Blk Sonshine on Vimeo

Can Music Be Used To Transform Africa? | Face2FaceAfrica

From Face2FaceAfrica

On May 11th, a diverse group consisting of students, professionals, musicians, and artists, gathered in Brooklyn for an engaging discourse on African music as a tool of change in the continent of Africa.

The forum, hosted by the Filmmaker, Poet, and Activist Rebekah Frimpong, was titled, “Young African Visionaries – A Discussion of Africa’s Youth Through Music”, and brought together various African Musicians and Media Executives on a panel to share their views on the current state of African music, and how the longest form of communication can be used to inspire change locally, and to revamp the image of Africa internationally.

The panel consisted of guests including Ngozi Odita of Society HAE (Nigeria), Cassi Amanda Gibson blogger/photographer (Mozambique and Uganda), Masauko Chipembere award winning musician of the duo Blk Sonshine (Malawi and South Africa), Emmanuel Gamor of Sunlight Radio (Ghana), Benita Bortey of Akwaaba Media and 5Ave Entertainment & Media (Ghana), and Kalab Berhane of Africology (Ethiopia).

The forum also featured a special listening party with conscious Ghanaian Musician, Mensah, who hailed from London and blessed the room with his talent. He was also a Guest Panelist.

When asked to share their thoughts on how African music can be used to bring change to Africa, the panel agreed that Music is a universal language, and for that matter, its power can never be refuted. Mensah believes that one of the ways to affect change through music is to be as original and be keen on using music as a platform to showcase our identity. “When it comes to music, we have to be as original as possible because music gives us a certain super power. We may ignore it or may not even realize it but it does,” he added.

Emmanuel Gamor, who agreed with the statement added that consumers must also help musicians maintain that originality by accepting their music no matter how different it may sound. Emmanuel used the different types of Ghanain music as an example of how diverse the continent of Africa is when it comes to music.

He added that sometimes consumers shun away from certain types of music because they may be different or unfamiliar. However these may be the types of music which reflect the cutures and identities in Africa. So how do we continue to pay attention to these types of music which may not resonate with us but may have strong messages?

One of the issues that came up during the discussion is the lack of appreciation of African music by Africans themselves. The panel noted that the only way African music can rise to the internationally level and make any progress towards the revamping of Africa’s image, is if Africans start appreciating their local music as much as they appreciate Western Music.

Some may wonder the role that African governments can play in helping our musicians maintain originality and encourage them to use music as a form of communication instead of merely entertainment.

Most African musicans are struggling because although they may have all it takes, they lack an effective system that pushes them forward. Communication laws are very weak, and it is almost as a “scramble” or a “survivor of the fittest” type of system for musicians.

With the spread of Itunes, Youtube, and other music sharing sites, African musicians are suffering tremendously from terrible album sales. Most of them make a living from touring and shows, however to make a name for themselves and get to the point of winning a reasonable amount of people to attend their shows is another hassle in itself.

Payola is still very prevalent in Africa, where musicians have to pay radio stations or even TV stations to get their songs aired. Essentially, a person could be tremendously talented, but without the financial ability or necessary resources, they may never be discovered.

The governement needs to tke a more proactive approach towards protecting our musicians and providing a platform that will enable them to compete on an international level and spread the positive things about Africa.

Overall, this ws a great discussion that instigated many more thoughts  and ideas about the current state of African music and the role that the youth can play in maximazing its impact. Face2face Affrica apllauds Rebekah Frimpong for seeing the importance of this issue and taking the initiative to provide a thought provoking platform where people can share ideas on how to affect change.

Afro-Futures – Conversing With Masauko Chipembere of Blk Sonshine

When I first listened to Blk Sonshine at Satta Art Gallery over a decade ago, I knew in my soul that I had been in the presence of angels. I cried. From the first melodic note, my heart opened and a heavenly essence came upon me.

