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LIGHTS OFF FOR MARIE HELENE MBONGA MAKIESE

Mon, 16 Mar 2026 05:00:00 +0000

Mama Marie Hélène Mbonga Makiese will be buried on March 21, 2026, at Gombe Cemetery in Kinshasa. Marie Mbonga, who was the eldest daughter of Congolese musical superstar Franco Luambo Makiadi, died on March 8 while receiving treatment at a hospital in Kinshasa, according to her son, musician Rudy Luambo Makiadi. Born in 1957 and named after her paternal grandmother, Marie Hélène was the eldest of Franco’s sixteen children, one boy, Yves Luambo Emongo, and fifteen girls. The late Marie Hélène was married to musician Youlou Mabiala, who sang with Franco for many years.

Her father, Franco, one of the most influential African musicians, died in 1989 and was buried at the same Gombe Cemetery. His band TP OK Jazz was one of the largest in terms of personnel and produced a vast discography of around 3,000 songs, according to an estimate by his longtime saxophonist Isaac Musekiwa. According to a programme released by Rudy Luambo, a vigil will be held on Friday, March 20, 2026, beginning at 6:00 p.m. and continuing until dawn at Franco’s club, the Un-Deux-Trois building, located along Gambela Avenue in Kasa-Vubu, near the Stade des Martyrs. On Saturday, March 21, 2026, the body will be removed from the morgue of the Cinquantenaire Hospital at 9:30 a.m. and taken to the Cathédrale Notre-Dame du Congo, where it is expected to arrive at 11:00 a.m. A requiem mass will begin at 12:00 noon, after which the funeral procession will proceed to Gombe Cemetery for burial at 2:00 p.m. Thereafter, friends and family will again gather at Un, Deux, Trois.

Meanwhile, Jabulani Radio dedicated yesterday’s edition of the Rumba Fiesta programme to the memory of Marie Hélène. The special broadcast will be repeated on Saturday at 5:00 p.m.

By Jerome Ogola

Jabulani Radio

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VETERAN PRODUCER, BABU, TAKES A BOW

Tue, 24 Feb 2026 18:03:00 +0000

Veteran music producer Allan Kanyottu, aka Babu, is dead.

The proprietor of Studio Sawa, situated at Munyu road, died on 19th February in a Nairobi hospital, according to a post by his son Lee Kanyottu.

Babu, who was born in 1945, studied sound production at VOK in 1966 and recorded a galaxy of stars in his studios. Among the notable names are Les Wanyika, Kakai Kilonzo, Joseph Kamaru, and Ochieng Kabasele, among many others.

"He was the pillar of our family and a true legend of the Kenyan music industry. From founding Studio Sawa Sound, a pioneer record label that was a platform to many iconic voices, to mentoring generations of broadcasters and sound engineers at KIMC and VOK/KBC, and his leadership at MCSK and KAMP, Dad leaves behind a legacy that will never be forgotten."
Lee noted in the post.

He has been survived by his wife, Mary Wangeci, and four children.

By Jerome Ogola

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A NIGHT WITH JAMNAZI IN SOY

Thu, 25 Dec 2025 00:57:00 +0000

Soy market is usually calm, with little activity, especially at sunset. However, this routine calm was disrupted on the evening of December 12th, 2025—a day when Kenya celebrates self-governance, popularly known as Jamhuri Day.

As the sun slowly disappeared into the distant horizons of the mountain ranges in the west, a palpable excitement began to build within the market, which lies at the border of Kakamega and Uasin Gishu counties. That evening, the town was set to experience a live musical concert by Jamnazi, an Eldoret-based band, and this rare spectacle is what made the night truly unique.

Situated about 23 kilometres from Eldoret along the Kitale Highway, Soy is an agrarian township that has not experienced much of urban nightlife, save for minimal spillover from the neighbouring town of Eldoret. Falling on a public holiday and at the doorstep of the festive season, the concert served as a befitting curtain-raiser to the celebrations that lay ahead.

Riders of the dozens of motorcycle taxis, popularly known as boda boda, who usually sit astride their machines waiting for passengers heading deep into the hinterland, suddenly abandoned their routines. One by one, they drifted toward the newly rehabilitated Wajax Club, eager to catch a glimpse of the band, which was set to officially unveil the facility in a grand launch, in collaboration with Jabulani Radio.

This was not Jamnazi’s maiden performance in Soy. The band had previously staged another explosive concert at Makuti Club, and as such, a section of the residents already knew exactly what to expect from the seasoned performers.

For many music enthusiasts, a live concert is not just an ordinary night out. It is an opportunity to witness firsthand how great music is crafted. Rumba, in particular, is a unique and highly technical genre. Watching the equipment being set up, musicians taking their positions, guitars being tuned, and then the entire ensemble roaring into life is an experience that remains etched in memory for a lifetime.

Having previously sampled the band’s music on the radio, other recorded media, and even through similar concerts viewed on platforms such as YouTube, only heightens the thirst for a firsthand encounter with the music in its raw, live form.

The chance to mingle with the superstars themselves is an experience no fan wishes to miss. This was evident from the number of photographers milling around the venue, angling for moments to be captured alongside these musical geniuses.

Jamnazi Afrika, a band headed by Peter Dalidi, was birthed at a club known as Kutana in Eldoret town on April 2nd, 2002. The founding members included Awilo Mike, also known as Mike Otieno, a singer and composer, and Peter Dalidi himself, a solo guitarist, singer, and composer, among many others.

Over the years, the band has released several albums, composing songs that climbed the charts and produced hits which turned Jamnazi into a household name. Paradoxically, this fame only fuels greater curiosity, deepening the desire among fans to experience the band live on stage in a concert setting.

