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Gospel Music Awards Winners Announced

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By Iminza Keboge
Published June 19, 2019

Touted as being the biggest gospel music celebratory event in East Africa, Groove Awards 2019 was held on the theme, Better Together.The 14th edition of the annual Gospel music event known as Groove Awards went down in the Kenyan capital, Nairobi, on June 1, 2019.

Touted as being the biggest gospel music celebratory event in East Africa, Groove Awards 2019 was held on the theme, Better Together.

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The Gala Awards ceremony was held on June 1, 2019 at Movenpick Hotel in Westlands district within the Nairobi metropolis.

Here is the complete list of those who were announced as the Groove Awards 2019 winners:

  • Artist of the Year: Eunice Njeri
  • Song of the Year: Vimbada by Jabidii, Moji Short Babaa
  • Music Video of the Year: Nifanane Nawe by Wahu Kagwi
  • Young Groover of the Year: Amani Gracious

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Eunice Njeri was declared Groove Awards 2019 Artist of the Year

  • Reggae/ Ragga Song of the Year: China by Jabidii
  • Teens Choice Song of the Year: Vimbada by Jabidii, Moji Short Babaa
  • Collabo of the Year: Vimbada by Jabidii, Moji Short Babaa
  • Dance Style/ Song of the Year: Vimbada by Jabidii, Moji Short Babaa
  • Outstanding Contributor: R-Kay
  • Diaspora Artist of the Year: Benachi
  • Hypeman/ MC of the Year: Timeless Noel
  • Song Writer of the Year: Pitson
  • Online/ Digital Personality of The Year: Kabi and Milly for the WaJesus Family
  • Video Producer of the Year: Steve Mugo
  • The Audio Producer of The Year: Gideon Kimanzi

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Vimbada song by Jabidii, Moji Short Babaa won Groove Awards 2019 Song of the Year,Teens' Choice Song of the Year, Collabo of the Year, and Dance Style/ Song of the Year.

  • Breakthrough Female Artist of The Year: Emma Omonge
  • Breakthrough Male Artist of The Year: Baraka Musiq
  • Breakthrough Dj of the Year: Ken the Dj
  • Media Personality of The Year: Syombua Mwele
  • Praise and Worship Song of the Year: Zaidi na Zaidi by Eunice Njeri
  • Nyanza Counties Song of the Year: Conqueror by Fenny Kerubo
  • Rift Valley Song of the Year: Kapchi by Mum Cherop
  • Eastern Counties Song of the Year: Kyaaa kyaa Ngai by Stephen Kasolo
  • Coastal Song of the Year: Nakupenda by Eve Bahati
  • Central Song of the Year: Mutheani by Phyllis Mbuthia and Sammy Irungu
  • Western Song of the Year: Lwanda ni Yesu by Timothy Kitui and Ali Mukhwana.

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African Music and Choreography Stars Drum Up Support for Greater Investment in Youth, Agriculture and Rural Development

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By Iminza Keboge
Published September 5, 2019

Mr Eazi (Oluwatosin Oluwole Ajibade from Nigeria), Africa's hottest Afrobeat starA popular Afrobeat musician and an award-winning choreographer have called upon leaders across Africa to urgently invest in agriculture and rural development to create opportunities in support of the millions of young people who will soon enter the job market.

Mr Eazi (Oluwatosin Oluwole Ajibade from Nigeria), Africa’s hottest Afrobeat star, and Sherrie Silver, an MTV award-winning choreographer and youth advocate for the United Nations’ International Fund for Agricultural Development (IFAD), have made their appeal in the Ghanaian capital, Accra, where they are attending the African Green Revolution Forum (AGRF), September 3 – 6, 2019.

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Silver, who traces her origin to Rwanda, said, “We are going to AGRF to capture the attention of African leaders and to share a message with young people everywhere: our generation can end global hunger, but only if governments invest more in agriculture and the next generation of young farmers.”

African Green Revolution Forum (AGRF), September 3 - 6, 2019.According to 2019 Rural Development Report: Creating Opportunities for Rural Youth by IFAD, Nearly a billion of the world’s 1.2 billion youth live in developing countries; about half of them in rural areas where they are most often poor, lack economic opportunities and face constraints to access land, services, technology and training.

It is estimated that 10 million – 12 million young people enter the job market in Africa every year. And in rural areas, agriculture is still the biggest source of livelihood.

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“With government investments and policies in support of economic development, agriculture can provide opportunities for millions of young people who might otherwise migrate to nearby cities or further abroad in search of work,” said Silver prior to the meeting.

Sherrie Silver,  who traces her origin to Rwanda, said, “We are going to AGRF to capture the attention of African leaders and to share a message with young people everywhere: our generation can end global hunger, but only if governments invest more in agriculture and the next generation of young farmers."Mr Eazi and Silver, two Afrobeat stars, are participating in AGRF as part of an IFAD youth-focused campaign called Our Future is Here that includes a TikTok “dance challenge” that calls on people around the world to make their moves matter by recording a 15-second dance video to Mr Eazi’s song, Freedom.

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IFAD says the song was specially created by Mr Eazi with the aim of depicting agriculture positively and thus attract young people to farming. The song has also been used to create a campaign video featuring rural youth in an IFAD-supported project in Cameroon dancing with Silver to her choreography.

IFAD projects itself as an international financial institution and a United Nations specialized agency based in Rome – the United Nations’ food and agriculture hub.

It is estimated that 10 million - 12 million young people enter the job market in Africa every year. And in rural areas, agriculture is still the biggest source of livelihood.

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Kenyan Rapper Debuts Cinematic Video for New Single

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By Gabriel McOgonda
Published September 10, 2019

Gabiro's charming lyrical prowess is the star of the show, always delivered without a hint of strain.Bit after bit and beat after beat, the self-proclaimed Kisumu President is slowly finding his place not only in the Kenyan music industry but also worldwide.

2019 has been a year of work and more work for Gabiro Mtu Necessary as from January when he released his collaborative tune, Nitembezee, in which he featured talented super star Kidis the Jembe at a time when Kenyan artists were calling for more play of their sound on local media giving the song ample space to get airplay and feature in various media. It is so far his most viewed music video as per YouTube statistics on his channel in 2019.

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As ever, Gabiro’s charming lyrical prowess is the star of the show, always delivered without a hint of strain. Lyrically, Gabiro mines a personal mood for inspiration, but contrasts the somber subject matter with a light and breezy delivery that will make you forget your worries in an instant — as long as you don’t listen too closely to the lyrics. Equally, the Crizo Mzeyah visuals emphasise the simplicity, mixing in footage of random dancers with a hood-looking Gabiro and some imagery to maintain those contrasting themes.

Fronted by a captivating whistle melody and pulsating dancehall beat, Kus Kus puts forth a dominating sound from Gabiro. Full of charismatic verses and a fierce, brassy dance break that leads into the chanting choral refrain of rata tat tudum, he spends the track confidently expressing feelings of joy and
rejoicing.

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Born and raised in Kisumu, Gabiro has not only had the chance to work with Kidis but also big names like Wyre, Ketchup and even Uganda's Nutty Neithan.Born and raised in Kisumu, Gabiro has not only had the chance to work with Kidis but also big names like Wyre, Ketchup and even Uganda’s Nutty Neithan; he
has released four singles in 2019, barely pausing for breath in between drops. And it is only August. Now he’s back with yet another gem and he has tapped up music maestro and hit-maker, Brian Robin of One Vibe Africa, for production.

Accompanying the Kus Kus track is a video directed by Crizo Mzeyah. Taking a much simpler turn, Kus Kus brings in a feel good mood. As he explains, the song was inspired by Tamale word Kus, and sees Gabiro draw rhymes using the word which is a form of expressing sweetness.

RELATED: African Music and Choreography Stars Drum Up Support for Greater Investment in Youth, Agriculture and Rural Development

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Road Accident Robs Kenya of Leading Musician

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By Iminza Keboge
Published September 12, 2019

John Mwangi Ng’ang’a alia De Mathew rallied musicians together and formed Talented Musicians and Composers (TAMCO), a savings and credit cooperative organisation (SACCO) to take care of the welfare of musicians in January 2019.Music may be the most popular art form in Kenya. However, making a living from music business in the age of cassette tapes, CDs and DVDs was always tough. But it has become even tougher now in the era of Digital Disruption where YouTube and livestreaming have failed to deliver the fruits of the Promised Land to musicians who, like everyone else, still have to pay the bills for housing, education, medication and other living expenses.

Though having been in the entertainment business for close to 53 years, legendary Kikuyu musician Joseph Kamaru Macharia (1939 – 2018) had to be bailed out of a medical predicament by President Uhuru Kenyatta in his twilight. The President, at whose wedding the musician had performed almost 30 years earlier, paid the bills for the ailing musician at MP Shah Hospital in Nairobi. Two months later, in October 2018, Kamaru died, prompting John Mwangi Ng’ang’a alias John De’ Mathew, a 52-year-old musician from Gatanga, the springboard of Kikuyu music, to vow to change the plight of musicians in Kenya..

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“We want to come together and join a SACCO to pool resources together so that when we die, our families do not resort to harambees to give us a decent send-off, Never again shall we be conducting fundraisers to bury one of our own or to seek money for medical bills,” the artist popularly known in music circles as De’ Mathew, declared.

De’ Mathew walked the talk by rallying musicians together in forming Talented Musicians and Composers (TAMCO), a savings and credit cooperative organisation (SACCO) to take care of the welfare of musicians in January 2019.

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Legendary Kikuyu musician Joseph Kamaru died in October 2018However, some eight months later, the founding Chair of TAMCO, on his way back to Nairobi from Thika where he had participated in an event to help raise funds to meet the hospital bill of the child of a fellow musician known as Peter Kiggia, he of the Wendo wa Cash Money tune fame, De Mathew perished in a road accident. It was on a August 18 when the artist who is reported to have recorded more than 375 songs in 50 albums over a 33-year period died on Thika-Kenol Road near Blue Post Hotel.

The 1967-born De’ Mathew, whose pick up truck had rammed a lorry, was pronounced dead on arrival at Thika Nursing Home.

John De Mathew had ventured in music recording with a song titled Jennifer in December 1986 under the wings of Timona Mburu and and Joseph Wamumbe who helped him in recording the song. Come August 1987, he recorded My Dear Nduku which thrust him into the limelight.

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De' Mathew vowed that Never again would musicians 'be conducting fundraisers to bury one of our own or to seek money for medical bills.'Fifth born child of Lucy Wanjiku and Mathew Nganga, John De Mathew attended Mukurwe-ini Primary and Naaro and Igikiro secondary schools before going to the Kenyan capital, Nairobi, where he hawked vegetables at Soko Mjinga market and meat in Kariobangi before he relocated to Nakuru town where he sold Sandak plastic shoes for a living.

John Mwangi Ng’ang’a De Mathew was may have been a prominent musician and entertainer, but he was not without controversy. He was in July 2012 arrested and charged alongside John Muigai alias Muigai wa Njoroge and Mark Kamande wa Kioi for composing and releasing a song titled Witueti Hiti (You have made yourself a hyena) or Mwaka wa Hiti (the year of the hyena) that was deemed to be fueling hate speech between the Kikuyu whose candidate, Uhuru Kenyatta, and the Luo whose candidate, Raila Odinga, were pitted against each other for the Presidency in the General Elections of 2013. The song, that called for unity among the Kikuyu,saw the National Cohesion and Integration Commission take the trio to court. They all denied the charge and were each released on Sh100 000 cash bail.

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Father of three children, De Mathew was married to Sarafina Wairimu (Mama Shiku) and Caroline Waithera.

Thomas Ndegwa alias Ndegwa Wa Gatiti, De Mathew’s producer, is reported to have said the late musician had about 15 songs which he had planned to release in 2019.

Among those who paid respect to De Mathew were President Uhuru Kenyatta, Official Opposition Leader Raila Odinga, Deputy President William Ruto, Governor Mwangi Wa Iria of Murang’a County, and MP Nduati Ngugi of Gatanga Constituency.

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The 1967-born De' Mathew, whose pick up truck had rammed a lorry, was pronounced dead on arrival at Thika Nursing Home.“As a nation, we were privileged to have had such a brilliant artist who played a big role in promoting our African cultural heritage through his music,” Uhuru Kenyatta, Kenya’s President, said of the demise of De Mathew. “We have lost an icon in the music industry. DeMathew championed and played a big role in preserving our cultural heritage.”

Saying “De Mathew was a great composer of Kikuyu lyrics, which carried undertones of societal ills, including alcoholism and promoting peace and cohesion in society,” William Ruto, Kenya’s Deputy President, said the late musician “used his talent to teach us life lessons and convey socio-economic and cultural messages, especially to the youth.”

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Governor Mwangi Wa Iria of Murang’a County said the Kikuyu community “has lost an artist who guided them and warned them on various issues” and who “exemplified leadership skills following his chairmanship of the Tamco Sacco which was formed in January” 2019.

Gatanga MP Nduati Ngugi said De’ Mathew had “put Gatanga on the world map due to his popularity in the music industry. He was among the pioneer Agikuyu musicians who, to some extent, dictated the political direction and it’s sad to have lost him through the tragic accident.”

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De’Mathew was laid to rest in Gatanga, Murang’a County of Central Kenya on August 24, 2019.

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Tribute to Master Percussionist and World Music Star

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By Khalifa Hemed
Published September 14, 2019

Hossam Ramzy, an Egyptian percussionist and world music star, has passed away at the age of 65 in Brazil where he was undergoing treatment for a heart condition on September 10, 2019.A percussionist who has been travelling the world to perform, educate in the art of dance, arrange music for international artist, release albums and produce music for artists from all around the world over the past 30 years has died.

Hossam Ramzy, an Egyptian percussionist and world music star, passed away at the age of 65 in Brazil where he was undergoing treatment for a heart condition on September 10, 2019.

A statement from world and folk music specialists, ARC Music Productions International of Britain, says the late Ramzy ‘travelled the world, educating in the art of true Egyptian dance. His philosophies of dance and rhythm helped tens-of-thousands of dancers and percussionists perfect their crafts. During this time, he somehow found the time to release some thirty albums of Egyptian dance and world music, and produce countless more for artists from all around the world.’

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Known as Egypt’s Ambassador of Rhythm, his goal of injecting Egyptian rhythms into public consciousness led him to arrange music for (among others) Jimmy Page & Robert Plant (Led Zeppelin), Shakira, Ricky Martin and AR Rahman, feature on recordings by Peter Gabriel and Jay-Z, and compose music for numerous films, ARC Music says.

