MAMA AFRICA (MY COMPLAINT)

Once in a while, I cycle with my kids pass an overhead bridge in the town where I live. Whenever we are under the bridge they usually scream at the top of their voices because they enjoy hearing the sound hitting the concrete walls and returning to them. Like my kids that enjoy the reverberation under a bridge, I too enjoy playing my saxophone in spaces that reverberate my sound back at me. Saxophones seem to shine in spaces that have natural reverberations. My esoteric explanation for this phenomenon lies in the fact that the saxophone is mainly a melodic instrument and reverberations seem to create a sense of company.

A little less than a kilometre from my house is a church called The Grote Kerk built around the 14th century. It is one of the oldest churches in Vianen Utrecht (in the Netherlands) and is located right at the entrance of the city centre welcoming you into the ancient city centre. The church is magnificently furnished and reflects the time that it was built. The Grote kerk endears itself to acoustic music because it breathes out lush reverberations enjoyed by acoustic music and musicians during a performance. My first experience there was about six years ago when I attended a concert of clarinet and organ music. The lushness of the clarinet in this space remained with me all these years and it is part of the reason why I wanted to record a solo saxophone there. As with most things, it takes time to plan and realize such a dream. I am pleased to say that I have managed to do just that.

This recording is about me playing in this beautiful church. But before I continue, I will like to thank Leo Noordzij (coordinator at the church) for his help in making this dream come true. When I arrived to start the recording I was convinced that positioning right in the middle of the church was the best place for the sound I was looking for. I had already recorded about five songs before I decided that the sound was not exactly how I had heard it during the clarinet concert. Noordzij helped me find a suitable position for the sound I was looking for and I am thankful to him.

This recording is enhanced by this beautiful church acoustic, but also because of its freshness. During the mixing stage, I realized that I did not have to alter anything. Hence, this recording is presented in all its glory, success and also its failures. I wanted the music to be as honest as possible because it is an outpouring of my anger about the affairs of Africans and Africa at large. The first in a series of solo recordings I hope to release in the coming months, MAMA AFRICA is a complaint and the title of the songs reflect that.

We are currently experiencing a pandemic brought about by the corona-virus and my heart goes out to all those families who have lost loved ones, those suffering economic hardships during this pandemic and health care workers (our heroes and heroines) who sacrifice their time to deliver care to those infected. We are living in the strangest of times, and hopefully, this recording can bring some kind of joy to those who will eventually listen to it.

I will like to thank all those who contribute to my artistic/musical endeavours; my wife for her support and patience during my long hours of practice, my boys for their companionship, my family members and my supporters. In this age, so many people view commercial gains as the main incentive to pursue music, hence, many popular and uninspiring music is being created. As such, forward-thinking and progressive artists suffer because of low patronages like low sale of recorded music, merchandise or performing opportunities. Nonetheless, recording and presenting new music is a must and should be encouraged. By buying this record, you are showing your contribution to keep artists working. Thank you for your support.