The success of this high-paced music, characterized by captivating stories narrated in melodic tunes that follow patterns struck by the solo guitar, saw a genre that originated on the shores of Lake Victoria spread fast across the country. It dominated the local music scene to the point of becoming the country’s unofficial genre. It became the center of gravity around which Kenya’s entertainment revolved.

As its popularity spread rapidly across the country, the influx of Congolese expatriate musicians into East Africa also hit a crescendo, with dozens of bands pitching tent in Nairobi. This coincidence redefined entertainment and the consumption of music.

Apart from creativity and the sheer talent of the musicians, one of the factors that greatly contributed to this success was a vibrant local music industry. This industry saw individuals invest heavily in the production and distribution of music, which by any standards also became a very lucrative business. The advent of recording technology two decades earlier had midwifed this new reality, and worth noting is that most of the pioneer companies were foreign-owned, with the most important players being Europeans, just as was the case in the DRC in those days. Among them were Charles Worrod of Equator, a revered father of twist, and Mike Andrews, among others.

Then came Phares Oluoch Kanindo, the father of Benga. He was the face of the genre and was deeply involved in its creation, production, marketing, and popularization, to the extent that it can arguably be concluded that no single individual has been more central to the development of Benga, and by extension Kenya’s music, than Kanindo, also known by the moniker Galamoro.

So celebrated was Kanindo—also known for his gift of the gab as a polished public speaker, an asset that came in handy in his forays into politics—that several songs were titled after him owing to his immense contribution to the genre’s evolution. Many others mentioned his name in a tradition known as “chogo” in Benga or “kobwaka libanga” in Congolese rumba.

                         Ozali mwana oyebana > (You are known)

                       Nayokaka na sango na Zaire > (I heard about Kanindo in Zaire)

                       Lelo naya komonana Kanindo > (Today I have traveled to come and see Kanindo)

                      Sikse ya mwana etambola > (News of your success has spread far)

These are lyrics from the song “Kanindo” by Jimmy Monimambo and his Orchestra Shika Shika, sung by Jimmy Monimambo himself and Lovy Longomba. Les Kamale also did a song for Kanindo, and so did Super Mazembe and many other bands.

Kanindo was born in the Awendo sugar belt in South Nyanza, Western Kenya, on November 12th, 1942, and attended local primary schools, Manyatta and Koderobara. His quest to quench his thirst for secondary education saw him travel beyond the country’s borders to Uganda, before eventually flying to Czechoslovakia for a diploma in radio production. Upon his return to the country, armed with skills in radio production, he was employed by the state-owned news agency, KNA.

He then made his maiden involvement in music production as an employee of AIT Records, which had been established by Mike Andrews, popularly known as Mike Mahanjam—a nickname he got from producer George Fombe, who chided him “ongeza mahanjam” (spice it up) during his stint at KBC. Coincidentally, Mike died in the last days of last month, January 2026.

Kanindo later swapped employment to EMI Records. He began getting deeply involved in Benga and made a name for himself in an era when big record companies reigned supreme. He became very instrumental in popularizing local music on the international scene. This he did by purchasing the American-owned EMI Records and rebranding it under his own label, POK, an abbreviation of Phares Oluoch Kanindo.

He also established other labels: Kanindo, Sungura, Lolwe, Oyundi, Duol, Hundhwe, and Kalausi, among others, which came emblazoned on vinyl records, as was the norm in those days. Hitherto, Chandarana of Kericho had recorded most of the big names in Benga. Some of Kanindo’s labels became so popular abroad that they turned into household names. The Sungura label, for example, is solely responsible for the emergence of Sungura music, a popular genre in Harare that originated from Benga. Listening to the genre today, one may struggle to find anything that sets it apart from Kenyan Benga as we know it.

With a good network of distribution, his brand sold across the continent, creating a symbiotic relationship between himself, the musicians, and the fans. It was the vinyl records that carried his name far and wide, given the popularity of the genre. He was a master of the craft. He knew which musician was best suited for which task in any particular band or recording and influenced their movement accordingly. He prospected for talent, nurtured it, and gave musicians opportunities to excel. He was literally the father of Benga from many perspectives.

Through his POK Music Stores, Kanindo produced and marketed music far and wide, reaching countries such as Ivory Coast, Zambia, Malawi, Ghana, Zimbabwe, and Nigeria, among others. His forays also gained footholds in New York City and London. Kanindo worked with almost all the top Benga musicians.

He became so influential in music that visiting Congolese musicians such as Franco and Verckys would pay homage to his home in Awendo. Although the pioneers of the genre—John Ogara, Were Carey, Aketch Oyosi, Owiti Origo, Odira Jombo, among others—and the second generation of Collela Mazee, Okatch Biggy, Ouma Omore, Awino Lawi, Prince Jully, Jim Likembe, and others are equally recognized for their roles in originating and popularizing the genre, all this was possible largely because of Kanindo’s role. It is he who takes the bigger credit for its evolution and growth into what it became.

The development of the genre would not be complete without Oluoch Kanindo. He was the Verckys of Benga. He created bands, managed bands, and even provided them with equipment.

The political bug later bit Kanindo and saw him contest the Homa Bay parliamentary seat in 1979. His gift of the gab once again came in handy. That he already had a big name and was known in every corner of the village made his work easy. His already established networks and oratory skills delivered victory to his side.

His speeches always left audiences in stitches. He was so humorous that each time he rose to speak in public forums, the crowd would begin cheering even before he reached the microphone. However, in the 1988 elections, KANU strongman Hezekiah Oyugi forced a Dalmas Otieno victory through the infamous mlolongo elections. Kanindo would later attempt to resuscitate his political career in 2013 with the advent of devolution, but his bid to become governor flopped.

It is also remembered that during his tenure as MP and assistant minister for education, Kanindo never ever walked with a bodyguard, despite the government assigning an armed aide at his disposal. His wife was once quoted as saying there was no need, since he was never at war with anyone.

“My late husband had some extraordinary confidence in everyone, and that is why he had no political enemy during his many days in politics,” said one of the wives, Mary.

However, opinion is divided on this. Others opine that he was a fearless man who would confront anyone who dared cross his line and, as such, never found an essence in enhancing his security.

Kanindo died on 24th May 2014 at Aga Khan Hospital in Kisumu, after battling diabetes. His contribution to Kenya’s and the region’s music remains unmatched to date.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

On the night of October 20th, 1984, at around 2 am, there was a violent knock on Kabasele’s door in his Kariobangi South home. Kabasele rushed to open the door when the knocking became persistent. Immediately as the door flew open, a dozen heavily armed men swung in and identified themselves as police. Everyone was woken up by the commotion. Joan, Kabasele’s wife, inquired from them who they were and what their mission was, but they didn’t respond. Instead, they clustered themselves into groups and took different directions; some to the bedroom, some remained in the sitting room, and some went to the children’s room and kitchen. When Kabasele’s wife pestered them more on what their mission was, they responded that they weren’t bad people.

Nobody understood what was happening. They seemed to be on a mission to find something specific, mostly a document or some kind of written literature. They literally turned the house upside down, rummaging everywhere while they kept their silence. In the days when Moi cracked down on dissidents, real or imagined, their first mission had always been to sniff around for any form of writing that advanced revolutionary ideology, and more specifically, Mwakenya pamphlets.

The search went on for at least three hours until sunlight began creeping in. That’s when they stopped, in response to an order from their commander. All along, they kept quiet and didn’t respond to any more questions on who exactly they were, from which police station, or what their mission was, even if they were indeed policemen.

This is an excerpt from a yet-to-be-published biography of musician Ochieng Kabasele by this author. Kabasele was subsequently held incommunicado for close to a month before being produced at Mlimani Courts, charged with sedition, and sentenced to serve a five-year jail term. He is just one of the country's long list of musicians who found themselves at loggerheads with a paranoid, dictatorial regime. Others like Kamaru are said to have been flogged by Kenyatta himself at his Gatundu home on suspicion that he was using music to push the opposition agenda.