Born in Cairo in 1953, Ramzy’s musical career is said to have begun at the age of three when he was given his first drum – an Egyptian tabla. His passion for percussion was noted by his family who encouraged him to master his craft by studying with the leading music teachers of Egypt. A move to Saudi Arabia introduced Hossam to many of the Bedouin tribes who gave the young Hossam a rich insight into the cultural origins of Middle Eastern music that became the inspiration for many of his later rhythmic directions.

In the mid-1970s Ramzy moved to England, and enjoyed great success as a jazz and Latin style drummer working with many highly respected jazz musicians like Andy Sheppard and Geoff Williams. But, as he began looking for new dimensions of percussive sounds, he found himself turning full circle, back to his first love, the Egyptian drums, and the thrilling dance rhythms of the Middle East.

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The distinctive sound of Hossam Ramzy’s percussion and the exciting rhythms on his albums caught the imagination of Peter Gabriel who invited him to perform on his albums, Passion and Us.

Ramzy went on to work with many top musicians, including Joan Armatrading and Mari Wilson.

In 1994 Robert Plant and Jimmy Page (Led Zeppelin) invited Hossam to bring together a band of Arabian musicians and work on their reunion album No Quarter – Unledded, which was certified triple platinum. This led to Hossam joining Page and Plant on their historic reunion 1995/96 world tour.

Since then, Hossam toured extensively with various artists, such as Pino Daniele of Italy as well as many of the top Arabian singers, like Cheb Khaled, Rachid Taha, Faudel and Yeşim Salkım, one of the most popular female singers from Turkey. Hossam released some thirty albums and two DVDs of Egyptian dance and world music, with many of them dedicated to percussion and rhythms of the world, and produced countless others.

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He has also collaborated in composing and performing many award-winning film soundtracks, such as Stargate, Wings of a Dove, The Saint, The Hunchback of Notre Dame, Stealing Beauty, The Last Temptation of Christ, Stardust, Prince of Persia: The Sands of Time, Conan The Barbarian 3D and The Dictator.

Hossam Ramzy performed with Sting on the Michael Parkinson TV Show. He won the New Age Voice Award for “Best Contemporary World Music” for his album Immortal Egypt in collaboration with Phil Thornton. He also joined the Masters of Percussion from Africa Ensemble for a concert at the Royal Festival Hall in London featuring the world famous Brazilian percussionist Airto Moreira. In 2007 he played a live show with the legendary Grammy Award winners Chick Corea, Isaac Hayes and Mark Isham. He composed and arranged music for Shakira’s album She Wolf (EPIC) as well as the single Empire.

In 2011 Ramzy released the biggest album of his career, Rock The Tabla, a collaborative project featuring some of the world’s top musicians including A.R. Rahman, Billy Cobham, Omar Faruk Tekbilek, Manu Katché and Joji Hirota. Rock the Tabla earned Hossam a nomination for Best Artist in the Songlines Music Awards 2012.

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Hossam Ramzy was honoured in 2014 with the prestigious Taichi Traditional Music Awards (Chinese Institute of Music) for his project Bedouin Tribal Dance, depicting the traditional wedding rituals of nomadic Bedouins.

More recently, he toured with Joe Bonamassa, including two special nights in New York recorded live for the “Joe Bonamassa Live at Carnegie Hall – An Acoustic Evening” special, which went to No.1 on the Billboard US Blues Album chart.

2019 was capped by a special performance alongside Loreena McKennitt at London’s iconic Royal Albert Hall.

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New World Music to Make You Dance to the Moon Released

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By Iminza Keboge
Published October 7, 2019

Masterful oud performances that highlight the unrivalled brilliance of Alan Shavarsh Bardezbanian, the 58:01-minute long album includes folk music from Armenia, Greece, Turkey and the Middle East, beautifully accompanied on piano, accordion, violin, guitar, bass and percussion.World music label, ARC Music of Britain, is set to release two music albums from West Africa, Armenia, the Balkans and the Middle East on October 25, 2019.

The first album, the latest Mali and UK collaboration from the imagination of producer Dan Harper (Invisible System), is titled Dance to the Full Moon and is by an artist called Invisible System.

The album combines the traditional with the modern, forging new styles in ethnomusicology.

Recorded in the Malian capital, Bamako, alongside the best local musicians and griots – the traditional storytellers of West Africa – Dan Harper’s production continues to take Malian music into new territory.

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Dance to the Full Moon is the natural follow up to the Invisible System album, ‘Bamako Sessions’, released on Riverboat Records in 2018. Both albums are taken from the same sessions during Dan Harper’s return to Mali, where he had previously worked from 1999 to 2003. These sessions took place over a month in a rented house, in a room that Dan Harper had placed some mattresses around for acoustic control. The days consisted of Dan Harper waking up, making strong coffee, walking out for a local street breakfast; getting back and jamming a sketch for a track using his guitar/bass/synth and drum programming; the musicians arriving at varying times and also jamming with Dan to produce tracks on the fly.

Dan was introduced to some griot musicians, including re-meeting Astou Niamé Diabaté, who actually sang in 2003 at Dan’s wedding to his Malian wife, Hawa, in Bamako. Hawa also introduced Dan to her childhood friend, guitarist Banjougou, who, in turn, brought along Sambou Koyaté to sing, and a number of other musicians.

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Alongside Harper’s production, the result is a pulsating album fusing the modern and the traditional, exuding the spirit of friendship, love and creative collaboration.

Dance to the Full Moon combines the traditional with the modern, forging new styles in ethnomusicology. The nine tracks on Dance to the Full Moon that a playing time of 59 minutes (54:38 minutes, to be specific!), include:
1. Bajura (When Your Time is over Another Will Come) 4:50
2. Toungaranke (Strange Land) – 6:10
3. Ebah (Proud Mothers) – 6:03
4. Diarabi (Love Power) – 4:07
5. Juru (Too Much Credit) – 10:02
6. Kélé (War) – 4:54
7. Zani (Hard Work) – 7:58
8. Barana (Here I Am) – 6:19
9. Dance to the Full Moon – 3:56

The second album, by Alan Shavarsh Bardezbanian, is titled Oud Classics from Armenia, The Balkans and Middle East.

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A masterful oud performances that highlight the unrivalled brilliance of Alan Shavarsh Bardezbanian, the 58:01-minute long album includes folk music from Armenia, Greece, Turkey and the Middle East, beautifully accompanied on piano, accordion, violin, guitar, bass and percussion.

The 15 tracks on this Oud Classics compilation include:
1. Uskudar (trad.) – 6:27
2. Dari Mana / Ooska Gookas (trad.) – 3:54
3. Zapion Tsamiko (Alan S. Bardezbanian) – 4:08
4. Rast Taksim (Alan S. Bardezbanian) – 1:03
5. Rast Kashlamar (trad.) – 3:05
6. Longa Farahfaza (Riad Al-Sunbati) – 4:21
7. Bir Demet Yasemin (Zeki Müren) – 6:17
8. Country Girl (trad.) – 4:11
9. Im Anoush Davigh (Khachaturian Avedissian) – 1:58
10. Enzelee (trad.) – 2:37
11. lstemem Babacim (Salih Turhan) – 4:10
12. Samiotisa (trad.) – 2:51
13. Husseini Taksim (Alan S. Bardezbanian) – 2:44
14. Arapena / Rhodes (trad.) – 5:03
15. Nihavent Longa (Kemani Kevser Hanim) – 4:28.Kemani Kevser Hanim) – 4:28.

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The post New World Music to Make You Dance to the Moon Released appeared first on ArtMatters.Info.

Gospel Singer Goes Mainstream in Comeback, Courts Controversy

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By Ogova Ondego
Published October 19, 2019

Jawabu Studio accuses Stephen Kasolo with Rose Mhando of stealing a song and publishing it on YouTube without authorityPopular Tanzanian gospel singer Rose Mhando is not only back but she appears to be generating lots of controversy as she  reasserts herself on the music scene.

The message and lyrics in the new songs are not just more general than evangelistic, but beg answers  whether Mhando is re-inventing herself, going mainstream or leaving behind the type of music that catapulted her to the pedestal in the Kiswahili-speaking world of Christian music.

The very first controversy appears to be surrounding the song Kenya Ulindwe (May God Protect Kenya) whose melodious and rhythmical chorus on Uhuru Kenyatta, Kenya’s fourth President, may border on ‘worldly’praise-singing and thanksgiving much like what is found in the Kenyan benga and Congolese rhumba in which the artists heap praise on their benefactors .

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In a manner not unlike what the Swahili would describe as Aisifuye mvua imemnyea (They that praise the rain have reaped from it), Mhando sings:

Shukrani zangu kwa taifa la Kenya
viongozi wa kenya
na wananchi wa kenya
kwa kuokoa maisha yangu

Uhuru
Baba Uhuru
We Uhuru
Yabarikiwe malango yako

Ulindwe
Kenya ulindwe
Milele ulindwe, ifanikiwe mipango yako
ibarikiwe mipaka yako

Producer Basil Siali of Jawabu Studio cried foul, saying Kasolo had 'stolen' the song from his studio and that Mhando hadn't paid a cent for the production of it.RELATED: Paintings of Indian Ocean Beach Bathers Exhibited in Nairobi

Mifuko yako ulifungua
mikononi ukanipokea
Kenya ukanihurumia
yabarikiwa malango yako

Mikono yako ulikuchua ukanisaidia
Kenya ulinihurumia
Uwezo sina
mali sina
nakuombea

Uhuru
Baba Uhuru
Rais Uhuru
Yabarikiwe malango yako
Narudia Uhuru
tena Uhuru
wewe Uhuru
ifanikiwe mipaka yako

Uhuru yabarikiwe malango yako
ifanikiwe mipaka yako.

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Jawabu Studio producer Basil Siali's post on Facebook accuses Stephen Kasoloof having  stolen Rose Mhando's song dedicated to President Uhuru Kenyatta and posting it on his channel on YouTubeSo where is the problem? What is wrong with thanking Kenya the country, the leaders of Kenya, the citizens of Kenya, the medics of Kenya for receiving, taking pity on and nursing Mhando back to good health and singing career?

The song was composed, recorded and produced at Jawabu Studio in Machakos on the eastern outskirts of the Kenyan capital, Nairobi. It was published on YouTube on September 24, 2019 and readily connected with thousands of viewers, thanks to the immense publicity it has received in local media.

The song is posted on YouTube by Kamba Gospel singer Stephen Kasolo with the message: “This song has been Authorized by Rose Muhando to be in this Channel. Thank you His Excellency president Uhuru Kenyatta and All the Kenyans for the Love you showed me during my sickness in Kenya . Now am safe and ready to work for the Lord .For skiza sms 7634125 to 811 (Uhuru Part) Sms skiza 7634126 to 811 (Uhuru Verse 1 Rose Muhando) Lets support Rose Muhando Kindly Subscribe to our Channel” below it.

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But two days after the posting of Ulindwe Kenya on YouTube, on September 26, the same song, now titled Bariki Kenya, is posted on the channel of Jawabu Studio with the message–“This music is still in the hands of the producer Basil Jawabu studios..0714555601 “–and harsh tags–#RoseMuhando #BarikiKenya #NgommaGospel #BasilProductions–accompanying it.

Did Kikamba Gospel singer Stephen Kasolo 'steal' Uhuru Kenyatta song?A day or so later the Jawabu Studio’s post is pulled down by YouTube over what is said to be copyright infringement and the message–‘Video unavailable. This video contains content from Ngomma VAS, who has blocked it on copyright grounds’–is posted in its place.

That is when the producer of the song, Basil Siali (real name John Shisia Muse), cries foul, saying Kasolo has ‘stolen’ the song from his studio before Mhando has paid the production fee.

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Saying “Rose walishikana na Kasolo wakaninyang’anya huu wimbo na kuuweka kwenye YouTube bila idhini yangu,’ Siali says what Kasolo published on YouTube was the sample he had sent to Mhando as he continued to work on the song for release later.

“Nilianza kuishi na Rose Mhando kama mama yangu 2018,” Siali, who says he set up Jawabu Studio in 2013 and started working with Mhando two years later, in 2015. says.

Siali’s Jawabu Studio is behind Walionicheka song by Ringtone and Mhando and nine other songs whose production value he estimates to be about Sh500 000 (about US$5000).

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Popular Tanzanian gospel singer Rose Mhando is not only back but she appears to be generating lots of controversy as she reasserts herself on the music scene.He says he wrote the second verse of Ulindwe Kenya, a song he says Mhando had wanted to dedicate to Official Opposition leader Raila Amolo Odinga but that he had successfully persuaded her to dedicate it to Kenyatta as the President of Kenya.

Both verse two and the chorus of the song, Siali says, is his own creation.Moreover, he says, Mhando’s had wanted the song titled Walionidhulumu (My Oppressors) but that he persuaded her to give it a more conciliatory message.

That she had wanted her song titled Walionidhulumu is possible, going by titles such as Walionicheka (Those who mocked me) and Wanyamazishe Bwana (Silence them Lord) which Mhando gives to some of her latest songs in her come-back. However, this is Siali’s word against hers.

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Did Rose Mhando conspire with Stephen Kasolo against Jawabu Studio's Basil Siali?When things came to a head, Siali, who holds the copyright to the song via a certificate issued by Kenya Copyright Board, says Kasolo sent him Sh10000 via M-Pesa but that he returned the money insisting he what he terms as a 50/50 right to the song with not Kasolo but Mhando.

Going by her own admission in a testimony on Oracle1 TV channel on YouTube, Mhando has not paid for the production of her music at Jawabu Studio

Ingawa sikuwa na shilingi hata moja ingawa nilitaka kurekodi,’ Mhando says on Oracle TV with Preacher Lucy Natasha, producer aliniambia tu ‘Rekodi tu. Hakuniuliza chochote yule kijana kwani aliniheshimu.’

She says she recorded an entire album in the studio of the ‘kijana’ she does not name but who welcomed her to record with the words, ‘Mama karibu Studio’.

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The post Gospel Singer Goes Mainstream in Comeback, Courts Controversy appeared first on ArtMatters.Info.

Won’t You Listen to Some Inspiring African Soul Music?

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By Khalifa Hemed
Published October 27, 2019

The Serrekunda Market, The GambiaGambia Sessions with Musa Mboob and XamXam band is a collection of 10 songs that capture the exciting Gambian vibe.

This collection by Mboob, a percussionist, singer and dance artist born in Serrekunda, the largest urban centre in The Gambia but now living on the south coast of England, address various issues in life. They range from preservation of a people’s identity to the quest for peace and kindness among humanity and from being responsible in life and conforming to expectation to love and kindness across rural Africa.

