tukudzi M r e v i l O l Awards A M A M l n Wyclef Jea
Rhythm is Life
ECEMBER 2009 NOVEMBER - D
O x N 002
] c i s u [m
avril SY S A S , Y R T SUL AND SEXY
y mRMoOn nEtCa Pe Y N PERF T HA ai v u L a l a g i t A E’S NSERVATOIR
ON THE CO E RISE AND RIS
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Playlist
HTC Magic Phone With its sleek, clean-lined and compact image, the HTC Magic has a 3.2-inch display and a supremely responsive touchscreen. p26
ISSUE NO 2
FEBRURAY — MARCH 2010
Highlights CLASSICAL
10 l
Blowing Her Own Trumpet
She has now mastered the trumpet and also plays the cornet and trombone. As a Grade 8 trumpeter and pianist, Christine has every right to blow her own trumpet.
AFRO ACOUSTIC
16 l
Thinking Outside the Box
Pentamony trio Seamus Ikonya, Benson Mutahi and Philip Tuju are thinking outside the box.
14
56
ARTIST INDEX
30
CONTEMPORARY Sultry, Sassy and Sexy
There’s more to this ambitious Kenyan beauty, whose collabo with Tanzanian rapper, AY, placed her in the same league as the seasoned divas in the East African music scene.
2face Indibia, 56
Kirk Franklin, 62
Akon, 7
Madtraxx, 49
Alemba, 49
Mejja, 49
Amani, 60
Murfy’s Flaw, 47
Avril, 30
Nameless, 49
Ay, 49
Nazizi, 47
Baa Mdogo, 49
Ngashville, 49
Blu 3, 56
Oliver Mtukuduzi, 64
Colonel Mustapha, 49
Pentamony, 17
Danco, 49
Prof. J, 57
Dj Sadic, 49
Ratai Arati, 48
Esther Wahome, 62
Rufftone, 49
Holy Dave, 49
Sautisol, 7
Jaguar, 49
Sene Ta, 35
Jua Cali, 6
STL, 48
Juliani, 49
Suzanne Owiyo, 64
Kanjii, 62
Wadosi, 49
Kevo, 49
Wyclef Jean, 57
K-Force, 49
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Playlist
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ISSUE NO 2
FEBRURAY — MARCH 2010
Highlights
Regulars 6
News
8
Power Playa
Round up of music news
The Business of Music and Entertainment in East Africa
14 StylePhile
Hot Sizzling Celebrity Fashion
22 Skratch Crowd control
26 Gadgets Galore Polaroid on the Go (PoGo)
40 Club Scene
Laikiana, Club Afrique, Havana
BONGO FLAVA
35 l
Sene Ta
46 CD Reviews
STL, Nazizi, Arati Ratai
At the age of 14 Jackson Daudi Mukangara was busy recording Pili Na Lili a HIV/AIDS Awareness song
50 Fashion Hit List Hip Street Dance Wear
56 Event Pictorial MTV Africa Music Awards, Stand Up N Take Action
TRADITIONAL
36 l 04
Something Peculiar
Through drums, this 23-year-old tells his story of trials, tribulations and triumphs
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The First Note
Two Issues Wiser
T
[music]
hanks guys for the reception you gave our launch issue. The mail was overwhelming. We assure you that our publication will live up to your expectations and beyond. We start by congratulating Amani and Nameless for representing at the MTV Africa
Music Awards! So what’s in store for us this year? More creativity, more live music and hope-
Kenya Kenon Court, Kileleshwa P O Box 20319 00100 Nairobi 020 202 59 77 .tel info@cravemusicmag.com .email
fully, more albums. We understand the need to put out a single is to promote an album, but
Publisher: Music Gallery Limited
we think these albums are taking rather too long in the oven. Don’t get us wrong, we definitely
Editor: Mufu Ndosi mufu@cravemusicmag.com
don’t want our artists to supply us with half-baked CDs (read Putting the Cart Before the Horse), we just want guys to work harder, commit themselves and show some focus. Big up to those who successfully launched (and they’re quite a few!); we hope they give us a chance to review their work. We know it takes a lot of effort to sum up their creativity in a dozen songs. Talking of which, Wyre’s 10 Years Wiser is our main review in this issue…talk about versatility. This CD has TWENTY tracks! How about that? The Kenya Conservatoire of Music is the regions oldest music school. Meet its director, Atigala Luvai, our Power Playa as he talks about the business of music instruction. Afterall, isn’t it about time we learnt a musical instrument? (read Benefits of Playing a Musical Instrument). That said, meet Pentamony [Thinking Outside The Box]. This trio has found a way to fuse orchestral
Art Direction & Design: Charbel Munhe charbel@cravemusicmag.com Fashion Editor: Trish Kim trish@cravemusicmag.com Sales and Advertising: Arthur Maleche arthur@cravemusicmag.com Contributors: Alenga Bouyo, Trish Kimani, Ana Letik, James Kinyanjui, JR Lang, Urmann, Patrick Wameyo, Amit Thongori, Jason Kahn
instruments with their afro acoustic flavour. Their sound includes the violin, clarinet, flute and acoustic guitars as well as percussion. Isn’t this what creativity is all about – taking risks with new material? And who’s taking risks in her career path? None other than the ultra sexy songstress, Avril. Although she’s in the music industry, Design is her main forte. We love her to death for gracing
Photographers: Japheth Njagi, Paul Munene, Emmanuel Jambo Production Manager: Charbel Munhe charbel@cravemusicmag.com
our cover. Her collabos got her regional fame and now she’s ready to drop an album and take things to next level. You go, girl! Valentine’s is round the corner. So meet our Crave Carat, the beautiful Vicq Nduta as she sets the mood for some much needed romance. Don’t we just crave that sometimes? crew
ON THE COVER AVRIL Photographed by PHOTO VILLAGE Styling by TRISH KIM Hair and Make-up by ASHLEYS SALON Clothes by STEVE’S COLLECTION
© 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 information 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 advised 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.
CRAVEMUSICMAG.COM
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NEWS WHAT’S HAPPENED. WHAT’S HAPPENING. words The Svengali
A Scout?
Jua Cali appointed Scouts’ patron According to the Scouts’ movement Jua Cali is one of the artist the youth like as a role model
T
he King of Genge, Jua Cali was recently appointed Patron of Nairobi East Scout Movement. The artist, who had gone to perform at one of the Scouts’ events in Umoja estate, was later given a scarf and named a patron. He was conferred a senior scout title during the occasion before being made the patron. Jua Cali is also the Orange brand ambassador as well as the face of the BloodLink
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NGO, a blood donation campaign. According to the scouts movement, Jua Cali is one of the artist that the youth like and his influence among them has become more that an artist but also as a role model. His role will be to motivate and encourage young scouts. The Kenya Scouts chairman is President Mwai Kibaki.
THE SCOUT MOVEMENT Sc
outing is an international educational movement for young peop le based on values. Its vol untary, non-political, independent and it involv es a growing number of young peop le-boys and girls without distincti on of origin, race, gender, creed or ethnic/tribal background in accordan ce with the purpose, principles an d method as conceived by the Fo under. The scouting movement wa s founded by Robert Baden-Pow ell in 1907.
Success locally?
SAUTISOL’S HOMECOMING CONCERT
A
fter a successful tour of Europe, the boy band SautiSol currently riding high with their hit single Lazizi thrilled their fans at a homecoming concert on Saturday, November 14th. The concert was held at Club Galileo was also be used by the band to launch their new singles Nambe and Awinja. According to the band’s spokesperson, proceedings of the Ksh. 500 entry fee concert will be recorded live by Kiss TV who is the sponsor and the footage will be used to compile a DVD. The groups maiden DVD Mwanzo which contains their headline song Lazizi is currently on sale in various music outlets in Nairobi among them Sound Africa and Silverbird superstores. The event is set to start at 9pm and last into the night.
Not again?
Violence Erupts at Akon Concert, 18 injured Although many fans were involved in the brawls only one 21-year-old man has been charged with assault so far
E
ighteen people were injured at an Akon concert in Melbourne, Australia on October 26 after more than 50 people rushed security guards to gain access to the concert venue. According to ABC (Australian Broadcasting Corporation) News, eight of the 18 people injured in the incidents that occurred both inside and outside Melbourne Park had to be rushed to the hospital. Although many fans were involved in the brawls only one 21-year-old man has been charged with assault so far. Akon reportedly walked into the crowd to try to stop fans from fighting. The YouTube video footage of the concert shows Akon entering the audience with his bodyguards asking people to “calm it down” while fans cheered. “Hold on Melbourne…I
need ya’ll to let me speak for one second,” Akon told an excited audience from atop the shoulders of one of his bodyguards. “I don’t know if ya’ll know how hard it took me to get there. It took me almost two years for Australia… and I am not going to let them fuck up our concert tonight.”
pirate list
What we’re listening to this season?
1. In the Beginning
K’naan
2. Lose Control
Timbaland ft. Jojo
3. Tomorrow In The Bottle
Timbaland ft. Chad Kroeger & Sebastian
4. D.O.A [Death of Auto-Tune]
Jay-Z
5. Nipe Love
Ray C ft. Quick Rocka
6. When It’s Over
Sugar Ray
CRAVEMUSICMAG.COM
07
inbox
We want to hear from you. Send your letters to editor@cravemusicmag.com and stand a chance to win a shopping voucher courtesy of Silverbird.
Your emails, tweets and letters
WHAT A PLEASANT SURPRISE!
Dear crave, I came across your mag quite by accident but it was a pleasant surprise. I think you guys have a brilliant publication. I wish more people would take the music industry more seriously as you do in your work. My best article was the interview with Homeboyz power player Mike Rabar. He is definitely an inspiration to the youth to hone their skills even with hobbies; specialize in your field and stay ahead of the competition. MARK GITONGA, NAIROBI VIA EMAIL.
STILL A LOT TO LEARN FROM OUR NEIGHBOURS
Hi, am in love with Crave [music]! It’s awesome and such a positive initiative in our music industry. The magazine is glossy and hip. I still feel that you can find space for poster pull-outs. Looks like you guys are covering only local music. That’s good. It’s high time we pushed for our own stuff. Personally, am proud of Kenyan artists. They’ve come this far and now they even have a magazine to tell us about their successes - although they still have quite a lot to learn from our neighbours, TZ and UG... Keep it up, Crave! TIMO SANDE, NAIROBI VIA EMAIL
SUCCESS AT PLAYING THE OBOKANO
I’m a magazine fanatic and when I picked Crave [music] at the supermarket I was pleasantly surprised by the content and quality. It’s truly the professional go-to music publication that we have been waiting for. The articles are well-written, light and entertaining. I particularly liked The Grandmaster. Who would’ve thought that playing the obokano could be a promising career with trips to Europe on the menu? Dennis Masiere should be very proud of his accomplishments so far. I encourage him to continue following his dream and inspire others who wish to take his path. ELVIS M, MOMBASA VIA TWEET
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LETTER a Silvebird shopping voucher STAR ★ Mild ly amusing? Win Vaguely literate?
ve [music], I r. When I picked Cra I am a music teache g our superrin tte ther magazine clu thought it was yet ano market stands. sic] is spot was wrong. Crave [mu Well, I have to say, I a career. as sic down upon taking mu on. Many people look l see that wil y the s, icle art r read you Hopefully when they explored in music. there is so much to be I continue the last 9 years and I’ve been teaching for our musiice adv I en. oft every so to learn something new sion serifes pro mile and study their cians to go the extra d and get fiel s thi in y crit dio id me ously so that we can avo e. the respect we deserv trument? ually play a musical ins act ists art ny ma w Ho W. MASINDE, ELDORET
MY PRAYERS ART ANSWERED
VIA EMAIL.