Ochieng Kabasele was a towering figure in Kenyan music for three decades, having begun his career in 1968 while still a high school student at Pumwani Secondary School in Nairobi. His talent was discovered by Daudi Kabaka, who heard him sing with a group of other young boys in Makongeni Estate in Nairobi, Eastlands—a known fertile breeding ground for talent. Kabaka, by then a musician with Equator Sounds, identified Kabasele among the boys and took him to Equator Records for auditions. This resulted in the recording and release of his very first three singles: Lek, GK, and Naphtaly.

Whereas GK was a song for his lover who was to later become his wife, Naphtaly was a chide to a friend who had previously expressed skepticism that Kabasele wasn't going to make it as a musician. Kabaka himself played a solo guitar in all the songs, as did other Equator musicians like Gabriel Omolo, who played bass guitar.

That was the same year that Kabasele created his band, Lunna Kidi. The band, whose name is derived from the acronym for "Lengre Uru Ni Nyithind Africa"—a Luo expression for "pave way for the sons of Africa"—became one of the country's most popular bands for three decades, releasing over 500 songs, a discography that has been compiled by this author.

Armed with guitar skills, playing both solo and rhythm, and with a unique singing voice—a shaking baritone almost similar to that of Kwamy—young Kabasele was destined to go places. He was equally an excellent songwriter. Music commentator Steve Ogongo once quipped that Kabasele was the most intelligent musician he had encountered.

Some of the band's most popular songs include Achi Maria, Zainabu, Wuora Ogola Adoyo, Millicento, and Princess Lako, among others. Achi Maria was a song for a lady by the name of Lilian Achieng, who happened to have been the same person extolled in the song Princess Lako; while Zainabu, a supposed love song to a woman by that name, was actually fictitious and just a clever way to decry the infrastructural underdevelopment of his native Siaya region in a figurative way. In the song, he narrates how difficult it is for him to reach Zainabu in her home in Ugenya. Millicento is a lovely song, while Wuora Ogola Adoyo was a tribute to his late father, whom he reconciled with later in life as an adult.

Kabasele also served in the military. One morning in 1977, Kabasele, by then already an established musician, passed by the home of his friend George Otieno Maninga in Ziwani and asked if he wished to join the military. The military was then fishing for musical talent around the country to supply its many musical outfits: Maroon Commandos of Langata Barracks 7KR, Scarlet Band of 3KR Lanet-Nakuru, Yellow Waggoners of the Kahawa-based transport battalion, Blue Waggoners of the Gilgil-based infantry battalion 5KR, Green Fire of the Nanyuki-based 1KR, and O-Rangers of the Eldoret-based 9KR, among others.

Alongside George Otieno, Kabasele was enlisted into the military and underwent the six-month mandatory drill at Lanet in Nakuru, which was also the unit they were posted to serve in as infantrymen. Music being his first love, alongside George Otieno and others, they were tasked with creating the Scarlet Band for the first time. However, the army was the wrong place for Kabasele. Being outspoken and outgoing, he found it difficult to cope with the military routines.

It also happened that Kabasele was fully married to music. This was a man who performed in clubs for entire weekends, practiced in the days, and also had studio assignments. He was also a keen observer and, at times, a participant in the political developments of the day. The military was evidently not going to be his cup of tea. Waking up to polish shoes, go for a parade march, receive instructions, eat beef, and drink cheap tax-free beer, among other routine chores in the barracks, turned out to be a hard nut for a street-hardened young adult who had taught himself music and attained some degree of fame.

He quit after three years and embarked on his band, Lunna Kidi. It is also worth noting that since he was expected not to engage musically with his own Lunna Kidi as a soldier, as all his efforts were supposed to be under the military, Kabasele had to become creative and established a band known as Mazadijo, under which he released several songs.

His musical engagements went beyond Lunna Kidi to other bands. In some two albums, Njugu Karanga and one other, he was backed by the entire Super Mazembe band, with Bukasa Wa Bukasa on solo, in a development that Babu Kabasele, son to this icon, said was meant to break monotony. He also had similar arrangements with Zaiken of Madjo Maduley and Vundumuna of Frantal Tabu, which resulted in the song Millicento. Kabasele also recorded with Orchestra Kericho Jazz when he was employed at Chandarana of Kericho.

In his entire career, Kabasele played a unique blend of benga—basically a fusion of rumba and benga—and played with some of the best talents under his band, Lunna Kidi. These included lethal soloist Anzino Osumdwa, who did that magical solo intro of Achi Maria; Owacho Willy, the rhythm wizard; Okello Jose, who played with Juma Toto and Samba; John Nzenze, who played the solo in the hit song Zainabu; Onyango Raringo, who played in the Oyundi album; and Adam Solomon, among others.

Worth noting is that Kabasele was also the patriarch of the Bana Kadori band. They were Kabasele and four of his half-brothers, popularly known as Bana Kadori—a loose translation of the children of K’Adori, "Dori" here being a shortened name of their matriarch, Doris. Kabasele was the eldest and the founder of Lunna Kidi. Kabasele was the most successful, musically, of the Kadori quintet. The quintet comprises Kabasele himself, Boaz Ogoli, Onyango Kadori, Omondi Kadori, and Odindo Kadori.

Kabasele died in a Nairobi West Hospital of health complications he picked up in prison and was buried in his home in Kiplombe, Eldoret. His two sons, Regi Kabasele and Babu Kabasele, are both musicians.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

Sample this verse from the song:

Nabikisa yo na liwa Nani abungi likambo yango Opolaki olumbi solo oh Obimaki nde soi ya mobesu Okomaki ebembe ya l’etat Nasupportaki bosoto yango lokuta na yo Okutaki nga na OK Jazz Nakomisa yo ndenge ozali Lelo olobi ngai enemi

Which translates to:

You were a rotting carcass I saved from the jaws of death. Today I've become your enemy. You found me at OK Jazz. I made you who you are. Now you declare me an enemy.

The song was composed as a jibe at Franco’s erstwhile friend, Jean Kwamy Munsi. Jean had been a singer/composer with OKJ from 1961 to 1966, when he had a bitter fallout with Franco.

This led to his departure from OKJ to African Fiesta of Tabu Ley and Dr. Nico. It is from there that he composed the song “Faux Millionaire” (False Millionaire), which was an attack on Franco. This made Franco respond with two songs: “Chicotte” and “Course au Pouvoir.”

Kwamy didn’t take it lightly and responded again, this time with a double.

All these five songs are classic masterpieces, and one could argue that the altercation had a positive impact on music, as it pushed creativity a notch higher. Take the example of “Course au Pouvoir.”

The song artistically captures the altercation between the two. Franco engages in an instrumental “argument” on his solo guitar with Verckys on his saxophone. The song came out so well and remains one of the band’s most iconic tracks.

Who was this Kwamy Munsi? This OKJ singer, who sang almost like but slightly differently from Youlou, was born on November 9, 1939, in Kinshasa and died on March 2, 1982. He was the eldest son of Jean Kabambare and Henriette Ngali.

This singer with a velvety voice grew up in Ngiri-Ngiri, the same neighborhood where Franco had grown up, although after Franco’s time there. Like every boy of the slum, he was deeply involved in football along Kingabwa Avenue throughout his childhood.

He attended a Salvation Army primary school in the neighborhood for his basic education and later transitioned to Kasai for his secondary education. He later trained as a teacher. However, like Ntesa and Dr. Nico, the music bug bit him early in life. The pull from classroom teaching to the stage and studio as a singer was overwhelming.