The palpable anticipation among the seated revellers at the expansive venue finally morphed into thunderous cheers when the Jamnazi team took to the podium at around 8:00 pm. The very first strike of the guitar chord for the song “Riziki” sent the crowd into a wild frenzy.

Being a familiar tune and possibly a crowd favourite, it was only natural that everyone sang along. But that was just the beginning. Some fans danced enthusiastically throughout the performance, while others sat back pensively, choosing instead to savour the sheer musical genius on display.

This brilliance began with band leader Dalidi Mwombe’s wizardry on the solo guitar, Ouma’s impressive finger dexterity on rhythm guitar, the marvellous vocal blend of the singing trio of Suleiman, Raja, and Dalidi himself, Oloo’s commanding drumming prowess, and the bassist’s zeal, skillfully executed across four strings.

One of the band’s most popular songs, “I Am Not Sober, advocates responsible drinking, proving that the night offered not just entertainment but also subtle education packaged within music. In the song, the composer narrates how he prudently spends his earnings. He first pays school fees, settles rent, and shops for the family, before finally seeking to quench his thirst with his favourite drink.

Many fans often fall in love with a band only after attending a live performance, and this possibly explains why legendary groups such as Mazembe, Mangelepa, Viva Makale, Virunga, Vundumuna, Les Wanyika, and many others from Nairobi’s golden era rose to such immense popularity.

Live bands were the cornerstone of club entertainment in the 1970s and 1980s, during a period when the country enjoyed a vibrant and robust music scene. Attention later shifted to DJ-driven music and English football. However, judging by the large crowds that continue to turn up for such concerts, it is evident that the era of live bands is slowly but steadily making a well-deserved comeback.

By Jerome Ogola

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M'BILIA BEL INJURED IN ROAD ACCIDENT

Tue, 09 Sep 2025 23:32:00 +0000

Congolese songbird Mbilia Bel, born Marie Claire Mboyo, was involved in a road accident early in the morning of September 9, 2025, on her way to N’djili International Airport, alongside her promoter, Jules Nsana. Both sustained injuries and were rushed to a hospital in Kinshasa for treatment. Their conditions were later described as stable, with Mbilia suffering injuries to her head and legs. A family member was quoted as saying, “Mbilia was unharmed, but hospitalized for precautionary medical observation.” Nsana also sustained injuries and is being treated at an undisclosed hospital in Kinshasa.

The Agence Congolaise de Presse (ACP), the country’s official news agency, confirmed the accident and clarified that the duo were out of danger. Police, however, had yet to issue a formal statement. There was widespread misinformation about the incident on social media, which prompted the ACP and family members to issue clarifications, much to the relief of music fans. Renowned MC Marc Tabu, son of legendary musician Tabu Ley Rochereau, confirmed that both were safe.

The pair was headed to the airport to catch a flight to Belgium, where Mbilia was scheduled to perform in a series of concerts beginning on September 20. The 66-year-old superstar rose to fame in the early 1980s while performing with Tabu Ley in his band, Afrisa International. After parting ways with him, she launched a successful solo career and has since released several albums, the latest being Big Mama in 2021.

Mbilia Bel’s public life has often been the subject of false rumors, including a fabricated suicide attempt in 1986 and a death hoax in 2019. Road accidents have become increasingly common in Kinshasa, a worrying trend often blamed on the city’s deteriorating infrastructure.

By Jerome Ogola

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CHRISTOPHER MONYONCHO: THE GUSII TOWERING MUSICAL ICON

Sat, 23 Aug 2025 09:00:00 +0000

Just Who Was Christopher Monyoncho?

This is the question many commentators online kept asking after a short Tiktok clip by Kamba guitar sensation Tumbo Usu went viral.

In the clip, Tumbo displays impressive finger dexterity on the fretboard, showcasing his guitar expertise by performing an old Benga song titled Safari ya Kericho, originally sung by Kijana Musyoki and his Kimangu Boys Band. The song, which was a regular feature on KBC radio in the 1990s, seemed to evoke fond memories for many. The viral clip rekindled nostalgia and curiosity, particularly around the song’s subject matter. It was done as a tribute by the Kamba Benga supremo in recognition of his Kisii counterparts, a duo identified as Christopher Monyoncho and Christopher wa Nyarogendo.

“Twaenda Kisii tukamuone Monyoncho pamoja na Christopher wa Nyarogendo,” sings a line in the song.

After a few lines of intricate guitar play, he hums the line again, and the addictive melody and tight groove undoubtedly get every keen listener hooked, creating a thirst to know more about the song and especially about the musicians it mentions.

One listener, Omari Junior, offered this explanation in response:

"Christopher Monyoncho was a Kisii Benga artist whose mastery of the strings attracted Kamba Benga musicians. He used to record at a studio in Kericho. He was born in Kegogi, Kitutu Chache North. He was widely known as ‘Riyo ri’ebasweti’, meaning ‘python skin,’ because he never aged at what he did best.”

That Kenya has never invested seriously in documenting its artistic history only means that even those who had a significant national impact have been covered only sketchily. Very scanty information about them is available for public consumption.

“When I was a freshman at Moi University back in 1990, my Kamba classmates would ask me if I knew Christopher Monyoncho. Apparently, the guy had been beloved Kule Ukambani since the 1970s. It’s interesting to see a youngster from Ukambani singing today about the late Kisii musician,” offered another reader, Ben Moses Nyang’wara.

Having evolved in central Nyanza in the 1950s and 1960s, Benga began its countrywide tour soon after. Kisii, through Monyoncho, emerged as one of its strongest outposts. The Kisii region, once part of what was known as South Nyanza but now split into Kisii and Nyamira counties, produced one of Benga’s earliest superstars.