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Musa Mboob, who started his career teaching drama, dance, singing & percussion at Secondary Technical School in Sukuta, is the founder of the HamHam Exchange and Knowledge project, funded by the South East Arts Council, in which he took eight musicians from England to work with four different Gambian tribes. The band XamXam, that comprises Musa Mboob (percussion, vocals), Tom Phelan (keyboards), Luke Rattenbury (electric guitar) and Tom Fairbairn (bass guitar), is the product of that collaboration.

Mboob says the aim of XamXam is to ‘bring you the perfect blend of traditional West African music with a modern twist’ and that as band leader he has made it his aim in life to continue the family tradition of playing percussion and promoting traditional music from The Gambia. It was this very reason, he says, that saw him in 2017 return to The Gambia with a new set of musicians and returned with The Gambia Sessions that was recorded at Alliance Française de Banjul Studio in Serrekunda.

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The Gambia Sessions with Musa Mboob and XamXam is a collection of 10 songs that capture the exciting Gambian vibe.Mboob, who made his love of music his vocation and became a fan favourite in The Gambia and West Africa before relocating to England, says he learnt how to make music from his father, master percussionist Doudou Mboob.

All songs on the Gambia Sessions compilation are composed and arranged by Musa Mboob, produced by Mboob and Emmanuel OJ Rendall Wole, engineered by Emmanuel OJ Rendall Wole, mixed by John Halke and mastered by Diz Heller and ARC Music.

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Here is a summary of themes of the songs in The Gambia Sessions album:
1). Tumaranke
Moving to an unknown place is a big commitment and change in life.

2). Chossan
Chossan means ‘inheritance’. we need to go back to our roots; our tradition in Africa is disappearing.

3). Butum Belle
In African countries, the way people used to dress would signify something about them: who they were, their place in society, whether they were rich or poor.

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Serekunda, a sprawling urban area in the Gambia, has a huge Serekunda Market that sells local produce and textiles.4). Yarabi
Yarabi means ‘peace’. Only peace can help us to be safe. Our responsibility is to build communities that are safe, strong and prosperous.

5). Ndoliwo Ndoli
Elders used to sing this song to children as a way of teaching them responsibility.

6). Jahalnama
Everyday something will happen to upset, hurt and worry people.

7). Jarindarey
It is not easy to live in the West without correct documents. If you need to see a doctor, they need to see your papers. If you want to deposit money in your bank, they need to see your papers. Only the correct papers will make you fit in properly.

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All songs are composed and arranged by Musa Mboob, produced by Mboob and Emmanuel OJ Rendall Wole, engineered by Emmanuel OJ Rendall Wole, mixed by John Halke and mastered by Diz Heller and ARC Music.8). Silafandor
I’m singing in Mandinka that no-one lives forever, therefore we should treat each other with kindness, and compliment each other.

9). Samina (Watching After Cattle)
After many lonely hours’ vigil, the cattleman develops a rapport with his herd. The movements and sounds the heard make become like the rhythms played on the drums.

10). Journey
Travel through rural Africa with an open heart and you will meet village people who treat you as one of their own.

The post Won’t You Listen to Some Inspiring African Soul Music? appeared first on ArtMatters.Info.


Kenyan Teen Wins Two Continental Music Awards

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By Ogova Ondego
Published November 26, 2019

Kenyan Teen Wins Two Continental Music Awards A Kenyan teenager has beaten a field of eight nominees to seize the Revelation of the African Continent award by public vote.

The 17-year-old Nikita Chepchumba Kering, a singer and songwriter studying visual and performing arts at Brookhouse International School in the capital, Nairobi, also won The Best Female Artist in Eastern Africa award during the sixth annual All Africa Music Awards (AFRIMA) in Lagos, Nigeria.

“Delighted to be the youngest ever nominee and winner of #Afrima Awards. I bring home 2 Awards i.e Revelation of the African Continent and The best female Artist in Eastern Africa. I’m grateful to God for my talents, to my parents for nurturing my talents and my fans for voting for me #feelafrica #nolimits,” Kering said in a LinkedIn post.

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Other winners from Kenya were Khaligraph Jones (Best Male Artist in Eastern Africa); Sauti Sol (Album of the Year in Africa; Best African Duo, Group or Band; ); • Rash (Best Artist, Duo or Group in African Rock);

AFRIMA, that styles itself as a promoter of ‘African music worldwide’, has split its awards into continental and regional categories. While the former rewards artists ‘in various music genres and forms,’ AFRIMA says, the latter ‘celebrates the outstanding achievements of African artistes within their specific region of origin’.

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Here below is the full list of winners as announced by AFRIMA on November 25, 2019:

AFRIMA Regional Category Winners:

  1. Best Male Artist in Central Africa
    • C4 Pedro (Angola) – ‘Se Eu Soubesse’
    • Fally Ipupa (DRC) – ‘Aime Moi’
    • Locko (Cameroon) – ‘Let Go’
    • Magasco (Cameroon) – ‘Calling My Driver’ ft. Mimie
    • Maitre Gims (DRC) – ‘Hola Senorita’ ft. Maluma
    • Rui Orlando (Angola) – ‘Me Leva Contigo’ ft. Barbara Bandeira
    • Niska (Congo Brazzaville) – ‘Medicament’
    • Salatiel (Cameroon) – ‘Anita’ WINNER
    • Ya Levis (DRC) – ‘Katchua’
  2. Best Female Artist in Central Africa
    • Anna Joyce (Angola) – ‘Destino’
    • Blanche Bailly (Cameroon) – ‘Ton Pied Mon Pied’
    • Bruna Tatiana (Angola) – ‘Musica Para Ti’
    • Charlotte Dipanda (Cameroon) – ‘Un Jour Dans Ma Vie’
    • Daphne (Cameroon) – ‘Ne Laches Pas’
    • Duda (Angola) – ‘Fica So’ ft. Landrick
    • Shan’L (Gabon) – ‘Ces’t Pas Les Gbes’ WINNER
    • Titica (Angola) – ‘Giro De Bicycleta’ ft. Laton Cordeiro
  3. Best Male Artist in Eastern Africa
    • Boy Black (Madagascar) – ‘Hitambarako’
    • Diamond Platnumz (Tanzania) – ‘Inama’ ft. Fally Ipupa
    • Harmonize (Tanzania) – ‘Never Give Up’
    • Khaligraph Jones (Kenya) – ‘Leave Me Alone’ WINNER
    • Shyn (Madagascar) – ‘Ngoma’ ft. Denise
    • Rayvanny (Tanzania) – ‘Tetema’ ft. Diamond Platnumz
    • Mbosso (Tanzania) – ‘Hodari’
    • Nyashinski (Kenya) – ‘Hello’
  4. Best Female Artist in Eastern Africa

• Irene Namatovu (Uganda) – ‘Tweyanze’
• Maua Sama (Tanzania) – ‘Lokote’
• Nandy (Tanzania) – ‘Aibu’
• Nikita Kering (Kenya) – ‘Happy With You’ WINNER
• Rosa Ree (Tanzania) – ‘Dip n’ Wine It’ ft. G Nako
• Sheeba (Uganda) – ‘Wankona’
• Vanessa Mdee (Tanzania) – ‘Moyo’
• Queen Darleen (Tanzania) – ‘Mbali’ ft. Harmonize

Nikita Chepchumba Kering, a singer and songwriter studying visual and performing arts at Brookhouse International School in the capital, Nairobi, also won The Best Female Artist in Eastern Africa award during the sixth annual All Africa Music Awards (AFRIMA) in Lagos, Nigeria.5. Best Male Artist in Northern Africa
• Ahmed Soultan (Morocco) – ‘Draw My Life’
• Amiinux (Morocco) – ‘Bini W Biwaen’ WINNER
• Amr Diab (Egypt ) – ‘Bahebo’
• Cairokee (Egypt) – ‘Kan Lak Ma ‘Ya’
• DJ Moh Green (Algeria) – ‘Africa Proud’ ft. Wally B. Seck, IbaOne, Josey, Fanicko, Stanley, Kafon, Heritier, Dub Africa and BGMFK
• Mostafa Hagag (Egypt) – ‘Khatwa’
• Soolking (Algeria) – ‘Esperance’
• Tamer Hosny (Egypt) – ‘Naseny Lay’
• Yann’Sine (Morocco) – ‘J’essaie’

6. Best Female Artist in Northern Africa
• Jaylann (Morocco) – ‘Allo allo’
• Kenza Morsli (Algeria) – ‘Kettal’
• Nada Azhari (Morocco) – ‘Jrit’ WINNER
• Psychoqueen (Morocco) – ‘Enta’ Habibi’
• Salma Rachid (Morocco) – ‘Ma Gazzelle’ ft. Mok Saib
• Sherine (Egypt) – ‘Kadabeen’
• Souhila Ben Lachhab (Algeria) – ‘Donia Gdeda’

7. Best Male Artist in Southern Africa
• AKA (South Africa) – ‘Jika’ ft. Yanga Chief
• Prince Kaybee ft Busiswa and TNS (South Africa) – ‘Banomoya’
• Casper Nyovest (South Africa) – ‘Move For Me’ ft. Boskasie
• Black Coffee and David Guetta (South Africa) – ‘Drive’ ft. Delilah Montagu
• Sjava (South Africa) – ‘Umama’ WINNER
• Jah Prayzah (Zimbabwe) – ‘Dzamutsana’
• Winky D (Zimbabwe) – ‘MuGarden’ ft. Gemma
• Nasty C (South Africa) – ‘SMA’ ft. Rowlene

8. Best Female Artist in Southern Africa
• Ammara Brown (Zimbabwe) – ‘Svoto’ ft. Mr Eazi
• Tamy Moyo (Zimbabwe) – ‘Kwandinobva’
• Zonke (South Africa) – ‘Tonight’
• Kelly Khumalo (South Africa) – ‘Jehova’ ft. J FLo
• Nadia Nakai (South Africa) – ‘Imma Boss’ WINNER
• Sho Madjozi (South Africa) – ‘Idhom’
• Trina South (Zambia) – ‘Weka’
• Chikune ft. Mbosso (Namibia) – ‘Pieces’

9. Best Male Artist in Western Africa
• Burna Boy (Nigeria) – ‘Ye’ WINNER
• Davido (Nigeria) – ‘Wonder Woman’
• Kizz Daniel (Nigeria) – ‘Madu’
• Wizkid (Nigeria) – ‘Fever’
• King Promise (Ghana) – ‘Abena’
• Salif Keita (Mali) – ‘Gnamale’ ft. Ladysmith Black Mambazo
• Shatta Wale (Ghana) – ‘My Level’
• Sidiki Diabate (Mali) – ‘I Love You’
• DJ Arafat (Ivory Coast) – ‘Moto Moto’

10. Best Female Artist in Western Africa
• Aya Nakamura (Mali) – ‘Pookie’
• Simi (Nigeria) – ‘I Dun Care’
• Jossey (Ivory Coast) – ‘Mise Au Point’
• Tiwa Savage (Nigeria) – ‘One’ WINNER
• Kanvee Adams (Liberia) – ‘Daily Prayer’
• Teni (Nigeria) – ‘Case’
• Manamba Kante (Guinea) – ‘Nany Baly’
• Yemi Alade (Nigeria) – ‘Oh My Gosh’
• MzVee (Ghana) – ‘Bend Down’ ft. Kuame Eugene
• Niniola (Nigeria) – ‘Bana’

AFRIMA Continental Category Winners:

11. African Fans’ Favourite
• Davido (Nigeria) – ‘Wonder Woman’
• Ferre Gol (DRC) – ‘Pourquoi tu m’as fait ça?’
• GIMS and Maluma (DRC) – ‘Hola Señorita (Maria)’
• Kuami Eugene (Ghana) – ‘Oheemaa’ ft. KIDI
• Magasco (Cameroon) – ‘Calling My Driver’ ft. Mimie
• Mohamed Ramadan (Egypt) – ‘Mafia’ WINNER
• Skiibii (Nigeria) – ‘Sensima’ ft. Reekado Banks
• The Ben (Rwanda) – ‘Fine Girl’
• WCB Wasafi (Tanzania) – ‘Jibebe ft. Diamond Platnumz & Mbosso & Lavalava’

12. Album of the Year in Africa
• African Giant – Burna Boy (Nigeria)
• Afrikan Sauce – Sauti Sol (Kenya) WINNER
• Chulo Vibes – Timaya (Nigeria)
• Limpopo Champions League – Sho Madjozi (South Africa)
• Manyan-Nyan – Vusi Nova (South Africa)
• Naked – Nadia Nakai (South Africa)
• Omo Charlie Champagne – Simi (Nigeria)
• Poetic Trance – Aziz Sahmaoui (Morocco)
• Umqhele – Sjava (South Africa)
• Wilmer – Patorankin (Nigeria)

13. Artist of the Year in Africa
• Aminux (Morocco) – ‘Bini W Binek’
• Burna Boy (Nigeria) – ‘Gbona’ WINNER
• Daphne (Cameroon) – ‘Ne Lâches Pas’
• Davido (Nigeria ) – ‘Wonder Woman’
• Diamond Platnumz (Tanzania) – ‘Kanyaga’
• Nasty C (South Africa) – ‘SMA’ ft. Rowlene
• Prince Kaybee (South Africa) – ‘Banomoya’ ft. Busiswa and TNS
• Tamer Hosny (Egypt) – ‘Naseny Leh’
• Wizkid (Nigeria) – ‘Fever’

14, Best African Act in the Diaspora
• Aya Nakamura (Mali) – ‘Pookie’
• Aziz Sahmaoui (Morocco) – ‘Nouria’
• Brian Nhira (Zimbabwe) – ‘Till Death Do Us Part’
• GIMS (DRC) – ‘Hola Señorita’ (Maria) ft. Maluma
• Hiro (DRC) – ‘À Découvert’ ft. Ninho
• Lbenj (Morocco) – ‘Amoureux Tombé’ ft. Mounim Slimani & DJ Med
• Manno Beats (Chad) – ‘Akouna’ ft. Afrotronix & Vox Sambou WINNER
• Sookling (Algeria) – ‘Espérance’

16. Best African Collaboration
• AKA (South Africa) – ‘Jika’ ft. Yanga Chief
• Anselmo Ralph (Angola) – ‘Pra Cuiar Mais’ ft. C4 Pedro
• Burna Boy (Nigeria) – ‘Killin Dem’ ft. Zlatan
• Dammy Krane (Nigeria) – ‘Balance Well’ ft. Olamide, Pearl Thusi & Medikal
• Davido and Chris Brown (Nigeria/USA) – ‘Blow My Mind’
• Farid Bang and French Montana and Khaled (Algeria/Morocco) – ‘Maghreb Gang’
• Kizz Daniel (Nigeria) – ‘One Ticket’ ft. Davido
• Larry Gaaga (Nigeria) – ‘Low’ ft. Wizkid
• Nasty C (South Africa) – ‘SMA’ ft. Rowlene WINNER
• Prince Kaybee (South Africa ) – ‘Banomoya’ ft. Busiswa and TNS
• Rayvanny (Tanzania) – ‘Tetema’ ft. Diamond Platnumz

