East African CD Reviews

 The cover of INDEGE declares 'Pure pop from tradition out of Tanzania': that sounds like quite a challenge - does the Mradi Group succeed?

 To tell the truth, we're not sure: we do know we like this recording, and that the more we listen, the more we're drawn in: something interesting and perhaps more importantly something good is happening in INDEGE.

 The first cut 'Indege' sounds at times like some of the wonderful South African music you might hear on an early Juluka cd, occasionally interrupted by a pounding piano and a change of rhythm, then back to that hypnotic vocal.

 Cut 2 is radically different: it seems to be an updating of the traditional Tanzanian sound recorded by Hukwe Zowose. Male and female vocals sing together and against each other: very haunting.

 What's going on here? For one thing, members of the band came from all over Tanzania and each brings a knowledge of the traditions of his or her area. Unlike most groups where each person's place in the band is fixed, Mradi Group changes with every number: the lead vocalists keep changing depending on whose local style is being featured, but this isn't a strictly folkloric group at all: Mradi Group's musicians also have a knowledge of jazz, rock and other modern styles.

 Reggae drum riffs mix with jazzy piano, British rock and vaguely Indian vocal laments at times.

 If any one musician stands out on INDEGE, it's Bizamana, the piano man from Dar Es Salaam. He doesn't stand out on every song: just most of them, as a great musician.

 Strangely enough one of my favorite song on INDEGE is cut 5, 'Nitakumboka': a mostly acoustic three-part vocal harmony number with backup on kalimba (one of the many names for the African thumb piano).

 Blues fans should check out Cut 8, 'Fuhuru': it's not strictly a blues, but the electric guitar does sound like a nifty old blues riff.

 So many good singers in one band; so much variety of sound: if you didn't know it was one band, you might be deceived into thinking INDEGE was an anthology of different gifted groups.

 Many 'best of' recordings seem to leave out songs which could be considered an artist's best work; but Geoffrey Oryema's AFRICAN ODYSSEUS: THE BEST OF GEOFFREY ORYEMA really is a terrific collection showcasing the many moods and styles of the Uganda-born artist.

 Geoffrey now lives in Paris but has toured the world, absorbing sounds and ideas from Parisian cafe music to psychedelic rock, r&b, various African sounds, and even space music (similar to some of Brian Eno's works).

 Mixing ancient with the new, Oryema throws in some traditional Ugandan styles and instruments - and nobody sings out like Geoffrey Oryema: in many of his most famous songs, like the new version of 'Ye Ye Ye', he combines something akin to a yodel with a Southern (USA)-style speaking or singing in tongues: very powerful and enticing. Also check out his new version of 'Piri Wango Iya', cut 6: pygmy music meets surf guitar (at parts).

 Who doesn't love Geoffrey Oryema? He's unique and awesomely good: if you don't have the complete Oryema catalog already, you need to get THE AFRICAN ODYSSEUS: THE BEST OF GEOFFREY ORYEMA. It's a 'must have'.