Apart from penetrating northward into Luhyaland, Benga also spread into Central Kenya and Ukambani, eventually becoming a national genre.
Born in Kitutu Chache (Kegogi Ward) in 1945, Monyoncho lost his parents, Mazee Araka Ndiege and Cinsilia Moraa, early in life and began working at a young age. He sought menial jobs, a journey that took him across the border into Tanzania after dropping out of school. In the early 1970s, he worked as a casual laborer in multinational tea plantations in Kericho. The harsh conditions he and his colleagues faced inspired one of his most iconic songs, Emeremo ya Masamba.

In 1975, he founded Kegogi Jazz, alongside John Sitora, Charles Omweri, Andrew Gitenyi, and others. The band gained popularity rapidly, not just in Kisii but across the region. With Kegogi Jazz, Monyoncho recorded hundreds of songs over the years, cementing his status as a household name. His music was immensely popular on the radio, in the streets, in clubs, and in villages. He was even bitten by the political bug, successfully contesting for a councilor seat in 1992. He served until 1997, an experience he later captured in the song Kumbe Siasa Namechando.

Although his music broadly fell under the Benga category, Monyoncho’s style was distinctive. It incorporated elements of traditional Abagusii music, and he mostly sang in his native language. Some of his well-known hits include: Emeremo ya Masamba, Entereba Egatinda Ekarara, Yovensia Moraa, Ogosira kwa Joyce, Etoyota, among many others. He passed away in October 2013 at a hospital in Kisii, where he had been admitted after attending a friend’s funeral in Nairobi. He was 68.

Christopher Monyoncho wasn’t just a successful musician; he was a cultural icon. He is considered by many to be the most successful Kisii musician to date and remains an inspiration to a whole generation of artists who came after him. Today, the Kisii region boasts some of the country’s most prominent Benga musicians, a legacy that can be traced back to the python-skin guitarist from Kegogi.

Tune in to Benga Blast by The Rumba Monk every Saturday and Sunday at 4PM for a vibrant celebration of Kenyan Benga music, featuring iconic hits and electrifying rhythms from legends like Christopher Monyoncho to today’s rising stars!

By Jerome Ogola

Jabulani Radio

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Tune in to Benga Blast by The Rumba Monk every Saturday and Sunday at 4 PM for a vibrant celebration of Kenyan Benga music! Born in Central Nyanza in the 1950s, Benga’s electrifying guitar riffs, infectious rhythms, and soulful melodies spread to Kisii, Ukambani, and beyond, becoming Kenya’s iconic national genre. Relive the magic of legends like Christopher Monyoncho with hits like Emeremo ya Masamba and discover modern tributes keeping Benga alive. Join us on www.jabulaniradio.com for a nostalgic, high-energy journey through Kenya’s musical heritage!

ANOTHER BENGA SUPERSTAR FROM THE MOUNTAIN

Mon, 21 Jul 2025 17:40:00 +0000

While Franco served a six-month jail term in Makala Prison in Kinshasa for composing two songs, "Jackie" and "Heleni," considered explicit and lurid, an almost similar occurrence was happening simultaneously in Nairobi. Musician Daniel Kamau Mwai, popularly known as DK, was facing charges in court for composing two songs, "Nana" and "Mwithua," both of whose lyrics had been censored as graphic.

Luckily for DK, he was never convicted and was instead acquitted of the charges. He had been in the music scene for almost a decade and was already a household name, having created a band that went on to record some of the most popular songs of the era.

In a classic case of adopting, repackaging, and re-exporting a product, benga originated from what was then known as Central Nyanza in the 1950s and 1960s—an evolution made possible by players like John Ogara and others. Once the reverberating beats of the genre made it across the country, it took the musical genius of DK and his peers to make it even better and more popular far and wide, including in its birthplace.

DK, the trailblazer of Kikuyu benga, was born in Murang’a in 1949. It wasn’t difficult for him to learn how to play the guitar, as several of his siblings were musicians. His debut was in 1968, when David Amunga, then an already established name, aided him in recording two singles titled "Kenyatta" and "Mami, Tiga Guthura." David Amunga was a central figure in the country’s entertainment in those days.

However, it wasn’t until 1970 that he released the hit song "Murata," also known as "I Love You," which made him a celebrity. The song became an instant hit, with its popularity spreading fast across the country, even to regions that had hitherto never embraced Kikuyu music, like Nyanza.

Having established his own recording studio and record label, he reaped maximally from the proceeds of his musical exploits, a phenomenon that cannot be said of other musicians, who had to pay studio fees or sign contracts with third parties that often turned exploitative. The marketing of music records has been cited as the Waterloo of many a musician’s attempt to make economic sense of their creativity.

With a musical brain and an entrepreneurial thirst for success, in the late 1970s, he attempted a new rung, a venture that bore fruit when he contested and won a councilor seat in Gatanga Ward, which he held until 1992. This meant that for over a decade, he had to strike a delicate balance, juggling art and politics. Nonetheless, this new engagement didn’t stop him from recording new songs and performing gigs. He was more of a full-time musician and a part-time politician, as opposed to the reverse, which looked more plausible.

It also happened that there was an influx of Congolese expatriate musicians in the country in the 1970s and 1980s, creating a very vibrant music industry and a rich nightlife. Smarting from the realities of independence, Africans in the cities were redefining themselves, and art was evolving from themes of colonialism. In this context, local music, that done in indigenous Kenyan languages, seemed to find favor over that by Congolese bands.

In this respect, established clubs in Nairobi literally fought for the signatures of the big local musical names, and this explains the surge in the popularity of DK and others in that era.

A prolific composer, DK has released hundreds of songs over the years. Some of his hit songs include "Ciru," "Jane," and others, all done in his native Kikuyu language. He has also mentored a litany of stars in his band.

