Juma bhalo biography

07 Taarab Taking its name non-native the Arabic term tariba, notion the ecstatic feelings evoked next to true musical artistry, taarab has its origins in court song traditions of the Arab limited of late nineteenth-century Zanzibar lecturer coastal Kenya Shades of Benga Swahili Taarab Taking its term from the Arabic ‘tariba’ , meaning the ecstatic feelings elicited by true musical artistry, taarab has its origins in dreary music traditions of the Arabian elite in late nineteenth-century Ikon Zanzibari taarab legend Bi Kidude.

She was an avid con of Siti binti Saad who is widely credited as taking accedence popularized Swahili taarab in Take breaths Africa Swahili taarab (also tarabu) is a form of terrestrial vocalised poetry that is ended in a variety of harmonious styles, all of which make known strong inluences from the Amerindic Ocean island cultures. As skilful type of music of honourableness ‘Swahili coast’ that has anachronistic recorded commercially for nearly efficient century and has spread restructuring far as the Arabian Plug and all the way domestic to Rwanda, Swahili taarab practical everything transnational.

However, the taarab of the Kenyan coast has taken its own course thanks to independence, allowing for the struggle of a distinctive ‘Kenyan taarab’ that is currently reaching tog up halfcentury mark. Taking its nickname from the Arabic ‘tariba’, thrust the ecstatic feelings evoked exceed true musical artistry, taarab has its origins in court symphony traditions of the Arab whole in late nineteenthcentury Zanzibar increase in intensity coastal Kenya.

A Zanzibari eve who was a descendant observe slaves is generally credited opposed to bringing Swahili inluences to influence genre and popularizing it slightly a form of entertainment lay out all strata of coastal Bantu society. Siti binti Saad, whilst this woman came to fleece known (‘Siti’ being Arabic get something done ‘Lady’), was active as dinky performer and recording artiste let alone the s until her termination in In , HMV exultant her and members of mix ensemble, Budda Swedi, Maalim Shaaban and Mombasa-born Mbaruk Talsam, repair the Indian Ocean to write in Bombay.

These initial recordings by Siti and her adjust were hugely successful, prompting make more complicated taarab recordings by HMV pointer other multinational record companies. Original Swahili taarab, as we carrying great weight know it, was born. Coarse the s Mombasa, Kenya’s seaward town, became known Shades reproduce Benga 1 across the Swahili-speaking world as a center clean and tidy taarab innovation.

Professional orchestras famine Lulu, Jauhara and Morning Draw offered poetry that drew sharpen the rich literary traditions past its best the northern Kenyan coast, demolish to music that borrowed light-heartedly and playfully from Egyptian, Amerindic, Latin American and Swahili melodious traditions. The scene was bolstered by the presence of position radio station Sauti ya Mvita, whose broadcasts reached much custom coastal East Africa, including Island.

At around the time finance Kenya’s independence, a tradition lay into small-group taarab units came give in replace orchestral taarab in Port, fostered by a boom throw in the market for entertainment defer weddings as well as rendering activities of the local cloakanddagger label Mzuri Records (owned stop Assanand & Sons Ltd.).

Pic 1. Fort Jesus in Port 2. Maulidi Juma (far right) & Party in Mombasa, That small-group tradition came to incorporate three more or less understandable styles, ‘Arabic’ (taarab ya kiarabu), ‘Indian’ (taarab ya kihindi) innermost ‘Swahili,’ which are identiiable invitation their musical characteristics (though a-ok closer analysis reveals important differences in the poetic content have possession of the lyrics).

2 Shades describe Benga Arabic Taarab Arabic taarab consists of Swahili songs peaceful using the maqam system disregard Arab melodic modes Photo Ustadh Zein L’Abdin Ahmad Alamoody Semite taarab typically features oud (Arabic Lute) as the primary concomitant instrument along with percussion security the form of bongos and/or dumbek (goblet drum) plus rika (tambourine).

The main repertoire arbitrate Arabic taarab consists of Bantu songs composed using the maqam system of Arab melodic modes. It is also known pass for ‘men’s taarab’, because its regular live setting during the relentless and s was the betray party held to celebrate capital bridegroom before sending him play for time to consummate his marriage.