This made him teach himself how to achieve the delicate act of juggling the two occupations. Kwamy became a teacher by day and a musician by night. His first big stage appearance was in 1959. He performed with Vedette Jazz, a band associated with Isaac Musekiwa, who also played sax for OKJ and African Jazz. Isaac was the very first native African to play sax in a Congolese music recording. It was also at Vedette Jazz that Kwamy met Mulamba Mpanya, aka Mujos, with whom he later served as a singer for OKJ.

Kwamy joined OKJ in 1961. He marked his territory with the song “Liwa Ya Wech,” a track he composed in tribute to François Biwetsha, a popular footballer with AS Vita Club of Kinshasa who had died in a road accident.

In quick succession, he also composed “Camarade Ya Kinshasa,” “Mbanda Eleki Ngai,” “Jalousie Ya Bas,” “Bolingo Ya Bougie,” among many others. In 1966, Kwamy’s rebellious nature began showing. He, alongside musicians Boyibanda, Mujos, Musekiwa, Brazzos, Dessoin, and Tshamala Piccolo, was pushed out of OK Jazz by an army man to create Orchestra Revolution. The band didn’t last long and crumbled after four albums, with most musicians finding their way back to OKJ.

In the same year, the now-restless Kwamy found himself at African Fiesta of Dr. Nico and Tabu Ley. The band was in its sunset days. Here, the gifted composer and singer impressed with the song “Belinda.” He blended well with the Fiesta school of rumba, which had a distinctive singing style that suited his voice better than OKJ. It was also during this period that he composed “Faux Millionaire,” an indirect jibe aimed at Franco, his former boss. Another song was “Libata Ameli Mbuma.”

Franco responded with “Chicotte” and “Course au Pouvoir,” and the unrelenting Kwamy returned fire with “Camarade Ya Kinshasa” and “Nakobanga Mangungu Te.”

From African Fiesta, he crossed the river to Brazzaville to join Les Bantous de la Capitale. With this band, he did several compositions, among them “Nono Tomeseni Mingi.”

In 1970, as fate would have it, he rejoined his friend-turned-enemy Franco at OKJ. This re-entry coincided with the implementation of the government program known as Authenticité, which aimed to get rid of colonial relics and adopt authentic African names and ways.

Musicians had been incorporated as promoters of this ideology, with claims that Mobutu paid handsomely for the venture. To mark his comeback, he composed “République du Zaïre,” which is probably his most popular song. He also did “Nakueyi Tapis” and “Kamalandwa” around the same time.

His second entry at OKJ didn’t last long. Around 1973, he was again missing in action. He had flown to Europe for a few musical projects that involved Grand Kallé and Cuban flutist Gonzalez. Upon his return, he briefly sang with Youlou in an outfit they co-owned before joining Vévé of Verckys. It is here that he composed the song “Vivita,” which also became a hit. He also did “Étoile Ya Sika.”

His very last musical home was Afrisa International of Tabu Ley, which he joined in 1980. Here he did the song “Linda Soleil.” He died on March 2, 1982. His controversial career notwithstanding, he was a fine musician with immense contributions to Congolese rumba.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

It is said that he was a ghostbuster, and indeed he was. That he was an herbalist, in fact a renowned one, whose services were sought beyond the borders. That he was the heaviest musician ever, perhaps true, although there are no documented records of musicians’ weights. Since he visibly weighed far more than Pepe Kallé, who himself could be considered among the heaviest, then probably Naaman truly was the heaviest.

It is also said that he ate a whole tray of eggs for breakfast. That is speculative. He did eat quite a lot, but not an entire tray in one sitting. As for the claim that he ate a whole goat, that is an outright lie. He often slaughtered a goat a day, but he hardly ever ate it alone.

The story that he could not fit into his car after buying it at the showroom and that the doors had to be modified to accommodate his burly frame is absolutely true. However, the tale that he had dozens of children from a dozen women was most likely false.

Many more myths surround him, but the above were debunked by his son, Diwa Alfamazi Mbwana. Naaman also remains somewhat mysterious; even those considered close to him did not fully understand him. Yet, some aspects attributed to him are not even debatable.

Naaman was big, truly big. Although no authentic records of his weight exist, those who saw him attest that he was far larger than any average human being. Some people say they were frightened the first time they saw him, while others estimate his weight to have been not less than 300 kilograms.

Adam Ndaro Solomon, a Kenyan musician based in Montreal, Canada, was a guitarist and vocalist with Prof. Naaman’s band, The Nine Stars. In an interview with Jabulani, Adam said that the musician’s sheer size and his reputation as a herbalist made him a star attraction.

Each time they staged a concert, the hall was packed with fans eager to catch a glimpse of the singing giant. Adam, who joined the band in Mombasa before later travelling with it to Nairobi, said that although Naaman was a Mijikenda born in Mombasa, he lived in Kitui with his family and only visited Mombasa, which had been his musical base. Naaman also had family members in Uganda and Tanzania.

His Nine Stars band was very popular in the country at the time. The band was versatile and performed music across genres, mainly benga, reggae, and coastal beats. It also featured the legendary guitarist and singer Joe Lipuka, the dreadlocked musician from Mombasa who later became a reggae sensation in Kenya in the 1990s.

Lipuka played rhythm guitar, while Adam, who had also played for Kabasele, Kamaru, and others, handled the solo guitar. Willy Mazera played bass guitar and had previously performed with Adam Solomon in several other bands.

“He could not resist the urge to join The Nine Stars, which had become very popular,” Adam said of Willy Mazera, with whom he had played in Zetta, Utamaduni, and other groups.

The band’s drummer was Maina, who was later replaced by Jacky. Solomon Kombo was the band’s manager, responsible for prospecting and securing concert contracts. He was also a bass player, vocalist, and the man who fixed and set up the band’s equipment. Omondi played guitar and sang, while Yussuf Mhando, who came to Kenya with Arusha Jazz and had been a member of Jamhuri Jazz, served as a backup vocalist.

Adam says Naaman was a star attraction whom fans followed everywhere he went. He travelled in a modified Nissan Kombi fitted with a single seat in the middle just for him. Wherever he went, there was always someone who wanted to see him, sometimes not for his music, but to seek herbal treatment.

“Baba Kambo na Mama Kambo, nani aliye mbaya” is one of his most popular songs. Unlike most bands that stuck to a particular genre, Orchestra Nine Stars was a reggae band that also performed benga, rumba, and other styles, making it everyone’s favourite.

In the song Baba Kambo na Mama Kambo, Naaman roars behind the microphone in a reggae hit backed by a heavy bass guitar. He had a commanding baritone voice, almost similar to that of Pepe Kallé, the figurative and literal giant of Congolese music, to whom Naaman could also be compared in physique.

His other songs include Mwana Siti, Christina, Amina, Dada Batuli, and Amin, among many others.

Mohamed Bakari Naaman was born in Mombasa on February 12, 1946, and died on October 26, 1992. He was buried in Nairobi.

He remains one of the most prolific musicians Kenya has ever had.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

The Kenyan Coast, also known as the Coast Province, is home to several communities, among them the Mijikenda, Swahili, Arabs, Pokomo, and Somali. This region is far ahead of many others, for a cocktail of reasons, chief among them the music-rich cultural heritage of its people.

Over the years, the Coast has produced more than its fair share of musical talent, a feat that transcends genres. Apart from being home to some of the country’s top bands, it has also birthed unique musical genres such as chakacha, taarab, and bango. These are among Kenya’s most distinctive sounds, deeply rooted in the traditions of the coastal communities.

While other regions like Western Kenya, Nyanza, Central, and Ukambani have made significant contributions to the national music scene, it is the Coast that has produced an impressive litany of great names.

Western Kenya gave us Daudi Kabaka, the king of Twist, Isaya Mwinamo (musician and producer), John Mwale, George Mukabi, Jacob Luseno, Awilo Mike, Akivambo Tolo, Laban Ochuka, Roland Isese, Nyongesa Muganda, Sukuma Bin Ongaro, and many others.