DK also survived the turbulence of the music industry occasioned by changing dynamics that saw many bands fold and several musicians retire or quit. With the advent of technology, he embraced it—starting to record videos and diversifying into new ways of marketing his music, capitalizing on technology for wider reach.

Commenting on why this superstar has remained afloat for several decades, Christopher Wanyaga, an ardent Jabulani Radio listener and Benga enthusiast, marveled at how DK’s music has stood the test of time. “Some of his compositions were way before his time,” Christopher Wanyaga said from his base in Nairobi.

At 75, Daniel Kamau remains one of the most formidable pillars in the Kenyan music industry, with numerous recordings and a large fan base.

By Jerome Ogola

Jabulani Radio

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SUNSET COMES FOR JOSEPH JUST OF LES WANYIKA

Sun, 22 Jun 2025 12:00:00 +0000

"Joseph Just was not just a percussionist with the Wanyika bands but a great vocalist as well," reminisces Abbu Omar, his former colleague at Simba Wanyika and Les Wanyika, while mourning the Tanzanian musician who made a name in Kenya, featuring for several bands over several decades.

Joseph Just, also known as Muzungu due to his light skin complexion, died on June 20, 2025, at the KCMC Hospital in Himo Town, Moshi Municipality, Tanzania, after battling a heart ailment for a couple of years, according to his wife, a Kenyan from Kakamega.

He had since retired from music. He left Kenya to settle in his hometown during the COVID-19 period and operated an M-PESA shop there. Joseph Just was part and parcel of the legendary Wanyika bands that dominated the Nairobi entertainment scene for several decades from the mid-1970s.

The genealogy of the Wanyika, which comprises several generations, began with the Young Nyamwezi Band of Harrison Siwale, the patriarch of the family.

It is from this outfit that an offshoot emerged: Jamhuri Jazz. Jamhuri Jazz gave birth to Arusha Jazz, which was headed by the Kalekezi siblings, George and Wilson, popularly known as Kinyonga.

The band relocated to Kenya and settled in Mombasa, as narrated by Abbu Omar in his book Maisha Yangu Na Bendi Za Wanyika. Since they were now in Kenya, they rebranded to Simba Wanyika because Arusha is in Tanzania.

It is from Simba Wanyika that Les Wanyika emerged, further extending the family by several births, among them Mavalo Kings and MAS System. Joseph Just's entry point into this musical family was at the Simba Wanyika level.

Born Joseph Just Shayo in Rombo, Kilimanjaro, in 1958, he acquired primary education in local schools. In 1973, he traveled to Mombasa, Kenya, to visit an uncle who did business in the town—quite typical of the entrepreneurship of the Chiga community, known to be very aggressive businesspeople.

He settled in Mombasa and began hawking to eke out a living. It happened that one time, during his hawking business in a place known as Majengo, he came across a band performing. The band was Simba Wanyika.

Being an astute music fan, he found himself completely carried away by the musical prowess of the team. He had to ignore his hawking duties and make his way there the following day, not to patronize but to engage the musicians on the possibility of them training him to become a musician, just like them.

He was elated to learn that these superstars were actually from Tanzania, like him. He struck a rapport and managed to convince the team to train him to become a musician. The team agreed. As Abbu Omar once quipped, George Peter always had a listening ear and a willing heart.

The band agreed to take him on board but not as a musician; rather, more as a subordinate whose core role was to help lift and assemble the band's equipment. Of course, this was a way of testing his patience and commitment.

Once within the fold, they taught him how to play the congas. He learned fast and became a master of it. He was also a gifted singer with a natural high tenor, which became a big asset to the band.

During the recording of the Baba Asiya album, Joseph Just was in the studio singing alongside George Peter as he also played percussion. The album, which also featured Abbu Omar on rhythm guitar, was recorded at High Fidelity Studios.

Les Wanyika was an offshoot of Simba Wanyika, as stated earlier. Joseph Just was part of Simba Wanyika but later found his way to Les Wanyika, which was headed by John Ngereza. Although Ngereza was from Super Bwambe of Congolese Kayembe Nyonga, several musicians in the ensemble were previously members of Simba Wanyika, among them lethal rhythmist Omar Shaban, nicknamed "Professor."

The team also had trumpeter Sijali Zuwa, sax player Phoney Mukwanyule, and bassist Tom Malanga, among others. At Les Wanyika, Joseph mostly played the congas.

With the fortunes of Les Wanyika dwindling after the demise of John Ngereza, Joseph Just made his way to MAS System, which played at Muungano in Nairobi. He also played with Mazadijo of Anzino Osundwa and Limpopo of Musa Juma, where he mostly sang.

He also had several stints with other bands and singing groups, moonlighting for the recording of numerous songs, among them the Oyundi album of Ochieng Kabasele, which featured songs like "Jela," "Sije," and "Homage Owino Ger." The album was recorded at Babu Sha Studios and featured Super Mazembe bassist Atia Joe on bass, Kabasele himself on rhythm, and Onyango Raringo on bass. Babu Kanyotu, the sound engineer, played the keyboard.

Joseph Just made his way into the hall of fame of African music, having immensely contributed in the years he was active. Burial arrangements are ongoing in his rural home, where he will be buried on a date yet to be confirmed.

By Jerome Ogola

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MUSAIMO’S METEORIC RISE UP THE TOP

Thu, 19 Jun 2025 13:42:00 +0000

Had his father made good on his attempt to chop off his fingers, Kenyan music wouldn't have been graced by the magical guitar works of Musaimo. He had campaigned for the late John Michuki for the Kangema Parliamentary seat in the 1979 elections and was paid 5,000 shillings, quite a tidy sum at that time. This was the money he used to pay for his secondary education.

