Wheres the summer gone, I sure did tempt the fates when I wrote about the great weather over the past few days, damn. It’s a muggy overcast day worst of all the weather peeps predict rain late in the day. The saving grace is that it’s a warmish morning, so all in all rather pleasant.
The very first A.J.R. Great Pub Lunch/Grub Search review is now posted on our website, we tasted the grub of the well known Foresters Arms better known as Forries in Newlands. Remember no matter where you reside in the global village send us a review of your favourite Pubs Lunch/Grub and menu as we search for the best lunch grub.
The streaming day starts with the Jazz Rendezvous Radio, Pinotage & Coffee Stockvel Club from 10am C.A.T. showcasing some of those wonderful new releases and also our weekly crossing to London to chat to the editor in chief of the award winning London Jazz News Blog, Sebastian Scotney around 11am when we discuss what’s happening in the world of European Jazz.
At 12pm C.A.T. Titilayo Adedokun is behind the mic to present The J. B. F. Show (Jazz. Blues. Fusion) when she shares her selection on music from the global village. The Jazz E 100% South African Show follows from 2 to 4pm with Etienne Shardlow from Jo’burg hosting whilst wearing his passion on his sleeve. After that our re- broadcast schedule kicks in so one can catch the programmes one may have missed. Joy us all day, every say. Listen here
Zodiac Signs: Libra / Scorpio
Name for the Moon: October is Hunter’s Moon.
When is the Full Moon in October?
Birthstone: Opal, Tourmaline, Pink Sapphire
Today is Frappe Day!
The frappe is a chilled foam-covered coffee drink that originated in Greece in the 1950s. Today, there are many different variations of this refreshing beverage.
In the United States, frappes are usually made with coffee, milk, ice, vanilla ice cream, and sugar combined in a blender. In other parts of the world fruit frappes are popular.
The Klutz In the Kitchen will find a delicious Frappe recipe to share on his webpage for one to enjoy on arrival home after the hectic day to enjoy after work
It’s also Bathtub Day and World Habitat Day today
October is Breast Cancer Awareness Month & Chili Month & Dessert Month & Pasta Month & Roller Skating Month & Adopt-a-Shelter-Dog Month
This week is National Walk Your Dog Week & World Space Week & Fire Prevention Week
A few of today’s none jazz birthdays;
John Cougar Mellencamp, born 1951, age: 63
Toni Braxton, born 1967, age: 47
Yo-Yo Ma, born 1955, age: 59
Simon Cowell, born 1959, age: 55
see Jazz Birthdays on our website.
Nigeria: Olawale Drops Debut Album
By Yinka Olatunbosun
Olawale Ojo, the winner of the reality show, MTN Project Fame Season 6 has finally dropped his debut album, titled, “Almost Famous,” last week in Lagos.
The sonorous singer-songwriter was in a studio one day with a music producer recording his songs when he suddenly realised that he had not selected a title for the album that he was arranging. He was wearing a t-shirt with the inscription, “Almost Famous” and that struck his manager as a good title. Olawale couldn’t agree more. His debut album is to set him on the mainstream music scene that he had been groomed for at the music academy. Judging by the vocal delivery in the 10-track album, Olawale really learnt well. On the new album are also a couple of collaborations including “Love Me” featuring Tiwa Savage, his mentor; and Follow my Lead that featured Lil Kesh, one of the producers that worked on the album. The album also includes singles like “Jupa” and “Is Notin.”
The young singer revealed to this reporter that the Fuji tilt in his songs could have been influenced by his background. Growing up in Ibadan, Olawale encountered Fuji music in his neighbourhood and was also very keen on listening to the likes of Alicia Keys, Mariah Carey, Bruno Mars, Usher, Beyonce, Jennifer Hudson and many female artistes because of his vocal range. It paid off because Olawale can vary his vocal style to perform almost any genre of music.
In producing the album, Olawale had to deal with the challenge of performing freestyles in the studio being a new culture to him. He had been used to putting down his words but the producers often demanded spontaneity and a very high degree of creativity which he later matched up to.
“Though it was quite stressful for me to put together the songs, at least everything is set now, I am excited and I can’t wait for my fans to listen, for people to just get to hear different things from me, RnB, Fuji, pop all embedded in one great album,” he revealed.
“I am used to writing with piano because I have been playing the piano before I joined Project Fame. I used to write songs as I played the piano and would try to come up with lyrics and melody. But the Nigerian way now, I have to create a beat, or the producer creates the beat to work with or right on the spot you create the beat and melody, which was quite challenging for me,” he confessed. But working with Tiwa Savage was a great experience for Olawale who described it as “a blessing,” adding that the Project Fame platform stood him in a good stead to network with established artistes in Nigerian music industry.
On the producers that helped in arranging his album, he mentioned that he worked with DJ Clem for the first single, “Is Notin”; Spellz on the second single, “Jupa” and DJ Coublon on the third one, “Follow My Lead”. “I worked with Spellz again on the song with Tiwa Savage and I worked with Masterkraft on the song with Skales. I also worked with Kenny Wonder and Philkeyz too,” he said.