Nyanza produced giants such as Ochieng Kabaselleh, Dr. Collela Mazee, Okatch Biggy, Musa Olwete, Kaudha Twins, John Ogara, Orwa Jasolo, Prince Jully, and Nelly Ochieng, while Central Kenya gave the world Joseph Kamaru, D K Kamau, Musaimo, Queen Jane, Sammy Muraya, and others.

Eastern Kenya, particularly the lower region, produced the legendary Kakai Kilonzo, Francis Danger, Muema Brothers, Peter Muambi, and Tumbo Ossu, among many more.

The regions or communities that have made little, if any, notable contribution to the world of contemporary Kenyan music include the Maasai, Pokot, Samburu, Turkana, and the Maragoli of Western Kenya, as well as the Meru. Coincidentally, other Luhya subtribes have excelled in music.

It is a bit unusual that some communities have not made major contributions because nearly all Kenyan communities have rich musical traditions rooted in folk songs and oral storytelling.

Some of the biggest names from the Kenyan Coast include Mzee Ngala, the indomitable King of Bango, a local variant of American jazz built heavily on the saxophone. The nonagenarian, born in the early 1930s, has practiced music for over six decades and is credited with originating bango, an authentic Kenyan genre that remains popular across Malindi, Mombasa, and Lamu.

Then there is The Mushrooms, from Kaloleni Giriama. This remarkable quintet comprises saxophonist, composer, and vocalist Teddy Kalanda Harrison, keyboardist, vocalist, and composer John Katana, the late guitarist and vocalist George Ziro, the late drummer and vocalist Dennis Kalume, and bassist and vocalist Billy Saro. The band gave Kenya its unofficial tourism anthem, “Hakuna Matata,” and has been a key contributor to the country’s music scene, blending chakacha with influences from reggae, bongo, and rumba.

The sons of Kaloleni in Giriama are not the only music stars from the region. The Pressmen Band, led by Albert Shehi and featuring musicians like Willy Mwangombe, was also predominantly coastal.

Another towering name from the Coast was Habel Kifoto, the creative force behind the military outfit Maroon Commandos, based at Langata Barracks in Nairobi. Kifoto was the engine that powered the band’s success in its first three decades. He was an excellent composer, guitarist, bassist, and saxophonist, and he could sing too. He composed several of the band’s most popular songs including “Charonyi ni Wasi.”

Canada-based musician Adam Ndaro Solomon, a guitar genius who played with Zeta Success, Mombasa Roots, Ochieng Kabaselleh, Kamaru, and Kanda Bongo Man, also hails from the Kenyan Coast.

Another legend, Prof Naaman, was both literally and figuratively a big musician. When asked by Jabulani Radio if it was true that his father, a herbalist and ghost buster, once ate a whole goat alone for dinner, Naaman laughed and replied, “My father had a big appetite, but he couldn’t eat a whole goat as speculated.”

The 300-kilogram heavy hitmaker behind “Baba Kambo” was also a herbalist and ghost buster.

Pioneers like Fundi Konde, who gave us classics like “Tausi” and “Olivia,” also hailed from the Coast, as did Fadhili William, a member of Equator Sounds studio band and the first person to record the timeless song “Malaika,” whose original composer remains a mystery.

Slim Ali of Hodi Boys fame was equally a son of the Coast, as were Tom Malanga of Les Wanyika, Freshley Mwamburi of Everest Kings, and Aziz Abdi Kilambo of Benga Africa, among many others. The list is endless. It is practically impossible to enumerate all music superstars that come from the region in one presentation. The region is naturally the home of the country’s music title—a crown that would’ve been snatched by Nairobi, if it weren’t a city representing a mosaic of civilizations and culture.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

Kenyan musician Joe Mopero is dead. According to his daughter, Joy Mopero, the veteran singer died of cardiac arrest at 6:45 p.m. on Saturday at Aster Healthcare Hospital, where he had been rushed after a short illness.

Born Joseph Kariuki in Kipkabus, Uasin Gishu, in the 1960s, his family later relocated to Thika. While studying at Equator High School, his schoolmates nicknamed him Joe Mopero because he sang much like the Congolese musician Mopero wa Maloba, famed for the Cavacha style that was hugely popular in Kenya at the time.

Joe Mopero sang with several bands — both Kenyan and Congolese — based in Nairobi. In the early 1990s, he formed his own group, the Zambezi Band, with which he recorded the hit song “Heritage (Nirudi Nyumbani).” The track became an instant classic and remains beloved more than three decades later.

Until recently, Mopero continued performing with his band in various venues within and around Nairobi. He also had several new releases on the market. Fans will deeply miss his heavy baritone voice and remarkable guitar skills.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

Djo Djo Ikomo, also known as Ikomo Ingange, was a phenomenal composer and singer from the early 1970s, an era defined by some pundits as the genre’s most productive. Born in Mbandaka in 1952, Djo Djo debuted with Orchestre Tabou Nationale in 1970 before joining Orchestre Vévé. There, he became part of the band’s formidable singing line-up alongside Pascal Mangwana, Ramazani Nkalu-luaka, Tusevo Nejos, and the late Pepito, shortly after the stage masters Trio Madjesi left the band. This vocal line-up featured on songs such as "Ndona," "Fifi," and "Djamile." "Maina" was his own composition with the group.

At one point, Djo Djo traveled with Vévé to Uganda for a series of concerts, including a much-publicized performance at the palace of President Idi Amin Dada. When the band returned to Kinshasa, Djo Djo and a few other musicians, including solo guitarist Roxy Tshimpaka, chose to remain behind to pursue their musical interests in the Ugandan capital. Several top Congolese bands had already enjoyed successful tours in Uganda, and the demand for Congolese rumba was growing fast. It was an apt moment for any ambitious team to seize.

Djo Djo and his colleagues created Bana Moja (also spelled Bana Modja), a band that incorporated soloist Roxy Tshimpaka, rhythm guitarist Zengelele Saida, singers Moreno Batamba, Lawi Somana, Mandala Otis, Ochudi, and Beya Maurice Maduma, among others. The band had a stint in Kampala before relocating to Nairobi, where it rebranded as Bana Moja. In its later stages, it included bassist Nsilu Wabansilu, singer Fataki Lokasa, drummer Lava Machine, and others.

According to Alastair Johnston, who has documented the migration of Congolese musicians across Africa on his Muzikifan blog, both Fataki and Djo Djo had previously performed together in Tabou Nationale, which belonged to Tony Bokido. The band disbanded when Bokido relocated from Kinshasa to Mbandaka, and that’s how Djo Djo began moonlighting with Vévé before becoming a full-time member.

This was the band that produced songs such as "Banga Ngenge," "Malanda," "Melinda," "Chéri Peter," "Chéri Clara," "Dunia ya Mungu," "Kayumba," and "Kolokota." With the fluid music industry of those days, musicians listed as belonging to one band often performed with others, and vice versa.

Djo Djo later left Bana Moja for a sojourn with Les Noirs, alongside Moreno, in a band headed by veterans Chuza Kabasele, Duki Duedos, Kalembi Kajos, and others. He did several recordings with Les Noirs before returning to Kinshasa in the mid-1980s. Back home, Djo Djo joined Franco’s TPOK Jazz, where he composed the song "Aime Sans Amour." After his stint with Franco, he went on to perform with Empire Bakuba, led by the "Elephant of African Music," Pepe Kallé, where he composed the song "Nsoso ya ntongo," among many more.

In recent years, Djo Djo had been living in retirement in Kinshasa, where he battled illness. Information on the date and place of his burial is yet to be made available.