However, upon completing school, no job was forthcoming, and he had to eke out a living performing menial jobs, commonly known as "mjengo," at construction sites, often accompanying his father, who was a mason.

It was from his wages that he saved and bought his first guitar for 40 shillings. In the evenings, he sat under a tree to relax his muscles from the "mjengo" hustle and bustle, practicing his guitar. This became a habit that bore fruit as he perfected his skills and taught himself how to accompany himself on guitar as he sang. Equally interested in music, his exploits attracted a friend known as Mwalimu wa Gatanga, who also got bitten by the music bug. Together, they composed and recorded what was to be their maiden release, "Njungi ya Kiruka," a song based on ugly looks.

His work as a casual laborer at construction sites took him to Nairobi, and this worked wonders for his musical talent. He honed his guitar skills at St. Theresa’s School, where Arnold Grol polished his own playing. This saw Musaimo become one of the finest and most sought-after guitar talents in Nairobi, at a time when live music was the heart and soul of entertainment. He kept singing and practicing, and his musical interest and talent reached the ears of producer Waweru wa Maingi, who helped the budding talent record "My Dear Kwaheri." The producer’s touch made the song an instant hit that catapulted Musaimo into national fame.

This success exposed him to the industry’s big names like Joseph Kamaru, from whom he learned how to manage a band and navigate the intricate music industry, an industry brimming with potential but threatened by piracy. Musaimo kept up the tempo and rose through the ranks so fast that by the mid-1980s, his songs dominated Kikuyu music charts. His authoritative baritone roared across music-selling shops, and patrons in drinking joints couldn’t get enough of his songs.

It was during the peak success of his hit "My Dear Kwaheri" in the mid-1980s that Musaimo formed his own band, Mbiri Young Stars, alongside other musicians like Kimani Thomas and Joseph Wamumbe. He grew to become one of the country’s biggest names in music in his first decade, with hits like "Chai wa 14," which was recorded in 1980 but remained popular for more than two decades.

Guitarists have an edge over non-guitar-playing vocalists because they can involve the instrument at the composing stage, making it easier to create a melody, and this seems to have worked well in Musaimo’s favor.

Musaimo says that in most of his songs, he first creates the melody before coming up with the lyrics. He has so far recorded more than 300 songs. Despite the market having shifted from selling cassettes to an era where digital platforms have replaced traditional marketing methods, Musaimo has kept himself abreast of technological innovations and runs social media accounts on both Facebook and YouTube.

Musaimo, who was born Simon Kihara in Kangema, has continued releasing hits to date, extending his dominance of Kikuyu music into the present era. Having role models in Dr. Nico, the Congolese guitar supremo, and Mbaraka Mwinshehe, also known as "Soloist National," Musaimo values live instrumental recordings and cites the lack of that as the Achilles’ heel of many contemporary artists who prefer computer-programmed backups.

He has won several awards and performed across the country and abroad in Europe. He is the foremost guitar player among all Kikuyu musicians.

By Jerome Ogola

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Prof. NGUGI WA THIONG'O, KENYA'S LITERARY SUPREMO HAS RESTED

Thu, 29 May 2025 09:30:00 +0000

Prof. Ngũgĩ wa Thiong’o’s pen has dried up and will write no more. The literary icon died on Wednesday in the USA, where he lived and worked for five decades. His death was announced by his daughter, Wanjiku wa Ngũgĩ, in a Facebook post.

“It is with a heavy heart that we announce the passing of our father Ngũgĩ wa Thiong’o,” the post read in part. According to the post, the renowned author, described by others as the Chinua Achebe of East Africa, died on the morning of Wednesday, the 28th.

Immediately, social media platforms were awash with messages of condolence pouring in from every corner of the country, in a pattern that left no doubt Ngũgĩ was revered in the literary world.

“I am deeply heartbroken by the passing of Prof. Ngũgĩ wa Thiong’o. He was a literary giant, a fearless intellectual, and a man whose words shaped the very core of my being as a writer and scholar,” wrote Prof. Igara Kabaji, a creative writing lecturer at Masinde Muliro University, on his Facebook page as he mourned the fallen icon. Ngũgĩ, who died at age 87, had been battling ill health for the past couple of years. It is worth remembering that a false alarm about his death in 2022 circulated widely on social media, triggering panic among literature enthusiasts.

An alumnus of the famous Alliance High School and Makerere University, Ngũgĩ was born James Ngugi in 1938 in Kamirithu, Limuru, what is today Kiambu County. In 1963, he won a scholarship to pursue a master’s degree at Leeds University in England. It was around this time that he authored his famous books Weep Not, Child and The River Between, which became staples in secondary school literature. While teaching at the University of Nairobi in 1970, he abandoned the name "James," which he viewed as a colonial imposition, and adopted Ngũgĩ wa Thiong’o. During his time at the University of Nairobi, he proposed the abolition of the Department of Literature, arguing that the institution, and others across Africa, should focus instead on teaching African literature.

It was while at UoN that he authored Petals of Blood and Ngaahika Ndeenda (I Will Marry When I Want). Around this time, his run-ins with the autocratic Kenyatta regime began. He was arrested and detained at Kamiti Maximum Security Prison for several months. Departments of literature in universities are known targets for despotic regimes, given their critical role in spotlighting societal ills, often making authorities feel exposed or targeted.

While imprisoned in a cell intended for mentally ill prisoners, Ngũgĩ wrote Devil on the Cross, using toilet paper as his manuscript. In 1982, following persistent criticism of the government, he fled Kenya into exile, first in Europe, and later to the United States, where he settled. He taught at several universities, including the University of California, where he served as a distinguished professor of comparative literature.

