A CHAT FROM LONDON: Among our musicians overseas, Saidi Kanda bears the torch

Last week, Tanzanian boxing champion Ibrahim Class gave us the little push we needed.

Inspiration.

A winner.

In August, another Tanzanian athlete, Alphonce Simbu, clinched a bronze medal at the Olympic stadium in East London. Class “Mawe” and Simbu have made 2017 extra pleasant and promising. Like it or not, many Africans overseas are slightly envious of our President Magufuli. In February 2016, Nigerian TV presenter Adela Fayehun called other African leaders to emulate “Mr Bulldozer” and “clean their own houses!”

Months ago this column featured another victorious Tanzanian, Joyce Materego, London-based mother of two. The hardworking accountant was among exemplary leaders in the children charity company she works for, tirelessly. We must continue to appreciate, praise, name, and cherish our dear winners.

That is why Saidi Kanda (pictured) needs be mentioned, earnestly.

I have observed and interacted with this Bagamoyo-born musician for over 30 years.

Back in early 1980s when I was interviewing the legendary Remmy Ongala for his biography (published in 1986), Saidi was in the shadows of the big man’s band, Matimila, deftly knocking those congas, which in Swahili we call ngoma or tumbas. Tumba comes from Spanish (tambor means drum) and Cuban percussionists are mainly called congaleiros or tumbaleiros...we say wapiga tumba or wapiga ngoma, in Swahili. Throughout the latter part of the 20th century our general outlook on percussionists (and traditional dancers) has been prejudiced. To date, TV cameras always highlight singers and guitarists. Am I wrong?

Saidi Kanda once said to me: “I used to play well and also dressed very well. Me and some of my friends decided we are going to make playing ngomas cool.” Kanda’s mission has, therefore, (always) been to sell percussion to the world. He began with Biashara Jazz Band in the 1970s then moved to Super Matimila. After about ten years, WOMAD, the international promoter of music from developing countries (created by English musician Peter Gabriel), gifted Kanda with World Percussionist of the Year award in 1989.

Early this week, the 55-year-old Kanda said in an interview that he is regarded as the fourth best living percussionist (congas, tumba and ngoma) on the globe. Above him are the Cubans and Brazilian maestro Airto Morreira. Apart from Ongala and Kofi Olomide he has drummed for many accomplished top class musicians, including the unique Grace Jones. Yes, the US-based Jamaican eclectic artist. If you do not know Grace Jones check out the 1985 James Bond movie A View to Kill or listen to her most well-known hit, Slave to the Rhythm.

Kanda has recently been promoting his own work. Want to know why we are featuring him here?

His journey has been to glorify established, unknown and unappreciated Tanzanian traditional songs and instruments. Among these are Ilimba (known as marimba or mbira in Zimbabwe), zeze and litungu from Mara region. He not only plays these instruments, he crafts them. And they are acoustic- electric. An efficient electrician and house builder, multi-talented Kanda’s instruments can be plugged.

The phenomenal Afro American jazz musician Miles Davis wrote in his 1989 autobiography that it is not enough playing well if audiences cannot hear you. Trumpet player Miles was a passionate pioneer of electrifying musical instruments so as to give them a bigger, clearer sound.

No wonder the “Bush Technologist” tag has been dished to Kanda. A London community TV channel interview in 2015 amplified his standing. Kanda insisted on the role played by his Bagamoyo grandmother.

It is common for some musicians to smoke bhang or other sinister drugs. Kanda says he has never smoked ganja or drank alcohol.

This is the man representing and giving Tanzania (and Africa) a good image overseas. Let us applaud him as he visits Nairobi and Dar es Salaam this month to promote his music. To speak to Kanda or order his album, Ambush, call +44 7404 066607 or visit www.saidikanda.com