17. Best Artist, Duo or Group in African Contemporary
• 2Baba (Nigeria) – ‘Oyi’ WINNER
• Adil Assil (Morocco) – ‘Lala Moulati’
• Fally Ipupa (DRC) – ‘Aime-moi’
• Kerozen (Cote d’Ivoire) – ‘La Victoire’
• Kizz Daniel (Nigeria) – ‘Madu’
• Mbosso (Tanzania) – ‘Hodari’
• Salatiel (Cameroon) – ‘Anita’
• Salif Keita (Mali) – ‘Tonton’
• Sjava (South Africa) – ‘Umama’
• Tamy Moyo (Zimbabwe) – ‘Kwandinobva’
• Tiwa Savage (Nigeria) – ‘One’

18. Best African Dance or Choreography
• Aminux (Morocco) – ‘Bini W Binek’ WINNER
• Diamond Platnumz (Tanzania) – ‘Inama’ ft. Fally Ipupa
• DJ Arafat (Cote d’Ivoire) – ‘Moto Moto’
• Irene Namatovu (Uganda) – ‘Tweyanze’
• Niniola (Nigeria ) – ‘Bana’
• Olamide (Nigeria) – ‘Woske’
• Rayvanny (Tanzania) – ‘Tetema’ ft. Diamond Platnumz
• Serge Beynaud (Cote d’Ivoire) – ‘Kota na Kota’
• Toofan (Togo) – ‘Gbessi Gbeko’

19. Best African DJ
• Black Coffee and David Guetta (South Africa) – ‘Drive’ ft. Delilah Montagu
• DJ Africano (Morocco) – ‘Chandek’ ft. Muslim
• DJ Maphorisa, DJ Raybel (South Africa) – ‘iWalk Ya Phara’ ft. Moonchild Sanelly, K.O & Zulu Mkhathini
• DJ Moh Green (Algeria) – ‘Africa Proud’ ft. Wally B. Seck, Iba One, Josey, Fanicko, Stanley Enow, Kafon, Heritier, Dub Afrika & Bgmfk
• DJ Neptune (Nigeria) – ‘Demo’ ft. Davido
• DJ Spinall (Nigeria) – ‘Dis Love’ ft. Wizkid, Tiwa Savage WINNER
• DJ Tunez (Nigeria) – ‘Turn Up ft. Wizkid & Reekado
• DJ Zinhle (South Africa) – Umlilo
• RJ The DJ (Tanzania) – ‘Good Time Drip’ ft. Abba, Country Boy, Giggy Money, Sanja Boy & Queen Darleen

20. Best African Duo, Group or Band
• B2C Kampala Boyz (Uganda) – ‘Yatonda’
• Charly Na Nina (Rwanda) – ‘Komeza Unyirebere’
• Dream Boyz and Nelson Freitas (Angola) – ‘Falta de Mim’
• Jano Band (Ethiopia) – ‘Yetikur Almaz’
• Kika Troupe (Uganda) – ‘Nabalanga’
• Mi Casa (South Africa) – ‘TOCA’ ft. Jay Em
• Sauti Sol (Kenya) – ‘Extravaganza’ ft. Bensoul, Nviiri the Storyteller, Crystal Asige & Kaskazini WINNER
• Toofan (Togo) – ‘Ou Lè’ ft. Jacob Desvarieux & Kassav
• WCB Wasafi (Tanzania) – Jibebe ft. Diamond Platnumz & Mbosso & Lavalava

21. Best African Artist, Duo or Group in African Electro
• Black Coffee and David Guetta (South Africa) – ‘Drive’ ft. Delilah Montagu
• DJ Maphorisa, DJ Raybel (South Africa) – ‘iWalk Ya Phara’ ft. Moonchild Sanelly
• Guiltybeatz, Mr. Eazi and Kwesi Arthur (Ghana/Nigeria) – ‘Pilolo’
• Manno Beats (Chad) – ‘Akouna’ ft. Afrotronix & Vox Sambou WINNER
• Mobi Dixon (South Africa) – ‘Abantu’ ft. Samthing Soweto
• Niniola (Nigeria ) – ‘Bana’
• Olamide (Nigeria) – ‘Woske’
• Prince Kaybee (South Africa) – ‘Banomoya’ ft. Busiswaand TNS
• Sho Madjozi (South Africa) – ‘Wakanda Forever’ ft. Ycee

22. Best Artist, Duo or Group in African Hip Hop
• Biura (Angola) – ‘Fora Da Zona’ ft. Bruno AG and Jéssica Pitbull
• DJ Africano (Morocco) – ‘Chandek’ ft. Muslim
• Falz (Nigeria) – ‘Hypocrite’ ft. Demmie Vee
• Khaligraph Jones (Kenya) – ‘Leave Me Alone’ (Wachana Na Nimi)
• Nadia Nakai (South Africa) – ‘Imma Boss’ WINNER
• Nasty C (South Africa) – ‘SMA’ ft. Rowlene
• Nyashinski (Kenya) – ‘Marathon Runner’
• Sarkodie (Ghana) – ‘Bibii’ ft. LJ, Tulenkey, Frequency, K. Mole, ToyBoi, Yeyo, Amerado, 2Fyngers, Obkay & CJ
• Soolking (Morocco) – ‘Esperance’
• The Big Hash (South Africa) – ‘Circles’

23. Best Artist, Duo in Group in African Jazz
• Black Motion (South Africa) – ‘Joy Joy’ ft. Brenden Praise
• Brymo (Nigeria) – ‘Bá’núsọ’
• Carmen Souza (Cabo Verde) – ‘Soul Searching’
• Judith Sephuma (South Africa) – ‘Dance’
• Mandisi Dyantyis (South Africa) – ‘Somandla’
• Owen & Tiana (Gabon) – ‘African Time’ WINNER
• Ray Lema (DRC) – ‘Transcendance’
• Sibusiso Mash Mashiloane (South Africa) – ‘African Heart’

24. Best African Rapper/Lyricist
• Biura (Angola) – ‘Fora Da Zona’ ft. Bruno AG and Jéssica Pitbull
• Double S (Uganda) – ‘Certy’ ft. Skepta
• Frank Casino (South Africa) – ‘Sudden’ ft. Cassper Nyovest & Major Leage DJz
• Khaligraph Jones (Kenya) – ‘Superman’
• Nadia Nakai (South Africa) – ‘Imma Boss’
• Nasty C (South Africa) – ‘SMA’ ft. Rowlene WINNER
• Nyashinski (Kenya) Marathon Runner
• Sarkodie (Ghana) – ‘Bibii’ ft. LJ, Tulenkey, Frequency, K. Mole, ToyBoi, Yeyo, Amerado, 2Fyngers, Obkay & CJ

25. Best Artiste, Duo or Group in African Pop
• Diamond Platnumz (Tanzania) – ‘Kanyaga’
• Fireboy DML (Nigeria) – ‘Jealous’
• Joeboy (Nigeria) – ‘Baby’ WINNER
• Magasco (Cameroon) – ‘Calling My Driver’ ft. Mimie
• Mlindo the Vocalist (South Africa) – ‘Macala’ ft. Sfeesoh, Kwesta & Thabsie
• Rema (Nigeria) – ‘Dumebi’
• Skiibii (Nigeria) – ‘Sensima’ ft. Reekado Banks
• Vanessa Mdee (Tanzania) – ‘Moyo’
• Wax Dey (Cameroon) – ‘Magufuli’ ft. Mr. Leo & Locko
• Yann’Sine (Morocco) – ‘J’essaie’

26. Best Artist, Duo or Group in African Reggae, Ragga or Dancehall
• Daphne (Cameroon) – ‘Ne Lâches Pas’
• Navy Kenzo (Tanzania) – ‘Roll It’
• Patorankin (Nigeria) – ‘Confirm ft. Davido’
• Praiz (Nigeria) – ‘Hustle’ ft. Stonebwoy
• Rosa Ree (Tanzania) – Dip n Wine It ft. G Nako
• Rudeboy (Nigeria) – ‘Reason With Me’
• Shatta Wale (Ghana) – ‘My Level’
• Stonebwoy (Ghana) – ‘Tuff Seed’ WINNER
• Timaya Nigeria) – ‘Balance’
• Winky D (Zimbabwe) – ‘MuGarden ft. Gemma’

27. Best Artist, Duo or Group in African R&B & Soul
• Ahmed Soultan (Morocco) – ‘Draw My Life’
• Anna Joyce (Angola) – ‘Destino’
• C4 Pedro (Angola) – ‘Se Eu Soubesse’
• Davido & Chris Brown (Nigeria) – ‘Blow My Mind’
• Hillzy (Zimbabwe) – ‘TV Room’ ft. Garry Mapanzure WINNER
• Landrick (Angola) – ‘Distância’
• Locko (Cameroon) – ‘Let Go’
• Sarz & WurlD (Nigeria) – ‘Trobul’
• Sidiki Diabaté (Mali) – ‘I Love You’
• Tellaman & Shekinah & Nasty C (South Africa) – ‘Whipped’

28. Best Artist, Duo or Group in African Rock
• Ahmed Soultan (Morocco) – ‘Wonder’
• Cairokee (Egypt) – ‘Kan Lak Ma’aya’
• Cobhams Asuquo (Nigeria) – ‘Starlight’
• Daphil Colag (Nigeria) – ‘My Season’
• Jano Band (Ethiopia) – ‘Yetikur Almaz’
• Jeremy Loops (South Africa) – ‘Gold’
• Mohombi (Congo) – ‘Hello’ ft. Youssou N’dour
• Rash (Kenya) – ‘Grave Robbers’ WINNER

29. Best Artist, Duo or Group in African Traditional
• Abrham Belanyeh (Ethiopia) – ‘Ete Abay’ WINNER
• Aziz Sahmaoui (Morocco) – ‘Le Peur-Nogcha’
• Candy (South Africa) – ‘Nathinga’
• Hamada Helal (Egypt) – ‘Ashrab Shai’
• Irene Namatovu (Uganda) – ‘Tweyanze’
• Salif Keita (Mali) – ‘Gnamale’ ft. Ladysmith Black Mambazo
• Sherine (Egypt) – ‘Kadabeen’
• Yared Negu (Ethiopia) – ‘Adimera’

30. Best Female Artist, Duo or Group in African Inspirational Music
• Afrie (Uganda) – ‘Let Her Know’
• Judy Stevens (Kenya) – ‘Loco’
• Kanvee Adams (Liberia) – ‘Daily Prayer’ WINNER
• Kelly Khumalo (South Africa) – ‘Jehova’ ft. J Flo
• Nabila (Cameroon) – ‘Ca Va Aller’
• Nada Azhari (Morocco) – ‘Jrit’
• Ntokozo Mbanbo (South Africa) – ‘We Pray for More’
• Olivia Ambani (Kenya) – ‘Better Than Just Fine’
• Teni (Nigeria) – ‘Uyo Meyo’

31. Best Male Artist, Duo or Group in African Inspirational Music
• Daphil Colag (Nigeria) – ‘My Season’
• Hamza El Fadly (Morocco) – ‘Ma Nensak’
• Harmonize (Tanzania) – ‘Never Give Up’
• Johnny Drille (Nigeria) – ‘Papa’
• Mr. Leo (Cameroon) – ‘Amen’
• Ommy Dimpoz (Tanzania) – ‘Ni Wewe’
• Onesimus (Malawi) – ‘Sounds of Peace’ WINNER
• Tim Godfrey (Nigeria) – ‘Nara’ ft.Travis Greene

32. Best African Video
• Adasa Cookey (Nigeria) – ‘Jericho’ by Simi ft. Patoranking
• Director Kenny (Tanzania) – ‘Tetema’ by Rayvanny ft. Diamond Platnumz WINNER
• Jypheal Tayorault (Cote d’Ivoire) – ‘I Love You’ by Sidiki Diabaté
• REX (Ghana) – ‘Oheemaa’ by Kuami Eugene ft. KIDI
• Said El Marouk (Egypt/Lebanon) – ‘Naseny Leh’ by Tamer Hosny
• Tebego ‘Tebza’ Malope (South Africa) – ‘Ngwa’ by Blick Bassy
• Vusa Blaqs (Zimbabwe) – ‘Dzamutsana’ by Jah Prayzah

33. Most Promising Artist in Africa
• Ariel Sheney (Côte d’Ivoire) – ‘Amina’
• Bráulio Alexandre (Angola) – ‘Que Nada Nos Separe’ WINNER
• Farid Ghannam (Morocco) – ‘Belgana’
• Fireboy DML (Nigeria) – ‘Jealous’
• Hillzy (Zimbabwe) – ‘TV Room’ ft. Garry Mapanzure
• Nada Azhari (Morocco) – ‘JRIT’
• Rema (Nigeria) – ‘Dumebi’
• Shan’L (Gabon) – ‘C’est Pas Les Gbés Gbés Gbés’
• The Big Hash (South Africa) – ‘Circles’
• Yann’Sine (Algeria) – ‘J’essaie’

34. Producer of the Year in Africa
• Kel P (Nigeria) – ‘On the Low’ (Burna Boy) ‘Gbona’ (Burna Boy) ‘Killin Dem’ (Burna Boy ft. Zlatan) WINNER
• Mace (South Africa) – ‘Umama’ (Sjava)
• Nasty C (South Africa) – ‘SMA’ (Nasty C ft. Rowlene)
• Prince Kaybee (South Africa) – ‘Banomoya’ (Prince Kaybee ft. Buslswa and TNS)
• S2Kizzy (Tanzania) – ‘Tetema’ (Rayvanny ft. Diamond Platnumz)
• Salatiel (Cameroon) – ‘Anita’ (Salatiel) ‘Ne Lâches Pas’ (Daphne)
• Sarz (Nigeria) – ‘Trobul’ (Sarz & WurlD) ‘Bana’ (Niniola)
• Shizzi (Nigeria) – ‘Blow My Mind’ (Davido & Chris Brown)
• TH Productions (Eygpt) – ‘Naseny Leh’ (tamer Hosny)
• Vusi Nova (South Africa) – ‘Manyan-Nyan’

35. Revelation of the African Continent
• Hamada Helal (Egypt) – ‘Ashrab Shai’
• Kid X (South Africa) – ‘Mtan Omuntu’ ft. Shwi Nomtekhala and Makwa
• Nikita Kering (Kenya) – ‘Happy with You’ — WINNER
• Rosa Ree (Tanzania) – ‘Dip n Wine’ It ft. G Nako
• Sho Madjozi (South Africa) – ‘Idhom’
• Skiibii (Nigeria) – ‘Sensima’
• Tellaman (South Africa) – ‘Whipped’ ft. Shekinah & Nasty C
• WurlD and Sarz (Nigeria) – ‘Trobul’

36. Song of the Year in Africa
• ‘Banomoya’ – Prince Kaybee (South Africa) ft. Busiswa & TNS
• ‘Blow My Mind’ – Davido & Chris Brown (Nigeria)
• ‘Fever’ – Wizkid (Nigeria) WINNER
• ‘Iokote’ – Maua Sama and Hanstone (Tanzania)
• ‘Naseny Leh’ – Tamer Hosny (Egypt)
• ‘On The Low’– Burna Boy (Nigeria)
• ‘SMA’ – Nasty C ft. Rowlene (South Africa)
• ‘Tetema’ – Rayvanny (Tanzania) ft. Diamond Platnumz
• ‘Umama’ – Sjava (South Africa)

37. Songwriter of the Year in Africa
• Afrie (Uganda) – ‘Let Her Know’ by Afrie
• Asikey George (Nigeria) – ‘Love with You’ by Asikey
• HanikesH Muzik, YoBass, Ye (Angola) – ‘Vale Milhoes’ by YoBase
• Kanvee Adams (Liberia) – ‘Mama’ WINNER
• Nikita Kering (Kenya) – ‘Tragedy’ by Nikita
• Nsikayesizwe David Junior Ngcobo & Rowlene (South Africa) – ‘SMA’ by Nasty C ft. Rowlene
• Olivia Ingasiani Ambani (Kenya) – ‘Better Than Just Fine’ By Olivia Ambani
• Sarz, WurlD (Nigeria) – ‘Trobul’ by Sarz & WurlD’
• Tamer Hussin (Egypt) – ‘Naseny Leh’ by Tamer Hosny.