Henry Chakava of East African Educational Publishers, who published some of Ngũgĩ’s works, once recalled attending a book fair in Zimbabwe with Ngũgĩ in 1986. The chief guest at the event was Chinua Achebe. Most writers in attendance advocated for Africans to write in African languages, a view Achebe did not support. He famously stood and countered:

“People should be allowed to write in the languages they are most at home in.”

Ngũgĩ, however, held a different view, which explains why most of his later works were originally written in his native Gikuyu language and had to be translated into English for a broader reach.

When President Kibaki came to power in 2002, ending KANU’s long reign of terror, many exiled Kenyans returned home. Prof. Ngũgĩ visited Kenya in 2004. Tragically, during his visit, thugs broke into their hotel room, assaulted the couple, and raped his wife, Njeeri. Three guards at the facility were later arrested and convicted for the crime.

Ngũgĩ, by far Kenya’s most prominent novelist and playwright, authored numerous books. Virtually every student educated in the Kenyan system has encountered his works at some level, which cements his iconic status in the country and region. In 2023, another rumor surfaced, alleging that Ngũgĩ was “sickly and lonely” in the USA, having been abandoned by his wife, Njeeri, whom he married after the death of his first wife, a union that had reportedly faced significant challenges. These rumors, however, were firmly refuted by his family.

Although the ink in his pen has dried, his words and legacy will surely outlive him for generations to come. His writings have definitely inspired many into writing, reading, and shaping their intellectualism.

He leaves behind a family of eight children, including four writers: Nducu, Tee, Mukoma, and Wanjiku.

By Jerome Ogola

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TRACING LABAN OCHUKA'S FOOTPRINTS IN MUSIC

Sat, 05 Apr 2025 10:20:00 +0000

"Snakes give birth to long things." This saying helps explain why Dan Ochuka, son of Laban Ochuka, a superstar from the Maroon Commandos, is an accomplished musician, as were both of his parents.
His mother, Agnes, was a professional mourner, a role that involved a great deal of music, while his father was a dancer of the traditional Abanyole dance known as Esirembe.

Ochuka, one of Kenya’s finest musical sons, began his music career in the early 1970s in Ebunangwe, Emuhaya, in what is now Vihiga County, where he was born and raised. His earliest involvement in what would become a blossoming career began as a box guitar specialist, performing at funerals and entertainment joints.
This continued until one day when veteran Litungu player Joshua Omwami, famed for the hit song "Kila Siku, Kariobangi," discovered his talent and brought him to Nairobi to further his musical potential.

At the time, Joshua Omwami performed at a venue known as River Yala Club in Kariobangi. This is where young Ochuka was introduced and, after impressing both as a singer and instrumentalist, he was welcomed into the band.
After a stint with the band, in 1977, the Department of Defence (DOD) launched a recruitment drive to rejuvenate its band, the Maroon Commandos, which had been struggling to stay afloat after a tragic 1974 road accident that claimed the lives of several members.
The band had originally started as Blue Triangle and was based at the Gilgil-based infantry battalion, 5KR. Kifoto, one of its members, was transferred to Nairobi as part of trauma recovery following the accident. In 1977, he was tasked with scouting for talent to revive the band, which led to a public audition.

According to veteran journalist Elphas Ambundo, the auditions took place at Uhuru Park in Nairobi on December 31, 1977. Despite attracting a large group of musicians, only a few were selected.
Among those who impressed the panel, which was led by Kifoto himself, were Dan Ochuka, David Kibe, Tuesday Oguro, and Mwandembo. The quartet underwent rigorous military training in Lanet, Nakuru, before being posted to the Lang’ata-based 7KR, which housed the Maroon Commandos.
This lineup produced the hit "Charonyi Ni Wasi," among other songs, helping the band become a household name in Kenya. Ochuka’s first composition with the band was "Liloba," recorded in 1978.

Ochuka was an all-round musician; he composed, sang, played rhythm guitar, and bass. His primary role with the Maroon Commandos was as a bassist, though he contributed to other sections as well.
His son, Dan, who has performed with both the Maroon Commandos and Utawala, cites the song "Riziki," where he played rhythm guitar. He also played bass and sang in "Safari," his own composition, as well as "Sofia" and several others. "Safari," which tackled infidelity using figurative language, was so popular that it was recorded twice, first with Maroon Commandos and later with Ulinzi, another military band that Ochuka founded.

The song uses metaphor to suggest that sometimes "one car can be driven by two drivers," hinting at the complexities of romantic relationships. In the 1980s, the band became highly popular and frequently performed at national functions.
During that era, VOK (Voice of Kenya), which later rebranded to KBC, was the sole broadcaster. The station opened each morning at 5 a.m., and a Maroon Commandos song, "Uvivu," was used as the opening jingle. This helped make Ochuka and his bandmates household names. The song served as a national call to action, akin to the Congolese hit "Salongo Alinga Mosala."

"Sofia" tells the story of a marriage going through turbulent times. With its easy-to-sing-along melody, it became another unofficial national anthem from the band—just like "Dawa Nimuone Honey," a poetic love song.
Following disagreements within the band in the mid-1990s, Ochuka was transferred to the Defence Headquarters, where he started the Ulinzi Band and recruited musicians like the talented soloist Roland Isese.

At Ulinzi, Ochuka sang and played bass on all their recordings. Beyond Ulinzi and Maroon Commandos, he also backed several top Congolese artists in concerts and recordings, including Sam Mangwana, who recorded an album in Nairobi.
At some point, Ochuka left the music scene and gave his life to Christ at Pastor Ng’ang’a’s church. He passed away in May 2006.

He remains one of the most unsung heroes of Kenyan music.

By Jerome Ogola

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SIAMA’S MYSTICAL GUITAR THAT BRIDGED CONTINENTS

Tue, 25 Mar 2025 19:13:00 +0000

"Siama, I've missed you for 40 years. Now I can die happy because you've visited me."