Thanks for answering my prayers for a local music magazine. I’m a fan of the Source and now I’ve found a place to read more about music in the industry. I wish there were some posters though. It’s good that there’s an extensive CD review section. I hope this will encourage our artists to take it to the next level and produce albums. Mko juu tu sana! JULIUS OMOSH, KISUMU VIA SNAIL MAIL
Rhythm is Life
Power Playa
THE BUSINESS OF MUSIC AND ENTERTAINMENT
Atigala Luvai
On the rise and rise of the Kenya Conservatiore of Music
T
he Kenya Conservatoire of Music has been a leading music school within the East African region for the last 65 years. It takes resilience and focus to maintain high standards of training to prevail in an era where music education is given the back seat. At the helm of this institution is 34-year-old Atigala Luvai. He shares with crave [music] about the business of music instruction. When did your interest in music begin? As far back as I can recall. Right from the time I was a kid. I grew up in a musical environment where my parents both sung in choirs, especially in church. My primary school encouraged singing through hymn practice and many children could actually sing quite well. A friend of mine was taking piano lessons; that motivated me to learn the instrument. So I started trying on the school piano. Coincidentally, a neighbour of ours also owned a piano, and he was kind enough to allow my brothers and I to play it whenever we liked. Unfortunately, this neighbour had to relocate to his home country. But luck was on our side, because he gifted us with his piano. It was a dream come true, we got to have our very own piano. What music training have you undergone? Who mentored you? I had my very first piano lessons with my dad, who’s an amateur pianist. Besides that, I learnt a lot from watching my brothers and peers play while putting in a lot of practice on my part. One of my aunts used to insist on listening to me play; that also boosted my learning. In high school, I accompanied the school choir and was also the school chapel pianist. Fortunately or unfortunately, I didn’t study music as a subject, but in university I managed to do it as part of my degree in education, where I was mentored by Professor George Kakoma before he retired back to Uganda. In addition to my academic studies, I have professional training as a classical pianist and teacher, having attained the Associated Board of the Royal Schools of Music Diplomas in both performance and pedagogy. The ABRSM performance diploma, which is internationally recognized, is by far the most challenging pursuit in my entire music training so far.
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Power Playa
Brief us on the history and objectives of the Kenya Conservatoire of Music. The Conservatoire was founded in 1944 to provide formal instrumental music training of the highest standard possible to individuals. We are non profit making but continue to exist because there are more and more people who realize the benefits of learning a musical instrument. These people form our client base. When did you join the institution? In 2000, shortly after graduating from Moi University’s Maseno College, and doing a brief stint at University of Pretoria as a teacher of piano and theory. It was also at this time that I got seriously involved with the music at All Saints Cathedral where I am one of the organists. When did you become director and what motivated you to apply for the top job? I became director in 2002, when the position fell vacant. Many things motivated me; the main one was my desire to work with young people in particular. I wanted to positively influence their quest for good music.
Music Education is not examinable in the Kenyan syllabus. What is your opinion in this matter? The misconception about music dates back to the implementation of the 8-4-4 system of education. It was thrown into the curriculum as a compulsory subject together with those subjects which were supposedly intended to equip young people with survival skills in case they did not make it academically. So teachers were expected to teach children pottery, basic tailoring, basic cookery skills that any teacher could format into lesson plans and over time have them structured in the curriculum.
Many believe that the Conservatoire caters for an exclusive clientele. Please comment. That is somehow true but not deliberate. I strive to make the institution accessible to everyone regardless of their social or economic background. One way has been through the successful launch of the bursary scheme. What exactly does your work entail? It entails looking for sponsorship from individuals both inside and outside the music industry, both locally and internationally. Working with parents and teachers to see that the delivery of music lessons to Kenyans is effected in the best way possible. As country representative of the Associated Board of the Royal Schools of Music, I facilitate the provision of their exams across the country.
Music is the most specialised of all academic nnot be disciplines and ca taught by a regula r classroom teacher
What major contributions have you brought to the table? Firstly, I have made major strides in ensuring that the Conservatoire is accessible to anybody who wishes to be a part of our student base. We have a bursary scheme for talented, serious, academically capable Kenyans.
Secondly, I’ve seen the number of instruments at the institution grow through an appeal I made via the ABRSM newsletter, Libretto, which got us instrumental donations from well wishers in the UK. Now, many more students have enrolled to learn orchestral instruments and the surplus is hired out at very affordable costs. Thirdly, I established the first ever Kenya Conservatoire of Music orchestra, which attracts young Kenyans from all backgrounds. This orchestra has grown immensely and feeds into the Nairobi Orchestra which - until the formation of the Conservatoire orchestra - was 99% expatriate. I recently introduced orchestral regional concert tours that take place annually, but more importantly keep the institution buzzing with myriads of young people who desire to use their time constructively. Lastly, but certainly not least, I have also overseen the establishment of a second teaching and learning centre at The GoDown Arts Centre on Dunga road, to help with matters of accessibility for prospective and continuing students who find accessing the town centre difficult. What challenges do you face and how do you deal with them? Have you ever thought of throwing in the towel? Yes. Throwing in the towel is a feeling many people get ever so often when things are not working in their favour. A common challenge is juggling administration work with the teaching, there is hardly enough time for both. Another challenge is getting students to understand the value of allocating enough practice time to their instrumental studies. It is also difficult to remain relevant in a society where music is not given very much importance.
Unfortunately, music was classified with these subjects, which was the worst misconception right at the outset because music is the most specialized of all academic disciplines and could not possibly be taught [to a desirable level] by the regular classroom teacher. This serious mistake at the implementation level meant that music education struggled and struggled over the years until eventually the truth had to be accepted - it had failed. So, making it unexaminable is actually the right thing as opposed to totally scrapping it from the curriculum. How do you foresee the future of formal music training in Kenya? I think that the importance of music education should be acknowledged by our leadership and all stake holders and then consultation be made with those foreign systems in which it has succeeded and a plan of action be modeled for Kenya.
With so many music training institutions sprouting all over Nairobi, what are you doing to beat the competition? Competition is very healthy. I believe, as long as we continue to stick to our mandate and strive to better ourselves in terms of both professional development and service delivery, we shall continue to succeed.
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Blowing
her own
As a grade eight trumpeter and pianist, Christine has every right to blow her own trumpet
Trumpet Christine Kamau GRADE 8 TRUMPETER AND PIANIST WHEN CHRISTINE KAMAU decided to take on a brass instrument six years ago, she had no I idea she would accomplish so much in such a short time. She has now mastered the trumpet and also plays the cornet and trombone. As a grade eight trumpeter and pianist, Christine has every right to blow her own trumpet. She shares about her musical journey with crave [music].
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Classical
What or who inspired you to learn a musical instrument and when did you start playing the trumpet? My affair with music began in the formative years of my life. My school had a music culture. The music teacher in my primary school taught me tunes on the piano which I would then play in assembly as the other pupils sung. I also played the tenor recorder in the school band (primarily because I had such long fingers!). My parents then took me to music school to learn music theory and piano when I was around 11 years old... and like they say, the rest is history. I started playing the trumpet six years ago under Kagema Gichuhi. Do you play any other instrument? What challenges did you face as a student? Piano is my first instrument. I play trombone and sing too. I think being a student provided more of an opportunity than a challenge as I had the chance to practice during my free time. However, prioritizing my time wisely between my college studies and music practice was a major challenge.
Does the trumpet reflect any qualities about you? The trumpet is a versatile instrument. Many perceive it as loud and pompous in character, yet it is capable of extremely pleasant cantabile playing… like a coin it has these two sides. I think I lie more on the pleasant side and less on the pompous side! Besides classical music, what other music do you listen to? Does your involvement with classical music influence your taste in other kinds of music? I can practically bob my head to any genre of music! Provided its good music, I will most probably enjoy it. More specifically, I listen to a lot of African jazz commonly known as afro-jazz. Classically I’m at home playing and listening to Chopin, Beethoven and Brahms. My involvement with classical music has made me appreciative of other genres of music.
Which local or international artist inspires you and why? I am GREATLY inspired by Hugh Masekela. He has mastered the trumpet and plays it with great ability not to mention that he has AWESOME tone. I find his music TOTALLY inspired. Masekela is probably one of the greatest afrojazz musicians of our time. His ability to improvise with lots of razzmatazz while maintaining [and achieving] great melodic direction, shape and climax is one that I greatly admire. I am also inspired by the music of South African jazz trombonist, Jonas Gwangwa. Do you play in a band? Yes, I play with the band at my church and I recently joined Mapinduzi Band. The process has really helped me grow musically. Being in a band means that you just have to up your game so as not to spoil for your band mates. That meant that I had to work hard by practicing everyday. Now my pitching is on point. That’s Eric Wainaina’s band. How did that happen? Umpteen years ago, when I had just cleared high school, my friends [now Pentamony] and I visited Eric’s studio. We had a chat with him about music and I happened to mention that I had just started learning the trumpet. Then I met Eric again during the Berklee auditions that he organized early last year, that’s when he asked me if I could play the horn part in his band. I imagine you would need lots of practice as a band to be in sync. Most of us practice in solitary because what’s most important is mastery of your instrument. However, we occasionally have long sessions of practice together, especially when looking at new music. Since the horn is a new addition I often have to catch up and do arrangements for it. Is it intimidating playing with such a renowned band? It was at first. When I joined I knew that some of the members had been playing with Eric for over six years. But I had also held my instrument for just as long, so I soon got over it and started having fun. Now I just take each gig as a rehearsal session and let the music flow. So, are you there yet? After studying music for a relatively long time, it’s quite fulfilling to finally get to apply that knowledge by playing professionally. However, for me, this is still a stepping stone, in the sense that it’s all part of the learning process. Recently, I’ve been having so much fun playing from one gig to another. I truly understand why many musicians lose focus. I’m constantly aware of that.
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Classical
So where are you going with your music? In the near future, I plan to engage primarily in composition or songwriting. I don’t want to give you all the details. A little mystery is good.
classical musicians performing in Kenya and giving master classes, which is a clear indication that this market is embracing and appreciating classical music.
What is the future of classical music in East Africa? Classical music has a great future in East Africa. I toured Tanzania and Uganda with the Kenya Conservatoire of Music Orchestra in the last two years, to very receptive audiences. This genre of music is no longer a preserve of the elite but one pursuable by the common mwananchi. There’s a keener interest by ordinary people in learning orchestral instruments. I mean, walk down the streets of Nairobi any given day and you are bound to bump into someone carrying a violin. We have also seen international
What’s your advice to music enthusiasts who would to like to learn a musical instrument? First, they should identify the instrument they would like to learn then practice diligently and consistently on it. I know this may sound cliché but herein lies the key to successful musicianship: it is not desire alone that enables one attain what they pursue, desire must be accompanied by diligence and consistency.