With your wits about you is at such gatherings stroll Arabic taarab became fashionable in the midst Kenya’s coastal Muslims, especially fend for the wave of Hadrami (Arabs from Hadramawt) immigration in primacy lates. The inest Arabic taarab performers in the s ordinarily played before Hadrami as lob as Swahili audiences and goodness fact that the newly checked in Hadrami were marrying Swahili be disappointed Kenya-born Hadrami, heightened the order for songs in Kiswahili concluded in ki-Arabu, Arab style, thus the preference for (Swahili) Semite taarab.

When celebrated singer last oud player Bin Brek common to his native Hadramawt (southern Yemen) in the early callous, oud virtuoso, poet and songster Ustadh Zein l’Abdin Ahmad Alamoody was left as the admitted king of Arabic taarab be next to Kenya. Zein, who passed trip in June , traced queen origins to the Hadramawt, on the other hand his roots in Kenya go on foot back many generations.

Born unsubtle the northern port town delineate Lamu in , he au fait to play the oud differ his father and uncle, captivated acquired exposure to Arab penalization from sailors visiting from leadership Gulf. Shades of Benga Indian Taarab Indian taarab came unto its own after World Contention II, when Hindi ilms became popular among the coastal Bantu Photo Mohamed Juma Bhalo ‘Professor Bhalo,’ was well known superfluous his mastery of Indian taarab While Kenyan Swahili men were developing a penchant for Semitic taarab in the years multitude independence, their women were nonindustrial a much deeper love tend another style, Indian taarab.

That latter style which features Bantu poetry set to Hindi remove the skin melodies, orchestrated and performed take back a manner that captures glory spirit of a Hindi graze soundtrack, served as the mandatory entertainment during Swahili women’s marriage celebrations for much of distinction second half of the Twentieth century.

It remains popular tod, though it has suffered the rise of ‘modern taarab’ as well as a movement against women’s taarab celebrations beside Salai Muslims in very fast traditional Swahili neighborhoods. Indian taarab came unto its own equate World War II, when Sanskrit ilms became popular among birth coastal Swahili, their romantic themes resonating with the ideas take up liberation and self-determination that were in the air at rank time.

But the style’s ordered roots extend even further vote. Early taarab recording stars, plus Siti binti Saad, often exotic melodic material from Indian qawwali and ghazal records. Culturally, Asian taarab is also more keenly rooted than might appear gorilla face value. The music job simply not a product supporting Swahili musicians borrowing from sounds that were in current spread, but a relection of regular long history of contact cope with association between the Swahili wallet Indian communities.

Apropos, some wait the bestknown Indian taarab stars can trace their origins disturb South Asia. A case get your skates on point is a man who might be referred to chimp the father of Indian taarab, a Swahili of half-Ismaili Continent descent, musician and actor Musa Maaruf (‘Famous Musa’). A Zanzibari who frequented Shades of Benga Taarab Photo Legendary poet Ustadh Ahmad Nassir Juma Bhalo (center) penned most of the songs interpreted by his cousin ‘Professor Bhalo.’ He is seen skull this photo outside his penalty store with his son Najib Ahmad Nassir (left) and Mbarak Ali Haji of Lelele Continent Mombasa from the s a while ago inally taking up permanent house there after the revolution play a role Zanzibar, Maaruf was an reign harmonium player with a unsullied, piercing tenor voice capable delightful performing powerful, qawwali-style melismas.

Blooper recorded some of the irst locally produced East African recordings with the Nairobi-based Jambo Documents label in the late unmerciful or early s. His songs set Swahili poems to differently authentic Indian songs, sung bundle a distinctly Asian accent. For ages c in depth Musa Maaruf and the fantastic talented Yaseen Mohamed were ethics kings of Indian taarab amid the s, for most director the history of independent Kenya that crown has belonged surrounding Juma Bhalo.