RELATED: Music Awards Desecrate Africa’s Temples of Creativity

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New African Content Streaming Platform Launches as Kenya Government Collects Royalties

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By Ogova Ondego

Published January 23, 2020

To receive royalties, Content Service Providers will be required to channel all payments of royalties through a single, centrally managed account at the Kenya Copyright Board, President Uhuru Kenyatta of Kenya has directed.A new distribution platform aimed at connecting independent content producers with audiences across Africa has been launched.

The owners of the pan-African platform known as MVMO (Movies, Video, Music, Opportunity) who say they are not only using ‘unique video technology’ but are also focusing on ‘premium content including movies, news, drama and music’, pledge to serve ‘high-quality entertainment on all networks from 2G to 5G’.

RELATED: Music Society Barred from Collecting Royalties

“This is a breakthrough for the African Creative economy because of its reach and affordability for Africans. MVMO will serve as a key monetisation platform to make the creative economy more viable and impactful,” says Sandra Iyawa, Chief Executive Officer of Times Multimedia and Chief Content Officer for MVMO that is developed in association with Creative Africa Exchange (CAX) with the support of Afreximbank.

Launched in the Rwandan capital, Kigali, on January 17, 2020, MVMO comes at a time when Content creators and mobile service providers alike are exploring the opportunities for delivering streaming platforms in a continent where mobile penetration represents a vast opportunity but bandwidth remains a challenge.

RELATED: How to Rescue Africa from Political and Economic Misery MVMO comes at a time when Content creators and mobile service providers alike are exploring the opportunities for delivering streaming platforms in a continent where mobile penetration represents a vast opportunity but bandwidth remains a challenge.

“While investment in cellular infrastructure in Africa continues apace, with a number of 5G networks expected to launch imminently, the vast majority of consumers will still only have access to 2G or 3G services for years to come. Thanks to a collaboration involving video compression technology pioneer V-Nova and OTT TV leader Simplestream, MVMO is able to deliver robust and reliable video quality at extremely low bit rates – making the platform suitable for the full range of network environments,” writes Becky Taylor of Page Melia PR. “In accordance with the rapid growth of Africa’s creative industries across film, TV and music, MVMO aims to become the ‘go to’ platform for the best new content being produced across the continent. It is actively seeking to build relationships with both established and emerging independent producers, helping them to publish and monetize their content, as well as optimize their reach throughout Africa.”

Describing MVMO as a platform that serves ‘exceptional quality at very low bitrates’, Iyawa says “MVMO is ideally placed to help consolidate the content streaming sector in Africa” as it “has been developed to accommodate variable mobile network environments and make it possible to deliver robust video quality at very low bitrates to consumers throughout the continent.”

RELATED: How Copyright and Related Rights Work in Kenya Describing MVMO as a platform that serves 'exceptional quality at very low bitrates', Sandra Iyawa says "MVMO is ideally placed to help consolidate the content streaming sector in Africa" as it "has been developed to accommodate variable mobile network environments and make it possible to deliver robust video quality at very low bitrates to consumers throughout the continent."

Meanwhile, content producers in Kenya shall have their royalties collected from users of their work by Kenya Copyright Board (KeCoBo) on behalf of  Performers Rights Society of Kenya (PRISK), Kenya Association of Music Producers (KAMP) and Music Copyright Society of Kenya (MCSK), their respective collective management organisations (CMOs).

In his State of the Nation Address, President Uhuru Kenyatta said, “To receive royalties, Content Service Providers will be required to channel all payments of royalties through a single, centrally managed account at the Kenya Copyright Board. This will enable oversight by the regulator and ensure that the collection and distribution accounts are easily auditable. The Kenya Copyrights Board, with assistance of the Ministry of ICT, has already reviewed and agreed on the Tariffs for 2020. These tariffs are to be gazetted and will form the basis on which compliance will be monitored. In this regard, I direct the Ministry of ICT, in consultation with the AG’s office, to ensure the tariffs are gazetted within the next 30 days.”

RELATED: International Tourism Growth Outpaces Global Economy Kenya Copyrights Board, with assistance of the Ministry of ICT, has already reviewed and agreed on the Tariffs for 2020.

“Further,” the President said, “I direct the Ministry to remove conditions requiring digital platform to only work through licensed Content Service Providers. This will enable musicians to work directly with platforms such as Skiza. I further direct the Ministry of Interior, Ministry of Tourism and Wildlife, and Ministry of ICT to ensure that public service vehicles, the hospitality industry, and broadcasters respectively, meet all their obligations in paying the required tariffs. This will be a basic requirement for renewal of any business licences for the broadcasting houses, matatus, hotels, bars and other such premises.”

The President, in the address made on January 14, 2020 from the port city of Mombasa, noted: “These new measures will see the rise of tariffs collected and will create immense savings on the processes of collecting royalties. It is estimated that the new system will see an increase in collections from a previous Sh200 Million per year to an estimated 2 billion shillings per year, a tenfold increase.”

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Though royalty collection and payment to copyright holders isn’t within the mandate of KECOBO that is established under Chapter 130 of the Laws of Kenya (Section 3 of the Copyright Act) to administer and enforce copyright and related rights in Kenya, the President explained that stakeholders of copyrighted content had on December 20, 2019 signed a memorandum of understanding (MoU) with the state corporation enabling it to act on their behalf in the collection of royalties.

“Content Service Providers who work with digital platforms such as SKIZA and Viusasa, will be eliminated. And this is because they sit outside the Collection Management Organisations. My practical direction on this is to have all rights holders register on the National Rights Registry,” the President said, noting that he had “directed the Ministry of ICT to work with all stakeholders to resolve the legacy issues that have plagued rights holders for decades.” That directive, Kenyatta said, was what had led to the MoU that had been signed on December 20.

The post New African Content Streaming Platform Launches as Kenya Government Collects Royalties appeared first on ArtMatters.Info.

New World Music Releases for the New Year

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By Iminza Keboge
Published January 25, 2020

Custódio Castelo creates groundbreaking new sounds that have promoted the Portuguese Guitar to a concert instrument that can be played   solo or as accompanimentA leading world music label, ARC Music of Britain, has released two brand new albums for 2020 from Japan and Portugal.

In the first nine-track album titled Taiko Do: Echo of the Soul, artists KyoShinDo bring a unique approach to the Japanese drumming tradition. They are not
only experts in taiko drumming, but also in karate, which they incorporate into this already spectacular performance art. They formed with the teachings of
Masters Kurumaya Masaaki and Joji Hirota.

Kurumaya Masaaki was born in Fukui, Japan. Master of The Way of Taiko, proponent of the mitsuuchi style, he captivates audiences with the dynamism and
expressive ability of his improvisations. KyoShinDo have been to Japan to learn the traditional taiko style from Kurumaya Masaaki, and since 2007 they have been performing together in Japan and Italy.

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Joji Hirota is a composer, taiko drummer, multi-percussionist, shakuhachi player and singer. He performs both traditional and original, creative productions in a new contemporary style of taiko music. KyoShinDo’s taiko path began in 2003 after meeting Joji Hirota, and since 2009 KyoShinDo has been collaborating and performing with him on stages in countries such as Malta, Saudi Arabia, Qatar, Japan and Italy.

The tracks, and their running time, are:

  •  Hinode – 5:59
  • Kazan – 6:34
  • Suisei Hanabi II – 6:38
  • Fuujin – 4:19
  • The Wind Snow Village – 3:41
  • Raijin – 6:25
  • Akita Ondo II – 6:37
  • Bushi No Ikioi – 8:37
  • Oh Nami – 6:20.

RELATED: New African Content Streaming Platform Launches as Kenya Government Collects Royalties

In the first nine-track album titled Taiko Do: Echo of the Soul, artists KyoShinDo bring a unique approach to the Japanese drumming tradition.Also released on January 24, 2020 alongside Taiko Do: Echo of the Soul is a 10-track recording titled Amália Classics on Portuguese Guitar.

The music is by Custódio Castelo, the world’s leading player of the Portuguese fado guitar, the instrument that saw fado music declared an Intangible Cultural Heritage by United Nations Educational, Scientific and Cultural Organisation (UNESCO).

Like Carlos Paredes, Custódio Castelo creates groundbreaking new sounds that have promoted the Portuguese Guitar to a concert instrument that can be played solo or as accompaniment. Custódio Castelo’s unique Portuguese guitar, handmade from an oak root by master Oscar Cardoso, is capable of fine nuances of emotion, and he uses them well, especially for melancholy, but also for a sense of jubilation.

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From early on Custódio Castelo was considered a prodigy due both to his audacious style of playing and the talent he showed, acknowledged by famous names of traditional fado, such as D Vicente da Câmara, Manuel de Almeida and Fernando Farinha.

An important career highlight was Custódio Castelo’s participation in Mísia’s “Garras dos Sentidos” through which he became her main accompanist for two years; in Camané’s “Na Linha da Vida”, after which he toured with Camané and Carlos do Carmo; Mariza’s first album, “Fado em Mim”, and the accompaniment of Mafalda Arnauth at “The Royal Hope Charity Gala”, with Sarah Brightman, the Royal Ballet, Plácido Domingo and Joaquin Cortés.

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Custódio Castelo was in 2010 honoured with the Amália Rodrigues Award for the Best Fado Instrumentalist. It was through the music of Amália Rodrigues that a young Custódio Castelo fell in love with fado. The experience was to prove prescient, as decades later, Custódio accompanied Amália on her final tour of the United States in the 1990s.

This album is Custódio Castelo’s love letter to the music of Amália Rodrigues. A Rainha do Fado – the Queen of Fado.

RELATED: Troupe Brings Alur Music, Dance and Traditions to the World

The 10 tracks on Custódio Castelo’s Amália Classics on Portuguese Guitar and their respective run time appear here below:

  •  Estranha forma de vida – 3:54
  • Ai Maria – 2:48
  • Gaivota – 3:55
  • Ai Mouraria – 4:06
  • Lágrima – 4:38
  • Não sei porque te foste embora – 2:29
  • Morrinha – 2:19
  • Tudo isto é fado – 3:09
  • Fui ao mar buscar sardinhas – 2:08
  • Fado Amália – 2:12
  • Gostava de ser quem era – 2.15 (bonus track).

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New African Music Album Calls for Human Unity

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By Ogova Ondego
Published February 23, 2020

Seasons of India - Seasonal Ragas by Baluji ShrivastavA new African music album that calls on humanity to wake up from routine to what unites them for the good of the universe is ready for release.

Titled Yewoulen and recorded in the Wolof language of West Africa, the nine-track album that runs 43 minutes blends horns, trumpets, saxophone, electric guitar and traditional Senegalese drums to produce a memorable sound to the ear.

This Senegalese soul that is written by Senegalese singer Biram Seck  and engineered and mixed by band leader, French guitarist Thibaut Remy, recorded and mixed in the heart of south London in England and released on the ARC Music label of Britain, shall be officially launched internationally at The CLF Art Café in the British capital, London, on March 27, 2020. Before then, publicists Angie Lemon PR say the band shall hold a pre-album launch concert in the British capital, London, on March 24, 2020.

RELATED: Music Awards Desecrate Africa’s Temples of Creativity

The publicists say Yewoulen, from Awale Jant Band whose name means ‘let the sun pass through’, follows on from the band’s debut album, Just Have to Grow, that is co-produced by Nick Page whose credits include Jah Wobble and the late Joseph Tshabalala’s Ladysmith Black Mambazo.

“Awale Jant Band have good reason to celebrate! The band’s last concert in 2019 was an all-African celebration headed by “perhaps the greatest drummer ever” (Brian Eno), Nigerian percussion master Tony Allen and then straight into 2020, with Yewoulen – their first signed album for international release on the ARC Music label,” Angie Lemon PR say in a statement.

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Titled Yewoulen and recorded in the Wolof language of West Africa, the nine-track album that runs 43 minutes blends horns, trumpets, saxaphone, electric guitar and traditional Senegalese drums to produce a memorable sound to the ear.Awale Jant Band is a combination of Biram Seck’s Jant Band and Thibaut Remy’s London group, Awale, that comprises African, French, British and Senegalese musicians who have been performing over the last 10 years in London.

Biram Seck, the son of a gawlo or traditional story-teller who sings in Wolof, French and English, says, “I love music because it is a means of communicating ideas to broaden minds and build an integrated world… a world of peace!”

Consequently, Seck, who is believed to have inherited the ability to tell stories at an early age from his father who is said to have been a master of the traditional West African guitar/banjo, the xalam, proceeds to sing Songs of peace in Wolof on the Yewoulen recording that appears to be a clarion call to people to look at how they can work together as opposed to their differences.

