Current music is a con, says king of benga

One is a first generation of benga musician and the other is from the current ‘ohangla’ generation. The two men met in a studio, listened to each other, and felt they had the chemistry for a musical collaboration.

Although their age difference is huge, their relationship is that of two artists, complete with the friction, drama and wise-cracking.

Whenever 29-year old Jared Okoth Ndede — better known as ‘Akuku Danger’ — mentions to his peers that he is working with Ochieng’ Nelly, most of them are puzzled... reason being that most benga fans believe Ochieng’ Nelly is dead. But the truth is, the Ochieng’ Nelly who died was an impostor.

Here is the real deal. Born Nelson Ochieng’ in Rachuonyo, Homa Bay County, in 1942, the veteran Ochieng’ Nelly learnt to play the guitar from his elder brother. Although his father was opposed to him becoming a musician, it was a losing battle as Nelly had been named after his grandfather, who was a musician. Culturally, it meant his fate was sealed.

“My grandfather insisted that I had to play the guitar because of the name I had inherited. It was the only way I could be at peace with myself,” said Ochieng’ in an interview with Saturday Nation at Ketebul Studios in Nairobi, where they are recording.

Nelly started performing on stage at 19 alongside John Ogara, who played the bass, while Ochieng’ played the lead guitar. Although they started out playing rumba, they soon pioneered and switched to benga.

According to Ochieng’, when he toured Jinja, Uganda in 1962 with Ogara, many Kenyan Luos living there turned up for their shows. There was a style that was in vogue with the women, the ‘Ogara’ style that featured a colourful flowing dress.

“Koro lewni mobeng’ni kane mon miel to dendgi bengni koro jo ma ne moso thum ne kwayo ni gonwa benga” (As the women danced, their loose dresses kept shaking (bengni). So those requesting for music kept asking for benga).

When they returned home and staged another show at Uyoma, their Uganda fans followed them and demanded they play the same way they had done in Uganda.

Slowly, the benga sound, distinct from rumba with its faster pace and dexterous guitar-plucking, was taking shape.

“Originally, benga featured only two guitars: the rhythm and solo guitar,” Ochieng’ said. “The two-guitar style was only played by Luo and Luyia musicians. The Congolese were also playing benga at the time, but they called it marenge.”

Around this time, Ogong’a Segar, a local businessman, approached Ochieng’ and offered to buy him instruments so that he could form a full band. Ochieng’ thus parted ways with Ogara and went on to form the OS Fiesta Band.

Friends Paradise, a popular club in Kisumu at the time, had a Tanzanian resident band that played only Swahili music. The Asian owners were looking for a band that could play rumba and benga, and Ochieng’ band fit the mould perfectly. Ochieng’ accepted their offer and joined the club’s Friends Paradise Band.

In 1968, Ochieng’ left Friends Paradise and toured Uganda for a while with a Congolese band. But the stint was short-lived. “On a tour of Bujumbura, I started feeling homesick. I decided to come back home.”

Back home, he soon benefited from another band’s misfortune. Shinyanga Jazz, a Tanzanian band, came to play in Homa Bay and fell foul of the law for a reason Ochieng’ doesn’t remember. The crew was arrested and their equipment confiscated by the DC. Ochieng’ bought the equipment and formed his first full-fledged band. But the good fortune was not to last for long. The equipment was soon stolen at the Nyanza Night Club.

THE DARK PERIOD

In 1970, soon after this incident, he decided to quit the music scene. He stayed away for 10 years. It was this void that the other ‘Ochieng’ Nelly’ came in to fill. It was the swinging ‘70s when promoter Oluoch Kanindo was turning around the fortunes of musicians from the Nyanza region.

Joseph Nyakech from Kabondo approached George Ramogi seeking to learn to play the guitar. Soon Nyakech became so adept, everyone agreed that he played just like Nelly. It was all he needed to brand himself the new ‘Ochieng’ Nelly’, earning off it until his demise.

In 1980, Ochieng’ made a comeback with his Rachuonyo Jazz Band, formed with his wife, Jane Auma, who has since passed on.

Reflecting on the current crop of benga musicians, Ochieng’ says: “Their tempo is not danceable, their music is going nowhere. Only non-Luo listeners can like their music. Sometimes they have a good message, but how to align it with the music is the problem.”

He takes a particular stab at ohangla music.

“I don’t like ohangla. Ohangla is not even Luo music. It is Luyia. Ohangla used to be called sigudi or kalapapla among the Luo. Had they wanted to play it well, they should have played it in the traditional style. The mistake they made is introducing the keyboard. Now they are even bringing in (electric) drums.”

MONGREL STYLE

Of his young protégé, Ochieng’ says, “I want to draw him (Ndede) from the mongrel style he is playing into ours. This man knows how to compose music, and he is also a good vocalist. The problem is in his head. He is in a hurry. He needs to learn to relax in order to compose well.”

Ndede admits he is learning a lot from Nelly. “He is teaching me how to compose music in praise of someone properly. He is also helping me to shape my vocals and vary the tone according to the melody.”

The two are preparing to perform together in France in November. Among Ochieng’s hits are Otina Sambusa and Jadongo. Ndede holds his own with Hera Na and Enang’o.

BY STANLEY GAZEMBA [email protected]