In 2017, Djo Djo placed an advertisement in a Kenyan newspaper seeking to trace a lady known as Brigette so he could bequeath her his property. He stated that the lady was his daughter, whom he had sired while in Kenya. A year later, a source intimated to Jabulani that they exchanged contacts and reunited, with the lady flying to Kinshasa to meet her father, who was unknown to her. Djo Djo was also an influential businessman and had accumulated a fortune over the years. It wasn’t immediately established if he had a family back in Kinshasa.

Burial arrangements are yet to be made public. Ikomo left a legacy as one of the superstars who greatly contributed to the music industry in the era when it was most vibrant.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

But it was a local boy, Roland Isese, who stole the show. He had taken the stage with the Ulinzi Band, a military ensemble under the leadership of Laban Ochuka, which had been tasked with opening the concert. The band made a bold attempt at the hit song "Extra Ball," and Isese was impressed.

His fingers maneuvered the fretboard with the speed of a bullet and the precision of a surgeon. He managed to wow the masters themselves. Diblo was reportedly shocked by the raw talent showcased by the youngster. Roland Isese was indeed a rare breed of guitarist.

He had mastered the Soukous style. In an online conversation, Robert Matalanga described him as one of the very best solo guitarists Western Kenya ever produced, alongside Anzino Osundwa, who coincidentally also worked with him.

Information about his childhood and education is scant, but he was born in Kakamega County and was mentored by Laban Ochuka of Ulinzi. Ochuka had for many years been a musician with yet another military band, the Maroon Commandos.

Although not a trained soldier, Roland played for Ulinzi and featured in the recordings of many songs. After his time with the band, he joined Lunna Kidi, led by the late Ochieng Kabaselleh. Kabaselleh himself had previously been a musician with another military band, Scarlet, during his time as a soldier in a Lanet-based unit.

Roland Isese, who was also known as "I’m Ayako," didn’t stay long with the band. He quit to become a session musician on River Road, a street at the heart of Nairobi’s central business district that has long been known as a bastion of Kenya’s vibrant music industry.

River Road gained its reputation as Kenya’s music hub in the 1970s, naturally becoming a haven for musicians. Among the notable recording studios on the street were Jojo, Kasanga, Big Heart, and Lulu, among others.

Musicians roamed the area, often hired for studio recording sessions and paid for each engagement. While some chose to join bands, others made a living as session artists. These musicians often remained anonymous, their names missing from album sleeves and media mentions.

It is often the case that behind several big hits are talented individuals who are not credited anywhere. That is how top-notch musicians like Roland Isese remained unknown to the wider public. For example, the song "Mukangala" by Jacob Luseno is a big hit, with all credit going to Luseno as the composer and vocalist, yet nothing is said about Isese, who played the outstanding solo guitar on the track.

This exemplifies the immense contribution of instrumentalists who rarely get recognition for their efforts. Roland didn’t just play on Luseno’s many albums. He also contributed guitar to recordings by top gospel musicians like Angela Chibalonza and Reuben Kigame.

Isese had mastered the fast-paced Soukous guitar, and it was this uniqueness that made him highly sought after. For instance, when musician Emmanuel Musindi did a second version of his hit "Lelo Ni Lelo" to include politician Raila Odinga's voice, the newer version did not become a hit like the original.

A keen musical ear could tell that the solo guitarist in the second version struggled to deliver. The original version had benefited from the genius of Roland Isese. The second was recorded long after his death and lacked the same spark.

His expertise added depth to the songs he played. Among those easily identifiable are gospel tracks by Gloria Muliro, with whom he also worked. A soft-spoken man who talked little, Roland was easy to work with, which may explain why he collaborated with both gospel and secular artists.

It is also worth noting that it is the performance of music that often defines whether it is classified as secular or gospel. When it comes to recording, there is a thin line. Many secular musicians also feature in gospel recordings, which are often produced in the same studios.

Roland Isese died in 2019, aged 54. The void he left in the music world may take generations to fill.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

Eighty-seven years is a long time. Most likely, he would have long retired. That’s a whole 27 years past the official retirement age in Kenya and many other countries. It is generally accepted that by age 60, age has taken its toll, and most people are well beyond their peak productivity. However, in music, some players stay in the game much longer.

Take, for instance, Fatuma Baraka, popularly known as Bi Kidude, the Taarab superstar from Zanzibar. She passed away a centenarian in 2013, still active in music. Born in 1910, she began singing in the 1920s and performed well into her final days. Would Franco still be actively making music today? That remains speculative.

Most of Franco’s peers have passed on. However, a few still live. A good example is Jeannot Bombenga of Vox Africa, born in 1936, two years before Franco. Jeannot still resides in Kinshasa and remains a respected cultural figure, often gracing major national events. That said, he hung up his maracas and microphones in 2018, retiring from music at the age of 84, citing old age and health concerns. In 2023, at 89, he donated his instruments to the Musée de la Rumba Congolaise, to be preserved as part of the nation’s musical heritage.

Bombenga was a star musician with African Jazz under Grand Kallé in the late 1950s and 1960s, before branching off to create his own Vox Africa, the same ensemble that gave legends like Papa Noël, Ntesa, and others the platform to showcase their talent.

Many other stars of that era have since passed away, including Papa Noël, Michel Boyibanda, and Pierre Yantula, popularly known as Petit Pierre, who also took part in the famous Hotel Plaza independence celebrations in Brussels with African Jazz.

Of the three, only Papa Noël died while still an active musician. In fact, he passed on with an unfinished studio project, like the proverbial cow that dies with grass still in its mouth, although he had significantly slowed down due to age. The other two, Boyibanda and Petit Pierre, had retired from music long before their demise.

Franco, too, would likely have retired from active stage performances, though not entirely detached from the music scene. After all, he stood head and shoulders above the aforementioned musicians, both in stature and influence. The marathon concerts require tremendous stamina, and even musicians like Dizzy Mandjeku, nearly a decade younger, have stepped away from those grueling all-night performances. In terms of studio work, most musicians tend to do the bulk of their recording while young, with composing and recording slowing down with age. But one thing is certain—Franco would have stretched his career and fame for several more decades, had he lived.

His contemporary, Tabu Ley Rochereau, born around the same time, rejuvenated his career by relocating to the United States, allowing him to sustain his musical journey for at least two decades beyond Franco’s untimely death.

The direction Franco’s music would have taken is also a fascinating topic. Like every other aspect of culture, music is dynamic. It evolves in response to technological advancements, globalization, socio-political changes, and audience tastes. The songs Franco recorded at the start of his career in 1953 are notably different from those of the mid-1960s, which, in turn, differ from his productions of the 1970s. By the 1980s, his sound had evolved even further.

Take, for example, the song "Fabrice," recorded in 1988. Though not among his last works, it leans more towards Soukous than the traditional Odemba style he had long championed. Soukous, whose roots can be traced to Nigerian Highlife influences imported into Congo by bands such as African All Stars, was propelled into popularity by Congolese musicians based in Paris. This marked the beginning of a more commercial phase of Congolese music.

Franco initially resisted this wave of change, despite spending much of that decade in Europe. Yet, his later songs suggest he was gradually embracing the evolving sound. His reluctance may have stemmed from the fact that Soukous lacked key elements he cherished—saxophones, trumpets, trombones, maracas—which were the lifeblood of his Odemba style. But with a growing global audience, change was inevitable. Even had he retired from active music, Franco would have remained an influential figure in Congolese music. His charisma and towering legacy ensured that admiration followed him, not just from fellow musicians but also from political circles.

No doubt, he would have continued to nurture talent, just as he did in his prime. Remember, big names like Youlou Mabiala, who later founded the successful Kamikaze Loningisa, once cut their teeth in Franco's camp. Franco’s greatness also shone through the meteoric rise of Verckys Kiamuangana Mateta, affectionately known as Vévé, whose contributions to Congolese music were immense. Vévé founded Veve, a band and studio that played a central role in the birth and popularity of Cavacha.