Rhythm is Life
Classical
I
T I S A L W A Y S IN T E R E S T ING AN D
A DVA N TA G E O U S T O L E A R N AT L E A S T one musical instrument. It is more than just a pastime; it is a good way to express yourself and boost your confidence. Not all people appreciate music, but once they do, the way they perceive life will surely be more positive. That’s because music helps in personality development. The profuse benefits one could reap in learning to play a musical instrument are astounding. Life is too short, as much as possible, you’d want to try out everything, learning an instrument should definitely be included in your bucket list. So now embark on a journey and see how you can take advantage of playing an instrument. To begin with, you open your world to meeting lots of different people. It gives you access to a lot of avenues. You get the liberty of interacting with a diverse crowd. Music serves as a bridge connecting not only musically inclined people but also all those who appreciate it. It is the perfect channel for you to get along with any talented musicians, ask advice, exchange opinions and most of all, gain new friends. Music creates an outlet to your creative talent. It unleashes your imagination and takes you places you never imagined you could reach. It allows you to discover yourself on a whole new level. You will learn to appreciate your talent and give yourself a moral boost. It is a very good way to express your individuality and you will be greatly appreciated and regarded for it.
Learning an instrument requires lots of practice proficient to become
Benefits of Playing a Musical Instrument words Urmann
P
laying an instrument imbues the virtue of patience and discipline. These are two important virtues a good musician should hold on to. Learning a musical instrument requires lots of practice in order to become proficient. You cannot master a piece over night. Therefore, you must anticipate exhausting hours of rehearsals. Discipline is vital in the mastery of musical pieces. Learning an instrument promotes camaraderie, as you will look forward to collaborating with your fellow musicians. The harmony created by these collaborations promotes teamwork in other areas of your life as it encourages you to blend in a group. Playing an instrument is the best outlet to let loose of your emotions. Music could speak out what words cannot. It could express happiness, sadness, angst and deep-seated anger. Playing a musical instrument will help you channel your emotions in a more productive and healthy way. So, if you are onto a self-exploration adventure, well, you now have more than enough reasons why you should consider learning a musical instrument. It is very fulfilling. The hard work and time you pour into this craft is well worth it in the end - the applause from your audience and loved ones is one of the most pleasant sounds you will ever hear in your life.
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StylePhile
Brian Sempele One of Kenya’s top violinists Affiliation: Nairobi Orchestra, Kenya Conservatoire of Music Orchestra, University of Nairobi Describe your style in five words. Neat, textured, relaxed, varied, distinct. Do you maintain the same image when performing? I try to maintain the same image in concert, but within the limitations set by the group I’m performing with. So, I’m slightly restricted on that front. Formal shirts or tees? I swing between t-shirts, and smart-casual shirts. Not too keen on formal wear. Formal shoes, loafers, boots or sneakers? For shoes, I prefer loafers, and generally shoes without laces, but the texture is of utmost importance. Jeans or Suits? I prefer casual clothing, so I’d pick jeans over suits, though occasionally a well fitting suit isn’t too bad. What item can’t you do without? I can’t do without is my watch and wrist band. What is the future of classical music in the region? Classical music is getting more and more appreciated by Kenyans, thanks to increased exposure through air play on radio, regular concerts, magazines, blogs and other forms of media. In the near future, the average Kenyan will view classical music as an intelligent and enjoyable form of entertainment, rather than a type of elitist culture.
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BUSINESS
This issue
Financial success just like music is a talent developed over time through various ways.
ADVICE ON TALENT & WEALTH MANAGEMENT ▶▶▶
WORDS PATRICK WAMEYO
Music Money Musicians Need Financial Literacy to Generate Wealth WEBSITE WWW.FINANCIALACADEMY.CO.KE
M
usic is probably one of the very few global commodities consumed across all ages, beyond the races and many other societal barriers as language. You do not need to understand the
language of music to enjoy and even attempt to sing along, you just need to love to listen to it and even buy it.
Music is as much a poor man’s source of relief and restoration as it is a source of joy and pride for the rich. Think of the piped music in the expansive homes of the rich and famous, speed back to the small radio in the houses of the low income groups that bring free music from radio stations. The global love for music makes it very easy for almost every song to find its buyers, some very successful and others somewhat successful. The issue however, is that for most musicians successful in their career and otherwise, money from these heavy investments in time and energy melts as fast as they came. Just over a half a year ago, the world lost the icon of popular Music, one Michael Jackson. While the press was awash with praise for the wonderful works of Michael in his areas of strength in singing and dancing, there was not a good report card on the wealth he had created over the forty plus years of success. He was reported to be broke with a huge debt outstanding.
When you look at Michael Jackson’s successful past, one is very tempted to judge him harshly on the financial failures, much more because society is placing premium on issues they themselves are not good at, such as financial success. We read and translate his musical success to all success which is neither fair nor factual. Financial success just like music is a talent developed over time through a strenuous process of self adjudication, self awareness and straight good financial manners. The irony is that all these are not learnt in any school out there, but in our daily lives and some from our parents and peers who influence our lives. No wonder Michael Jackson, Michael Tyson and many great men and women that represent success to us have failed in managing their money. I want to propose to you that your ability to generate large cash flow does not necessarily translate to wealth as much as it is a precursor to wealth. Cash flow is defined as money coming in from the various sources of income and going out as expenses. This basic definition reminds us that cash flow must come from multiple sources of income just like it goes into a multiple outlets called expenses. Indeed this
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MUSICMONEY
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Savings Equals Investment The most basic law of economics states that savings equals investment, which presupposes that some investment will only be made when some savings had been sacrificed.
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Know what the wealthy know The second choice you must make is to know what the wealthy know, which is a choice to know how to read your financial report card. This enables you to know where your money comes from and where it is goes, which is absolutely necessary for any one who dreams to be wealthy.
3
Do what the wealthy do Finally, they must do the things that the wealthy do to make and keep wealth, some of which are tedious and boring. Fortunately, most musicians can afford to pay someone else to manage their wealth and do those boring things.
Patrick Wameyo is a Financial Coach and the Executive Director at Financial Academy, a unique academy that teaches adults how to manage their money to create wealth. He’s email address is coach@financialacademy.co.ke
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is where anybody great and not so great fail to hook up to the realities and powers, and unwritten demands of nature. The most basic law of economics states that savings equals investment, which presupposes that some investment will only be made when some savings had been sacrificed. I say sacrificed because musicians and people in art generally tend to spend lavishly on the things that do not bring in more money such expansive dwellings, huge motorcades, jewellery and literally need to sacrifice spending for savings of any amount. While these artifacts are necessary for their public image, they also provide many outlets for the cash flow, sometimes draining it faster than it may be replaced, which causes them to go into debt easily with credit cards. This situation presupposes a need to balance their huge spending appetite with equally large sources of income, beyond the diminishing power of their ageing voices and bodies. The additional sources of income would come from investments, where money works for you tirelessly beyond the barriers of age and splendor that goes with music and careers in art. I wish to propose that the failure [by many people in art and business] to generate wealth from their huge cash flows, is not unique to them. Indeed, many of us who judge them harshly would
do much the same mistakes given the same cash flow opportunities. I say this with confidence, because the world is full of smart people who are financially illiterate and because financial literacy, like creative music, was not taught in schools. These very smart people are not self aware of the Kikulacho ki nguoni mwako Swahili saying with respect to their finances. They do not know that their financially destructive behaviors were planted in them when they were babies to who they are today through their parents, peers and career mentors with destructive financial behaviors. The sad thing is that they may never realize that their financial behaviors are deeply rooted in their attitudes and beliefs that form their world views of money and wealth. To break the barrier you need to go through a process of self discovery and mind set change to be able differentiate riches from wealth and discover their visions, passions, attitudes, strengths and mistakes . This choice and investment of time to know wealth is an absolutely necessary initiation stage. It is the screen that separates poverty from wealth. It pervades even the most educated persons. The second choice you must
BUSINESS make is to know what the wealthy know, which is a choice to know how to read your financial report card. This enables you to know where your money comes from and where it is goes, which is absolutely necessary for any one who dreams to be wealthy. Finally, they must do the things that the wealthy do to make and keep wealth, some of which are tedious and boring. Fortunately, most musicians can afford to pay someone else to manage their wealth and do those boring things. I am acutely aware that I am introducing a boring topic of investment to a people called to create joy and fun in our lives and theirs too. For that reason, I want to propose that we take a look at the six obstacles that stop our musicians from taking the alternative action, also referred as investment planning, in the next issue. I now sign off to enjoy Ng’ang’alito in Tusker Project Fame season 3.
Rhythm is Life
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Although Pentamony is not new in the music industry,
violin, clarinet and flute] in addition to the acoustic guitar.
computerized instrumentation to employ orchestral instruments [namely, the
lacking in our industry. It is the first Kenyan band to venture out of the usual
this group represents new musical concepts and creativity that has been
BOX The trio, consisting of Seamus Ikonya, 25, Benson Mutahi, 26, and Philip Tuju, 26, put in extra effort to hone their skills through lessons and consistent practice. Their undying thirst for music knowledge and professional attitude towards their work has won them a number of awards and an invitation to study at Berklee College of Music in Boston, USA. They share with crave [music].
the
OUTSIDE
thinking
PENTAMONY
Afro Acoustic
In your opinion is talent something you are born with or is it something you can start and develop?
When did you discover your talent and what instruments do you play?
Seamus: My belief is that talent is a bit of both. Sometimes you will notice naturally that you have an inclination towards something, an instrument, singing and so on. However, conscious effort has to be put towards improving and becoming better.
Philip: I had interest in music from the age of 11 when I participated in church musicals. I got into serious singing when I joined Upperhill School choir. I went on to become the Music Club chair person and taught choral pieces for the Kenya Music Festival. I took music more seriously performing with pentamony and took up the violin, clarinet, flute and guitar - all self taught.
Benson: In my opinion, talent is something you are born with but I do believe you can build it. They are many aspects of music that I have struggled with just like every one else. So to me it’s both.
Seamus: I discovered my talent in singing while still in high school. I joined choir for all the wrong reasons. Music Club was the most active club in school and being a boarder that meant a lot of outings for me. The rest is history. Currently I sing and play the guitar. Benson: I was probably 13 when I noticed my vocal skills were a bit better than my peers. My song writing skills hit me much later and since then I’ve been writing and enjoying my own music. I play guitar and am sooooo in love with it. I believe you’ve had some formal training in music. Please elaborate what you studied in GREAT DETAIL. Seamus: I learnt music theory and had voice training in high school. I have also done the grade 5 theory exam offered by the Associated Board of the Royal Schools of Music. I am currently studying music theory and guitar at the Kenya Conservatoire of Music and voice at Winton House of Music. I am also doing a lot of my own private study through interacting with as many musicians from different genres as possible. Philip: I have formal training in music theory from high school; basically harmony, rhythm, form and analysis, music history and sight-reading. Benson: All my music training has been informal; reading books, asking for help and plain old experimenting. My friends have been the greatest resource I have. The beauty of music is once you understand the theory the practical seems to make more sense, and you realize how being a rebel in it can make you unique or spell disaster. How do you put your studies into context? How does it apply to your music everyday? For example, do you transcribe your songs into music notes? Do you arrange your harmonies yourself? Do you think about the key you compose in? etc. Benson: It provides clarity and structure as well as a way of putting your work on score for generations to come and try it out, learn from it, make better arrangements and further improvements. We look at the theme of the song, what emotions we feel from it, and the best harmony that will give the best blend.
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Philip: My knowledge of music has been fundamental in my musical growth. I used my little knowledge to learn all the instruments I play. I developed my sight-reading and that put me ahead in my profession as a choral trainer and composer. I write most of my songs on score especially when I intend to use orchestral musicians just to ensure all the harmonies are maintained. Yes, we think of the keys we compose in. What challenges, if any, do you face as a trained musician?