That was about ten years ago. Since then, Blk Sonshine (Masauko Chipembere and Neo Muyanga), have released another album while maintaining a level of consistent excellence with a uniquely original sound. Masauko, who was born in the United States to politically exiled Malawian parents, presently resides in Brooklyn, New York. I was fortunate to capture a few moments with him to learn more about his life and passion for music exclusively for Afro-Futures Magazine. – Tantra Zawadi

via Afro-Futures – Conversing With Masauko Chipembere of Blk Sonshine.

Blk Sonshine Videos

 

B(l)ack on track – MyVideo

B(l)ack on track – MyVideo, posted with vodpod

Inspiring sonshine

Back in the Nineties, Blk Sonshine bucked the trend of kwaito, with its mostly repetitive beats and fickle lyrics. They gave listeners a bit of heaven with their self-titled debut album in 1998 and waited more than 10 years to release Good Life.

Surely there must be something else other than music that they have been working on. Why does it take them so long to release these much loved albums?

“Blk Sonshine has never been about quick album releases,” says the ever serious Neo Muyanga.

“The first album was made up of songs we began writing when we were teenagers. It only came out ten years or so after that.”

via Inspiring sonshine.

via Inspiring sonshine.

Afrika Helm » Unplugged Joy Of Jazz

BLK (read “black”) Sonshine that is Masuko Chipembere and Neo Muyanga. They performed on the rooftops of JOZI CBD their fusion of hip hop, jazz and traditional African influences, blending soulful melodies and percussive flurries over unplugged guitars.

via Afrika Helm » 2010 » August.

