this song h…
Day 4 – Tuesday 4th July 2017 Story
…ately a rather difficult interview to conduct because of the interviewee’s reservations, as well as for reasons of bad weather that chased us away before we could complete it. However, we did manage to find out several interesting information, notably, on his beginnings as a player and on the instrument manufacturing itself. Alex Ogwe confirmed our two generation theory and said he only started playing once his father was gone. He also gave us an…
Group 8: Abutazi Story
…nanga with rap. Their flow was such that they often went straight from one number into another, so the set list reflects this. Set list Agahinda (“Sad”) and Inanga. Agahinda is a song about depression that Makare wrote 8 months ago, using a metaphor of a burning house where the smoke can’t be kept in. This went straight into Inanga, an ode to the inanga and its sound and all it does for them. We loved this double number so much we recorded it twic…
2. Naizungwe Drums – progress report 1 Story
…enough drums for training a new generation of players. However, the basic number includes: 1 large Uganda drum (played with short heavy beaters) 3 smaller drums (played with long curved sticks) 1 medium drum (played with sticks) 1 long drum (ngalabi – hand-beaten) All together, 6 drums. Therefore, we are making four sets of naizungwe drums mainly to facilitate learning.” Below is a video documenting the progress of the drums thus far. https://you…
Day 2: Sunday, 2017 February 19th Story
…the coconut for Wali (Coconut Rice). The dancers all had lovely necklaces (Usalu), hats (Kigarama) shakers (Mbugu), whistles (Firimbi), and ‘brooms’ (Usinga). The group leader was Asha Saidi Kazidi. The style was Unyago. Here is the group: They played 12 songs, including Magic Moments and Influences Sessions: Zakulola: You’ve come to see us play Wake Kwa Ume: Female to male Nataka kusema kasi naogopa: I would like to say something but I am afraid…
Day 1: Saturday, 2017 February 18th Story
…Dancing Troupe, which included two of Mzee Morris’s grandsons, Abdala Nyunyusa Morris on vocals and Rajab Alli Nyunyusa Morris on drums. Rajab is the only of Mzee Morris’s offspring to make his living as a drummer. Here he is with Morris Drums: Here is the group: They played seven songs: Jembe ni Mali: a song to encourage farming Kilongo Salale: a call to unity Rasilmali Ya Mnyonge: The worth of a poor man. Bendera Ya Taifa: The flag of the nation…
Our journey to the Royal Drums: in the words of James Isabirye Story
…he lives in Kiboga which was about three hours away. She gave me his son’s number and Musisi’s and we called. I talked to him! My only thought at the time was: GET MUSISI TO KAMPALA. I could not lose another teacher. So I agreed I would send money for Musisi to meet with me. I gave him a job to teach students how to play the drums. I was so relieved to have found a drummer. He arrived in Kampala and we set out to teach. But very quickly it was cle…
Central and Eastern Kenya: Days 5-11:An Interview with Gregg Story
…pop culture. The whole drive to “marketing” is killing our culture. If the numbers don’t come in on something than you stop it. But culture is hard to really invest in. You don’t go for the popular musicians doing the big things. You have to go to the real groups in the rural villages. And they are out there. And it gets much deeper. Our view of development is hardware – give folks roads, modernise them. But Singing Wells has discovered in fact –…
The History Of Benga Music: A Report by Ketebul Music Story
…oys, John Otonde of Kiwiro Jazz, Kaudha Twins, Awino Lawi, Opiyo Emma and Musa Olwete. Later Ouma Omore, the Victoria Chomeka band, Ouma Jerry, Kassongo Polo Menyo, Osito Kalle and Okatch Biggy emerged. Many of these musicians had now dumped their acoustic guitars and snapped up electric ones; as it was said, “the power had been turned on.” Most of these pioneers have since passed on with only a handful left in active music. The era of 78 rpm disc…
Central and Eastern Kenya: Days 5-11: Ketebul Studios, Nairobi Story
…cause – they aren’t rooted. I was a session musician at AGS (African Gramophone Studio) and CMS (Capital Music Studio) studios, both on River Road. I formed Sega Sega and we had a drummer called Katoi and Juma Otheth. We did a huge amount of studio work and as Benga became popular, the three of us played on a lot of others’ songs. This meant that our Luo sound was getting on a lot of records. The early sixties was mostly about studio work but by…
Central and Eastern Kenya: Day 1 – Nairobi to Kiongwe to Muranga Story
…, we divide into three teams: Interview Team This team is typically Tabu Osusa, who acts as the on-site Singing Wells representative, formally meeting the band and handling all their questions about the project and their role in it. Tabu is typically joined by our local music expert, in this case Gregg, who took the lead in interviews. Gregg has a worksheet prepared in advance that he uses to capture information on the group, their songs, and thei…
Central Uganda: Day 5 – Jinja to Kampala Story
…dle players and 2 thumb pianos. They also have the traditional Ugandan Xylophone. All instrumentalists also sing and are supported by three ladies who sing and dance. The three core members are: Walusimbi Nsibambi Haruna: He the Founding Director of Nile Beat Artists. Walusimbi was once the Global Youth Earth Day Ambassador for Africa after winning the Global Youth Earth Day Ambassadors Competition in Marikina-Philipines. Nabayaza Sumaya Baiga: Sh…
Central Uganda: Day 4 – Jinja Story
…s/traditions and can train the youths. One already died in May to move the number from 4 to 3 and one of the three surviving is very ill. But it is almost certain, now that the trumpets won’t disappear. Young people have some interest, thankfully, and are learning.” Click here for further reading on the Bigwala. Here’s their music: Adagha Nalya Drama Group Our second group was from the Bukoona Village and called the Adagha Nalya Drama Group. Their…