It seemed that Olawale saved the best for last in the album with the last track, “Gra Gra.” It is a slow and sexy R&B tune, rendered in pidgin language, that contrasts the literal meaning of its title which, translated in English, means, “intimidation.” Reflecting on his rise to stardom, he remarked that public expectations are always high with the winners of Project Fame and that, in itself, presents a formidable challenge.
“People expect a lot from me as a Project Fame winner. People have to grow and evolve but most people don’t understand that. They just want you to be like Wizkid or Davido overnight and things don’t just happen that way. One has to pay his dues first. I am paying my dues now and I am being very patient. I am not in a hurry to be the next biggest artiste in West Africa. I am not where I used to be and I am definitely working hard and making progress and I am grateful to God,” he said.
“We are just pencils in the hands of the creator. I just found myself doing music; not like I have a musical background.” Managing female fans is no big deal to Olawale because they make up 90% of his fan base and have been supportive. He told this reporter that he was very delighted when all the members of the Project Fame music academy and the judges showed up for the video shoot of his single, Jupa which is currently enjoying airplay.
Olawale takes music as a serious business without neglecting his education. He recalled that it was during the ASUU strike that he auditioned for the show and now he is proudly a final year student of Agronomy at the Ladoke Akintola University where he discovered his talent in singing although he had been playing drums at the church as a young boy.
“Almost Famous” begins with Agogo, a track that says much about the artistic identity of Olawale and is proudly supported by Ultima Limited.
Jazz Child: A Portrait Of Sheila Jordan Biography By Ellen Johnson Released By Rowman And Littlefield
When Sheila Jordan dropped a nickel in the jukebox of a Detroit diner in the 1940s and heard “Now’s The Time” by Charlie Parker, she was instantly hooked—and so began a seventy-year jazz journey. With Jordan’s full cooperation, author Ellen Johnson documents the fascinating career of the 85-year-old NEA Jazz Master who stands today as one of the worlds most deeply respected jazz vocalists and educators. Jazz Child: A Portrait of Sheila Jordan published by Rowman and Littlefield is the first complete biography about this remarkable singer’s life with a personal and touching foreword by Don Heckman, former Los Angeles Times Jazz Critic and current editor for The International Review of Music. Read the full story here
Zimbabwe: Poor Turnout At Tuku Album Launch
It was hardly surprising that only a few of his fans turned up since there was no hype in the build up to the launch of “Mukombe weMvura”, his latest release.
The majority of his fans did not know about the poorly marketed show.
However, the 62-year-old granddad of music whose albums now tally with his age, seemed not bothered by the small crowd that attended. He led his Black Spirits to give fans a foretaste of the album since it was not available at the launch.
“Pane ane nyota here? (Is there anyone who is thirsty)” he asked as he took to the stage before he played a new song from his 10-track album with songs mostly inspired by life lessons he learnt through the years.
“Mukombe weMvura” means a calabash of water and the ninth track – “Munhikwi” – inspired the title of the album.
The lyrics of this song say “Aita munhikwi, mupe mukombe wemvura (He/she who is hiccupping, give him/her a calabash of water).”
His last album, “Sarawoga” meaning to be left alone, inspired by the death of his son in 2010, was released two years ago in celebration of his 60th birthday.
Mtukudzi’s musical work is often centred on his personal life experiences. He is able to produce sounds that people relate to, something that distinguishes his classic tunes from the rest.
The “Todii?” singer had earlier performed at the Zimbabwe International Film Festival opening night that saw the screening of a classy act – “Camarada Presidente” by Mosco Kamwendo – before a sell out crowd.
Nigeria: Taiwo Oshadipe Dead
Taiwo Oshadipe, one of the Oshadipe twins, is dead.
The quiet music star was said to have died this morning, Friday October 3rd, 2014 after a brief illness.
The Oshadipe twins started singing at a very tender and they are known for their hit track “Dide Olorun mi”,
Taiwo was married and just recently gave birth to her first child. The last time she posted an update on her Facebook page was on Oct. 1st, her post reads: HAPPY INDEPENDENCE DAY
Zimbabwe: Crisis in Zim Music Industry
By Fred Zindi
South Africa started a vuvuzela culture during World Cup football in 2010. The whole world got to know about it. Zimbabwe’s music fans have started a culture of violence. The word gets around and the world also gets to know about it. We are definitely international.
I saw the interview which was conducted on Jamaican television of a rather distraught Kalado immediately after his performance in Zimbabwe.
In it, the interviewer was asking Kalado to explain why he was pelted with empty beer cans by rowdy Zimbabwean music fans.
His response to the interview pointed at the poor organisation of the show. He blamed the promoters of the show saying: “They just use Jamaican artistes to draw the crowds and after that they have no respect for them.
“Mavado experienced the same thing. I was supposed to be on stage at midnight, but did not go on until well after three in the morning. The promoter had to ask a local artiste to rescue me when the cans of Red Bull started flying onto the stage. That was not fair”, he said.
On being asked whether he would return to Zimbabwe if invited again, his response was, “I would go back, but I would not accept it if they include local artistes to perform before or after me.”
