The Voice (Francistown)
1 April 2008
interview
Francistown — One of Botswana's greatest imports, Banjo Mosele, has not only shared the stage with the likes of Hugh Masekela, but has also had gigs with international acts such as Sade, Peter Gabriel and Paul Simon. The Norwegian-based artist is in the country for sometime to write and refine songs for his upcoming album. MOSES MARUPING recently caught up with him at his favourite rehearsing joint, Satchmos.
Q. It's quite an honour and absolute pleasure to meet with a man of your repute. Please tell me about yourself...
The honour is mine. My name is Banjo Mosele. I'm a full time Jazz musician and I play the guitar. I was born in Goora-Phitshana in Kanye. I've always been fascinated by music and it was only in 1978 that I started playing professionally. I was a member of a band called The In-crowds. We were a trio with the likes of Lekofi Sejeso and Ofentse Mogapi. I then joined a group called Mother Group with the late White Kgopo who taught me how to play a guitar professionally.
Q. Take us through your exciting journey as an unknown guy from Kanye to the international stages.
It was in 1980 when John Selolwane had just returned from Malawi and together with him we formed Kalahari Band. We were quite active as a four-piece band. Hugh Masekela, then on his way to tour Lesotho and America, realized our potential. He told us he could use our talent and that he'd get in touch with us when he comes back from the US but we just thought he was pulling our legs. Mind you, back then he were the biggest thing in the South African music industry.
Q. What happened then?
Hugh came back and he took us under his wing. We became his backing band from 1982 until 1984. We toured with him in countries such as Mozambique, Lesotho and Swaziland. We played in a lot of night clubs and hotels across Southern Africa to be precise. In 1984, we recorded our own album entitled Motlalepula. We had a song called "Don't go lose it babe" which became our ticket to Europe. We were in the top 10 of the British Charts all thanks to this song. We stayed with Hugh and went to America and all over the world. Kalahari Band even had a stint in Paul Simon's album. Those were the times my man! We partied like royalty. We stayed in the UK until 1985 and in 1986 I went to a music school, Goldsmith College in London, where I did a two-year course in Music Composition Theory and Harmony.
Q. Any exciting developments at the music school?
Yes indeed! Together with my fellow students, we formed a band called Bushmen Don't Serve. This band became quite huge and we were constantly featured in some of London's big music festivities. The band fell apart in 1990. After we called it quits, I then moved to Oslo, Norway where I met my wife and it has been my home since 1992 until today. I was tired of the big city having stayed in London for over 10 years.
Q. What exactly happened when you got to Norway?
Upon arrival there, I started working as a freelance musician and this gave me inspiration to start afresh. It was only in 2000 when I became a fully-fledged solo artist and in 2003 I recorded my album called Badisa with the help of local musicians and South African artists.
The album had songs such as Selina, which was a major success. Let me acknowledge folk music singer, Stampore, who I worked with in this album. I have worked with him for the past seven years and even when I'm home I check on him for inspiration and advice. I've made it a tradition that I spend six months in Botswana and another six months in Norway where my wife and kids are staying.
Q. It will be safe then to assume your wife is a Whitey? Ha-ha!
O opile kgomo lenaka! Ha-ha. Yep! My wife is white. I did just like our first president, Sir Seretse Khama. She's a teacher by profession and she's one person who has always encouraged me to follow my heart in music. My family gives me 100 % support both morally and spiritually and they always encourage me to do my work. They always take out their last penny for me to make the last record. They compromise a lot.
Q. Are you still friends with Bra Hugh?
We are not in regular contact as we used to. Time and again I do bump into him in Paris and London, on our own separate gigs. But I want to say: thank you for helping me go to music school. I've become a disciplined musician all thanks to him.
Q. Who do you look up to the most in as far as your journey is concerned?
There's one seasoned Blues and R&B guitarist by the name of Robert Cray whom I played with in England. This Black American guy is so talented and huge in Europe. I once went on a 55-day-tour with him as his backing act. He has a remarkable personality and always introduces his backing band in the nicest way I've ever seen anywhere. He would allow me to use his amplifier and guitar whenever mine was unavailable.
He's my idol.
Q. What has been your greatest moment so far?
It was when I shared the stage with Peter Gabriel as part of his backing band at the Wembley Stadium in 1986 when he played "Sledge Hammer". There were about 800 000 people, the largest crowd I've ever played in front of and I was literally shivering. It was Nelson Mandela's birthday concert.
Other big acts whom I've shared the stage with during that time include Sade, Sting and many other big Rock & Roll bands.
Music in your prime days compared to music of the 20th century. Would you care to tell us the differences between the two?
In the 80s we had a lot of seasoned South African Jazz musicians staying here. The likes of Jonas Gwangwa, Hugh Masekela, Tony Sedra and Steve Dyer for instance and we were lucky to play with them. They taught us how to play a lot of instruments and instilled discipline in us. Hugh really showed us the way. We recorded four of his albums. However, today all I see is young popular musicians who can't play a single instrument. They lack instrumental tuition. The best way to be as an artist is to learn an instrument as this gives you control over your work.
So you're not an artist unless you know how to play say a guitar or piano?
I wouldn't want to agree with you on that one as I believe somebody's voice is also their instrument. Where I went to school this is what we were taught. However, all they taught us was that the knowledge of a piano or guitar or any other instrument for that matter would allow you as a singer to sing in tune. So it's always an advantage to have a background of any musical instrument. This would in turn lengthen your career in music.
Your advice to our current crop of young musicians?
Anything that you do reflects on who you are. We can't afford to be womanizers. What I've also realized is that our current crop of young musicians has this tendency of giving people an impression that they're living large when in actual fact they're suffering. Acting big will not encourage others to help you. Let's stop building castles in the sky. Ours is a case of popularity minus the dough.
Do you have any problem with the way things are run locally?
Yes. Promoters cannot run shows based on gate-takings. We need to have corporations getting on board and supporting local acts.
What challenges would you say continue to plague our local musicians and why are you here?
The first one is that of the market. We have a very small population and becoming a full time musician here is quite hard. At the moment, I'm currently working with Malombo Mmereki to help him produce his album. I've also come home to come and write songs for my next upcoming album.
What do you think is the best thing to ever happen to local music?
Having the Ministry of Culture, Youth and Sports. Also the establishment of Botswana Musicians Union (BOMU).
What do you think about the issue of music royalties?
To be honest, I think it is long overdue but we can only realize it when we as musicians come together and become one voice. Let's join BOMU and, through unity, we will be able to fight other issues including copyright issues.
What is the naughtiest thing you've done in the past, which still gives you a tickle?
It was in 1977, when Lekofi Sejeso and I were stranded in Maun. Our instruments had just burnt to ashes at a hall where we were supposed to perform. Wanting not to lose out, we covered ourselves in sacks and started dancing and signing for people but they just piped through the windows to watch. We stayed in Maun for three months. To survive the hunger pangs, we started pilfering chickens from the village. Later we realized that we were not doing the right thing and since it was difficult then to hitch a lift, we found a Veterinary truck parked at some stop and we jumped in, hid ourselves under the load and we dropped off in Francistown. Upon arrival, we deceitfully caught a train for free. It was really tough. We always laugh about it when we are together.
Any future plans worthy of note?
I'm working on my upcoming 10-track album. I am done with the writing for the eight songs and I'm left with two. I want to involve local writers and composers. It will be coming out sometime in September. Actually I want to come and record it at home as I want to empower local studios and work with local musicians. I want to give this album a traditional touch.
Do you have any last words?
Thank you guys for giving me this opportunity. Let me also say to the youth: you guys are the future. Learn more and have skills.
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