Seamus: Few are the times that I’ve had to transcribe music because we normally have jam sessions where we improvise and go with the flow of the moment, nothing serious, just having fun, then come up with songs. For recording purposes the harmonies have to be right. You have to think about the key your song is in plus any modulations, so having studied music helps. In previous Kenya Music Festivals, we have had to transcribe a few of our songs to teach high school choirs. We come up with our own harmonies and arrangements.
Philip: The biggest challenge as a trained musician is getting to share your written music ideas with some musicians who cannot understand your scores unless you are present to actually play the music. What challenges do you face as a professional musician? Benson: I think the biggest is income. I have to put so many things together to make ends meet. I wish I could concentrate on being a performer and just write music all day, play guitar and get on stage. I am happy that we are getting there and we are making more money performing. Publicity, finances and support is also hard to come by. If Kenyans
were more willing to support musicians many who work in offices doing 9 to 5 jobs would be singing. Seamus: Financial challenges are always there, though it gets better the longer you keep composing and performing your music. Please advise our readers on music academic or professional matters.
Seamus
Music is a life long journey of self discovery and improvement. It gets better with time if you keep at it and invest quality study and practice. I definitely advocate for the study of music; taking classes in classical music, jazz or any kind of study available to you in an effort to enrich your compositions and arrangements as well as to better your singing abilities.
Philip
Kenyans need to embrace professionalism in music in order to raise the stands of music creation, performance and appreciation. To accomplish this music education ought to be encouraged in our education system.
Benson
Find yourself. Performing music is not just about playing Bach, Boyz II Men, Linkin Park, Koffi Olomide or whatever your favorite band or genre is. It’s about creating a sound that is yours.
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CRAVE [THAT]
Buying an Acoustic Guitar
ACOUSTIC GUITAR STRINGS COME IN A WIDE VARIETY OF FLAVOURS. THEY CAN BE MADE OUT OF NYLON, BRASS, STEEL, OR A COMBINATION. words AMIT THONGORI
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nowing how to choose the right guitar and how to identify a bad one, will save you from countless headaches, not to mention, finger aches. Acoustic guitar bodies come in basically the same hourglass shape, with some variations, but they do vary in size, colour, wood type, style, and extra features. You can even buy an acoustic guitar so small that is fits into a hiking backpack. Guitars come in a very wide range of prices, but when it comes to instruments in general, you get what you pay for, especially when you buy new. There’s a real difference between getting a bargain and buying cheap. But whether you buy new or used may be determined by many personal factors including your budget, and each has their own pros and cons. Buying new gives you a warranty and, hopefully, a return period, if you’re not totally satisfied with your purchase, or something goes wrong. Under ‘usual’ circumstances, a used guitar can be purchased cheaper and has already gone through its “break-in” period. Commercially built guitars are usually mass manufactured. “Custom-made” guitars are exactly that. They are tailored to your specifications by a highly skilled guitar maker. Prices for a custom-built guitar vary considerably, depending on the skill level of the craftsperson you contract the job to, but, as a rule, they are generally quite higher priced than a commercially built guitar of ‘similar’ quality. Each custom-built guitar is unique and therefore hard to compare in price to a commercially built guitar. Understanding some of the parts of a guitar will definitely help you when it comes to the pre-purchase checklist. Body: This is the part with the sound hole in the front. It is where the strumming is done, and it can vary in size. The actual size, shape, type of wood, coating and general build of the body also affects how the guitar will sound; whether it’s a rich and warm sound, or a thin and ‘twangy’ sound. The body tends to be the part that also gets scratched, damaged and generally banged-up the most. Neck: This is the long piece extending from the body and ends at the ‘head’ of the guitar where the tuning pegs [also known as machine heads] are. The strings travel from the bridge on the body, across the sound hole, along the fret board, which is attached to
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the front-side of the neck, and finally arriving at the tuning posts. Necks tend to warp and twist if not looked after, or if the guitar is left propped against a heat source. Bridge: This is located on the front of the body, by the sound hole and on the side of the hole opposite to the neck. The strings are usually fed through the bridge first before they cross the hole and travel up the neck to the tuning heads. The bridge is an anchor point for the strings. Metal bridges are best, but on most acoustics they are either hard plastic or wood. Bridges have a tendency to crack and split over a long period of time. Fret board: It is usually glued to the front of the neck. This is the part you press the strings onto to make chords or play individual notes. Because it’s glued on separately, a fret board can be made of a wood that’s different from the neck. If the strings are too far above the fret board, then they will be hard to press down, making the guitar hard to play. When a beginner plays a guitar, initially his or her fingers are very soft and need to be hardened. A guitar with the strings too far above the fret board, also known as having a high action, will cause the player’s fingers to hurt so much that they are likely to put the guitar away in discouragement and possibly stop playing altogether. Strings: Acoustic guitar strings come in a wide variety of flavours. They can be made out of nylon, brass, steel, or a combination. Nylon strings are usually found on classical guitars and student guitars because they are easier on the fingertips. They have a rich, warm sound to them. String sets come in different weights or thickness. String choices are purely upon personal taste. The more they are played, the dirtier they become. If a cloth is not run over and under them from time to time, the sound becomes very dull.
NEED TO KNOW...
Body: sound hole in front Pegs: also known as machine heads Bridge: an anchor point for the strings Fret Board: glued to the front of the neck Strings: sets come in different weights
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DJ? as a s e by e I impres I v i l you lf befor then o , t d a e h s e ieve t s mys t rul er. Wha to impres I can’t ach entertain e n If v a a . g le Ih peop s bein bout other o busines ike a l s i n d ou have ; ing y amps nyth a e r s DJ c even e u h io t r a ’t Is ong v job? ouldn your f unity am ef that sh ish and o d e il b k h g ec Lac ays ejayin ’s alw d quit there hich I fin ly way de stance w n b exist, ure. The o eing of su ofession t b us pr ited imma seen as io r e as e un can b taken as s DJ units ing the d e u and b the vario ther in buil ll e a g if o t is orked and w y. or J V D tr old f , s t indu uden like ure h t t s u f y he olog ow you be oes t h d i will psych As a nows just , mixed an hat d i? J Mob tainV W D . d ob Ik ed ter now serve MOB sic select Dvj M ars from e in the en ace! kstar p ye mu t Blac I ANI S m a r o a M is u y n I w h o a t T K y to s he office ehold . Watch e ICIA s v u R a o T t h is h y tr a g, I s PA into gies. Th indus word ful! step ejayin r ment outh r? ted? ic and de ry time I hers’ ene m a v e a i ? t t e o s . df mo at’s for th ch o ords r mu r. Ev ated i …th e ‘v’ stan also st w me; do it s you I have fo ach othe eed off ea me motiv b a p l o e y M e m a e n a Jth ve A e rf ef tk ps D-V- at does or video..I tch me DJ fo Wha than the lo encourag nd me …w nitely kee n Don’t it. reaso Wh stands f u can ca efi we ou er r r d y h t a t e a t n v f d y n e O r e o ’ u o Unhat love onme energ tainm The ‘v jockey. Y every Sat ning. for w ever! ow? Enter e positive ood envir o V a sh y element est show n there g mor h le t r e a vide ive on NT l e o m ef fee eb df whe sh L ies b ive th not in ive an than on Ru posit tterfl time I am f course g h crowds ame u n b l t o ot do ge co ery DJ? amm o, an ever is, ev ve a as a al you t it like th good to g ed with m to ha iocre o t it D v n it a u med ’s m c p x I’ it rt a e ; e o d e s e n p m i r g im ull a Let ima ame is a ing t mo Is it nd Redb your ejay , I ge n life a e de I take st people art of wbiz your for perv p e i l sic is is e u o y e b . a o m m la d h m : o s s p in a e w in lik ln me ou wh told y rakes cro A coo J because e crowd y lls. My na ers mall ople th be tr lt, con is a s tt se to pe ? se tru usic indus we consu to th u yD t le e y a n a a h c a m h s e it a r w i fw fo yn ent ou em ts b ers; sion J Mob round tion o an y catch ofes indse ies th al Engine fore an ev ed for reflec of you; a I played a up with D nths! hat c not a pr e their m ed countr u it e u is b W s V s t o u , e g s io s and n be . Image chan In develop s are Aud s sit with ceive n Mondho nally cam er three m b io o t o t c j e s le fi ria aft lient ejay vent ld lik wn. ic se nd are B there and g? I wou r on its o a Unit De ns. Our c d to mus certain e way beyo jayin e nd e v io w in e e a t e la o r e r p n F e lu a c d r u o c o . s g y. a he of ag ed es art cau mone g has type w sw rovid s suit ou st ply be lot of lize and p ues from to see u t, deejayin brand ne did y o rap sim pproached n s d a a e n e , is ? Wh ock inme new look life! ted t ducer I a ceptu various be sh hoice terta s I wan e my eer c ealized iscus wd. You’ll ckstar En , a brand hool er, the pro ap to sav rged. I r d c a s c h ro ur ion yr Bla eme owev in hig ldn’t r .B e the that c ything; at a profess of yo Back music. H that I cou deejaying e of M.O ’s rtive ut with tim er it v c o r ; d e a .B o e p g e f p v p is m .O in t S M I lo ke b s su teres eejay g DJ. ly told d by way it. s a jo just d blunt hen my in observin r recruite e ts al ght it wa va Un n la h e w e r F g t all th ’s u a u That skill thro . I was la lackstar’s ur p they tho y other. cept o x y e e o b jo ile ed B J Nij t the Wer beginning st like an your g wh learn ers like D hen I join ocked the ion ju bout w h jayin chool? be sh es t In a l s e 7 o ’l e e 0 s f u d d 0 k o o 2 an pr er ;y er nd gh s kends until eet? it’s a d. Th ltures the p ool a in hi e of get to m ifferent cu ies respon crowd g sch u were most wee e up m n o i l s r g u d yo nce and ould com as kawa s yo t are count it jug kuru Wha iful ladie nd experie in other from your beautiful was in Na r gigs. I w Friday I w l s l a t f d s o l u How o d w o e a v be crow e cro eting g sch ship o tra schoo so by obi fo get t erently th different As for me relation oardin k to Nair ool early, o balance I am e b W a le o t iff c . . b h t in r d a e c a d e t n s c b s e r s w n a l ff s a of ve su Iw ’s by ho eing expo g experie been in a d to le e out ld tra work ity and it I wou es to com ever, I ha y school rs arnin that I’ve g. re, b e o le in f iv y n a w s m o ja U ays ears. say dee excu chool! H t letting Daystar is alw let’s just for four y with s l and u t o o a in o h h t it ly … c n d rare ing w gy stude avigate s ladies y girlfrien eejay n lo m and d a Psycho or me to with now sier f a e h muc
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Interested in music?