Other notable names shaped by Franco’s influence include Madilu System, Ntesa Dalienst, Josky Kiambukuta, and many others. Dozens of musicians interviewed over the years openly list Franco as their role model, their inspiration to pursue music. Franco was a prolific and supremely talented musician, with his band OK Jazz (later TPOK Jazz) recording at least 1,500 songs over its 37-year existence. To date, he remains arguably the most successful Congolese musician of all time.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

On a typical Saturday evening at Club Paradiso, along Jogoo Road, Elvis and his team converge to give their fans a taste of Congolese rumba. It is only when the solo guitarist strums the first chord that one's attention shifts from the sapeur-like elegance to their core business, music. Just like many typical Congolese bands, among the songs performed is a cocktail of old classics by other bands for a nostalgic stroll back into the past, and new releases, some by themselves and others by different bands, specifically to bring energy and showmanship, expertly delivered by the three female dancers.

The Nairobi-based Afro Sounds isn’t just any ordinary band. It has links to the legendary OK Jazz of Franco, courtesy of its founder, Elvis Lola, who is the son of the late Lola Checain, a singer with Franco. "We have to keep the fire of rumba music burning," Lola told Jabulani Radio, while insisting that what their fathers began wasn’t about to end. Lola, a star guitarist with impeccable expertise, is the third-born son of Lola Checain, one of the pillars of Franco’s band. Checain, who was a singer and composer, joined the band in September 1967 and remained until he passed away in 1992, three years after Franco.

He is the brain behind the band’s popular hits like Baning Tokola, Lolaka, Nganda Macampagne, etc. He isn’t the sole musician in the lineage. Lola’s eldest brother, Frank Lassan aka Fariala Wa Niembo, excelled on the acoustic guitar and made a name for himself as one of the biggest names in the first generation of Congolese musicians.

He recorded with Ngoma. Lola’s other brother, Johnny Bokasa, was a star rhythm guitarist with African Fiesta National of Tabu Ley. He is among the musicians who quit when Tabu Ley was banned from any music engagements in the country in December 1967.

With others like Guvano, they created Festival des Maquisards. Among Elvis’s siblings are three other musicians in the family. The three are JB Lola, who is based in Mombasa, Kenya, playing drums for Ambro Musica; Bob Lola, a vocalist based in Paris; and Pitshou, who plays keyboard, composes, and sings, based in Kinshasa. This brings the number of musicians in the lineage to six, almost a complete band, considering they have a soloist (Elvis), a rhythm guitarist (Bokasa), a drummer (JB), a vocalist (Bob), another guitarist/singer (Frank Lassan), and singer/composer Lola Checain.

Elvis traces his journey in music back to the early 1997s, when he trained as a guitarist with a neighborhood band in Kinshasa. He learned the trade fast and became a noteworthy guitar player, attracting scouts from established bands. That’s how he landed in Ben Nyamabo’s Choc Stars. The youngster impressed quickly — a feat many consider daunting, considering that Kinshasa is saturated with talent.

It was his eminence on guitar that landed him at Wenge Musica, another star-studded lineup. This was in the band’s nascent days, before JB Mpiana and Werrason went their separate ways. The band had a large pool of guitarists, with Elvis among them. A few years later, Elvis and his brother joined Eden Musica, a band managed by Gabby, a Nairobi-based Congolese promoter. Elvis was the band’s soloist, while JB was the drummer. Elvis also doubled as a singer.

They traveled with the band to Nairobi and performed numerous shows both in Nairobi and Mombasa. It was in Nairobi that Defao Matumona had camped with his band, Big Stars. The band’s soloist had quit, a development that crippled the outfit, forcing Defao to swiftly seek a replacement. No soloist in Nairobi fit Defao’s expectations, except Lola. He became the man on the solo guitar in the recordings of at least two albums by Defao. The band also toured intensively in the region with Lola at the helm of the solo guitar. In the late 2000s, Lola created Afro Musica, which remains one of the most sought-after Congolese bands in Nairobi to date. The band boasts the services of rhythm guitarist Dionic, bassist Jeanist, and drummer Martos, among others.

The band has performed at various venues in the city and currently dominates at Nairobi Club and Paradiso Club, both in Nairobi. Elvis Lola also told Jabulani that this year, the band has organized a major Lola anniversary event that will be held both in Nairobi and Kinshasa. The event is expected to be graced by several top names in Congolese music, including his former peers at OK Jazz.

He may not have attained the successes of his father or uncles, but Elvis is steadfastly rising to that level.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

"Mnazi" is a palm tree. It yields a juicy fruit, which is very edible and nutritious. It also carries a sap that can be fermented into palm wine, popularly known as mnazi along the Kenyan Coast.

Its leaves offer a classic roofing material, and its hollow trunk can be used to make furniture, build structures, etc. The plant is very resourceful, and that’s exactly what the trio of Ongoro Milton, popularly known as Ja’Karachuonyo, Awillo, also known as Michael Otieno, and Peter Dalidi, who goes by the sobriquet Pierre, had envisioned for their band.

The prefix "Ja-" before Mnazi is a Giriama expression that means “like.” As such, Ja-Mnazi means “like a palm tree.”

It also happened that another musician, Bernard Mukabwa, was incorporated into the creation of this new band. He had his own band, Salvo Afrika, which he willingly disbanded. To make him feel accommodated in the new band, the suffix Afrika was added to the name, making it Jammazi Afrika.

The rendezvous that midwifed the birth of this new band happened at a club called Kutana in Eldoret on April 20, 2002.

Awillo, who had begun his music engagements with some rickety bands in Elburgon, some 120 kilometers east of Eldoret, had traveled to Eldoret prospecting for opportunities to grow his burning passion—not just to become a musician but to be a superstar and a big name in the industry.

Upon arriving in Eldoret and struggling to acclimatize by doing some gigs, Milton approached him, requesting to sing a song or two in a practice known as "kuomba lift."

Although the young lad was equally bubbling with talent and oozing passion, he worked with KRA, the country’s revenue authority. The duo finally agreed to create an ensemble with the able hands of a veteran musician in the town, Peter Dalidi, whose exploits on the guitar were exceptional. Having had experience with established bands, his expertise in navigating the delicate task of managing the band as its leader was much needed.

Although Ongoro began as a vocalist, he quickly learned the guitar and became the band’s rhythm guitarist. Their first studio assignment was "I Am Not Sober."

“This song wasn’t about drinking or partying, as many oftentimes mistake,” Awillo explained.

“The song is meant to sensitize the public, especially fans of live performances that happen in social environments like bars, where fans can get reckless and overspend to the detriment of their other pressing financial needs.”

The determined singer told Jabulani Radio that the song was an onslaught against recklessness.

The song was played across the country in clubs and on radio, becoming the band’s unofficial anthem. It made the band a household name. Strangely enough, its base was Eldoret, a town without a well-pronounced entertainment scene.

Eldoret doesn’t compare favorably with its peers when it comes to entertainment. The most that has been documented about the town’s social life is the racial discrimination during the colonial era, where the whites sipped their wine north of the town, the Asians had theirs south of the town, and the blacks guzzled illicit brew in the surrounding slums like Maili Nne.

That this musical team was thriving in such an odd environment tells a story of resilience, determination, and talent.

Their second album was titled "Riziki," also a composition by Awillo Mike. This 11-minute track is a classic slow rumba that captures the aggression Kenyans have in eking out a living. It reflects the reality of the country’s capital, where there is a thin buffer between day and night, with many activities that would typically be done during the day happening at night.

UON literature scholar Dr. Wambua Muindi opined:

“The song is a dense poetic verse showcasing the reality of night work in contemporary modernity. It is a sophisticated anthem that appropriates the Swahili oral poetry tradition.”

