 |
 Joseph
Mawejje Stage name "Joss Jjew" , is
a self-taught synthesiser keyboards player and studio
recording musician. Worked since late 1980's with
various local music groups and bands and choirs
in Kampala, notably Good News Choir, St Augustine
Makerere, Badindaz Band (of the late Tony Ssengo)
and several others both in live performance or studio
recording sessionms.
Discology:In
1992 recorded first songs on a group album (Easy
Reputation Vol1), but first significant works
came in 1994-96 with groups of young musicians,
notably DA HOMIES (Bamusakata), Emperor Orlando
and others DJ-turned-Musicians outfits, mainly
as instrumentalist/arranger and also facilitating
the studio productions in Uganda.
In
1998 and from May 1999 work took a break to enable
further studies in Norway, until return to Uganda
in April 2001. The album KAKE is the first
solo production since resuming studio and productions
in Uganda.
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The
album
A
derivative of the Luganda word 'okukaka'
(i.e to force something). The title song "Kake-sorry
about my pushing you" revolves around one
apologising for being to pushy (nagging) in an
effort to save a relationship or to get it to
work. The entire album also seeks to promote a
new kind of roriginal music style which we call
Savannah Soul or savsoul. All music composed/performed
by own self.
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The
music style "SAVANNAHSOULl"
A
distinctly African dance rythm (dynamic/instrumentations)
but also with a western 'soul (R&B) kind of
atmosphere (vocalisation and melodies). For lack
of a better term to describe this music style,
we called it Savannah soul or savsoul, not the
least because we feel it captures thje general
'cross-culturally globalised neo-indegenous' lifstyle
or disposition to such that has come to pervade
modern Savannah countries society today (read
Uganda)
Distincion is also evident since the basic approach
here is different from other kind of "cross-genre"
music on the scene, i.e we play/keep African music
intact in its pure form rather than as is often
the case-diluting it with direct borrowings from
western styles; compare this tomusic that is essentially
Ragga, Hip-hop, etc except for the fact that it
is sung in vernacular. Improvement on potential
appeal is consciously pursued however by singing
in English or French to supplement local lingua.
The overall aim of this approach is in the end
to promote African dance rythms popular in Uganda
to a more international audieb-nce, hopefully,
by ficilitating comprehension of the lyrics
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