Turntables to get into Music Turntables are pretty amazing devices; they are not gadgets or gimmicks. A turntable is the tool and instrument of a DJ
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re you interested in music? There are a lot of routes to go into. Some will choose instruments such as piano, violin, even harmonica. But are these really as versatile as turntables? Turntables are pretty amazing devices; they are not gadgets or gimmicks. A turntable is the tool and instrument of a DJ. There is truly nothing more versatile. In the right hands, the turntable can make thousands jump up and down in insane ecstasy. Ok, perhaps a saxophone can do such to some people. However, in today’s world, a turntable is the right kind of tool! If you dream of becoming a DJ, there is no contest than to buy turntables. But, what do you need to get started? Mixing requires two turntables. This is essential to be able to mix records. You have two main options when it comes to buying turntables. The first is the traditional
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vinyl version and the second is the CD version, also called the CDJ, which allows you to mix music on CDs. The choice is yours. More and more people are mixing with CDJs as vinyl records are rare and expensive as opposed to CDs. A new addition that you will find on the latest turntables is the USB functionality. This is a great feature as it allows you to connect the turntable to your computer. Imagine being able to save mixes you have made onto your PC or laptop! You can edit them and improve them with sound editing software. So where does one buy turntables? The first place to look is locally. Second hand equipment would be cheaper and adequate for beginners. Some electronic shops may have a model or two. However, these are often inferior belt drive versions. If you want to spend a bit more on quality, then you need direct drive turntables. They can be found online at great prices.
Two Turntables and a Mic
Mixing requires two tur ntables. This is essen tial to be able to mix records. You have tw o main options when it comes to buying turntables. The first is the traditional vinyl versio n and the second is the CD version, also called the CDJ, which allows you to mix music on CD s. The choice is yours. Mo re and more people are mixing with CDJs as vin yl records are rare and expensive as opposed to CDs. A new addition that you will find on the latest turntables is the USB functionality. Th is is a great feature as it allows you to conne ct the turntable to you r computer. Imagine be ing able to save mixes you have made onto your PC or laptop! Yo u can edit them and im prove them with sound editing software.
Gadgets THIS ISSUE’S
HOTTEST GEAR AND GIZMOS
GALORE
This issue The totally awesome Brabus SV12 Mercedes Benz, JBL 300-watt speakers and nothing can beat the affordable 1TB Iomega Super external hard drive in data storage capacity. words ALENGA BOUYO
JUST BLOODY LOUD
JBL 300-watt Speaker
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BRABUS SV12 R
The latest Mercedes Benz S Class
B
rabus SV12 R is going to be the world’s fastest and most powerful luxury sedan. Based on the latest Mercedes S 600 facelift, the SV12 R develops 750 hp and can hit a top speed of 211 mph….yeah calculate as much as you want, it still comes to 337.6 km/h. For those of you who live in western Kenya that would mean with a good straight road you would take about an hour and fifteen minutes from Nairobi! In order to obtain the power increase, Brabus added larger turbochargers, a more efficient intercooling system and a stainless-steel high-performance exhaust system with four tailpipes and metal catalysts with low back pressure. As a result the engine delivers 750 hp at 5,500 rpm and a peak torque of 995 lb-ft at 2,100 rpm. The
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SV12 R sprints from 0 to 60 mph in 4.0 seconds, can hit the 124 mph barrier after just 11.9 seconds and is electronically limited to a top speed of 211 mph…that means it could still go faster! This is the Usain Bolt of cars. Next to this immense power upgrade, the SV12 R also adds custom-tailored front aluminum sport fenders that replace their production counterparts, an air vent made from clear-coated carbon and a horizontal brace that spans the outlet with embossed BRABUS signet and integrated LED lights, BRABUS rocker panels that feature integrated entrance lights and light-alloy wheels with diameters ranging from 17 to 21 inches. Two words best describe this car….totally awesome!
f you’re looking for a 6” x 9” that delivers serious Bass performance while delivering smooth Midrange and high-frequency performance, the GTO938 is the ticket. Plus One woofer cones (patent pending) the GTO938 has a cone with more surface area than that found on competing models of the same size. The benefits of Plus One cones are greater efficiency and bass output. My-Ti (Mylar/Titanium composite) tweeters are Stiff and light, and extremely efficient. The new JBL My-Ti tweeters deliver the high-frequency extension of titanium domes with the damping of composite diaphragms. These are not commonly used w-domes, but full edge-driven domes like those found in higher quality home audio speakers. The benefits are increased power handling, reduced distortion and increased efficiency. This technology also allows for better integration with the mid/woofer. The GTO938 also uses a My-Ti super-tweeter to deliver every last nuance. True Four Ohm GTO Series speakers can be safely driven by any head unit.
THE DETAILS...
Power Handling: 100 watts Power Peak: 300 watts Frequency Response: (+/- 3dB) 45Hz 21kHz Sensitivity: 94dB
Gadgets Galore
HTC Magic: With its sleek, clean-lined and compact image, the HTC Magic has a 3.2-inch display and a supremely responsive touchscreen.
MUVI Micro Camcorder At 55×20×20mm the Muvi Micro Camcorder is no bigger than your thumb but its capable of recording 640×480 resolution video at 25 frames per second.
TERRESTAR SAT PHONE AT&T to sell satellite phone from TerreStar
T
Massive Data Storage Iomega’s Super eGo 1TB external hard drive
I
n 1980, IBM released the first 1 gigabyte hard drive. The storage device, which was larger than a coffin and weighed more than 500 pounds, held less data than a typical USB flash drive does today. The price tag: $40,000. Today, we have reached the state of almost infinite data capacities. This external hard drive, which is available now, can hold a whole terabyte (1000 GB), an amount of data that would
have been almost inconceivable a few years ago, in a case the size and shape of a large flask. Of course, someday we’ll look back at this and laugh at its huge size, paltry capacity and monstrous price tag. But that likely won’t be for at least a few years. In the meantime, this baby can back up every computer in your home several times over without breaking a sweat.
PoGo
Polaroid on the Go Essentials for... the cameraman
he TerreStar, due in the first quarter of this year, will have all the features of a standard “smart” phone, including a touch screen, “QWERTY” keyboard, and the ability to use AT&T’s ground-based wireless network. But it will also be able to connect to a TerreStar satellite for service in parts of North America where the cellular network doesn’t reach, or when cell towers have been knocked out by disasters like hurricanes. Dallas-based AT&T plans to market the phone first to business and government customers, and later to consumers. AT&T didn’t disclose the price of the phone or the service. TerreStar has said before that it expects satellite calls to cost less than the roughly $1 per minute charged by existing satphone services like Iridium and Globalstar. Their phones are bulkier and lack the smart-phone capabilities of TerreStar’s device, but have wider coverage. Iridium covers the whole world. To connect to TerreStar’s satellite, the phone will need a clear view of the southern sky, which means it will be difficult to use indoors. A competitor, SkyTerra Communications Inc., plans to launch two satellites this year to support phones similar to TerreStar’s.
P
olaroid caused a lot of rancor earlier this year when it announced that it would stop making instant film. The company hopes to win back loyalists this summer with its mini PoGo (Polaroid on the Go) printer, a tiny printer that doesn’t use any ink. Instead, the printer relies on ZINK (Zero Ink) technology, which uses paper embedded with heat-activated dye crystals. The printer is portable, quiet and seriously different from the company’s older technology. You send digital images from your cellphone or digital camera to the printer, which means you print only the pictures you like—there’s no wasted paper. And unlike the old-fashioned Polaroid, the end result is waterproof and you can shake it as much as you want without damaging it. The pictures can even be used as stickers. We’ve seen this printer in action: the results weren’t amazing, but they were good enough that they made the PoGo look like it would be fun to have around. Let’s be clear, though—it can’t compete with instant film.
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most wanted
THE IPOD ERA words JR LANG
W
e live in a mobile world. We want everything on the go – fast and quick – and of course, we want it without wires. We’ve been spoilt by the world of wireless with laptops, cell phones and mobile music gadgets. Nothing is more popular than mobile entertainment, where music and video is hand-held and easily accessible from anywhere and at any time. Music entertainment is timeless. It has the power to uplift you, stir emotions and make you dance. It simply gives you a boost wherever you may be. For that reason, portable mp3 players on the market today enjoy lots of popularity among consumers. While there are many brands and models, the Apple iPod is the most popular and widely bought. It is feature-packed and user-friendly. So, what’s an iPod? Basically, it is a hand-held, pocket-size device that stores thousands of music tracks or audio files called mp3s. These can be downloaded from the internet. It is very easy to use and comes with snug little earphones that are comfortable and have great sound quality. There are so many different iPod acces-
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sories which make the gadget ideal for also car and home use. It can be plugged into your music system and listened through loud speakers at home or it can be plugged into your car stereo. How cool is that? The iPod comes in four models. The Shuffle is the baby version. It has the least storage space and features and therefore the lowest in price. The latest Shuffle comes with Shake and Roll capability. With just one shake it will shuffle to another song in your library. Turn it sideways and you can view your albums in Cover Flow. The Nano model is the next biggest in storage capacity and includes video capability. The iPod Classic is the next in line and has a lot more hours of video. The Classic can hold and play music, videos, TV shows, games, podcasts, pictures and audio books. The iPod Touch is the Bid Daddy of iPods. It has a crisp and clear widescreen display, touch screen, and a choice of three storage capacities. It is, of course, the most expensive. Additional features include games, iPhone, movies (upto 40 hours) and the web. Does anyone remember the original Walkman?
avril
SULTRY SASSY SEXY
&
HER SUDDEN RISE TO FAME HAS PUZZLED MANY IN THE KENYAN MUSIC industry, but Nyambura Mwangi, better known as Avril, has no apologies to make; she simply owes it to her family, friends and fans, as well as her recording stable Ogopa. There’s more to this ambitious Kenyan beauty,
whose collabo with Tanzanian rapper, AY, placed her in the same league as the seasoned divas in the East Afri-
can music scene. She shares with crave [music].
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I’m actually a design student at the i b o ir a N f o y it s r e iv Un
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Contemporary
Did you borrow the name Avril from the famous rock star? Avril is French for April. I was born in April. My friends nick named me Avril back in high school and the name kind of stuck. So when launching my music career it naturally became my stage name. How would you describe your sound and what’s the message in your music? My sound is contemporary urban, with an inclination to RnB. I highlight social issues in my music. For instance, my first single Mama is about a young girl who falls in love with a musician. However, her parents are opposed to this union as they would rather see their daughter with someone in a ‘reputable’ career. The message here is that society should give advice to the youth while respecting the decisions they make. What expectations did you have joining the industry? I have no regrets! So far so good. When launching my music career my goal was to build my name Avril and make it a recognized brand, by so doing enables me to easier penetrate my other love which is product design. I am actually a design student at the University of Nairobi. Has it been hectic juggling school and your music career? It’s not as hectic as you may imagine. During the week, I really focus on school and over the weekend, I get to record and do my shows. I am very lucky in the sense that both fields are creative, hence, I get to use the same side of my brain!...(chuckles)
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Contemporary
To whom or what do you owe your instant rise to fame? Proper management, proper selling points, proper market recognition and just having the best team that anyone could ever dream of which is Ogopa. If you are signed to Ogopa , the management is provided for you. You get to work with the best video team in Africa. Plus, of course, my family, fans, friends and the media that have been very supportive. Did your collabo with AY in the hit song Leo have any effect on your music career? I like to call it the ‘AY project’...(laughs). It’s been the most interesting project that I have ever had. I had earlier done a song Asante with AY. The video shoot for that song was in Dar es salaam. After the shoot, very early in the morning, AY suggested we go to the studio and do a remix to Leo. A video soon followed and that marked the beginning of a very interesting musical journey for me. Is the relationship between fellow artists in Kenya supportive or competitive? It’s both supportive and competitive, because if you look at various artists in East Africa, as much as we are in different genres, we are all competing for the same audience and for the same shows. However, we are also supportive of each other; a great example is AY featuring me in his Leo remix. Artists need to be supportive of each other in order to build the music industry, something that most artists fail to understand. What recommendations would you suggest? First and foremost, organizations such as Music Copyright Society of Kenya, Society of Producers in Kenya, etc, could take up a more active role in uniting artists, because music is just like any other career. Secondly, we need mentorship programmes - where seasoned artists guide upcoming artists and show them the ropes in the industry. Thirdly, the press should regularly report on the progress the industry is making; just recently Wahu, Nameless and Amani went to
just recently Wahu, Nameless and Amani went iberian L e th t a rm o rf e p to Independence Day perform at the Liberian Independence Day and very few people knew about it. Such reports are important as they are proof that the industry is growing in leaps and bounds. Has your life changed? Wow! My life has changed immensely. I get stopped all the time by my fans – it’s really humbling. My Facebook account has now been officially closed because I’ve reached the maximum number of friends! There’s also the pressure of always looking good as I am a brand and represent the Ogopa stable. What keeps you grounded? I find my sanity in my friends and family…in my brother who is bluntly honest. Which artists across the borders would you like to work with? Lady Jay Dee from Tanzania has been a force that I look up to and admire, as far as being one of the biggest and most dominant female artists in East Africa. She has stood the test of time! That, coupled with her nice personality, makes her a very likeable person. Professor Jay also comes to mind; he’s one person I really respect in the industry and his music is always issue oriented. What advice do you have for other upcoming artists? It’s very important to have a strategy. Identify your goals and ways of achieving them. Surround yourself with people who support and believe in your dreams.
