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East Africa: Echoes From the Past in Project Fame
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The East African (Nairobi)
COLUMN
12 May 2008
Posted to the web 12 May 2008
John Kariuki
Nairobi
THE MUSICAL REALITY TV SHOW Tusker Project Fame 2, continues. It has been criticised over its content but given rise to debate about the prospects of the development of an East African sound that can be used as a flagship for the region.
Indeed, young musicians in rap and other urban genres have already made their contribution towards regional music integration and all that is required now is government policies and corporate support to enhance their efforts.
Tanzania's Lady Jay Dee and Mr Nice with their well-structured crossover music have been received well by their generation around the three countries.
Remarkably, Lady Jay Dee's songs were the regional hits to be adopted by the contestants in the ongoing Tusker Project Fame, which confirms the high regard she enjoys in the music industry as a role model.
Currently, there are no clear answers as to what is internationally accepted. For example, at the Tusker project, the contest revolves around American music, which can never offer a regional identity.
Creating a mix that bears the hallmark of the region and still creates a circuit for tours and music retailing is a concern that must be addressed straightaway.
This was once a reality in the 1960s when promoter Peter Colmore and producer Peter Warrod of Equator Studios were active players in the regional music scene. Colmore used the then well-established railway network as transport for the musicians as they toured the region while Warrod, producer of the hit Malaika, used a core group of refined sessions musicians to develop arrangements for the songs, which created a uniformity that became his trademark.
Both viewed East Africa as one country. Musicians from across the region performed all over East Africa. So did stars from other countries. Benson Simbeye, Nahson Pitchen and Peter Tsotsi were all Zambians who had lived in Kenya for many years. Their involvement introduced a delectable Zambian flavour to the East African sound, giving it a major appeal in the international market.
IN THE 1970S, THE INFLUENCE OF TANzania music throughout the region helped to create a uniformity that also resulted in general distinction for the region.
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The collapse of the East African Community in the 1970s adversely affected music activity, but musicians have kept in close contact.
But efforts to revive the regional co-operation must resuscitate the music links that have potential to evolve a market for new music from the region.
The increased use of Kiswahili lyrics has greatly improved the prospects for such a new music.
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