Moses Serugo
15 August 2008
music review
Isaiah Katumwa is now a permanent feature on the indigenous smooth jazz scene, which is something the bulk of concertgoers at Kampala Serena Hotel will affirm tonight.
It will be a night of reckoning for Katumwa who will be out to show that he now plays jazz with an African accent. This is his first concert this year, one at which the Shs70, 000-paying patrons are going to eat out of a fine musical hand, courtesy of MTN.
Katumwa has at past concerts displayed an incredible mastery of his shiny brass instruments (he will play three saxophones and a trumpet tonight) and a sunny stage presence.
Songs off Katumwa's latest set Coming Home show a concerted effort to give his jazz a local and continental flavour. The saxophonist extraordinaire crafts vivid, compelling music on this 2007 album that is playful, spiritual and quintessentially African. Critics will not chide him for outing derivative stuff this time even though some 11 songs work while others do not.
The opening track Welcome is among those that work thriving on abrupt saxophone pauses while songs like the upbeat Just For You comes off as a thank-you to either his fans or God.
Reverence to the Almighty almost makes half of the album sound like a follow-up to its 2006 predecessor Sinza. Sanyu, You Alone, Always There- Abeera Munsozi, I Will Worship You Mighty God and Wamilele all have spiritual themes at their core. And much as Katumwa may have graced highly secular events like the launch of Dunhill's Jazz Night at Silk Lounge last year, these songs show he is still grounded in his Christian roots.
Considering that this album was primarily meant to highlight Katumwa's African jazz accent, the zouk-tinged Sanyu and My Joy show this off the most. The latter rides on imaginative saxophone notes, synthesized percussion and keyboard sounds. The style is reminiscent of the mid '90s era when genre names like Oliver N'goma were all the rage.
Uganda being Katumwa's homeland has not been left out of the African showcase. Songs like Amata, an adaptation of a Western Ugandan chant get a contemporary feel by way of a funky lead guitar interlude, consistent bass line and great brass interplay.
Even with a burning desire to Africanise his jazz, Katumwa sees nothing wrong with acknowledging the people (Americans) that invented this genre. Songs like the groovy Smile and the breezy title track Coming Home are the kind that will have Katumwa's influences Kenny G, Dave Koz and Kirk Whalum take their hats off for the saxophonist.
It will not just be old material being played anew at tonight's concert. The two fresh singles Nsiima and Africa, Katumwa has released this year may draw mixed responses given the way they pander to the current Ugandan bubblegum pop and reggae musical trend. Both come off as a ploy to bait a new smooth jazz fan base.
The way Katumwa cleverly replaces the swi kano akanyonyi, swi kanaikonto Luganda folk song lyrics with saxophone melodies on Africa is a winner. It is also commendable that he uses the reggae-driven song to call on Africa to take its place on the global stage.
If only Katumwa could get able background vocalists that can match the passion with which he and his instrumentalists play. The singers are a let down on all the songs they feature and blot fine lyrics with bad diction.
Katumwa's fans can only hope that he has a more competent vocal lot backing him up during tonight's show. Otherwise having just his instrumentalists complementing his saxophone playing may suit everyone just fine. It would be wise for patrons to be seated by 7p.m. because Katumwa promises to blow his first note at precisely that hour.
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