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Contemporary
COMMON SENSE
PUTTING THE CART BEFORE THE HORSE:
WHEN IS YOUR MUSIC READY FOR PUBLIC CONSUMPTION? words BRET PIONTEK Illustration by THE CART BEFORE HOUSE
I
may very well receive some hate mail for this article, so be forewarned that it’s full of advice that some aspiring artists may not want to hear (but need to). Recently, I met an aspiring artist. I have to say that he was quick to mention he was a songwriter, and virtually every conversation revolved around his music and the life circumstances that inspired him to write. I spent 9 years living in Nashville, so I’m pre-programmed to be a little skeptical. Everyone in the area is an artist, songwriter or a music industry something it seems, even if they’re your run of the mill gas station attendant. Naturally, I checked out his website, because I leave no stone unturned. I’ve found some pretty neat artists through passing conversation, and thanks to internet marketing, there are many great indie artists out there (although for every great one, there are hundreds that are terrible). The website was pretty professional with decent publicity photos and artwork. Upon first listening to the tracks that were
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published, I admit I was sort of impressed because the production value was ok and the melodies were kind of catchy. The initial good feeling quickly faded upon listening further: cheesy production, out of tune back-up vocals, cliché lyrics, and self-indulgent drudgery. I know it’s a little harsh, and far be it for me to crush someone’s dreams. This artist had raw talent and - with a little refining - could be pretty good. The problem is that the material was half-baked. So you’ve practiced, you’ve written, you’ve produced; how do you know your music is ready to be released on MySpace, iTunes, and the like? There is no magic formula to propose here, but consider a few things before you broadcast your music: Don’t get caught up in the glitz and glamour: Despite what I assume the general population thinks, the entertainment industry is not glamourous. It’s the cruel illusion that many aspiring artists get caught up in. It’s fine to have good publicity photos and a cool website. Just keep in mind that it’s a
marketing tool and your music should be at par with other professionals (people who actually get paid for their music). You can always develop or change your image, but your music is what speaks to the listener. Produce quality material: Being a great singer or songwriter does not guarantee success (I know plenty of talented people who should be famous but aren’t yet). The temptation for a lot of artists is to release music that is not fully developed in its composition or production because it sounds good to them, (“I can’t believe that I created this!”). Take the time to develop well crafted songs, and experiment with your sound. It’s ok to have artists that influence you, but be careful that your music doesn’t copycat to the point where you have no individuality (or that is way out of style). It helps if your actual musicianship is at par too. You don’t have to be a vocal acrobat or guitar god; just be sure that you can hold your own in the studio or on stage. Get objective feedback: This is probably one of the most important things. Your family and friends may offer much needed encouragement. The thing to remember here is that they have invested in you and that’s not necessarily going to help you connect with the average joe listener. Connect with other musicians who will be objective with you, meaning that they won’t hold their tongue when giving you feedback. Thick skin is required in this industry, so you might as well get used to it now. Think of it as a present. You don’t have to necessarily absorb negative feedback. It’s one person’s opinion; just learn from it and make changes. That’s how you grow. You might have to re-write that hit song of yours over and over again until it really connects with an audience. If you’ve got a few tracks that you’re just dying to release, just put them through a few objective filters. No one said this was going to be easy. Taking those few extra refining steps now will help you develop a better connection with your audience later on.
Bongo Flava
Sene Ta At the age of 14 Jackson Daudi Mukangara was busy recording Pili Na Lili a HIV/AIDS Awareness song words TRISH KIM
A
t the age of 13, most of us were fantasizing about our estate crush and whether or not they would ask us out, but not Jackson Daudi Mukangara aka Sene Ta. He was busy in the studio recording his first single Pili Na Lili, a HIV/AIDS awareness song teaching on the ills of society that may leave us vulnerable to the disease. I don’t remember ever thinking about HIV/AIDS when I was 13yrs old! Many jaws drop every time I tell that story! I have grown up listening to music from when I was a kid, Bobby Brown and K Young being very influential to my interest in RnB. Every time I heard their songs, I would see myself on stage with them…I really felt their music, it took me to places that I can’t even describe in words…I was sold! How did you get into song writing? I was into writing poems and reading them out to my sisters. They would really encourage my little performances! After a while I figured that if I could write poems then I could write lyrics. Therefore, with time I was writing songs that I felt best expressed my experiences and the hustling nature of our society.
I have worked with Abbas
ear! Those days, singers were perceived as being spoilt and rebellious. My parents believed that my involvement in music would tarnish their reputation, but with time they opened up to the idea of having an artist in the family and we made an agreement that I would have to balance school and music. You’re a Tanzanian residing in Kenya, tell us about that? I moved to Kenya a couple of years ago in pursuit of education; I am a Business Administration student at USIU. Education is highly valued by my parents; they allowed me to pursue music on condition that I keep my grades up! What’s the title of your album? Its title is 24/7. It has 6 singles…it’s about the hustling life; what people go through every day. As an artist I believe that, as much as I sing to entertain, I am a role model to many and therefore I always try to incorporate social responsibility messages in my songs. How do you compare the music indus-
try in Kenya with that in Tanzania? in the song Nashine which It’s much harder to make it as an in Kenya. In Tanzania, radio has enjoyed considerable airplay artist presenters play a big role in the
on Homeboyz Radio Did your parents back your decision to be a singer? In the beginning? Not at all! I remember when I was around 13yrs old, I was at a certain concert performing one of my songs. Before I knew it, my mum had grabbed me off the stage by my
discovery of new talent by giving upcoming artists air time on radio [by playing their songs] and giving them much needed hype. They create a buzz about the artist before the release of a song, such that by the time they are playing the song on air people have so much anticipation and excitement! Another thing is that Kenyans are into club bangers while Tanzanians are into love songs.
Have you released any videos? Yeah, I’ve released quite a number of videos, one of my songs Tuelewane was once EATV’s number one video. Who are some of the artists you’ve collaborated with? I have worked with Abbas in the song Nashine which has enjoyed considerable airplay at Homeboyz Radio and Kiss TV. I’ve also worked with Micharazo and Enika. What does the future hold for Sene Ta? I have a couple of songs that I should release quite soon - watch this space! My manager, Mosh, and I are opening up a recording studio, Asali. Our main focus will be House Music. We intend to revolutionize the music industry in Kenya, East Africa, Africa and eventually the world!
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Traditional
There’s something
peculiar about ANYANGA and it’s not the knit cap that is permanently fixed on his head. It’s his deep fascination with traditional drums, having named his favourite a Senegalese djembe - after himself! words MUFU NDOSI
T
HROUGH DRUMS, THIS 23-year-old tells his story of trials, tribulations and triumphs. When Henry (a colonial name he detests) beats his drum, your pulse will resonate to the beat of his music, sending you to the deepest realms of your imagination. A place only your soul can reach. In his own words, Henry ‘Isaac’ Anyanga shares with crave [music]. “My affair with music started when I was very young. I used to attend the Carol service at a church near the estate where I lived. I was mesmerized by this guy playing drums, keyboard and guitar - I was completely fascinated! Then I’d go home and make my own drums from empty tins and imitate what I saw him doing. “Then I got more involved in primary school at St. Patrick’s in Maringo, Eastlands. There was this teacher called Mrs. Imbai who taught a drum class. They had all the drums in their ensemble so I had no place in it. But that was not going to stop
me; I was determined to join that class. So I went out looking for an instrument they didn’t have and found the metal ring used in isukuti dances that goes ku’chum! ku’chum!…and brought it to school. When the teacher saw it she was very excited. She said, “Wow, this is what we’ve been looking for!” And that’s how I joined the ensemble. So I’ve been playing traditional music since then. “Coming from a poor background, I didn’t get a chance to go to high school and so in 2002, my cousin introduced me to a place where street children were taught music and acrobatics. It was called Kuruka Maisha and was based at the Kenya National Theatre. I met very good teachers there, like Obuya, Kaboge, Magao, Pao, Iddi, Shutu and others. They introduced me to more cultural drums. I’m still in school; you know you cannot finish learning music. I’ve learnt to play various lead drums from across the country and other parts of Africa.
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Are you in any particular cultural group or are you a free spirit? I play with many bands but belong to a cultural group called Radi Cultural Troupe. Our group is contemporary; that means we modernize traditional songs. We fuse with djembes from West Africa, mabumbu from the Kenyan coast and ohangla or bul from Nyanza. We also include some small shakers and Maasai cow-bells to create a unified sound.
may leave me but my drum will never leave. It will always be there waiting for me to hold and talk to. Do you mentor young people who aspire to be like you? Yes, however, they are mostly in the streets and I’ve also not yet started my own school. There are many adults who also ask to be taught how to play drums. Sometimes I charge them. For the younger ones, I teach for free because I was also taught through charity. Your drumming has taken you to places like the North Sea Jazz Festival, Festival Mundial and others. How does that happen? Through bands that have been invited. Sometimes it happens that the band I’ve been working with gets invited to perform abroad. Other times I get invited by bands that need a traditional percussionist for a festival in order to make their music sound more… ’afro’.
And you play all the drums from these regions? I continue to learn them. I do it slowly and individually because they are culturally different. Tell me a little bit about the drum ensemble. There are lead drums just like the lead guitar. They are given that name because they speak more. An example is the bul. They are about six or seven and vary in pitch from low to high. Then there are bass drums like the mabumbu, which also come in various sizes but not as many as the lead. We also have other drums to maintain the beat like the djembe. When they come together with the shakers they create something…whoa…beautiful! What makes the drum a crucial instrument? It’s the life of the music. The drum is the groove, the driving machine. If someone playing a guitar solo was joined by a drummer, you would feel the difference. The drum is like the heartbeat in every footstep. It plays a very big role in music. I hear some people go into a trance just by drumming. Has that ever happened to you? All the time. Whenever I play, it’s like I float into my own world where nobody can reach. It’s very spiritual. You can imagine what kind of soul you have to express your feelings through the drum. What goes through your mind when you’re in that state? Life. Joy. Sorrow. I can’t explain it, you’d have to experience it yourself to understand. When I play, I communicate my feelings to my audience. And if they can understand what I’m saying through my music, that makes me feel so good. What goes on through my mind is something inexplicable. Like I said, it’s spiritual.
