Welcome to the Afro-Fusion Dimension
Bands of musicians were on stage to provide sound tracks to keep music fans on the dance floor last Friday. In what some critics perceive as a strong case for the Afro-fusion genre, the concert offered samples of a genre that has been ignored by the media, but which has clearly been growing fast and capturing the imagination of the nation as the rhythm of the country.
The concert that had thrills galore took place at the Alliance Française garden in Nairobi. The place has lately earned honour as an inspiration for Afro-fusion artistes in the country.
After a series of auditions and concerts spread through the year, throughout the country, the Spotlight on Kenyan Music project will be delivering its third album.
Titled Spotlight on Kenyan Music Volume Three, it comes after two others that are already reporting impressive sales in music stores around the world.
The music sounds like a compilation of music by Putumayo that a reviewer describes as … an antidote to the more synthesised sounds emerging from Africa in recent decades; crystal clear sounds of the guitars, woody drums, sweet, sweet voices. “It’s mainly gentle, mellow tracks, acoustic but not raw (or ‘tribal’),” a reviewer describes Acoustic Africa, a compilation of various Afro-fusion titles by Putumayo that aptly captures the spirit of Afro-fusion music that Kenyan singers are churning out. Simply, Afro-fusion is music that blends a traditional African feel with contemporary sounds.
Hip hop has hopped so much on the local media that anyone glancing though the media may easily conclude that all Kenyan music is Kapuka this or Genge that. Not quite.
There are a few chosen musicians who are not fascinated by flashy deciduous tunes, who have chosen to remain deep and at the same time fascinating in style. “When all the lights are out, Africa’s true music remains afro-fusion in its many forms - rhumba, juju, zouk, benga, mbaqanga, chakacha etc,” says Mr David Makali, a music producer and distributor.
On the popularity of this genre, he knows what many Kenyans are yet to appreciate: “You don’t need research to show you how many people are deprived of their favourite music by this conspiracy of the youth (here, he means hip hop).”
According to Tabu Osusa, who has been involved with Afro-fusion for several years, the genre defines who Kenyans are. It is can create a market for Kenyan music internationally, insisted the producer based at the Ketebul Studios.
The early 90s were very lean years for workers in the local music; then suddenly entered a fast paced revolution that has not slowed. This came with the rebellious sounding Kalamashakas, Mercy Myras and the notorious musical duo of Gidi Gidi Maji Maji, who infused traditional Dholuo beat into their sort of hip hop.
Eric Wainaina
Eric Wainana had been singing of love before rubbing a corrupt government the wrong way with his hit Nchi Ya Kitu Kidogo, which opened international doors to the music graduate. At the end of last year, he went on stage with the musical Lwanda: A Ghetto Story, before releasing his second album, Twende Twende, that blends contemporary sound with authentic African melodies.
“Afro-fusion is the sound I easily identify with,” says Samuel Kiama, who has been following Spotlight concerts with loyalty.
“It is music that brings to the ear a desirable sound. It is African song presented in poetry, dance and composition with creativity that soothes if it is meant to; compels if meant to be compelling.”
Just like in the other parts of Africa, one of the more interesting ways to listen to this genre of music is by being present at gigs and weekend concerts that play live in public spaces.
Slowly, the music has been gaining popularity in these spaces. Currently, it is rare to miss a band playing live at a club. Business owners have realised the power of the music when it comes to luring clients.
For the few years that Afro-fusion musicians have been staging their act together, several albums have been produced. A quick count yields about 20. It began with names like Achieng Abura before Suzzane Owiyo entered on the scene with her Kisumu 100 and Sandore.
Then Eric Wainaina, Kayamba Afrika and even Suzzane Gachukia, formerly Suzanne Kibukosya, appeared. Local Afro-fusion albums includes two by Abbi Nyinza and Kikwetu band, Ohanglaman by Makadem, and three by Yunasi, who entered the fray under the name Emmanuel Clan as a gospel acappella group.
Yunasi have travelled widely, singing to different nations. Their style, Sesube, blends several Kenyan music tastes including Isukuti and Benga. Harry Kimani’s voice has opened doors to several international concerts.
Achieng Abura
When Hugh Masekela, the seasoned South African Afro-jazz artiste -was in town, Kimani took the opportunity to strum to his Waithera, a romantic Gikuyu song in praise of a beautiful girl that some heart has fallen for. The man has a seductive way with the guitar.
One Odegle Nyang, a music enthusiast, describes Makadem’s performance excitedly: “Makadem the Ohanglaman. Ok, it was a trick. The guy plays no ohangla, but boy! The energy! The electricity! The guy is a specialist in afro-fusion. He has some really funny and poetic lyrics. The energy of his performance is amazing.”
Besides his title song Ohanglaman, Makadem, whose inspiration comes from Fela Kuti, has other songs among them Kisumu Bound Bus, That comb, Nyaktiti, My Dota, and Nyar Nairobi.
According to Sound Africa - a music company distributing music both locally and internationally - Afro-fusion is attracting good attention from music lovers. This is as opposed to Hip Hop music that does not enjoy the benefit of a long shelf life.
Via Business Daily (Nairobi)
