Renowned French guitarist and producer Christian Polloni, who helped shape Namibia's contemporary music scene, is remembered for his mentorship and enduring influence on African musicians.
Born in Marseille in October 1958, he made Namibia his home for about 20 years.
But before Namibia, Polloni spent many years in other parts of the continent, particularly in West Africa, where he worked intensively with Ivorian reggae star Alpha Blondy, Senegalese Afropop and mbalex star Youssou N'Dour and Papa Wemba, who introduced him to Namibia.
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Polloni first toured Namibia for a performance with Papa Wemba in 1996.
Although it was never his wish to live in Namibia, the French musician used to say because he worked with many African musicians, he always knew he would settle on the continent, and Ivory Coast and Senegal were his countries of choice.
However, due to the political situation in the two countries, he chose to settle in Namibia.
Apart from working with top local artists like Axue, Elemotho, Erna Chimu, Ngatu, Papa Shikongeni, Patricia Ochurus and the kwaito duo Qonja and Mapz, Polloni was also instrumental in the introduction of Sessions Studio 6 on NBC TV.
Multiple award-winning singer and songwriter Chimu, who was introduced to Polloni by Retha-Louise Hofmeyer, has only interesting things to say about the gifted guitarist.
'Unfiltered honesty'
"Polloni was buzzing with excitement over his work on Axue's debut album, 'Pride of Khomas', when I approached him for a collaboration. However, he took me completely aback when he said I have talent but I was not ready yet.
"His blunt response, which I considered as constructive feedback, sparked a journey of growth. He encouraged me to go to the College of the Arts to refine my pitch, perform more live, and to record myself. Undeterred by his intitial doubts, I persisted in performing at various gigs," she says.
Chimu says she invited Polloni to her live performances, after which he would always tell her she was not ready yet.
"But at the Windhoek Jazz Festival in 2007, he surprised me by attending without an invitation. This time he beamed with pride, saying 'you're ready'. That moment of validation was priceless. We collaborated on my second studio album, 'Haiserute', which pushed me to my limits."
She notes that the process was intense, with moments of frustration, "but Polloni's unwavering faith in me drove me forward".
"The album went on to scoop four awards and I would be forever grateful for his unfiltered honesty and mentorship.
"Polloni helped me reach my full potential. I was more like his girlfriend, the one he would talk to about anything. I was his maid of honour, so I was also his adviser. He was a friend, a brother who will tell you the truth, and I appreciate that immensely," Chimu says.
Weeks to live
"He called me over and told me what the doctors were suspecting and that he had to leave for France for treatment. A month later he told me he wouldn't be coming back to Namibia and that he only has two to three weeks to live. I was devastated, but he prepared me - all of us as we were always in contact."
Chimu says she believes Polloni is in a better place with no more pain.
Uncertain future of music
Another songstress, Patricia Ochurus, says she feels deeply uncertain and empty about the Namibian music industry a few weeks after Ras Sheehama's funeral, for whom she has been a backup singer.
"Polloni was a man with an influential and special touch with his guitar, and he is leaving the Namibian music industry with another huge gap. We've worked together on a handful of albums and particularly on my song, which he renamed 'Africa Tesla'," she says.
"Being a powerful internationally acclaimed musician, he reshaped our songs and gave them a beautiful international feel. He had an excellent ear when it came to music, and he would give you an honest opinion or review about your song when you approached him."
Ochurus says Polloni had unfinished work on her next album.
"However, I'm grateful that I've known him and worked with him. He was such a humble and intelligent person. I was hoping for Volume 2 of a 'Handful of Namibia' album. It's so painful to give your best for this nation while your efforts are not appreciated," she says.
"Musicians, especially the live performing musicians, are not valued in this country. Polloni tried to unify us in his unique way by producing a collaboration album so we can love and respect each other."
Ochurus wishes Polloni a peaceful eternal rest.
Hip-hop artist Mappz (real name Matthew Kapofi), a beatmaker and producer who helped shape the sound of Namibian hip-hop, had his introduction to the music scene as a singing partner with kwaito maestro Qonja.
"Christian [Polloni] was a very well-accomplished musician and audio producer. His equipment was top notch and his work ethic was unparalleled; he also had a heart of gold. He would really tell you the truth in terms of where you are with your music.
"He would tell you if you needed more work and exactly what to focus on to improve yourself as a musician. He was passionate about music and wanted everything to be proper in terms of delivery and performances, and he would not settle for mediocrity," he says.
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Mappz, who recorded one of the most successful Namibian kwaito albums, 'Koek n Jam', with Qonja at Polloni's studio, says the French musician was always prepared and willing to create something new, adding that it is sad to lose talented musicians like Ras Sheehama and Polloni at the same time.
The guitar maestro is particularly renowned for his work with Alpha Blondy during a musical journey that started in 1985 and took them to places like the United States and the Caribbean, where they staged sold-out shows.
Polloni was reportedly drawn to music at the tender age of 15 and yearned to play an instrument.
He moved to Paris in 1984 to pursue music further with his band, which managed to sign a three-year recording deal with Warner Bros Entertainment.
"This was very big for us as a band. At the time, they had musicians like Rod Steward and Foreigner," Polloni previously told The Namibian.
He also recounted one of his biggest commercial successes - writing the song '(Do Le) Yaleo' with Carlos Santana in 1998. The song became the opening track on the best-selling album in Santana's long career, 'Supernatural', in 1999.