That Ol’ BLK Magic

From AfricaBe.com

	By Ewetse Khama & Blk Sonshine
	Neo Muyanga and Masauko Chipembere are two of Southern Africa’s greatest living musical artists in a humble yet significant way. The duo is an unassuming pair who has been known to use their voices and stringed instruments to stir it up. Kojo Baffoe, long time friend, and admirer of Blk Sonshine perhaps put it best when he said of their performance, “There are moments in time when there are no words that can adequately capture the emotion, the experience.” With an almost magical quality to their art these two Librans left an indelible mark on the South African music conscience with just one album. AfricaBe caught up with Neo in Cape Town and Masauko in Brooklyn, New York to get at the method to the magic. AfricaBe: To set the record straight once and for all. Where were you born? Masauko Chipembere (MC): Yeah! There was a time when people were saying I was born in Botswana. I don’t know where that one came from. I was conceived in Tanzania while my parents were exile from Malawi and then born in Los Angeles because my parents returned to the States in 1969. Neo Muyanga (NM): I was born in Soweto. AB: What do your names mean? NM: Neo means ‘a gift’. MC: My name Masauko, means the suffering a mother experiences while giving birth. My father had this name before me and understood his name to mean the suffering of the people of Malawi to be born into freedom. My mother says she did not suffer a lot during child birth with me but they wanted someone to carry my father’s name. It’s a bit heavy to be named “Suffering” but I now see beauty in it because suffering is part of a cycle that leads to growth. AB: Why did you leave Africa? MC: My family left the continent because my father, who was the first Minister of Education in Malawi and one of the main players in the Independence Movement, led a failed coup against Kamuzu Banda in the early 60s. This was the result of Kamuzu’s strange habits. He was hostile to the OAU and friendly with the governments of Mozambique and South Africa who were both oppressing the black majorities in their countries at that time. NM: I went to study. AB: What brought you back home to Africa? MC: In the early 1990s, Kamuzu Banda was pushed out of office by the UDF government.  While Kamuzu was in power there was always a price on the head of anyone called Chipembere. So, I wanted to go home to Malawi and meet all those relatives who had stayed and suffered.  I had also grown up with hip hop, so X-Clan, Public Enemy, Arrested Development and the Jungle Brothers all made Africa seem like the centre of the world to me. NM: My family is here, and I don’t like living in a country where I have to walk around with my passport and pass documents all the time. So coming home was always the plan. AB: Is there anything you feel you missed out on in Africa spending so much time abroad? NM: No, I was always with other Africans – in Botswana, Italy, U.K. and Germany, then again in the U.S. MC: I cannot speak my mother tongue (Nyanga/Chewa) and this breaks my heart everyday. I am slowly learning it and loving the wisdom and proverbs of my people. My father died when I was small and left my mother with seven kids in exile!  So, we went from being children of the Minister to being on welfare and living in the ‘hood’ in LA. There was no time for African language lessons in the concrete jungle. AB: Where did Neo and Masauko first meet, and how was that first meeting? MC: We met in February 1997 at Jahnito’s which is a small little club in the Yeoville area of Jo-burg.  I met Neo because he was there playing guitar and singing at Monday Blues which was a popular event started by Peter Makarube. I was also there trying to let people hear my songs. Neo had already composed “Born in a Taxi” and I remember thinking to myself that this guy had a hit song.  I don’t remember the, “Hi, I am Masauko,” moment. But, I do remember that the first time we got together to play was in my rented back room on Muller Street and it was obvious that we had something from day one. We both just loved playing guitars together. There were no dreams of stardom just good music. AB: How did it transpire that Yeoville in Johannesburg ended up being the birthplace of Blk Sonshine? MC: Yeoville was the birth place of the whole movement of music that is (currently) transpiring in SA.  I used to live in Olympia Mansion (a block of flats) upstairs from Tandiswa in Yeoville!  Simpiwe Dana, Tumi from the Volume, MXO, Sliq Angel, Snazz D, X-Amount, Mizchif, Devious and many other artists would come by the house and we would just have sessions and enjoy being creative people together.  There were also jazz cats like Moses Molelekwa and Andile Yenana around the neighbourhood. Andile was always willing to show someone some chords or just listen to some good music. AB: How did California then become where the first Blk Sonshine album was ultimately recorded? NM: We recorded at various studios where our producer, Russel Pope, could get decent rates: the house of blues in Encino, as well as other studios in the Valley and Burbank suburbs of Los Angeles. MC: He (Pope) is a white South Africa who fled the country in the 60s because he couldn’t take all the hatred. He worked with Supertramp before working with Blk Sonshine.  Hardly anyone in SA knows his name but he is probably the most successful white South African to ever leave the country and pursue a career in music. I love that man because he loves good music. He actually funded our first record because he believed in us even though he came from a country that promoted racism against blacks.  