From the interview the impression given is that it was the local artistes who encouraged fans to throw the beer cans onto the stage.
Whether true or not, this culture of violence at Zim dancehall concerts must come to a stop.
In the past, a lot of Jamaican artistes were keen to come to Zimbabwe. Now they do not care about Zimbabwe after reports of violence and disrespectful ghetto youths. Busy Signal has already cancelled his scheduled performance in Zimbabwe. Morgan Heritage has done the same. Are we saying we are smarter than these guys?
We need to instil a sense of discipline among the artistes and youths who misbehave in this way. If this does not stop, very soon all decent people will stop attending Zim dancehall shows. It is also true that there is no fun at a music show if there is no beer on sale. The average music fan’s idea of having fun is by getting high while listening to music. So there is no question of stopping beer sales at such concerts. Perhaps the beer should be sold in paper or light plastic containers, which will not go very far if thrown in the air. Alternatively, all music fans who see others throwing missiles should report them to security who will kick them out of the show. The artistes themselves should discourage such violence by stopping dissing each other.
It is disheartening to note how artistes with talent and the potential to strike it big are fast losing their credibility as they direct their energy towards hate and dirty lyrics. Zim dancehall artistes seem to believe they can quickly rise to stardom by launching verbal attacks at each other or by using dirty lyrics.
If Zim dancehall artistes are not careful, most of them will soon become a thing of the past.
Quite a few youngsters seem to believe that in order to become a rising star in Zim dancehall, one only needs to find piercing vulgar words to sing about and that will sell lots of records. That, is an illusion.
The other day I met Soul Jah Love and he started calling me “Chibaba”. I was not sure whether to take this as a compliment or an insult, but I am suspicious of every Shona noun that is pre-fixed with “Chi” as this often infers something ugly or something which is not nice.
Curiously, I went on to listen to Soul Jah Love’s musical content on one of his songs where he also talks about “Chibaba” and right at the end he finishes the song with unprintable words , “Chibaba Chimha–“. There is no meaning at all behind the use of such words except to be vulgar which Soul Jah Love succeeded in doing. Unless he is angry about something. Several of his fans enjoy this vulgarity because it shocks a lot of well-brought-up people, but sooner or later, they will all be fed up of hearing the same language such as “Life Yemboko” being repeated. The artistes themselves will soon run out of shocking ghetto language.
I do not remember how many times I have heard Lady Squanda singing about ‘Dho- RemaGuava’. That does not shock me anymore. I am sure that has also become boring to a lot of her fans. This cancerous culture which has been adopted from Jamaica and the United States presently stands as a big threat to the fast rising Zim dancehall genre. The question is: When are Zim dancehall artistes going to start singing sensible material? They are busy knocking each other out. Very soon the likes of Killer T, Dadza D, Legend Elly, Shinsoman and Seh Calaz will be a thing of the past as newcomers such as Tocky Vybes and Kinnah take over. Last year, we enjoyed hearing “popopopopo” and “Mawayawaya”, but we are already getting tired of such riffs. They are fashion licks but fashion comes and goes.
The punters, on realising they are running out of steam, now start to diss each other. They are even touching on people like Macheso who are not in their league. Something has got to be done. In the past when Gramma Records and Zimbabwe Music Corporation ruled the roost, they would not record anything which they felt was negative and will bring their stables into disrepute. But today, with home studios such as Afrimune Records, Chill Spot Records, Mad Level and Body Slam Records flourishing everywhere, there is no way of stopping the producers of such negative material from recording it. They will tell you that their artistes are enjoying artistic expression, take it or leave it.
They are producing things like “Tirikupinda Pachiterrorist”. Who in this day and age is proud to be a terrorist? But to some youths, that is something to be proud of.
Some of the artistes, unbeknown to them have got beautiful singing voices. Perhaps they should seek the services of professional song writers who can produce creative lyrical content and start singing instead of dissing one another. That way, real hits may come out of them.
Dancehall is not all about dissing each other. There are great Zim dancehall tunes that have been penned by known artistes and have done well. Tunes such as “Ndini Messi Wereggae”, “Mafira Kureva” and “Love Ye musojah” have done very well and have propelled the artistes to the top. Conscious, educative lyrics will assist in the development of a peaceful and well-cultured Zimbabwe. There are many non-violence and non-misogynistic lyrics which Zim dancehall artistes can come up with.
The negativity in the Zim dancehall genre has put the Zimbabwe music industry in a crisis and we need to resolve it now. This is where the Minister of Sports Arts and Culture should come in as he has been quiet for far too long.
In order to discuss this crisis, a seminar has been organised at Zimbabwe College of Music this week. It will be held on Thursday October 9 from 5:30 pm until 7:30 pm.
Discussants will include Sulumani Chimbetu who will talk about crisis in the sungura genre; Jonathan Banda (Winky D’s manager) who will look at the crisis from a Zim dancehall point of view and Pastor Charles Charamba who will discuss on behalf of gospel musicians, the implications of this crisis.
Entrance is free and there will be an open session where everyone will be given the opportunity to air their views on this crisis. You are all invited.