Jazz gains popularity in East Africa

The jazz scene in East Africa is thriving, with the emergence of a middle-class fueling the popularity of sophisticated genres like jazz. Renowned names in the industry such as Hugh Masekela, Femi Kuti, and Isaiah Katumwa have become household names on the African continent, captivating audiences with their unique sound. In a recent interview with CNBC Africa, Kenyan jazz artist, Christine Kamau, shared insights into the jazz industry in East Africa and shed light on the lucrative opportunities it presents for musicians. Christine Kamau's journey into jazz music was not conventional. Initially aiming to play the flute, she found herself holding a trumpet due to a lack of availability of the flute teacher. Despite the initial setback, Kamau quickly fell in love with the trumpet, appreciating the challenge it presented in producing notes with just three valves. Her dedication to mastering the instrument showcases the passion and commitment that jazz musicians in East Africa bring to their craft. The conversation shifted to the production aspect of jazz music, with Kamau highlighting the challenges faced by African artists in creating an Afro-centric sound. While acknowledging the availability of great studios and facilities in Kenya for jazz production, Kamau emphasized the need for more recognition and understanding of jazz music within the African music scene. The misconception that jazz is solely represented by artists like Kenny G was debunked, with Kamau asserting that musicians like herself are at the forefront of educating audiences on the true essence of jazz. One of the key points addressed in the interview was Kamau's transition from classical music to jazz. Despite facing skepticism from classical musicians who may not always regard jazz artists as equals, Kamau expressed gratitude for her classical background, which she believes prepared her well for embracing jazz. Her ability to seamlessly blend classical elements with the Afro-centric jazz sound resonates with audiences, bridging the gap between different musical genres. As the conversation delved into the financial aspects of being a jazz musician, Kamau shed light on the avenues available for artists to generate income. Live performances at various events and festivals in Nairobi provide a steady stream of gigs for jazz musicians. While traditional album sales may have declined in the digital age, Kamau emphasized the importance of live performances in complementing an artist's income. The changing landscape of music consumption has necessitated a shift towards more interactive and engaging live shows for artists to thrive. In discussing the lineup of jazz events, Kamau expressed a desire to see more African representation and recognition at these festivals. While international artists bring a unique flavor to the events, Kamau stressed the importance of showcasing the wealth of talent within the African music scene. By promoting local jazz legends like Manu Dibango and Salif Keita, African festivals can create a platform for indigenous artists to shine on a global stage. Kamau also shared her top three favorite African musicians, with Hugh Masekela, Tuface Idibia, and trumpeter Itua Okegbe making the cut. Each artist's distinct style and musical journey have left a lasting impression on Kamau, inspiring her in her own musical endeavors. She acknowledged the diversity of talent in the African music industry, appreciating artists like Me Sax who cater to different musical preferences and audiences. As the jazz genre continues to gain traction in East Africa, artists like Christine Kamau are at the forefront of shaping the landscape of the industry. Their dedication to preserving the essence of Afro-centric jazz and showcasing the rich musical heritage of the continent is propelling East African jazz onto the global stage. With a growing middle-class audience eager for sophisticated sounds, the future looks bright for jazz in East Africa.