He transcended that confusion and helped to create something positive with us. AB: How do you manage to give a diverse range of global citizens access to your music? NM: The world today is a diverse place. When we play, authentically as ourselves, people are able to sense that and they grow warm to it. MC:  I have no choice. I am an African born in America. AB: What were some of the influences that were similar at home and abroad about Blk Sonshine the debut album? MN: I think people liked the acoustic, simple and dressed-down nature of what we were doing. MC: Everyone seemed to like the intimacy and the emotional aspects of the music. People are people so they tend to feel it if you feel it. They also like the idea that no one was sure where a music like this would come from or what category to put it in. AB: What do you do individually when you are apart? NM: I compose music everyday. Then I spend every other couple of days analyzing what I have composed. MC: In the last couple of years I have had the pleasure of performing at Carnegie Hall, touring with Digable Planets and recording records with various artists. I have a great record out with Lorraine Klaasen who is the daughter of the Tandi Klaasen (a known jazz singer in S.A.) It is called Africa Calling. We made that record in Canada and worked with Bakhiti Khumalo. The producer for that CD was Mongezi Ntaka who was the original guitarist for Lucky Dube. We work together all the time because he is from Malawi and SA. AB: What sort of performances do you stage as individuals? I perform a lot with Mongezi and Kuku who is a Nigerian artist. We are always trying to push our African culture on the people of America. I also perform with Yolanda Sangweni; then there is Brian Jackson from the Gil Scott-Heron band. There’s too much going on to get it all in without sounding like a train wreck and Neo stays as busy. NM: I also compose (for) and musically direct theatre productions, contemporary dance and film. AB: At what point in your careers did you decide to make an album from your music? MC: The first CD came about because we had been playing live a lot and people wanted to take the music home. Our audience sort of demanded the ability to hear the music in their own spaces at home. NM: When the song starts to feel good in the mouth is then time to start recording him. AB: How did you manage to make such an impact off of one album, Blk Sonshine? MC: To be honest, there were three factors; 1. We got the song “Born in a Taxi” into a major South African advert, so people heard it everyday from their televisions; 2. We made the album in LA which convinced the industry in South Africa that we must be doing something worthwhile.  It is kind of sad but a lot of people assume that ‘Made in America’ means quality; 3 We actually can write some songs and sing. But this was the least important factor and it always is in this business. The music business is more about hype than art. If you are an artist you need to be persistent and talented. We are both of those things. AB: How did you structure a deal which allows you generous freedoms in terms of producing albums? NM: We paid for the album and recorded it ourselves, and then struck a license, distribution and marketing deal with the record company. We retain all copyrights. AB: Is this a good business method? MC: It is the only method that makes sense in the industry climate of today. Record companies are closing everyday. The whole model for how music is sold will be different within ten years.  These companies may not exist and if they do, it will be in another capacity. NM: It keeps things clean and straight. AB: Is a message in the music also good business? NM: It depends on whether the musician is believable or not. If not then it can be bad for business. MC: Nope! It makes it harder. If we just did love songs about boys and girls we would eat a lot better but the soul would starve. AB: Where is the real money to be made in the music industry as a musician? NM: It depends on the kind of music: if you are a touring musician, the money is in the gigs. If you are a songwriter/composer who does not tour, the money is in the publishing royalties. If you are recording star, then the money is in selling CD’s or mp3’s. If you are a classical musician, the money is in the commissioned works, and so on and so forth… AB: Has it always been that way? NM: No, it never stays the same. There are new platforms being invented every year, so the avenues to money will continue to change and shift accordingly. MC: The modern downloading system has made it almost impossible to make a lot of money around the globe selling records. A bunch of people reading this article have our music but never paid for it. They just downloaded it somewhere or burnt a CD from a friend’s copy. They love what we do but don’t know that burning the music takes food out our family’s mouths. AB: What is it that artists need to think about when they want to sign on with a record company? MC: They need to understand that it is called the music business. But to the record company it is the business of music. The business comes first because they are spending money. No one wants to risk loosing their money on an idea that seems far fetched. So if you want to come out with an original sound, make sure you go out and perform a lot so that the industry can see that there is an audience for your new concept and style. You also want to sell your own CDs at shows to show the industry that people buy your work. AB: New Album, Good Life… what doest it say about Blk Sonshine’s growth over the last 10 years since the first album? MC: On this album you will hear even more of Africa in our sound. You will hear me beginning to use Chewa in “Watch This Woman.” You will hear ancient Indian instruments on the song “Aweright.” You will hear Koras and Cellos. We also collaborated with Tumi and MXO on the song “Nkosi.” You will hear that we have been travelling the globe and listening to all sorts of music and incorporating it into this African vision. With the album, Good Life, we are trying to define for ourselves what exactly makes for a “Good Life.” The answer of course is love but how to go about arriving at that answer is the journey that guides this set of songs. NM: I think is says we’ve been listening to a lot of diverse music and are growing as songwriters, but that’s just me.