‘Professor’ Bhalo, similarly he was known, recorded graduate of Ketebul Music Indian taarab songs in his pristine, chemoreceptor tenor, before retiring from air in at the age always Photo Mbwana in He began singing professionally in the operate s in Tanga. In those days he accompanied himself grease the mandolin, earning the fame ‘Mohamedi Mandolina.’ Around , crystal-clear moved to Mombasa, where significant replaced his mandolin with goodness Indian handpumped harmonium and began to establish himself as unembellished renowned recording artiste and actress at weddings.

With a ‘golden voice’ reminiscent of Indian playback singer Mohammed Rai, Bhalo came to specialize in Hindi pare songs relatively early. Most illustrate the poetry put to penalization throughout his career was authority work of his older cousin-german, legendary poet Ustadh Ahmad Nassir Juma Bhalo, Shades of Benga Taarab who expended great elbow grease and energy in setting Bantu words to songs from favourite Hindi ilms.

Photo Maulidi Juma in In the lates, Bhalo began to release recordings (including live performances) on magnetic roll tapes and, later on condensed cassette discs, through Mbwana Wireless Services in Mombasa’s Old Hamlet. In the s, following boss dispute with Mbwana over line payments, he set up fulfil own studio and cassette stall across the street.

Bhalo Sounds remains the only competitor put your name down Mbwana Radio Services in neighbourhood taarab recording and distribution unappealing Mombasa. After Bhalo left Mbwana Radio Services, the company began to promote singer Maulidi Juma Iha as the next ‘big thing’ in Indian taarab. Maulidi’s more easily accessible poetry, survive the fact of his Mijikenda background, aided him in assets a large, loyal following tolerate rival that of Bhalo.

Grandeur competition between the two chorus led to a duel castigate words in their songs. These insult songs were broadcast circumvent speakers set up at both Mbwana Radio Services and Bhalo Sounds. When these mud-slinging matches degenerated further into obscenities spell slanderous accusations the Chief have a high regard for Old Town was forced connection intervene to silence the untreated dispute.

Juma Bhalo passed blow away in April Despite the extemporary nature of his funeral (following Islamic tradition), hundreds of general public turned out and he was eulogized by local Swahili scholars and dignitaries. Shades of Benga Mombasa Taarab The merger goods chakacha with taarab was regular from a Swahili perspective, rob on to produce a remorseless of taarab that was often more viable as a racial or regional form of usual music Photo Malika, the queen mother of Mombasa taarab.

Her inexpensively ‘Vidonge‘ remains one of picture biggest taarab hits from Metropolis The ‘Swahili’ style of City taarab is less coherent rather than the Arabic and Indian styles. The term has been motivated to describe the Latin- dowel Arab-tinged music of Matano Juma in the s, and dignity highly danceable chakacha taarab make merry female singers Zuhura Swaleh extra Asha Abdo Suleiman ‘Malika’ disturb subsequent decades.

Chakacha, a inshore women’s ngoma (style) traditionally dependent with Swahili weddings, features double-cross infectious, upbeat crossrhythm. The coalition of chakacha with taarab was natural from a Swahili vantage point, going on to produce smashing kind of taarab that was much more viable as straight national or regional form a mixture of popular music than the Semitic or Indian styles could sharp-witted become.

Malika’s ‘Vidonge’ (Pills), home-made on a traditional chakacha tag, became an enormous hit crossways Kenya and beyond in honourableness early s. ‘Vidonge’ spawned assail recorded versions of the strain by other taarab and non-taarab groups, including Nairobi-based Congolese festivity Orchestre Virunga. It earned Malika a contract with Mushroom Record office, a Kenyan recording company hang together vast distribution networks.

The triumph of Malika’s ‘Vidonge’ in Tanzania played a role in prestige formation of a new uncluttered of taarab in that community in the early s. Primarily patronized by Tanzania’s newly botuliform political parties, so-called ‘modern taarab’ features message-laden (mipasho) poetry depict the sort exempliied in influence refrain of ‘Vidonge’, set turn into Latin and ngoma rhythms coupled with melodies inluenced by beni (music played by bands).

Tanzanian contemporary taarab was well received tough Kenyan audiences, Shades of Benga 1 and was therefore dash something off adopted by local musicians wrench Mombasa. While Mombasa’s modern taarab groups have appeared largely load to play cover versions unmoving Tanzanian hits, the best disbursement them have also developed their own repertoire.

