African musicians tune in to London
By Kwabena Asamoah
Kwabena Asamoah follows up the African music scene which has made the African Summer in London a reality and a success.With African music being given a second chance in Europe and elsewhere, contacts and preparations for activities have been generated on a bigger scale the last few months. London has been fortunate to receive some of the best but not all of the African groups. A short break followed the African Nights at the Venue, London SW1 where Toure Kunda, les Quatre Etoiles, Sam Mangwana, Pierre Akendengue, Kanda Bongo Man, African Brothers Band and Youssou N'dour et les Supers Etoiles de Dakar gave a good account of themselves. The point that was proved at each concert was that there is more to African music than non-Africans have been exposed to.
It is only the beginning but legendary figures such as Franco needed to come down to show their class to British audiences. One person whose presence has completely changed the scene in London is Hugh Masekela, the South African born legend. Having spent a big chunk of his musical career abroad, he recently decided to settle closer to home in Botswana where he has managed to put together a fantastic group Kalahari. 12 July was the day when Hugh Masekela had his chance to play at the Venue in Victoria, London SWI where fans were waiting as early as 7 pm.
For the first time in the series of African Nights at the Venue, the management was forced to open the upper terrace to accommodate some more fans who were raging with anger and disappointment when they were being denied access to the hall for lack of space. It was far from a disappoint- ment for Masekela who went through some of his old hits before coming to his recent hit album - Techno Bush.
It was a night when you could not move freely due to the teeming crowd, everybody trying to catch a good glimpse of Masekela and to filter his music through. Composed mostly of Southern Africans, Kalahari was a superb group especially the lead guitar- ist whose style would remind you of George Benson. The saxophonist was lyrical and the lead singer had a wonderful voice. Masekela does not often attempt to sing but his emotional feel in 'In The Market Place' was hypnotic.
The night could not be complete without 'Pula' the South African female vocal trio whose vocal harmony has given much support to the success of the Techno Bush album. The tempo was building up before 'Pula' jumped on stage half-way through the show. But their style of singing and dancing made the night one of the rarest. Masekela's flugelhorn sharpened into the air well enough to attract another set of crowds to his shows this Friday and Saturday at the 100 Club in Oxford Street of London. But I doubt whether the hall can take the crowd.
The African disco scene has also got and known George Darko through his hit tunes 'Akoo Te Brofo' and 'Hi-Life Time' which have been released on Oval labels. There has been a lot of discussion over the stability of his group Bus Stop which is now understood to be a group of session musicians the nucleus of which has now come together as Kantata and has released a new single also on Oval Label. What was encouraging was that apart from Amo Jagger (the drummer), all the musicians turned up to play at The Tropical Palace, Chamberlayne Road, London NW10 at the Venue in Victoria, London SW1 and at the Hammersmith Town Hall, King's Street, London W6.
Enough publicity and promotion had been given to George Darko and Bus Stop in the papers and on the radio but the crowd at the Tropical Palace was less convincing than the one I saw at the Venue. The group went through reggae and some old Ghanaian hits such as C.K. Mann's 'Matow Aboa' and Okukuseku's 'Agyanka' before giving the crowd what they wanted 'Akoo Te Brofo' and 'Hi-Life Time'. The two songs attracted more dancers on to the floor which had been virtually bare for some time at the Tropical Palace unlike the Venue.
The keyboards manned by Bob Fiscian who has made a lot of differ- ence on George Darko's two hit albums was disappointing mainly due to the PA system. Lee Dodou on lead vocals was at his usual best while George Darko was strong on his guitar though his attempt at singing was not particularly successful. The control of PA system should have been done by an engineer who knew their repertoire and the crowd would have been more appreciative of something other than reggae. Things would be better done during George Darko's next London tour.
One group which has steadily been building a reputation for itself is the Sunsum Band (from Ghana) co-led by Agyaaku and Smart Nkansah who have been greatly encouraged to give their best by the presence of their charming wives - Akosua Nimmo and Maame Ruth. Virtually unknown to the British crowd, the Sunsum Band started their British tour with a serious handicap. But within weeks they have managed to convince every listener at the 100 Club, Tropical Palace, Bougie's Night Club in the East End of London and the Mecca Empire Ballrooms, Tottenham Court Road, London WC1.
The Gold Coast Promotions under Mr Otuo Acheampong have made a considerable stride in making the Sunsum Band heard in several halls in London which has grown to like a band hitherto unknown. Most of the musicians have come out of their shell to demonstrate their class. Smart Nkansah's guitar has struck critics and Agyaaku's voice and stage act have impressed the public. The honeyed voice of Mike Asante has whetted the interest of listeners in the band. Dickson Mullings has woken up to strike hard on the drums, and Abraham Arthur and Leslie Tetteh (calm but consistent) have given added touch to the music on the keyboards.
Listening to the music of Sunsum Band, Hayford Wiredu's rhythm would strike you even though he occasionally comes out in a solo. George Oware might appear slightly dull at first sight but his bass guitar throbs in tunes such as 'Emma Bekum Mmarima' and 'Gye Wani'. It took Becky B some time to settle on the lead singing and stage act probably because she was also not used to British audiences but she has become one of the greatest attractions in the group. Wanting to be original, she does not try to imitate any one particular female singer and her appeal in traditional costume has made a lot of difference. Featured as the lead singer in their latest album 'Odo (Love)' to be launched at their last major dance at the Empire Ballrooms, Tottenham Court Road, London WC1 this Saturday, she will manage to convince you with 'Yei Nti' and 'Odo (Love)' with the full scale of her voice. Manchester will also be happy to hear the Sunsum Band this Sunday in aid of the Sickle Cell Society.