My father’s vision is coming to fruition

The BNL Times | Daily Times | Malawi News | Sunday Times | The Weekend Times.

Written by Jack McBrams

Thursday, 05 August 2010

American born Malawian musician Masauko Chipembere is back in the country to celebrate his father’s 80th birthday at Chancellor College Thursday evening from 4.00 pm to 6.00 pm at Little Theatre, Chancellor College. In the interview below, he talks to Jack McBrams about his music and the significance of the event and how these two merge together. What brings you here on this particular journey? Two powerful women, my wife and my mother. My wife is teaching a course in literature at Chancellor College. I’ve also come to celebrate my father’s birthday on August 5th with my mother. Why is this birthday important? Without his life I would not have mine. But, my father dedicated his life to Malawi. So in celebrating his life, we celebrate the history of Malawi. You are a musician, how does that relate to the legacy? I am a child of my mother and my father. My mother is a singer and a political person. My father was a political person who loved the lyrics to songs. I am the synthesis of these two people. Born outside, how do these journeys help you discover yourself and your people? Marcus Garvey famously said a tree without roots cannot grow. So, these family roots give me my wings. I am learning my place in the story. I am finding my purpose in life. I am learning about umunthu and sadaka. What have you learned from Malawian music and musicians? One of my first encounters here was with Wambali. We met on my first journey and he encouraged me to learn about all the music here. In Malawi, we are masters of the drum and the guitar. I am a fan of the Kachambas and Namoko. We have world class music here. I could spend a lifetime just studying all the musical styles of Malawi. Music is also a great way for me to learn the languages. What current music are you into? I love Peter Mawanga because I enjoy it, my mother enjoys it and my children enjoy it and the whole Black Missionaries posse too. But, I can also dig Third Eye and Tay Grin. I see no boundaries in music. MaNyasa are some of the best musicians in the world whether Malawians buy them or not. What is going wrong with Malawian music? Technically, we are using out-dated keyboards. We are also forgetting that producing and engineering records require learned skills. Spiritually, the fact that those who play traditional music are separated from those who do hip-hop and reggae is foolish. We all need each other in order to create a larger market and survive as artists. At what stage are you with your music? This has been a good year for me. My group Blk Sonshine was nominated for a South African Music Award for our new release called Good Life. I recorded a song with Tekitha and RZA from the Wu Tang Clan called ‘Ghetto Serenade’ and it was released in 2010. I recorded some South African jazz with Mongezi Chris Kandoje, the Malawian who played guitar for Lucky Dube. We supported Lorraine Klaasen on that CD. It is called Africa Calling and was nominated for a Canadian folk music award. In 2010, I’ve found my direction. I have learned that I can make whatever music that I want. I can bring Allan Namoko, Daniel Kachamba, Nas, Bob Marley, Marvin Gaye, Letta Mbulu all together into my own sound. At this point, I am learning to take the songs my mother sang as a girl and use everything I know to modernise them. There will be plenty of Malawian influence on my solo CD which will be coming in 2011. What are the Malawian musicians saying to you and what are your thoughts? There are saying the people are moving away from their own Malawian music and running to the Western sound. I think this is a shame because the Western music has no respect for women and children. Malawians are dignified people. We must respect ourselves and our history. How does it feel to be Chipembere’s son in this place at this time? It feels great. I believe that my father’s vision is slowly coming to fruition. My father believed in fighting for the dignity of all African people. He believed that Malawian culture was about valuing people more than things. No! We are not there yet but pan’gono pan’gono tikafika (Slowly we will reach the destination). Twenty years ago I never would have dreamed of coming to Malawi. Today, I am here celebrating my father’s 80th birthday. There are miracles in our midst and our history is coming to life. The last thing he said was that history would judge him. History has chosen the highway instead of the low way and we are on the move. Where do we go from here? I think we need to start educating ourselves. I am not just talking about school. I am speaking about this in the William Kamkwamba sense. This means that all learning doesn’t happen in school. If you don’t know about Chipembere and Chilembwe go find a book. If you can’t find a book go ask as many elders as you can and be able to speak intelligently about your own history. Because I know there are plenty who can tell me every character on Generations but how many can name all the individuals involved in the cabinet crisis of 1964? “We are the ones we’ve been waiting for.” Your last words to Malawi? “Lead us not into Materialism but deliver us from imperialism.” Bambo Chipembere!

BLK Sonshine on ETV’s Unplugged Joy Of Jazz

Blk Sonshine will be featured on ETV’s Unplugged Joy of Jazz programme on Wednesday 4th August at 9.30pm