"Riziki" remained the biggest song in the country for more than two decades, especially after the emergence of a trend where every idler in town became a pseudo-musician, rushing to use computer-programmed instrumentation, adding a few rhymes, and declaring themselves musicians.

Awillo, born Michael Otieno Ooko, began schooling in Nakuru and later attended Cannof Awuor Secondary School in Busia. He then joined Mombasa Polytechnic, where he trained as an accountant.

His mother was a vocalist who sang with several bands in Kenya, among them Lunna Kidi of Ochieng Kabasele and the legendary Super Mazembe. This nurtured his love for music from a young age. His deep baritone has since become synonymous with Kenya’s entertainment circles.

In an interview with Ramogi TV, a Kenyan station that broadcasts in Dholuo, Awillo narrated how he almost quit school to pursue his dream of becoming a musician. Awillo, who adopted his stage name from the legendary Congolese drummer Awilo Longomba of Loketo, is so fluent in Dholuo that one might erroneously conclude he is Luo. However, he is actually a Luhya from the Abanyala sub-tribe in Budalangi.

A polyglot of no mean repute, Awillo fluently speaks Luhya, Kiswahili, Lingala, French, English, and German—a skill that makes his work as a composer and singer much easier.

His greatest moment as a musician was during the era of President Kibaki, when the band was invited by the president to perform in a national event in Kasarani, and his lowest moment he cites instances when after performing, club owners decline to pay as agreed.

Awillo, whose role models were the late Ochieng Kabasele and Franco, is slowly moving out of music to focus on mentorship, though he still composes, records, and performs gigs with Jammazi, which now has two units performing in Kisumu and Eldoret, respectively. He is also involved with another band, Zaidi Ya Muziki, which is based in Nairobi.

Awillo advises upcoming musicians not to venture into music driven by the desire to make riches, as they may end up disappointed. Instead, he encourages them to pursue music out of passion, an approach that comes with fewer expectations—especially regarding financial gain.

Indeed, with two decades of existence, Jammazi has grown to become as resourceful as a palm tree, with a dozen albums collectively, and having become one of the country’s most celebrated bands.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

The recent trend of increasingly programmed music over live instrumentation is because it's cheaper to record and release. Half the battle of making music today is done when you can program percussions, horn sections, and synths on the keyboard. Where back in the day, you had to factor in whether live horns would sync well with the guitars, keyboards, and drums. This means that music composition was the foundation of song creation, as opposed to improvising melodies on a keyboard or guitar partition and then stretching them out into songs.

In order to conserve cost, rehearsals were constant and music compositions of some of our favorite songs underwent many rewrites to get that sound just perfect enough to record. With a band set up of lead (sometimes mi-solo) and rhythm guitar, it required a dedicated team of studio engineers to properly record and sequence the music with respect to the bass player and drums.

This requires a lot of money, patience, and commitment which I don't think a lot of artists have nowadays in the social media era. It's all about quick output and even faster returns on investment, where as the past required time to create an album that could survive months of rotations because of the power of the music.

As far as lyrics go, maybe it's time for songwriters to reach into themselves and share songs about the things we all go through besides just sex...maybe fables of common life or songs about personal trials (big or small). Atalakus needs to strengthen their craft of creating cries that get people to dance and admire their wordplay (incorporate different languages like Kikongo and Tshiluba).

Those are just my observations.

Photo: (Tabuley ,Franco et Verckys)

Jabulani Radio Livestream

Next Track

Track History

When the 'Shakespeare of African music,' Simaro Lutumba, was asked which vocalist he felt delivered his poems best, he unequivocally stated that it was Mangwana. Indeed, Mangwana brought to life songs like "Ebale Ya Zaire", "Mabele", and "Faute Ya Commercant" in a way that captivated listeners. While Simaro had composed several songs prior, it was these two 1973 tracks that helped him gain recognition as an astute poet, with lyrics that were rich with philosophical interpretations.

The fact that Simaro regarded Mangwana as the greatest, despite working with other vocalists like Josky Kiambukuta, Vicky Longomba, Youlou Mabiala, Djo Mpoyi, Malage De Lugendo, Carlito Lassa, and others, sheds light on Mangwana's immense talent.
In Ebale Ya Zaire, Mangwana achieved the remarkable feat of aligning the song's emotions with the story. The listener can feel the frustration of a man sitting by the Congo River, watching his lover sail away and disappear into the fog. "Mangwana was a phenomenal singer," says Prof. Larry Gumbe, a Nairobi-based engineer and music fan opine.  He notes that the songs Mangwana participated in became instant hits.

Although Tabuley discovered Mangwana at African Fiesta when he was only a 17-year-old student, and he subsequently played with several bands in both Kinshasa and Brazzaville, his presence in those early years was somewhat understated. His musical influence became more pronounced in the mid-1960s when he featured with Vox Africa, led by Jeannot Bombenga, and African Fiesta National following the 1965 split with Dr. Nico.

His 1966 composition, "Djibebeke," exemplifies Mangwana's linguistic versatility, as he sang in multiple languages, showcasing his ability to connect with diverse audiences. He also participated in several recordings with Tabuley during this time, including hits like Pangoula and Djeke.
This period (1964-1967) arguably marked the peak of his career. The songs he created with the band during this era exemplify his flawless tenor, and his collaborations with fellow vocal giant Ley further solidified his reputation as a top-tier singer, making him a sought-after talent.

In 1967, Mangwana left with fellow musicians, including soloist Jean Paul Vangu aka Guvano, and rhythm guitarist Johny Bokasa, to form the popular band Festival Des Maquisards. They worked with Michelino (Mavatiku Visi), Dizzy, and others, producing iconic tracks like "Zela Ngai Nasala," cementing Mangwana's position as a leading figure in Congolese rumba. 

Although the band was short-lived, Mangwana continued his journey, collaborating with Guvano in a group called Mangwana et Guvano. Their well-received album featured a high-paced charanga adaptation. Mangwana's musical journey continued as he traveled with various bands in the spirit of his nickname, Le Pigeon Voyageur. In 1973, he joined OK Jazz (OKJ), a band that had already established itself as a leading force in African music. The band's lineup included members from across the region, such as Youlou Mabiala and Celi Bitshou from Brazzaville, and Manuel D'Oliveira from Angola.

 Mangwana's inclusion made OK Jazz even more international in its membership, unlike Tabuley's Afrisa International, whose internationalism was primarily reflected in its name and performances at the Olympia.  At OK Jazz, Mangwana's impact was immediate. He became the band's most celebrated vocalist, with songs like "Asitou" and "Alimatou" becoming huge hits thanks to his golden voice. His renditions of tracks like "Nganda Ma Camlagne" and "Toboyana Kaka" further showcased his remarkable vocal range and ability.

Although Mangwana left OK Jazz in 1976, he briefly rejoined Afrisa, recording hits like "Mose Konzo" and "Minha Angola." Despite not being a full-time member, he contributed to numerous recordings and performed at many concerts. During the Festac festivals in Lagos, Nigeria, some members of Afrisa International, including Ringo Kandiaga, Lokassa Ya Mbatha, and others, chose to stay behind and form a new group—African All Stars. Mangwana joined this band, which became one of the most enigmatic and storied ensembles in the genre. They released numerous tracks, including "Bana Ba Cameroon," "Suzana Coulibaly," and "Fatimata."

Being Franco's close friend, he collaborated with him on several projects, including the popular album Forever, which is considered Franco's official farewell to his fans. Mangwana is also remembered for being by Franco's side in his final days, a testament to their close friendship.

In his later years, Mangwana retired from active music and settled in Angola, though he occasionally returned for special appearances and recordings. As he ages, the details of his personal life, including his marital status, remain somewhat unclear, as friends and interviews often remain silent on the matter.
For over six decades, Mangwana has moved between various bands, leaving an indelible mark on African music. Born in Kinshasa to an Angolan father and a Zimbabwean mother, Mangwana's musical journey spans West, East, and Central Africa, making his contributions to the continent's music truly iconic.