These were the words of Siama Matuzungidi's mother, Diambela, when the US-based musician visited her in 2010 after more than four decades abroad without setting foot at home.

Though based in Minneapolis, USA, since 1996, it was in Africa—specifically Nairobi—where Siama rose to prominence in the music scene, playing rhythm guitar and composing for several top bands in the 1970s and '80s.

Born in Matadi, Bas-Congo, in the 1950s, Siama made it to the big stage in the mid-1970s, performing with Orchestra Cavacha, led by Dona Mobeti and Mopero Wa Maloba. It was with this group that he composed his very first song, "Bomoto Makasi."

However, the ensemble faced leadership struggles, with Mopero and Dona locked in a tussle that led to a split, each musician taking a piece of the band. Mopero named his faction Cavacha de Mopero, while Dona retained the name Cavacha. The conflict escalated, prompting Franco, then head of the musicians’ association, to mediate a truce.

Following the split, Mopero rebranded his faction as Orchestra Shamashama. According to music researcher Alastair Johnston in his Muzikifan blog, Mopero took his new band on tour to Uganda. The band eventually disbanded in Kampala, leading to Siama’s first departure from DRC. He was invited by Coco Zigo to form a new band, Kombe Kombe, which was meant to replace Shamashama at their venue in Kampala.

The band later moved east to Nairobi, rebranding as Viva Makale after securing a performance contract at Garden Square, as Siama recounted to Alastair Johnston. However, Coco Zigo retained the name Kombe Kombe, using it to bypass contractual obligations signed under Viva Makale.

In the beginning, the group—known for the hit song "Akamba"—included Kalombo Mwanza on saxophone, Bwamy Walumona and Frantal Tabou on solo guitar, Lava Machine on drums, Kabeya Thomy on bass, and Tambwe Mandola on vocals, among others.

At the time, Nairobi’s music scene was incredibly dynamic, with an influx of Congolese superstars. Musicians frequently changed bands, making it difficult to trace each artist’s journey.

Many Nzong Nzing bands were also formed solely for studio recordings. These makeshift bands comprised musicians from well-known groups, but some of them never performed outside the studio.

Siama also played with Orchestra Shika Shika, led by saxophone maestro Jimmy Monimambo, alongside Frantal Tabou and others.

After the death of Le Kinois following a failed tour in Uganda, Polygram producer Isaya Mwinamo convinced Samba Mapangala not to return to DRC, as he had planned.

Samba recorded one album featuring Bua Mangala on rhythm guitar and Lawi Somana on solo. He then formed Orchestra Virunga, which included a star-studded lineup—Siama on rhythm guitar, Mansita on solo, Fataki Lokassa on vocals, Nsilu Wabansilu on bass, and others.

In 1996, Siama, popularly known as Mwalimu, relocated to Minneapolis, USA. He took his musical expertise beyond the continent’s borders, blending his style with other genres to appeal to a new audience.

Expanding his guitar skills beyond rumba, he taught himself calypso, reggae, and other styles. He had to adjust to performing for smaller, albeit more financially rewarding, audiences—quite different from the music-crazed clubs of Nairobi.

After a decade, he shifted his style again, embracing African beats by swapping his electric guitar for an acoustic one. He also incorporated traditional African instruments like the marimba and likembe (thumb piano) to create an authentic folk sound reminiscent of the music his parents once enjoyed around moonlit campfires in Matadi.

This reinvention won over his new audience, leading to a major breakthrough in the USA. In this style, he released the popular Rivers from Congo in Mississippi in 2016. Siama is married to a musician/manager with whom he has collaborated on several albums.

Siama’s rhythm guitar style is distinctive. The introduction of "Sister Alima" by Virunga showcases his creativity as a rhythm guitarist. During that era, other rhythm greats included Okello Jose, Bua Mangala, Lumwanga Mayombo, Rapok Kayembe, Owacha Willy, and Tuesday Oguro. A keen ear can tell that Siama stood out among them all.

Though he spent many years away from his mother and homeland, Siama became a citizen of the world, bringing joy to audiences across the oceans that separate continents.

By Jerome Ogola

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FATHER OF AFRO JAZZ

Thu, 20 Mar 2025 16:00:00 +0000

Africa isn’t just about war, poverty, famine, and humanitarian crises, as often depicted by the international media. Africa is also a story of a people bound by kinship, deeply in love with their culture, whose story is better narrated through art than documentaries, and whose resilience is self-evident in their history.

Not many artists have had the opportunity to showcase the continent’s capabilities to a global audience. However, deep in western Cameroon, a woman of the Douala tribe gave birth to a child who would help rewrite the history of Africa.

On December 12, 1933, Emmanuel N’Djoke Dibango, later known as Manu Dibango, was born. He grew up in his father’s native home in the Yabassi escarpment and had early interactions with religion as a member of the Protestant Church, which instilled in him a love for music.

He enrolled in a local school, and by the time he was 15, he was sent to Paris to further his education. While abroad, Dibango was captivated by music at a young age. He learned the piano and began spending more time with musicians rather than focusing on his studies, the very reason he had been sent abroad.

This infuriated his parents back home, prompting them to reduce the financial support they had been sending for his upkeep. As a result, young Dibango had to immerse himself in music, not just as a passion but as a means of survival. He earned a tidy sum backing up musicians on the piano.

In 1953, Dibango had his first encounter with what would become the love of his life, the saxophone. He learned and perfected his skills using an instrument borrowed from a friend who was equally impressed by his zeal and thirst for success.