This latter guidance has arguably given rise differ a particularly Kenyan form depict modern taarab which is infused with shades of Indian taarab. The late Sitara Bute’s drain with the group Diamond Falling star (now Lelele Africa) around significance turn of the millennium court case an example of this. Sitara, who died an untimely get in , sang Hindi remove the skin melodies and the Swahili-style melodies composed by band leader Mbaraka Ali Haji in a nature vaguely reminiscent of iconic Soldier playback singer Asha Bhosle.

Nobility effect set her and Rhomb Star apart from Tanzanian assemblys in a way that crank deep appreciation among coastal African audiences. Photo 1. SItara Divide seen here at a radio show with Diamond Star. Next currency her is Mohamed Adio Shigoo on the keyboard 2. Mwanajuma Mngumi with Diamond Star. Flaw the keyboard is composer Mbarak Ali Haji with fellow balladeer Mwanate Kibwana next to him 2 Shades of Benga The Youth & Taarab The subject of hip-hop and ragga-based harmony genres among the youth make a way into Kenya in the late savage has provided a new drive for taarab to change Photograph Prince Adio The various forms of taarab that have emerged on the Kenyan coast on the nail the past half-century still uphold, even if most of their practitioners struggle to make regular living.

The rise of rap and ragga-based music genres amid the youth in Kenya wonderful the late s has granting a new impetus for taarab to change. Two coastal musicians who came of age fabric the boom of music turn is distinctly popular with goodness youth, Prince Adio and Nyota Ndogo, have garnered recognition tend combining aspects of modern taarab with ‘youth music’.

Prince Impede blazed the trail for taarab-infused music that was popular amidst the youth. The son fall foul of veteran taarab musician Mohamed Shigoo Adio, he already established child as a modern taarab songster when he began experimenting look after the digital production techniques turn gave birth to Kenyan girlhood music, irst at Andrew Burchell’s Jikoni studio (where Nyota Ndogo also made her beginnings) stomach then at Tabasam Records.

Unplanned , Prince Adio achieved on the rocks breakthrough with ‘Nikiwa Ndani’ (When I’m Inside), a track lapse debuted a novel style admonishment ‘hip-hop taarab’ that sets taarabinlected poetry to Kenya’s homegrown layout of pop music. ‘Nikiwa Ndani’ is ostensibly a straightforward air about domestic tensions; however, reach the typical manner of Bantu taarab poetry, its lyrics arouse alternate readings.

Young men running diggings on Nairobi’s public transport vans, better known as matatus, who enjoyed the song’s more improper double entendre made it bring to an end of their daily play data. This stamp of approval through the matatus helped to begin the song onto the chuck lists of some of ethics major FM radio stations. Tinted lenses of Benga Taarab As measurement of the Spotlight on African Music project for , Nyota Ndogo pushed the taarab wrapper a little further by experimenting on a fusion with ornamentation and musette from France in the way that she collaborated with the Nation musette accordionist Vivianne Arnoux lecture Kenyan jazz guitarist Eddie Waxen.

One of the songs foreigner that collaboration titled ‘Dawa’ decline featured in the Volume 6 compilation of Spotlight. Photo Nyota Ndogo (right) and Vivianne Arnoux (left) during a performance velvety The GoDown Arts Centre be thankful for In recent years, there keep been attempts by some old hand taarab musicians like Mohamed Shigoo and Diamond Star’s Mbarak Calif Haji to take Mombasa taarab back to its illustrious previous, reviving the sounds of high-mindedness mid-twentieth century in order join gain access to new patronage and audiences.

Working with alien and local entrepreneurs and non-governmental organizations (NGOs), these enterprising artistes are reviving old songs streak the instruments used back at that time, such as the harmonium tell the taishogoto, a Japanese gewgaw string instrument originally brought slant East Africa by Indian traders. Whatever the case, Swahili taarab will surely be heard significant enjoyed in some form sort it is so intrinsically interrelated to the age-old Swahili predilection for poetic expression.

Shades reduce speed Benga