By Jerome Ogola

Jabulani Radio

Your Home of African Tunes

Radio Player

Next Track

Track History

Other Listening Options

Smart Link

Listen Now

Default

MP3 128 Kbps

Play

Mobile

AAC 64 Kbps

Play

HD

MP3 192 Kbps

Play

M3U Link

Download

Desktop

Friendly Link

Visit

Advertisement

Advertise here: Marketing@jabulaniradio.com

"Advertise Smarter with Jabulani Radio"

Reach global and local audiences with Jabulani Radio. Using modern tech, we offer customized advertising solutions that fit your needs.

"Grow with Us"

Leverage multiple social media platforms with hundreds of thousands of followers. Brand your product with our proven technology and watch your business thrive. The world is changing—advertise smarter with Jabulani Radio.

The same can be said of rivalry. At peak of their careers, Tabuley and Luambo oftentimes sought to outdo each other and this urge worked wonders in pushing creativity a notch higher. 

When Tabuley and Nico disagreed over the management of African Fiesta Original, the altercation led to the creation of two of the finest bands: African Fiesta Sukisa and its sibling, African Fiesta National, which was later rebranded as Afrisa International.

Wenge Musica, the mercurial band of the fifth generation had a splinter that resulted into the birth of two bands, Wenge Musica Maison Mere of Werrason and Wenge Musica BCBG of JB Mpiana. The resultant rivalry birthed stiff competition that gave lovers of music a long list of masterpieces. 

The same can be said of Atomic Jazz from Tanzania. This Tanga-based band was deliberately named Atomic Jazz to imply the force with which it aimed to surpass and outshine the town's other popular band, Jamhuri Jazz.

This Tanga based rivalry pushed Tanzanian music, christened 'muziki wa densi' a notch higher in the era. The band was owned by businessman Julie's Kiluwa, who assembled some of the best musical brains in Tanzania at the time for its creation. 

These were saxophonist John Mbula, singer Rodgers and conga player John Kiluwa, who was a brother to the band's owner/patron. John Kijiko was the band's soloist. Note that the word soloist in rumba circles refer to the solo guitarist.  

The others were, rhythmist Hemed Mganga, who had previously plied his trade with Orchestra Makassy of Mzee Kitenzogu Makassy. The band also boasted the services of rhythmist Harison Siwale, bassist Dishen and singers Ziggy Said and Steve Hisa. 

Some of the products of this highly talented pool of musicians, were mado, vipi mpenzi wangu, mahakimu, nakujutia salima, dunia ina mambo, usitamani kitu, and many more. Tanga became the hotbed of Tanzanian music. 

It is equally worth noting that Mbaraka also played with this band briefly, when chaos had rocked Morogoro Jazz. However, quite uncharacteristic of him, he only played solo guitar and never sang for the band, in the songs that he participated in, like Tanzania Yetu, which was recorded in Mombasa, Kenya.

BY Jerome Ogola

Jabulani Radio Livestream

Next Track

Track History

For the Jacksons, the youngest star shone the brightest, while for Mushrooms and the Kadori, it was the eldest, but the Isenge constellation took a different trajectory, with the third star Jean Bokelo shining the brightest. The galaxy comprised, Ondo Ondoo, aka Mpoku Lokunda, the patriarch of this musical clan, the man who taught Dewayon the guitar.

Paul Ebengo, aka Dewayon, who was to later become Franco’s teacher was second in this family lineage with Jean Bokelo being the third born. Jean was mentored by Dewayon. The fourth was Jean-Jose. Lohota, who starred with Grand Pizza, and Mpia Monongi, aka Petit Pierre, who starred with Orchestra Veve and OK Jazz. Mpia, a twin's name, is also written ‘Mopia’. Monongi Mopia’s twin is Mbo Mayau. Mbo is a twin's name. Mbo Mayau featured for Grand Pizza. The other two are Alberto Bosaba and Roy Makengo, who headed the Grand Pizza.

Monongi Mopia, who until his death in Brussels in 2021, was a member of Odemba OK Jazz of Dizzy Mandjekou, once told this writer, he had no choice but to become a musician, now that everyone around him was deeply involved in music, from childhood.

“I couldn’t become anything but a musician,” he said. 

Jean Bokelo, born in 1938, began his music career in 1950. He started by featuring his elder brother’s band Watam in 1950 when he was only 12 years old.  Watam was the band that gave Franco his very first experience with a real guitar, away from the self-made three-stringed instrument that he had created to entertain customers at his mother’s stall at Ngiri-Ngiri. Just like Franco, the Isenge family grew up in Ngiri-Ngiri. 

After the evolution of OK Jazz at the studio Loningisa, Watam was allowed to fade away. It is Jean Bokelo who created the family’s next band, which hosted the Dewayon and himself. This band went by the name Conga Jazz but later rebranded to Conga Success. It is worth noting that Dewayon drifted away in 1962 to create his own Cobantu.

Just like Franco, Jean Bokelo, who went by the sobriquet 'Johny', possibly due to the pronunciation of his name, was a talented composer, arranger, singer, and solo guitarist. Being A guitarist adds substance to the performance of a band leader in the sense that they are able to dictate the direction the music takes in terms of style. That may partly explain why Franco clung to his Odemba style for ages, while Tabuley who wasn’t a guitarist, kept changing his style.

“Dino Vangu changed the style of Afrisa’s music for good.”. Faugus Izeidi told Jabulani radio while discussing this. subject. This and other factors may also explain why, despite the numerous Rebrands, Jean Bokilo bands retained their style. Of the two broad categories of Congolese rumba of the second generation, Jean Bokelo did OK Jazz School of Rumba, which was defined by Franco’s guitar and Vicky’s vocals, while the African Jazz School of Rumba, also known as Fiesta was based on the vocals of Grand Kalle and the guitar of Dr. Nico.

Jean Bokelo Isenge’s discography is quite rich, with hundreds of songs. ‘Mwambe’ came in at least eight versions and figuratively represents the musical octad in the family. Mwambe is eight in Lingala. ‘Liwa Ya Sinatra’ can as well trigger an argument that Jean Bokelo was the ultimate king of Pachanga, a throne whose kingship has been hotly contested by OKJ and Negro Success. Hits like ‘Tambola na mokili’ have been listened to, danced to, and performed many times by very many bands over the years.  Is that random song loved and appreciated? even by no rumba fans.

"Tambola na mokili dit, Omona makambo"

This introductory phrase asks one to explore the world and experience what it has to offer, essentially capturing man’s peculiar mannerisms that have been adopted by many other musicians. For Instance, Ochieng Kabaselle of LUNNA Kidi, in one of his songs, castigates a friend turned enemy whom he accuses of stealing his band’s equipment and music, while he was incarcerated for political reasons. Sandoka is yet another successful song by the band.

In ‘Mbongo’, he alleges a conspiracy between two entities, a woman and money, to sink the world. Simaro has replicated this theme in ‘Mbongo’ and Les Bantous in the song ‘Makambo Mibale’, composed by Kosmos Moutouari.

It is worth noting that Conga Success in 1968, rebranded to Conga 68. This rebrand brought in several top musicians. Among the singers is Jean Papy Ramazani, aka Ramadhani Nkalu Luaka, an ace soloist. Dizzy Mandjekou, and Sax Akazol, among others. The band for contractual obligations also recorded under the names Congo International and Conga De La Capitale.

Much later, the band changed its identity and mutated into Mbonda Africa.  Otherwise, Grand Pizza, which gave you Mandala, was the other band for the Isenge siblings. Jean Bokello died in January 1995 in Kinshasa. His was a successful musical journey that left the world dancing to his music and marveling at his catchy phrases.

By Jerome Ogola

Jabulani Radio Livestream

Next Track

Track History