In the late 1960s, Dibango moved to Brussels to further his music career. There, he coincidentally met Grand Kallé, also known as Joseph Kabaselle of African Jazz, the most popular and fully professional band from the Democratic Republic of Congo (DRC) at the time. Grand Kallé took this talented son of Africa back to the continent and gave him the opportunity to join African Jazz as a saxophonist.

Dibango had several engagements within the music scene in Kinshasa and Brazzaville. He was responsible for arranging and playing the saxophone in many of Franklin Boukaka’s songs.

The man with the hearty laughter worked in several ensembles, both in the studio and in concerts, performing in his native Cameroon, Kinshasa, Paris, and Brussels. His innovative nature led him to experiment with various musical elements, fusing traditional funk with jazz and ultimately creating a completely new genre.

His 1972 hit "Soul Makossa" marked the birth of Afro-jazz. The song, which became wildly popular, is believed to have inspired Michael Jackson’s "Wanna Be Startin’ Somethin’" from the "Thriller" album. "Soul Makossa" sold millions of copies in the U.S., Europe, and Africa.

Dibango even took Michael Jackson to court over copyright infringement, but the issue was settled amicably out of court.

Manu Dibango was among the first prominent casualties of COVID-19. He passed away on March 19, 2020, in Paris. The news of his death was made public by his daughter, Liza Mornet, who stated that he had succumbed to the dreaded pandemic. His passing made him the second prominent African musician to die of the virus after singer Aurlus Mabélé.

At 86, Manu Dibango was powerful and continued to perform full-length concerts. His love for smoking seemed not to have affected his health, as he played the saxophone flawlessly, a task requiring strong lung capacity, the very organ most affected by smoking.

He was also one of the few musicians to document their musical journeys in writing. Manu authored an autobiography, "Trois Kilos de Café" (Three Kilos of Coffee), which details his life and musical journey. The title was inspired by an early trip abroad when he carried three kilos of coffee for his adopted family, introducing them to the rich taste of African coffee.

Fortunately, he continued to share Africa’s essence with the world, ensuring a steady supply of music infused with African heritage. He left behind a rich discography of more than 30 albums and over 300 songs.

By Jerome Ogola

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MBOTELA, KENYA’S VETERAN BROADCAST JOURNALIST DIES IN NAIROBI

Sat, 08 Feb 2025 05:56:00 +0000

In the mid-morning of 7th February 2025, news outlets were awash with sad news. The patriarch of broadcast journalism in Kenya, Leonard Mambo Mbotela had breathed his last at Nairobi Hospital, where he had been admitted for treatment.

The octogenarian who had an illustrious career at KBC/VOK for over six decades died at around 9.30 a.m., according to his nephew Anne Mbotela.

News of his death spread fast and furious with Kenyans mourning him across several social media platforms, as a man whose authoritative voice defined radio broadcasting in the country, through football commentary and his all-time popular program 'Je, Huu Ni Ungwana', which castigated people of uncouth mannerisms.

The president of Kenya, William Ruto, described the fallen baobab as: "a gifted and powerful broadcaster whose alluring voice dominated our airwaves" He wrote on his Twitter.

Cutting his teeth in an era when radio was the primary source of news and entertainment for the country's majority, Mbotela became a household name during the 1970s and 1980s. His tenure as head of VOK radio in 1982 during the coup attempt placed him in a vintage position in the country's history.

On 31st July 1982, the bedroom window of his Ngara residence was knocked in the wee hours, some few minutes to 5 am. He could clearly see the person who was knocking, and identify him as a Mr. Wainaina, who was the corporation driver in the day. At first, he thought he was required at work, to either read news or for any other impromptu assignment, as he was the head of radio at the time. Still, in his pajamas, he went to open the front door, and that's when it dawned on him that something was amiss.

Wainaina wouldn't utter a word and could only manage an unintelligible stammer. However, he pointed his thumb behind him, and a quick scan revealed a soldier in full military gear, holding a gun with his finger on the trigger

"Leonard Mambo Mbotela, it is you? I am giving you three minutes to dress up, we leave, “roared the gunman, whom Mbotela came to learn later was the junta of the coup d'etat, Hezekiah Raballa Ochuka

They left with him, but not before the radio broadcaster asked his wife to pray for him, as he wasn't sure of his return. Mbotela was to be driven to the broadcasting house to announce the coup, which was later thwarted by forces loyal to the incumbent president, then Daniel Toroitich Arap Moi. According to his memoirs, ‘Je Huu Ni Ungwana', which featured a foreword by Musalia Mudavadi, Mambo Mbotela was born in Mombasa's Lady Grigg Hospital on 29th May 1940 and was named Leonard after a British missionary who had taught his father at Alliance Boys in the 1920s. The seasoned broadcaster began his radio career at the dawn of the country's independence in 1963. His flawless Swahili, delivered in a commanding voice, made him outstanding.

The national broadcaster also seconded him to the presidential press service, where he worked for several years, providing commentary on presidential functions that were broadcast live by KBC radio and TV via the OB van.
Also captured in his memoirs is his dying thirst to work as a broadcaster, He says he couldn't envision himself having been anything else. It is worth noting that journalism in the days was not a walk in the park as technology was still in its nascent stages, among other challenges. The regime was also intolerant to criticism and the about to be announced news had to be vetted by State House operatives before being aired. This is much adrift to what's happening today.

In the days, press freedom only existed in the books of law. It is also worth noting the impartiality of his football commentary was on many occasions brought to the test, as he would omit sessions where his favorite team AFC Leopards was under siege, something which never went down well with the fans of Gor Mahia, a long-time nemesis.

Mbotela, who left behind a wife and three children, was a Yao, a small community that migrated from Malawi in Southern Africa in 1860 and settled in Mombasa. His eminence in radio journalism leaves indelible footprints in the industry and has undoubtedly inspired many.

BY JEROME OGOLA

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