Do you have a unique drumming style, or rather; do you bring a unique flavour to your group? Every soul has its own groove. Every soul has its own taste and how it expresses itself. A note may be played with varied intensity between two different drummers; one may play deeper or lighter than the other. When I play the lead drum, my feelings guide me. Someone else will play according to the way he feels. It’s the same beat but different groove. Do you play any other instrument besides percussion? Yes, I’m a student in Owiny Sigoma School of Nyatiti, still learning to play the nyatiti. Playing a nyatiti requires one to sing in Dholuo. Do you speak the language? Yes, my professor insists that I must learn the language. It’s not hard. I have relatives who speak it. So it’s a language that I’ve grown up with. It’s just that I’m caught up with city life. Otherwise, if I get down to it, I could learn it really fast. Have you accomplished some of your goals as a musician? I feel that I’ve gone beyond the ‘village drummer’, which is how we refer to ordinary drummers. I’m no ordinary percussionist; I believe I’ve taken traditional music to the next level. Even if I haven’t gone through secondary school, I know this is what I was born to do. This is what makes me happy. I always say, a girlfriend
How do they relate to this kind of music out there? They love it. That’s because they know the value of culture. You don’t have to struggle to communicate, because you’re speaking to them directly through African music. Kenyans try to be westernized but out there they want us to be Kenyan. So when you go there with traditional culture, it’s appreciated because they know it’s ours. They really love it. Is there a place for cultural music in modern Kenya? What’s the future like? Traditional music has always been popular in the village. When the drum starts beating, everyone comes to dance. If I were to play at Ken-
Every soul has its own groove Every soul has it’s own taste sses itself and how it expre com, here in town, people would gather just to satisfy their curiosity. They’ll be watching while thinking, “What’s this guy doing now? Doesn’t he have something better to do?” Still, so far, so good. At least people are now beginning to appreciate traditional music. We’re on the right track. I hope to take traditional music to the next level because I’d like people to experience that level. To me, music is the teacher of a nation; it is the healer of a nation.
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DRUMMING
The back bone of African Music
words JASON KAHN
IN HISTORY, DRUMMING AND THE USE of percussive instruments have had a significant role in people’s lives. Not only do the people who play these instruments enjoy them, but it is said that, “there is as much pleasure participating in, as listening to and admiring an expert drummer’s improvisations”. The use of drums has been recognized as being able to put people into spiritual trances throughout history. The drum is a musical instrument with great power and presence that gives the “pulse” or backbone to the music it is incorporated with.
Traditional
THERE ARE THREE RUDIMENTAL RHYTHMIC procedures that have been known in drumming for the use of communication, entertainment and both communication and entertainment together. These are: 1. The use of a drum as a speech surrogate or a talking drum. These methods of playing are used for communicative purposes and often codes were used to be played over long distances for the sending and receiving of messages. 2. The use of both iconic and symbolic dimensions of communication within music and dance. Throughout many festivals in Africa, depending on the event being celebrated, drumbeats are used to dictate the type of dance to be done by the listeners. For example, at the time of a birth of twins there is a different dance done than at a birth of a single child, and the beat of the drum instructs the listeners to do the appropriate dance. 3. This rhythmic procedure is most commonly used today and is the pure musical play of rhythms in dance. There are no communicative obligations within this type of music, which allows for free-form dance and unlimited use of improvisational strategies by the musician. The third rhythmic procedure will be most emphasized throughout this article for a few reasons. One reason is that it is not possible to make generalizations about drumming as a whole, used as communication devices because every society in early Africa had its unique fingerprints on sounds of the rhythmic beats they have played. Another reason for the emphasis on this rhythmic procedure and not the first two is the accessibility of rhythmical facts pertaining to each. Unfortunately, much of the known facts about rudimental African rhythmic procedures is stored within the minds of the tribal musicians themselves. One phrase I learned from researching this topic is that the life and energy of the drummer lives half within the drum he plays. When he dies, so does his style of drumming. No one can relive the soul of the original drummer. This is the problem that tribal communities have within Africa when approached with idea of spreading their views and knowledge of music and rhythm worldwide. Africans openly trash American artist, Paul Simon, when discussing his use of their drumming sounds and techniques. One person went as far as to say the Africans who performed in Simon’s music video were traitors and should never be allowed back to the African communities in which they are from. There is a lot of knowledge about music that has died throughout the years. Fortunately, there is still tremendous amount of knowledge that is still attainable through books and articles. This is why I have chosen to deal with Drumming as the backbone to African music, and the reasons why it has such an incredible affect on not only the artists but the listeners as well.
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Club Scene
THE HOTTEST CLUBS AND BARS
EAST AFRICA
13 0/ -
The Simba Saloon
@
Langata Road
be e
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Wednesdays: Rock — entry: KShs. 200 Thursdays: Urban Legends — entry: KShs. 300 1st Friday of every month: New Jack Swing 3rd Friday of every month: Rhumba Saturdays: Carnivore Rave — entry: KShs. 200 Sundays: Soul — entry: KShs. 200
1
#
Carnivore’s The Simba Saloon, Laikiana in Kilimani and the goings on at the timeless Club Afrique and Psys.
PLUS... THURSDAYS Rezorous
WESTLANDS Dancehall and Reggae by DJs Nruff and Wesley from 7pm
SATURDAYS
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0/
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KlubHouse 1
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@
Ojijo Road, Parklands
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Monday: In-house DJ Tuesday: Girls Nite and Best of 70’s Wednesday: Kool n tha Gang Thursday: Karaoke Nite Friday: In-house DJ Saturday: Gogosimo Band Sunday: Nyama Choma Sunday Party NO COVER CHARGE.
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Rafikiz
WESTLANDS Dancehall and Reggae by DJs Nruff and Wesley from 7pm
Wednesday: Karaoke from 6.00pm until late Thursday: Divas Night from 2.00pm until late Friday: Happy House from 6.00pm until late Saturday: Party’s Nite NO COVER CHARGE.
MUSEUM HILL Live Benga, Chakacha, Jazz and other Kenya tunes by Wakurugenzi Band from 8 - 11pm
Woodvale Grove, Westlands Wednesday: DJ Sumo plays mixed music Thursday: DJ Zelalem plays House Music Friday: Afro Fusion with DJ Mark Saturday: Band Night Sunday - Tuesday: Salsa
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TUeSDAYS
friDAYS
Havana
Blue Times Lounge
MUSEUM HILL Live Benga, Chakacha, Jazz and other Kenya tunes by Wakurugenzi Band from 8 - 11pm
Psys
Unga House, Woodvale Lane, Westlands
be e
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In this issue
Blue Times Lounge
SUnDAYS
New Visa Place
UPPERHILL, MARA ROAD Kayamba Africa, DJ Siddy and DJ Moha. Family Fun Day from 2pm onwards
WEDnESDAYS
Coco Lifestyle Lounge MONROVIA STREET Soul and Oldies Night from 8pm onwards
Club Scene
Club Afrique MUSEUM HILL
Mondays to Thursdays: DJ Elly Thursdays: Eric Wainaina and Mapinduzi Band Saturdays: Rhumba Japan Band
MORE... THURSDAYS Rezorous
WESTLANDS Dancehall and Reggae by DJs Nruff and Wesley from 7pm
K1 Klub House, Pitcher & Butch
SATURDAYS
Tuesdays: Jazz Nite with Mwai Thursdays: Karaoke hosted by Naaru Saturdays: Gogosimo Band
MUSEUM HILL Live Benga, Chakacha, Jazz and other Kenya tunes by Wakurugenzi Band from 8 - 11pm
PARKLANDS
Blue Times Lounge
TUeSDAYS Club Casurina Buru buru phase 2
Mondays & Tuesdays: Rhumba with Mc’s and DJ’s Wednesdays: Nairobi Singles Nite Thursdays: Soul Night Fridays: Live Band - Viva Musukusuku led by Skassy Saturdays: Live Band - Patrons Musica led by Bandasson Sundays: Live Band - Ohangla led by Black Current
Laikiana KILIMANI
Wednesdays: Karaoke Thursdays: Salsa Fridays: Boogie Woogie Saturdays: Soul Nite Sundays: Rock Nite
Mercury Lounge ABC PLACE, WESTLANDS Mondays: Monday Blues Tuesdays: Wine & Jazz Wednesdays: Sista Sista Thursdays: Wine & Jazz Fridays: Nostalgia Saturdays: Mix Sundays: Smooth
Rezorous
WESTLANDS Dancehall and Reggae by DJs Nruff and Wesley from 7pm
friDAYS
Blue Times Lounge
MUSEUM HILL Live Benga, Chakacha, Jazz and other Kenya tunes by Wakurugenzi Band from 8 - 11pm
Victoria’s Secrets
Make-up MBUGUA, Ashleys Salon Photos PAUL MUNENE
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Be Smart. Be Safe Protect Yourself
ars Younger, Nazizi’s Featuring Wyre’s 10 Ye ing Music, Ratai African Youth, STL’s Liv and many more we Arati’s Gesungusungu singles and albums. present the season’s best
Reviews
ALBUMS, SINGLES, MOVIES AND CHARTS
10 Years Wiser WYRE
PRODUCERS: Wyre, Ulopa, Arif Cooper, Sammy Gitonga, Musyoka, Freddy (Homeboyz), Black Maich, GoldenChyl and the Herbalist. words ANA LETIK
It’s
BEEN SIX MONTHS
since Wyre the Love Child dropped his second solo effort, 10 Years Wiser, and three years after his first. In this project, Wyre spreads his wings and ventures onto the wider African platform by collaborating with various reputable artists as far as West Africa. With the release of the 2006 single, Chuki, Wyre set the RnB game on fire with amazing vocals and lyrical prowess. While his first album, Definition of a Love Child, was centred on love, in his second offering he makes a conscious effort to preach positivity to the youth with tracks like Good Man and Uprising. Nevertheless, his mammoth female fans will not be disappointed; Everyday, Without You and Njoo Nami are some RnB tunes worthy of mention. Right after the intro is the much hyped Uprising, which is laid on a riddim done by Jamaican producer, Arif Cooper. Unless you live under kit mikayi, you must have heard this track. Not many of our artists embody the true essence of rasta, but Wyre does it yet again with Protect Me. The Love Child is definitely at home in roots reggae as he is in RnB. It’s all in delivery and depth. But what do you get when you replace the somber, introspective and metaphorical themes in roots with fast paced, club banging kicks and carefree semantics? Dancehall. And this album has loads of it. Can’t Get Enough will definitely
OUR MICROPHONE RATINGS 050
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leave you craving for more. Beware, it’s got a super kick that can bust your speakers. Well, no risks, no success. Sadly, 10 Years Wiser is spotted with a few tragic accidents. In the track Like What, Wyre tries a hand in rapping. Let’s just say it’s a wrap as far as spitting goes. And then there’s Sina Makosa, which is given a new flavour. Now, there are certain things one is allowed to mess with and this 1979 Les Wanyika classic is definitely NOT one of them. One thing is for sure, this album offers variety. What, with the numerous collabos! A hint of bongo flava with TMK’s Chegge, a taste of
hip hop with Uganda’s illest rapper, Navio, and some serious vocals from the Naija boys, PSquare, Faze and the Kenyan based Nicon. After a decade in the music industry, Wyre has definitely found his footing. The album is a display of skillful execution and daring delivery.