The Awale Jant Band consists of:

  • Biram Seck – vocalist, sings in Wolof, French and English
  • Thibaut Remy – guitarist, composer and record producer based in London. He has recently co-produced The Turbans’ latest record out on Six Degrees Records
  • Kevin Toublant – bass, has played with a broad range of artists: Róisín Murphy, Earl Thomas
  • Wonderboy, Doigt Droit, The Dowtown Dukes, Republik, Human F.E.A.X, Abbeon Fat Track
  • Kaw Secka – sabar drums, gawlo (griot) from Senegal and Gambia, now in London via Sweden. He also plays in Fofoulah
  • John Martin – saxophone, a member of the critically acclaimed contemporary jazz folk septet Metamorphic and the Dr Das Dubnoiz Coalition, the side project of Dr Das, the bass player and founding member of the Asian Dub Foundation
  • Ben Brown – drums. Established himself as a sought-after drummer, for his rock solid groove, subtle touch and reactivity. Check out his band Waaju!
  • Laurence Wilkins – trumpet, part of the new London jazz scene making waves with his project Zeñe, and
  • Medoune Ndiaye – Senegalese percussionist has played with Thione Seck and Youssou N’dour.

RELATED: Tribute to Master Percussionist and World Music Star

If you enjoy world music, you may also be interested in MandolinMan Plays Bossa NovaThe tracks on Yewoulen are
1. Sope 03:49
2. Domi Adama 6:42
3. Cubalkafro 6:31
4. Jules 5:31
5. Amandine 4:35
6. Just Be Free 2:53
7. Kassak 3:36
8. Jeunesse 4:25
9. Yewoulen 6:43

If you enjoy world music, you may also be interested in 10-track MandolinMan Plays Bossa Nova and 7-song Seasons of India – Seasonal Ragas by Baluji Shrivastav, two other albums released on the ARC Music label.

RELATED: Wiki Loves Africa Photographic competition Invites Entries

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Play Kenyan Music Across Spain, Won’t You!

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By Bethsheba Achitsa
Published March 4, 2020

Permanent Presidential Music Commission of Kenya and Casa África of Spain to give Kenyan music exposure across SpainMusicians in Kenya interested in performing across Spain through an initiative that seeks to give more exposure to Kenyan music have till March 20, 2020 to apply for the opportunity.

This project offers Kenyan musicians the opportunity to perform before a group of Spanish cultural and festival programmers and directors who are set to attend a two-day festival in Kenya in April 2020 to select as well as connect with industry stakeholders. Twelve bands are expected to take part in the festival.

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Play Kenyan Music Across Spain, Won't You!“We are delighted about this exchange between Kenya and Spain,” says Donald Otoyo of Permanent Presidential Music Commission of Kenya (PPMC) that is collaborating with Spanish public diplomacy institution called Casa África on its music cultural cooperation project, Vis a Vis. “The Festival Directors will come to experience the live music scene, connect with music business as well as our hospitality as Kenyans and two of Kenya’s outstanding bands shall have the opportunity to spread Kenyan music in Spain by participating in 10 – 15 festivals in Spain in July 2020.”

However, to stand the chance to perform at both events, Kenyan artists who are tour-ready and who perform any genre of music are encouraged to apply for the opportunity via the africavisavis.com/kenya website by March 20, 2020.

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The Audiovisual Cooperation Service of the Embassy of France in Kenya and Somalia announces the 4th edition of the   Kalasha International TV and Film Market to be held in Nairobi.This year marks the 11th edition of the annual Vis a Vis cultural exchange which follows on from other collaborations with other African countries including Senegal, Cape Verde, Tanzania, Ethiopia, Ivory Coast, Ghana, Equatorial Guinea and Angola.

“We look forward to receiving more applications by the bands. The Spanish Festival bookers will then shortlist the 12 bands that perform at the two-day event in Nairobi,” said Juan Jaime, head of Culture and Education at Casa Africa, during his visit to explore the Kenyan music landscape in Nairobi, February 21 – 24, 2020.

This is a collaborative initiative between Casa África and the Government of Kenya.

RELATED: French-German Friendship Uplifts Artists in Kenya

4th Kalasha International TV and Film Market 2020 publicity posterWhile PPMC is a Department within the Ministry of Sports, Culture and Heritage mandated to promote the development of Music and dance, spearhead the growth and development of the music industry and to contribute to the understanding and preservation of Kenyan musical arts and expression, Casa África is a public diplomacy consortium at the service of Spanish foreign policy.

RELATED: Wiki Loves Africa Photographic competition Invites Entries

Meanwhile, OGOVA ONDEGO reports, the Audiovisual Cooperation Service of the Embassy of France in Kenya and Somalia has announced the 4th annual edition of the Kalasha International TV and Film Market to be held in Nairobi.

“Last year, about 70 exhibitors and more than 800 visitors attended this major event for the audiovisual and film sector in East Africa,” the Embassy says in a statement issued to the media in the Kenyan capital, Nairobi, on February 27, 2020. “We hope to see more participation in 2020.”

RELATED: Film-Development Market to be Incorporated as Not-for-Profit Organisation

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Artists Break the Dawn with Music Album Launch

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By Iminza Keboge and Khalifa Hemed
Published April 23, 2020

Trad.Attack! are a much-beloved band at the forefront of the Estonian musicA band that has wowed audiences–from The Carnival in Rio, a private wedding in India and to London’s Royal Festival Hall–with its diverse technical skills is set to launch a new music album.

The London (England)-based iyatraQuartet (pronounced eye-at-ra) that takes its name from a Hindi word ‘yatra’ meaning ‘travel’ with a sense of a ‘pilgrimage’, shall launch Break the Dawn, its album that is inspired by English Poetry, Indian Ragas, Memorial Plaques and Arabic Love Songs, on April 24, 2020.

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“Break the Dawn has little pieces of unusual English history throughout with compositions inspired by a classic English poem (Black Seas), a Renaissance keyboard manuscript (Dompe) and memorial plaques from Oxford’s Somerville College (Alpine Flowers),” say Angie Lemon PR who are handling the publicity of the event.

The album’s strong opener, Black Seas, is inspired by the poem, Sea-Fever, that is penned by the British Poet Laureate, John Masefield OM. This iyatraQuartet’s emotive composition includes an engaging percussive intro followed by unique twists and turns on violin, cello and bass clarinet found in no previous work. It is a beautiful and evocative instrumental of the original theme.

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iyatraQuartet (pronounced eye-at-ra), that takes its name from a Hindi word ‘yatra’ meaning ‘travel’ with a sense of a ‘pilgrimage’, shall launch Break the Dawn, its album that is inspired by English Poetry, Indian Ragas, Memorial Plaques and Arabic Love Songs, on April 24, 2020. Directed by Andrew Spicer, the official video for Black Seas received an Honourable Mention in the UK Seasonal Short Film Festival 2020, was a Rolling Stone Germany Song of the Day and Folk Radio UK Tune of the Day.

Two members of the quartet – violinist Alice Barron and percussionist Will Roberts – both recently returned on one of the last flights out of India back to the UK before lockdown started. Barron had been studying violin with the Mysore brothers, two of the world’s finest exponents in Carnatic classical music.

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“When you receive the nod for a solo live on stage with violinist Nigel Kennedy, then you have to perform!” says Barron of her touring with Nigel Kennedy while performing at Le Théâtre des Champs Elysées in Paris, France. “Sometimes I would do a kind of Indian-inspired solo … sometimes Nigel Kennedy would point to anyone in the band and you just play! For me that felt like a point where all the work I have done with musicians in India, started to make sense for me… helping me find my own voice on the violin.”

For the launch, iyatra Quartet invites friends along to a live listen along online and to follow stories behind each track on Break the Dawn album.

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iyatra Quartet comprises:

  • Alice Barron: (Nigel Kennedy’s UK tours 2016, London Sinfonietta, Quincy Jones, Talvin Singh, Sam Lee) violin, scordatura violin, kalimba, rice bowl, vocals
  • George Sleightholme: (Club Inègales with Peter Wiegold and Notes Inègales, A wedding for A R Rahman in India) Clarinet, bass clarinet, singing bowls, floor tom, half clarinet, toy mbira vocals
  • Rich Phillips: (Hofesh Shechter Company, Heritage Orchestra, Nigel Kennedy’s Orchestra of Life) Cello, scordatura cello, charango, vocals, and
  • Will Roberts: (The Scorpios, Tonzee – Brazilian samba rock band, Shakespeare’s Globe Theatre) percussion setup, bodhran, clarinet, singing bowl, frame drum, tabla, muted djembe, charango, vocals.

The track listing on the 52-minute long Break the Dawn album are:

1. Black Seas 3:47
2. Dompe 6:59
3. Chandra 5:07
4. Lama Bada 3:50
5. One Step, Two 2:53
6. Bhairav (Break the Dawn) 7:32
7. Maria 4:25
8. Caravan 5:15
9. Alpine Flowers 5:45
10. Fives 6:18.

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Meanwhile, a spellbinding love song, Armasta Mind (Love Me), has climbed to the number 1 spot on Estonia’s Singles Charts! This song by a band called Trad.Attack!, is a love incantation from a small place in Estonia called Häädemeeste.

But, unless you say the words ‘Armasta mind armsamini enesest, armsamini emast, isast, päikesest ja kuust’ (Love me more than you love yourself, more than your mother, father, the sun and the moon) three times, the Tradition says the spell will not work.

The video of the song premiered on April 3, 2020.

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Trad.Attack! are a much-beloved band at the forefront of the Estonian music scene, their upcoming album – Make Your Move – represents the tireless effort and determination they have in their music. Armasta Mind is lifted from Make Your Move. From the sampling of Estonian heritage audio, to their live prowess, Trad.Attack! take pride in capturing these sounds in Make Your Move.

Make Your Move is a collection of brilliant, timeless, energetic songs that leave you yearning to see the band live and is being released physically through Trad.Attack! and digitally through Made in Baltics.

RELATED: Winner of All Africa Prize for Poetry Announced

The track listing for Make Your Move album are:

1. Rikas sittus – (Rich Man Shat) Lyrics by Sandra Vabarna based on traditional songs – 03.26
2. Pass-pass – Lyrics from Kuusalu 1963, Viljandimaa, Lääne-Nigula 1937. 03.07
3. Vanamees – (Old Man) – Lyrics from Kolga-Jaani 1886 & Ambla 1894. 03.53
4. Tehke ruumi! – (Make Room!) – Lyrics by Maria Koert from Mustjala 1961. 03.35
5. Saada vihma – (Send Rain) – Lyrics by Jalmar Vabarna and traditional songs 03.08
6. Miks te ei laula? – (Why Don’t You Sing?) – Lyrics from Tõstamaa 1921. 02.53
7. Kus mu süda on… – (Where Is My Heart…) – Lyrics by Sandra Vabarna based on traditional songs 04.52
8.Armasta mind – (Love Me) – Lyrics from Häädemeeste 1963. 03.45
9. Haned-luiged – (Geese And Swans) – Traditional lyrics 03.03
10. Varesele valu – (Pain To The Crow) – Lyrics by Sandra Vabarna based on traditional songs 03.12
11. Siberi unelaul – (Siberian Lullaby) – Sung by Olga Matvejeva from Haidak village, Siberia 2007. 05.57

The musicians who make up Trad.Attack! are:

  • Sandra Vabarna- Estonian bagpipes, Jew’s harp, vocals
  • Jalmar Vabarna – 12-string guitar, vocals, and
  • Tõnu Tubli – drums, percussion, trombone, glockenspiel, vocals.

RELATED: Kenya Sets Up National Fashion Council

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Music Rights Association Accuses Kenyan Pastor of Theft

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By Ogova Ondego
Published April 30, 2020

Anthony Musembi says he is not conversant with copyright issues.Anthony Musembi, a popular gospel musician in Kenya, has been accused of theft.

Musembi, who also doubles up as a pastor in the Rift Valley town of Nakuru some 240 km out of the Kenyan capital, Nairobi, may not have had any idea of the amount of fury his decision to record and publish on YouTube and Facebook a cover version of the well-loved song, Todii by the late Zimbabwean musician Oliver Mtukudzi, would generate.

But the reaction was swift and furious. Media headlines screamed:

  • ‘Thieving’ Kenyan singer: nehandaradio.com
  • Kenyan musician torches storm over Tuku: herald.co.zw
  • Antony Musembi in trouble for infringing on ‘Todii’ song: the-star.co.ke

RELATED: Kenya Runs Out of Creative Ideas

Oliver Mtukudzi, 66, died at Avenues Clinic in Harare on January 23, according to Gallo Records of South Africa who handled the late musician's publicity.The Zimbabwe Music Rights Association (Zimura), in an interview with The Herald newspaper of Harare, has condemned the Kenyan musician’s action of appropriating the late Oliver Mtukudzi’s popular HIV/AIDS-awareness song, Todii, what shall we do?, as his own, replacing the AIDS theme in Shona with a Coronavirus one in Kiswahili and publishing the song on YouTube and Facebook.

“What this guy did is very wrong. Intellectual property is important to the creator and it should not be used without permission,” Albert Nyathi, chairperson of Zimura, says. “We understand he was doing it for a good cause of fighting coronavirus, but the way he did it should be condemned. A thief cannot say I
have stolen a cow because my children were starving. A situation should never be an excuse for theft.”

RELATED: Why Foreign Music Dominates Kenyan Airwaves

This comes hot on the heels of a statement from Tuku Music that manages the late Zimbabwean musician’s works accusing Musembi of having broken the law of copyright by recording the late Mtukudzi’s song without permission.

Anthony Musembi says his "agenda was to educate the public on Coronavirus, not to make money.."The statement says that:

  • ‘Pastor Antony Musembi through his Youtube channel and his Official Facebook Page released a song and music video titled “Todii Cover” on April 18, 2020
  • ‘We were notified about the cover version of the song “Todii” on the 19th of April 2020 and after watching it we immediately reached out to Pastor Anthony Musembi via his Facebook’
  •  ‘We did not get a response from him and after contacting our colleagues we managed to get his phone number and management made contact with him and we
    are waiting for his official statement’
  • Musembi ‘did not seek rights and permission to use the song for the Covid-19“ awareness cover version for the song’, and ‘We encourage artists to follow the correct protocols when they need to use copyright protected material to avoid unnecessary issues that can arise from violations of these protocols’.

RELATED: Zimbabwe’s Book Cafe Founder and Creative Director Dies

But just why would any one copy another person’s track, tune, beat or arrangement and risk running foul of the law and ruining one’s reputation instead of just creating one’s own original music? Where would the world have been today if every musician created ‘cover’ versions of other people’s works?

Musembi has published a video on YouTube that appears to be a copy of someone else’s song save for the words and the title. The video, titled Natamani Wamebarikiwa, sounds suspiciously like Mary Atieno and Alex Ominde’s Amebarikiwa that is also on YouTube. Who copied the work of the
other?

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Between Mary Atieno and Alex Ominde's Amebarikiwa and Anthony Musembi's Natamani Wamebarikiwa, which is the original and which is a cover version?Just how do supposedly reputable mainstream or legacy media like BBC, Standard or Citizen TV promote what could be described as ‘pirated’, ‘plagiarised’ or ‘contraband’ works on their platforms, going as far as describing those who desecrate intellectual property rights of others as ‘national sensation’ as
Standard says of a 10-year-old pupil whose Janga la Korona is built on the musical arrangement of a well known song on Kenya’s struggle for independence from Britain called Wimbo Wa Historia.

“A Class Six pupil has become a national sensation after she composed a song on coronavirus,” Standard newspaper of Nairobi reports about a girl called Salome Wairimu whose video has also been played on Citizen TV.

“I wrote the song as a composition now that we are at home after the schools were closed indefinitely following the first case of the disease in Kenya. But when my parents went through it, they were mesmerised by the message and asked me to compose a song instead,” Standard quotes Wairimu as having said.

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Like Musembi who gives credit to his 12-year-old daughter for having composed the Ooh Corona, Standard credits 10-year-old Wairimu with the composing of Janga la Korona. But unlike Musembi who, in the BBC interview, utters no word about Todii, HIV, AIDS, Mtukudzi or Ooh Corona being a ‘cover’ version, Standard says Janga la Korona ‘borrows the tone of the freedom song, Wimbo wa Historia.’

Saying ‘Many musicians are doing’ what Musembi did, Nyathi says Zimura and he ‘want them to know that theft of intellectual property is a serious crime’.

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Oh, here are excerpts from an interview ArtMatters.Info had with Musembi:

Anthony Musembi says he is "in the process of doing another cover version with Tuku's daughter."Ogova ondego (OO): Hello. Is that Anthony Musembi?
Anthony Musembi (AM): (Hesitates) Speaking.
OO: I am Ogova Ondego with ArtMatters.Ino. I’d like you to respond to media reports that your recording of a song by Oliver Mtukudzi has generated some
controversy.
AM: There is no controversy known to me. This is a simple cover version of the song
OO: Really? What’s a simple cover version?
AM: What do you understand by cover?
OO: I don’t know; that’s why I am asking you.
AM: What do you want me to tell you?
OO: Have you infringed Oliver Mtukudzi’s copyright by using the track of the song ‘Todii, What Shall We Do?’ without permission?
AM: (Hesitates. Silence) When I have clear information on this I’ll get back to you sir. (Hangs up)
OO: (Calls).
AM: (Rejects call)
AM: (Calls after about 2 – 3 minutes). We did a letter to Tuku Music. We are in the process of doing another cover version with Tuku’s daughter. My agenda
was to educate the public on Coronavirus, not to make money. His daughter has reached out to me for us to do a new song together
OO: Oh …
AM: We chose a song that is familiar to the public. Tuku Music wanted a letter which I did. I am not monetising the song.
OO: But did you not break the law of copyright by recording someone else’s song without permission?
AM: I am not conversant with copyright issues.

RELATED: How Copyright and Related Rights Work in Kenya

Singer and pastor Anthony Musembi says he has stoked no controversy with his recording of Oliver Mtukudzi's song without permission.OO: I have watched your Natamani Wamebarikiwa video that sounds suspiciously like Mary Atieno Ominde’s Wamebarikiwa wanaotafuta Uso Wake Mungu Baba that,
like your own version of it, is on YouTube; Did you copy and record Mary Atieno Ominde’s song?
AM: Just what is your article on?
OO: I am examining the issue of coptyright and fair play in music with reference to your Ooh Corona song that is a copy of Oliver Mtukudzi’s Todii, What
Shall we do? save for the languages used.
AM: If you read a story somewhere and then re-tell it, will you have broken any copyright law? Paulo na Sila is just Paulo na Sila.
OO: Copyright applies to the treatment, the packaging of a work of art, not a name, a title or a concept; have you breached Mary Atieno Ominde’s copyright?
AM: (Hesitates, hangs up).
OO: (Sends text) Thanks Anthony Musembi. I am Ogova Ondego with https://www.artmatters.info that specialises in culture and the arts(entertainment
issues).Please browse the site and if you have any additional information, do send it to me. Thanks for your time.
AM: (After about an hour, sends text) My lawyer will call you please dont write any article on about me Thanks.
OO: Are you threatening me?

The post Music Rights Association Accuses Kenyan Pastor of Theft appeared first on ArtMatters.Info.


Traditional Folk Songs for Your Ears

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By Iminza Keboge
Published May 17, 2020

Cante comprises 26 traditional folk songs, instrumentals and dances  from the Portuguese city of Serpa in the Alentejo province, sung to classical arrangements and interpretations by one of Portugal’s leading composers, conductors and cultural programmers, Nuno Côrte-Real.An album that spans world, folk and classical music has been released.

Titled Cante, the new collection comprises 26 traditional folk songs, instrumentals and dances from the Portuguese city of Serpa in the Alentejo province, sung to classical arrangements and interpretations by one of Portugal’s leading composers, conductors and cultural programmers, Nuno Côrte-Real. It is performed by the Portuguese choir Coro Ricercare, with musical accompaniment by the Ensemble Darcos.

According to Angie Lemon PR who are handling the publicity of the album, “Cante started its journey as ‘Cancioneiro de Serpa’ – the Songbook of Serpa – carefully collected by author Maria Rita Ortigão Pinto Cortez.”

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The collection, that includes songs, poems and stories encountered throughout Maria Rita Ortigão Pinto Cortez’s life in Serpa, piqued the interest of Nuno Côrte-Real, one of Portugal’s leading contemporary composers, who adapted it to a form that can be sung by a classical choir while maintaining the traditional melodies.

Described as a doorway that opens into the world of Alentejo folk songs, Cante starts with the marching beats of Ó SERPA, POIS TU NÃO OUVES? (Oh Serpa, you don’t listen?), reflecting the movement of traditional folk singers who naturally stomp the floor while singing.

MENINA QUE ESTÁS À JANELA (Girl that is by the window) is a tender portrayal of a popular Portuguese folk song that celebrates Alentejo’s magical night sky. RAMA, Ó QUE LINDA RAMA (FOLIAGE, BEAUTIFUL FOLIAGE) is an energetic song of praise for the olive tree, which holds great importance for the production of olive oil, close in rank but not master to the Portuguese grapevines.

Two lively Galician dances or Muiñeira–MUIÑEIRA DE CALLOBRE and MUIÑEIRA DE A PAÍNZA–that celebrate the historical ties between Portugal and Galicia, also feature on Cante.

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“I will never forget the beauty of the concert that was held in the Praça da República in Serpa, with performances by Ensemble Darcos and the Coro Ricercare,” says Maria Rita Ortigão Pinto Cortez of Nuno Côrte-Real’s production of Cante. “The square completely full of the people of the Alentejo applauding enthusiastically the music which many of them knew how to sing now performed at a level with which they were not familiar.”

Nuno Côrte-Real, who is no stranger to adventurous productions and admits to being most at home with opera, won Best Classical Work from the Portuguese Society of Authors in 2018 and 2019 for the album, Agora Muda Tudo (Now Everything Changes) and the opera Canção do Bandido (The Libertine’s Song), respectively.

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“The meaning of this recording to the Portuguese music scenario is crucial,” says Ana Proença, a patron of the arts who sponsored the Cante project. “If there is no courage to do these kind of recordings, nobody will know them.”

As the project grew from songbook to fully produced album, Angie Lemon PR says, it received wider support from the Portuguese Ministry of Culture, the Municipalities of Serpa and Torres Vedras, Tourism Alentejo Ribatejo and Antenna 2, Lisbon’s classical, world and roots radio. The album is released through Odradek Records.

RELATED: Music Rights Association Accuses Kenyan Pastor of Theft

The songs on the album that runs 69 minutes are:

  • Ó Serpa, pois tu não ouves? (Oh Serpa, you dont listen?) 02:53
  • Menina que estás à janela (Girl that is by the window) 01:57
  • Estrelinha do norte (North little star) 02:14
  • Vou-me embora, vou partir (I’m going away, I’m leaving) 02:13
  • Alentejo, que és nossa terra (Alentejo, you are our land, instrumental) 01:44
  • Lindo ramo verde escuro (Beautiful dark green branch) 02:11
  • O Lírio roxo (Purple Lily) 03:35
  • Serpa que és minha terra (Serpa you are my land) 01:54
  • O Alecrim (Rosemary, instrumental) 01:41
  • Ó rama, ó que linda rama (Foliage, beautiful foliage) 01:39
  • Os olhos da Marianita (Marianita’s eyes) 02:08
  • Adeus, ó vila de Serpa (Farewell, Serpa village) 05:43
  • Muiñeira de Callobre (Muiñeira is a traditional dance from Callobre in Galicia) 01:26
  • Oliveiras, Oliveiras (Olive trees, Olive trees) 03:18
  • Nana, nana, meu menino (Fall asleep my boy) 02:08
  • Ó Laurinda, linda, linda (Laurinda is a woman name; linda is the second part of the name but also means beautiful) 03:54
  • Interlúdio Alentejano (Alentejo’s Interlude) 03:19
  • Oh! Bento Airoso (Oh, airy Bento, airoso means airy and Bento is a name, also means saint) 02:20
  • Nana, nana, meu menino (Fall asleep my boy) 01:16
  • Bendita e louvada seja (Blessed and be praised) 05:30
  • Muiñeira de A Paínza (A Galician dance. This one is from A Paínza) 01:16
  • Ai, ó divina Santa Cruz (Divine holy cross) 03:46
  • Vou-me embora para Lisboa (I’m leaving to Lisbon) 02:59
  • Nana, nana, meu menino (Fall asleep my boy) 02:34
  • Interlúdio Transmontano (Interlude from Tras-os-Montes – a northwest region of Portugal) 01:12
  • Ai, tu é que és o meu rapaz (Oh, you are the one that is my boy) 03:08.

The post Traditional Folk Songs for Your Ears appeared first on ArtMatters.Info.

Entertainers Not Received Promised Sh100 Million COVID-19 State Support

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By Khalifa Hemed
Published May 17, 2020

KAMP, MCSK and PRISK have issued a joint statement on the status of the Sh100 Million to the 'artists, actors and musicians' saying it is yet to be availed to them for distribution to their members.Almost 40 days after President Uhuru Kenyatta’s announcement on April 6, 2020 that the Government of Kenya was disbursing Sh100 Million (about (US$1 Million) to ‘artists, actors and musicians‘ to cushion them against the disruptive effect of Coronavirus pandemic, no ‘artists, actors and musicians’ has received any money.

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The President, in a national address from State House in the capital, Nairobi, had, while directing the Ministry of Sports, Culture and Heritage to provide the money from the Sports Fund, that the money would be paid out immediately to enable ‘artists, actors and musicians’ continue entertaining the public through TV, radio and the internet.

“I direct the Ministry of Sports, Culture and Heritage to avail Sh100 million from the Sports Fund to our artists, actors and musicians during the period of the COVID-19 pandemic so they may continue to entertain their fellow brothers and sisters through TV, radio and the internet,” Kenyatta said.

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But even before the President had wound up his address on COVID-19 in Kenya, tongues had already started wagging on the said Sh100 Million with questions arising not just on the definition of ‘artist’ but also on the criteria to be used in deciding which ‘artist’ got a portion of the money from the Sports Fund.

To receive royalties, Content Service Providers will be required to channel all payments of royalties through a single, centrally managed account at the Kenya Copyright Board, President Uhuru Kenyatta of Kenya has directed.‘Artist’ and ‘Sports’ are not synonymous, are they? How could money from the Sports Fund be given out to ‘artists, actors and musicians’ as if Sports and Culture were one and the same thing?

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Critics pointed out that though writers, painters, sculptors, architects, fashion designers and graphic designers are ‘artists’, the President had concentrated on actors and musicians whose interests are addressed through three collective management organisations (CMOs): Kenya Association of Music Producers (KAMP), Music Copyright Society of Kenya (MCSK), and Performers Rights Society of Kenya (PRISK).

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So what is delaying the payout that should have been made 40 days ago?

Uhuru Kenyatta had, while directing the Ministry of Sports, Culture and Heritage under Amina Mohamed to provide the money from the Sports Fund, that the money would be paid out immediately to enable 'artists, actors and musicians' continue entertaining the public through TV, radio and the internet.KAMP, MCSK and PRISK have issued a joint statement on the status of the Sh100 Million to the ‘artists, actors and musicians’ saying it is yet to be availed to them for distribution to their members.

“Since the pronouncement, we have noted that there are speculations, confusion and mixed reactions among creatives as well as members of the public on various media platforms regarding these funds,” the CMOs write in a statement titled President Uhuru Kenyatta’s 100M to Creatives During COVID 19 Period and posted on Facebook on May 4, 2020.

KAMP, MCSK and PRISK inform their members that they, together with the Ministry of Sports, Culture and Heritage, Ministry of ICT, Innovation and Youth Affairs and Kenya Copyright Board (KECOBO), are handling the issue ‘quickly and efficiently’ and that “Any forthcoming developments on the issue will be communicated promptly”.

RELATED: Traditional Folk Songs for Your Ears

The post Entertainers Not Received Promised Sh100 Million COVID-19 State Support appeared first on ArtMatters.Info.

State Changes Tune on Sh100 Million Grant to Artists During COVID-19 Period

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By Khalifa Hemed
Published May 18, 2020

Kenya Cultural Centre's call for submissions from performance artistsKenya has made a U-turn on Sh100 Million (US$1 Million) President Uhuru Kenyatta had on April 6, 2020 said was being released as a safety net for artists, actors and musicians against the disruptive effects of Coronavirus.

“I direct the Ministry of Sports, Culture and Heritage to avail Sh100 million from the Sports Fund to our artists, actors and musicians during the period of the covid-19 pandemic so they may continue to entertain their fellow brothers and sisters through TV, radio and the internet,” Kenyatta had said.

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On May 11, following complaints and questions as to why the money the President had said would be disbursed during the week he made the announcement, the Ministry of Sports, Culture and Heritage that had been directed to release the money to the artists held a media briefing and launched a programme it called Work For Pay Sh100 Million Stimulus Package for Artists, Actors and Musicians, saying the Government had no ‘reservoir of free funds’ to dish out.