WE SAY The album is a display of skillful execution and daring delivery.
OVERALL:
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
Reviews
Ear for the Music
Corrine Towett, 27
Zilizopendwa rocks! As in, they are the coolest. I love golden oldies like ABBA. I also enjoy Congolese Rhumba, also known as lingala. The only local artist whose music moves me is Eric Wainaina.
Nzech Nzuki, 21
I have many local favourites including Sauti Sol, Nazizi and Mejja, especially his hit Niko Poa.
Shiro Karuri, 27
I listen to all genres except reggae. I doesn’t have a favourite local artist but I enjoy music by Eric Wainaina and Kanye West.
Nazizi: African Youth
Setting the mood is a hip hop intro titled Change, which is produced by Ziggy
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f you expected reggae and hip hop from the First Lady’s album, then this one does not disappoint. But it doesn’t stop there; there’s bongo flava and dancehall. Nazizi keeps it rasta with powerful messages that will uplift any soul – no matter the age. This album makes one proud to be an African Youth. Setting the mood is a hip hop intro titled Change, which is produced by Ziggy. Nimechoka, produced by Ambrose of Mandugu Digital, is bongo flava in character; you’ll notice the repeated chordal punctuations which is common in this genre. Nazizi explores this genre with flare. She collaborates with Lord, who’s quite a rhyme master. Check out Tonight if you want hear Nazizi’s singing voice - although she is careful not to venture too far from her comfort zone. The song makes a dancehall entry then suddenly goes into disco mode. The accompanying chords sound too familiar, like something borrowed from Michael Jackson’s Human Nature, but that’s as far as the borrowing goes. Let’s get patriotic with Jeshi. It climaxes right at the beginning, creating a burst of energy that is sustained to the end. The start, a speech by our founding president JK, builds anticipation which is timely resolved with the song’s chorus. Good lyrics and excellent instrumentation, thanks to Benson the Architect.
Murfy’s Flaw: Makosa
Rock lovers are treated with electronic craftmanship that perfectly captures the melancholic mood generously expressed in the album
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ur local music scene is a little wanting in the alternative category, but with this 6-piece Kenyan rock band, that will soon be a thing of the past. Rock lovers are treated with electronic craftsmanship that perfectly captures the melancholic mood generously expressed in this debut album. Murfy’s fLaw deserves two thumbs up for originality and guts. Contagious starts with a spacey swoon on the synth, followed by the domineering lead guitar and then the bass, which provides the backing rhythm throughout the track. The soft vocal entries bring a calming relief amidst the blaring electronic interludes. All this accompanies a well-thought out message of deliverance. The title track Makosa is a daring attempt to blend rock music with Swahili speech intonation. It still makes for pleasant listening with its light instrumentation, although the vocals are a bit pitchy, with the male falsetto taking it a bit too far. Your Friend could easily become everyone’s favourite. It is perfectly sentimental, pleasant and genuinely moving.
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Reviews
STL: Living for Music
Looking for a groovy beat? Then you ought to listen to Radio Tunin’. You’ll have your head bobbing and your body moving in no time
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TL exposes the circumstances through which she discovers her zeal for life and music. She’s passionate about her mission and she tells it the best way she knows how – spitting rhymes. There is truly no East African female artist who would dare take on STL in a rap duel. This queen of rhyme takes it to a totally new level with her debut album, Living for Music. It’s all hip hop, but you’ll also get a taste of dancehall, RnB and a tinge of afro acoustic flavour. One can’t help but notice the producers’ astounding attention to detail. Aptly placed at the start is the title track, a somewhat serious introduction to STL’s lyrical flare. The backing instrumental is a little old school, while the monotony of the repetitive chords is occasionally broken by the imposing electric guitar. Like many of the songs in this album, STL shares about life and music. Looking for a groovy beat? Then you ought to listen to Radio Tunin’. You will have your head bobbing and your body moving in no time. It’s all in the disco groove. It’s afro acoustics in the Makelele remix featuring Iddaziz. This melancholic number is rich with characteristic West African tonal patterns, heavily influenced by Arabic quartertones. A masterpiece, by all standards. If you’re into dancehall, then She Want featuring Jabaman is for you. As for Kool Girls, no lyrical prowess here, but it’s a club banging charts topper. The Dreamer is a perfect blend of hip hop and RnB with a little laid back tempo; the glacial vocals of Hozan in the refrain just kills it.
Ear for the Music
Samantha Opere, 21
I listen to rock, RnB, classical, a little hip hop, gospel, neo soul and afro fusion. I like Juliani’s music as well as Sauti Sol and Chizi.
Ratai Arati: Gesungusungu
Juliani has no limites to the music he uses; in this album he incorporates RnB, soul, hip hop and reggaeton.
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raditional music is a welcomed breath of fresh air in a world driven by technology and western civilization. And thanks to technology and western civilization, we are now able to savor the sounds of Ratai Arati’s Kisii music through his debut album entitled Gesungusungu. He varies his vocal tone and range throughout the album, keeping the former naturally open and chesty in the traditional pieces. The fusion of acoustic traditional instruments to modern electric and electronic sounds to create a unified backing, poses the greatest challenge here. Perhaps the best description of this music would be ethnic contemporary pop with a traditional twist. The first track Egware Tabaka is a contemporary piece in speech-like melody. The obokano is just one of the numerous backing instruments. Rich in the percussion section and where Arati displays his wide vocal range is Ajali Kitandani, which is a courteous take on prostitution. The title track makes a strong entry with the obokano and refrain. The woodwind highlights at cadential points creates interest and excitement to a generally simple accompaniment. In Mama, with the recurring obokano and electric bass, Arati acknowledges the vital role played by mothers in society. The refrain is arranged in call-and-response, a common characteristic in African traditional music. Perhaps the highlight of the album should go to Morara and Abairi. Arati enters with a deafening call, brings in the shakers and woodwind; then comes the resounding obokano, whose rhythm and timbre adds a percussive effect to the rich, purely traditional instrumental backing. These two tracks will give you a taste of Kisii cultural music. Ratai’s versatile musicianship goes even further in the gentle country song In the Rain.
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James Kinyanjui, 25
I like classical, neo soul, RnB and hip hop, especially old school. Locally, I like Nameless and Eric Wainaina.
Kate Kiviu, 22
I love rock and classical music. RnB is also quite enjoyable. I listen to a little local content, Sauti Sol, Juliani and of course, Eric Wainaina.
Video Court
TOP 12
Salari
Nameless
Alternative Concepts
HoTrax JUA CALI
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he video takes us through a day in the lives of two jamaas experiencing the economy at extremes ends: a humble boda boda guy and a solid sonko. While ferrying a mteja on his black mamba, the former is overtaken by the sonko driving a sleek SUV; the latter probably thinking, “Me, on a boda boda? Never!!!” But the car suddenly runs out of fuel and guess what he has to ride to the peti…
1 2 3 4 DJ SADIC, ALEMBA ft. 5 JULIANI 6 7 8 9 10 Ni Imbie
MEJJA ft. BRO Niko Poa
Verdict: The video highlights the reality of the gaping wealth difference in our society. Respect all jobs. Good stuff, but what’s with the I, Robot casuals?
HOLY DAVE Reason
Mtaani dot com
JAGUAR ft. AY
Colonel Mustapha Ogopa Video
Nimetoka Mbali
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hot on location in Eastlands, Nairobi, this video basically shows the activities of a thriving community. The story hits home as soon as the video starts streaming: Everybody is hustling to make ends meet, even if it means occasionally breaking the law… as long as you’re a good daddy and mommy doesn’t see the gun!
Pages za Bible
RUFFTONE
Chant a Prayer
Verdict: Quality videography, excellent choice of location. Makes you appreciate your present situation.
NGASHVILLE ft DANCO AND BAA MDOGO
Niko Poa (Barua) Mejja Luch Production
Fanana Naye
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his video is all about great direction and impressive dramatization. Mejja plays both roles, as himself and as his bro. As the story goes Mejja leaves the drab village life for greater things in big city, leaving his hardworking but not very ambitious bro in the village. The video is all about their snail-mail correspondence. City bro narrates about his recent accomplishments, which match his humble-yet-comfortable lifestyle. Village idiot-cum-petty-thief bro reciprocates; life is incredibly tough in the reserve. It’s HILARIOUS.
COLONEL MUSTAPHA Mtaani.com
WADOSI Nakufel
KEVO ft. K-FORCE Death Wish
Verdict: Mejja hit!
Niko Na Reason EKko Dyda ft Holy Dave Kijiji / Sakata
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he video is shot in studio. Good. There are two basic sets. One is a dinner setting featuring Ekkodyda and Holy Dave... probably because there’s mention of rice and fish in the rap. The second set has the two plus a cute minor getting down and doing the snap. Pretty cool, except we lose the snaps and claps to the editing. Drats!
Verdict: This video could do with better direction. The concept seems to have been developed in a rush. For a hip hop hit, the dinner setting is rather misplaced. However, big up for the crispy clear picture quality. There was no compromise here.
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Video Court
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SPORT ON at The GoDown Linda: Black and white checkered tennis skirt KShs. 400; Grey sports bra KShs. 250; Grey sneakers KShs. 750 Solomon: Navy blue vest KShs. 300; Grey satin basketball shorts KShs. 450; Black and white vans KShs. 600 Linda’s and Solomon’s outfits from Toi Market. Sneakers from Up-Next, Ongata Rongai. Black and white vans from Muthurwa Market
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Solomon: Black and white long sleeved t-shirt KShs. 550; Black track suit pants KShs. 450 Black and white vans KShs. 600 Solomon’s outfit from Gikomba and Garissa Markets. Black and white vans from Muthurwa Market
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Linda: Green sleeveless sporty top KShs. 350; Black capris KShs. 350 White and green custom made rubbers KShs. 1,000 Linda’s outfit from Garissa and Muthurwa Markets. Plain rubbers from Bata; printing by Rigodiaz Designs
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Linda: Grey Shorts KShs. 350; Grey vest KShs. 250; Grey sneakers KShs. 750 Solomon: Green tracks KShs. 450; White sleeveless top KShs. 100; White and green custom-made rubbers KShs. 1,000 Linda’s outfits from Toi Market. Solomon’s outfits from Gikomba and Muthurwa Markets. Sneakers from Up-Next, Ongata Rongai. Plains rubbers from Bata. Printing by Rigodiaz Designs.
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2Face Indibia with Emukule
Redsan and Delilah on the red carpet
Uganda Rapper Navio
The ladies of Blu 3
Blu 3
MTV’s Tanzanian VJ Van essa gets down with Wyclef Jean
Debra Sanaipei
MTV’s South African VJ Fix gets close and personal with Wyclef Jean
Prof. J on the red carpet
Voices
BOMAS OF KENYA
Attentive audience
ucts
Ken Wakia cond
The mass choir
Hospice
FOR
23RD October 2009
Charles Njonjo gossips with Michael Joseph
loists
Three of the so
Birthday Bash
Jua Cali
Jua Cali: the face of intense concentration
Mejja strikes a mtaa pose
with
Amani letting
it rip
The crowd loving Jua Cali antics
Kanjii and Esther Wahome savouring the moment
Kirk Franklin connects with the crowd
DJ Vic gleefully enjoys spinning for Juliani
Lynn does a mic check
zi
Oliver Mtukudu and his band
Suzanne Owiyo sings and sings
iatic crowd!
What an enthus
list
s backup voca
The sponditiou