RELATED: Entertainers Not Received Promised Sh100 Million COVID-19 State Support

President Uhuru Kenyatta addresses the nation from State House, Nairobi, on April 6, 2020.Amina Mohamed, the Sports, Culture and Heritage Minister, said the Work For Pay stimulus package was in line with the Executive Order issued by President
Kenyatta, directing the Sports, Arts and Social Development Fund to avail Sh100 million to cushion those in the creative industry during the period of the COVID-19 pandemic.

Saying the funds would be distributed through a campaign dubbed Together at Home that would be spearheaded by the Government, Mohamed said artists from various creative disciplines would “be required to produce works that entertain and educate Kenyans and the world on the safety and health precautions to stop the spread of COVID-19.”

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Media Statement on Kenya's Work For Pay Sh100 Million Stimulus Package for Artists, Actors and MusiciansThese artistic productions, Dr Mohamed said, would be “carried through various assets set up by the Ministry of Sports, Culture and Heritage such as ‘KULTURE TV’ and other collaborative media outlets”; that “The objective is to continue developing and nurturing talent to ensure that the sector remains a significant contributor to our economy post-COVID”; and that the Together at Home campaign would “use entertainment to centralise three crucial aspects of our society: the importance of new avenues for work, creative community education and sustained mental well-being for all
Kenyans.”

But artists, particularly musicians, have accused Mohamed of misinterpreting Uhuru Kenyatta’s directive that had no conditions and thus she is shortchanging them.

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Signed statement on Kenya's Work For Pay Sh100 Million Stimulus Package for Artists, Actors and MusiciansThrough Kenya Association of Music Producers (KAMP), Music Copyright Society of Kenya (MCSK) and Performers Rights Society of Kenya (PRISK), the musians have distanced themselves from the Work For Pay Sh100 million stimulus package for artists, actors and musicians.

The collective management organisations (CMOs), in rejecting the programme, said they had neither been informed of the progress nor consulted in the formulation of the Work for Pay programme though they “are integral and have a fundamental role in facilitating the President’s program herein. This is to us an omission that is likely to result in a myriad of loopholes and subsequent challenges both of which are likely to hinder the full success of the program that could deny our deserved members their deserved benefits. CMOs are the best placed institutions through which this well intended stimulus project aimed at assisting Kenyan artists should be implemented.”

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Kenya's Sh100 M Work For Pay Sh100 Million Stimulus Package for Artists, Actors and Musicianslive live webinars publicity posterKAMP, MCSK and PRISK appealed to the Minister for Sports, Culture and Heritage to include them among implementers of ‘the President’s well intended gesture’ to the creative sector.

Amina Mohamed, during the launch of the Work For Pay Sh100 Million Stimulus Package for Artists, Actors and Msicians at Kenya Cultural Centre in Nairobi said
the programme was “a provision to educate,innovate, sustain and improve our output as a sector” and “not a reservoir of free funds.”

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“Taking into account that the number of artistes in the country is estimated to be way above 100,000, giving cash handouts would have been ineffective in cushioning households as well as broadening the societal Covid-19 safety education,” Mohamed said.

Amina Mohamed, the Sports, Culture and Heritage Minister, said the Work For Pay stimulus package was in line with the Executive Order issued by President Kenyatta, directing the Sports, Arts and Social Development Fund to avail Sh100 million to cushion those in the creative industry during the period of the COVID-19 pandemic.The launch of the programme was followed by several 60-minute webinars to sensitise the public on the programme May 11 – 17, 2020.

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Among those targeted for participation in the three-month Work for Pay programme are visual artists and comedians (under Department of Culture ), musicians and dancers (under Permanent Presidential Music Commission), mural artists (under National Museums of Kenya), thespians (under Kenya Cultural Centre), and moviemakers (under Kenya Film Commission).

Detailed information on the application process is available on the website of the Ministry of Sports, Culture and Heritage ministry,

The post State Changes Tune on Sh100 Million Grant to Artists During COVID-19 Period appeared first on ArtMatters.Info.

Payment for Musicians Increases Ten Fold

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By Khalifa Hemed
Published May 28, 2020

Jana Usiku video by Nairobi's ELANIMusicians in Kenya are, with effect from April 2020,set to benefit from a Sh2 Billion royalty kitty.

Kenya’s President, Uhuru Kenyatta, announced on April 6 that musicians would start earning higher amounts of royalties through a system set up by the Government following a memorandum of understanding (MoU) between collective management organisations (CMOs)–Kenya Association of Music Producers (KAMP), Music Copyright Society of Kenya (MCSK), Performers Rights Society of Kenya (PRISK)–and the Government’s Ministry of ICT, Innovation and Youth Affairs, and Kenya Copyright Board (KECOBO).

RELATED: How Copyright and Related Rights Work in Kenya

Kenyatta had in January 2020 directed that all payments of royalties to musicians be channeled through a single centrally-managed account at the Kenya Copyright Board in order to reduce bureaucracy and place more money in the hands of musicians as the annual payout kitty would be increased from Sh200 Million to Sh2 Billion.This is a whopping 10 000 percent increase.

The President said the Sh200 Million paid annually would now be paid per month, not per year.

“This translates to over Sh2 billion going into the pockets of Kenyan artists. These payments will begin this week in line with the pledge I made in January,” Kenyatta said in his Presidential address.

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Kenneth Mugabi on the tube fiddle at Doadoa music market in Kampala.In his State of the Nation Address on January 14, President Uhuru Kenyatta said, “To receive royalties, Content Service Providers will be required to channel all payments of royalties through a single, centrally managed account at the Kenya Copyright Board. This will enable oversight by the regulator and ensure that the collection and distribution accounts are easily auditable. The Kenya Copyrights Board, with assistance of the Ministry of ICT, has already reviewed and agreed on the Tariffs for 2020. These tariffs are to be gazetted and will form the basis on which compliance will be monitored. In this regard, I direct the Ministry of ICT, in consultation with the AG’s office, to ensure the tariffs are gazetted within the next 30 days.”

RELATED: Music Society Barred from Collecting Royalties

“Further,” the President had said, “I direct the Ministry to remove conditions requiring digital platform to only work through licensed Content Service Providers. This will enable musicians to work directly with platforms such as Skiza. I further direct the Ministry of Interior, Ministry of Tourism and Wildlife, and Ministry of ICT to ensure that public service vehicles, the hospitality industry, and broadcasters respectively, meet all their obligations in paying the required tariffs. This will be a basic requirement for renewal of any business licences for the broadcasting houses, matatus, hotels, bars and other such premises.”

The President, in the address made from the port city of Mombasa, had noted: “These new measures will see the rise of tariffs collected and will create immense savings on the processes of collecting royalties. It is estimated that the new system will see an increase in collections from a previous Sh200 Million per year to an estimated 2 billion shillings per year, a tenfold increase.”

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geraldine oduor nitamuimbia kwani ametukukaDuring the April 6 address, Kenyatta directed the Ministry of Sports, Culture and Heritage to set aside an extra Sh100 Million from the Sports Fund as a safety net for artists, actors and musicians against the effects of the Coronavirus. However, a month later, following complaints as to why the money the President had said would be available immediately to enable ‘artists, actors and musicians’ continue entertaining the public through TV, radio and the internet hadn’t been disbursed, the Government changed the pledged Sh100 Million from a COVID-19 grant to a conditional work-for-pay three-month stimulus programme.

This followed protests from artists through KAMP that represents producers of sound recordings, MCSK that represents musicians and songwriters, and PRISK that represents performers in recorded films and series and background vocalists and instrumentalists.

RELATED: New African Content Streaming Platform Launches as Kenya Government Collects Royalties

Launching the programme now renamed ‘Work-for-Pay: 100M for Artist, Musicians & Actors Stimulus Package’ at Kenya Cultura;l Centre on May 11, Amina C Mohamed, the Minister for Sports, Culture and Heritage, said it was ‘in line with the Executive Order issued by H.E President Uhuru Kenyatta on 6th April 2020, directing the Sports, Arts and Social Development Fund to avail Kshs. 100 million to cushion those in the creative industry during the period of the COVID-19 pandemic’.

She said the Work-for-Pay funds would be distributed through a campaign dubbed ‘Together at Home’ that would be ‘spearheaded by Government Agencies and Departments, as stipulated by the Regulations establishing the Sports, Arts and Social Development Fund.”

RELATED: Symposium Discusses University Education in Kenya

Amina Chawahir Mohamed Jibril, Kenya's Sports, Culture and Heritage, launched the Work for Pay: 100M for Artist, Musicians & Actors Stimulus PackageAmina Mohamed said not just musicians but artists drawn from various forms of creativity, would “be required to produce works that entertain and educate Kenyans and the world on the safety and health precautions to stop the spread of COVID-19. These artistic productions will be carried through various assets set up by the Ministry of Sports, Culture and Heritage such as “KULTURE TV” and other collaborative media outlets.”

“This campaign will use entertainment to centralise three crucial aspects of our society: the importance of new avenues for work, creative community education and sustained mental well-being for all Kenyans during this period. The Kshs. 100m is therefore not a reservoir of free funds, but a provision to educate, innovate, sustain and improve our output as a sector. The objective is to continue developing and nurturing talent to ensure that the sector remains a significant contributor to our economy post-COVID.” said Dr Mohamed during the launch.

RELATED: State Changes Tune on Sh100 Million Grant to Artists During COVID-19 Period

Mohamed, who observed that the creative sector was to have contributed Sh165 Billion to Kenya’s Gross Domestic Product (GDP) in 2020, said the artistic community is an important arm of the country’s economy and that the Government supports it.

The post Payment for Musicians Increases Ten Fold appeared first on ArtMatters.Info.

New World Music Springs Out Of Africa

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By Iminza Keboge
Published June 17, 2020

On the opening track of Nva K’la, an album by James Ssewakiryanga (aka Ssewa Ssewa) of Uganda, you hear lulling, baritone vocals soar over upbeat, rhythmic African beats as the artist denounces anyone who objects to the pleasure of others while indulging themselves.London (UK)-based ARC Music is set to release two music albums from Uganda and Zimbabwe on June 26, 2020.

On the opening track of Nva K’la, an album by James Ssewakiryanga (aka Ssewa Ssewa) of Uganda, you hear lulling, baritone vocals soar over upbeat, rhythmic African beats as the artist denounces anyone who objects to the pleasure of others while indulging themselves. ‘Tell the hypocrites to let me drink, let me eat my share before I am gone,’ Ssewa Ssewa sings on Abalangila, the first of the 13-track recording.

RELATED: Gospel Music Awards Presentation Leaves Tongues Wagging

Abassese, the second track, takes a nostalgic turn with xylophone and percussion setting the scene of canoes floating through a breeze while Ssewa Ssewa sings the song of fisherman and agricultural craftsmen canoeing on the lake.

Ssewa Ssewa says Mwagala, the ninth song,is a celebration of his devotion and love to his wife.

‘She loves me, she’s mine, I love her, she’s mine… everything that I know, I’m blind to the rest’ is sung to a more funky, soulful backing.

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UManyanyatha, Mkhaya's third solo album, puts his ‘favourite instrument’ - the human voice - centre stage again. Rooted in Southern African tradition, the warmth of solo vocals and imbube harmonies groove to the colourful pattern of modern instrumentation.The music of Ssewa Ssewa, who seeks to promote Ugandan traditions while modernizing and interweaving them with other international genres to renew the spirit of his indigenous culture, is a cross-cultural marriage between Uganda and the world.

“I have been entrusted with a tremendous heritage,” says Ssewa Ssewa who was born and raised in a musical family in Kampala and whose childhood immersion in music and rhythm has made him the inspirational leader and teacher he is today.
And Nva K’la, his debut recorded album, reveals the musical culture, songs and stories he grew up with, weaving these traditions together with a modern and global sound.

“The first step toward success is taken when you refuse to be captive of the environment you find yourself in”, says multi-instrumentalist Ssewa Ssewa, reflecting on the day he was prompted to invent the Janzi, a 15-string, non-magnetic instrument after a fellow musician was unable to pass through airport security metal detectors with his traditional adungu. The Janzi is now celebrated by local learning musicians and is the only patented string instrument in Uganda.

I guess this is enough about Nva K’la and Ssewa Ssewa?

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Being released alongside Ssewa Ssewa’s Nva K’la is Umanyanyatha: Songs from the Soul of Zimbabwe, an hour long album by a musician called Vusa Mkhaya.

UManyanyatha, Mkhaya’s third solo album, puts his ‘favourite instrument’ – the human voice – centre stage again. Rooted in Southern African tradition, the warmth of solo vocals and imbube harmonies groove to the colourful pattern of modern instrumentation.

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The music of Ssewa Ssewa, who seeks to promote Ugandan traditions while modernizing and interweaving them with other international genres to renew the spirit of his indigenous culture, is a cross-cultural marriage between Uganda and the world.The opening choral track Mayibabo sets the scene with a heartfelt tribute to Vusa Mkhaya’s inspiration, his grandmother:
“Though she had no formal education she was an amazingly intelligent woman… She taught me a lot. I am forever grateful for her teachings,” Mkhaya says.

Africa, the rhythmic buoyancy carries messages of hope and unity for the people, sung in English: ‘Hold on, Africa, one day everything is going to be alright. So many things are said about you. We love you the way you are. One day you will smile. Hold on, my Africa!’

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Ubuntu layers Vusa’s melodic vocals over piano, bass-riffs and evocative harmonies. The wholesome lyrics are poignant against a song that is both delicate and resounding in its message: ‘I am who I am because of my history and background. We must always be proud of who we are, where we come from’.

Uthando (Love) takes a cheerful turn with percussion and guitar lending a summery vibe to soft, breezy vocals.

Vusa Mkhaya’s artistry is driven by an unquenchable thirst for sound.Mkhaya’s artistry is driven by an unquenchable thirst for sound. At the onset of his professional career he ventured from Bulawayo in Zimbabwe to Vienna in Austria with his a cappella group, Insingizi. It was while here that he discovered a deeper connection to classical, jazz and the many musical avenues the city had to offer. He has since enjoyed fusing these styles with his own music. He has worked with a wide range of musicians and productions, amassing a hugely impressive body of work.

“I have some friends that inspire me to do better and to be always hungry for knowledge. I like learning, I like discoveries,” he says.

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Vusa Mkhaya has pushed the boundaries of world music with an ongoing soul-search inspired by life’s questions. His ability to communicate his journey so beautifully through song is what gives him his signature sound.

“Art is a spiritual necessity. You have more inside you than you ever thought. All you need is to put yourself out there and see where the journey takes you.”

The post New World Music Springs Out Of Africa appeared first on ArtMatters.Info.

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