Achilla music

By Opiya Oloya in Toronto It Is Saturday evening. I am invited to the CD launch by the talented Uganda-born musician, Achilla Orru. The chosen venue is the Museum of Textile in the inner heart of Toronto, right beside the Superior Court of Ontario, and behind Toronto City Hall. A perfectionist by nature, Achilla has personally called every guest, emphasising that the ceremony will start at 9:00p.m, sharp. There will be African finger foods provided by Amadou Restaurant, he tells me. Orru who hails from Labwor in Karamoja first burst onto the Toronto music scene six years ago, quickly establishing the reputation as the best Lukeme (Kalimba), player in Canada. Unlike many traditional players who tune the instrument to follow certain set melodies, Orru's experimental approach hits higher notes usually associated with the guitar. This was a style he began perfecting during his formative years at Madera Special School for the Blind in Soroti, Teso. His special talent was recognised in 1975 when he won the Junior Award for the Lukeme at the Uganda National Music Festival. He had perfected in the art since he won the National Youth Talent Show in Kampala. The following year, Orru stunned his audience at the National Theatre by presenting a troupe of 12 young female Lukeme players from Berkley High Girls School in Iganga. In Toronto, Orru first gave notice three years ago with the release of his internationally acclaimed CD titled Apaa-Idomo on which the Lukeme featured prominently. A shrewd promoter, Orru printed only a limited number of the CD which was soon sold out, and when asked to reprint the album, he told his fans to wait for the second album. After prolonged work in the studio, Orru finally announced that the promised second album was complete. The evening starts quietly with invited guests arriving in small groups, and finding a seat in the 50-seater theatre with a small stage below. Orru is wearing a colourful crown of ostrich feathers on his head to match the carefully hand-stitched African shirt and pants. He greets his guests by name - Dr. George Otto, Jackie Komakech, George Okurapa, Dr. John Kitakufe, Paul Etyang, Annie Kakooza-Lwanga, Lise Watson and so on were there. There were 30 handpicked people to sample the tunes from the new album. Orru sets the mood with a solo Lukeme performance in which he sings in Luo, Luganda and Atesot. Finally, with all the attention focussed on him, Orru unveils his new CD titled Te-kwaro (roots of heritage) which he explains is dedicated to the preservation of cultural roots of the Lukeme. The album features nine tracks from diverse musical backgrounds including shade of Congolese rumba, Uganda pop and traditional music. The most audacious innovation is the incorporation of the Celtic fiddle and flute to the mix. Orru invites onto the tiny stage, members of his band, Bana Afrique. There is Doriann Forrester, a versatile flutist, well known in the Toronto jazz scene. Next comes Lina Allemano, a talented trumpet player who has performed with the likes of Neufeld-Occhipinti Jazz Orchestra. Then there is Sammy Clarke, a hand-drummer popular in the Caribbean music industry. Next is guitar maestro, Adam "the Professor" Solomon, guitarist extraordinaire who at the age of 13 was already performing with top Kenyan bands including Les Wanyika, Super Mazembe, Virunga Volcano, and Mombasa Roots. The other Ugandan is Godfrey Sekijoba, who is the bass guitarist. For the evening, Orru has invited Patou Bokelo, the son of the renowned Congolese musician Johnny Bokelo, to play the drum kit. A giant of a man, Bokelo shows an amazing dexterity and control on the drum set. Then the band strikes up Obufumbo, a song in Luganda praising the sanctity of marriage. Orru hypes up the Lukeme, while his band responds quickly, warming up the small theatre. Next comes the title track Te-kwaro in which Orru displays his skill with Lukeme, playing up against the impossibly hot guitar of Adam Solomon. Ajulina, the popular Acholi song that is the staple of most Uganda celebrations is turned upside down, played very slowly to allow the fiddle and Lukeme to interact in the most beautiful way. After the short intermission, when everyone is still recovering from the beauty and grace of the previous set, Orru strikes up the song The Hero's Praise. To those who do not speak the Luo language, the music is intoxicating and hypnotic. However, among those who understand Luo, there is dead silence as Orru's speaks directly to former Uganda President, Milton Obote. "The people of Uganda are crying for you, please come back home. We love you very much for you brought us independence," goes the cutting Luo lyrics. Later, after the show, Orru acknowledges that the Hero's Praise will likely be controversial. But he believes the people of Uganda are intelligent enough to understand that everyone has political preferences. He plans to tour Europe this summer, and then try to arrange for a Kampala sponsor to arrange for a concert back home. For now, he is prepared to sit back and enjoy his success. And, in a city where the racist mayor believes that Africans are cannibals, it's wickedly delicious when, against all odds, a member of the said racial minorities actually comes out a winner. Artistically, Orru's Tekwaro is a clear success. It is hip, hot and extremely well executed. Politically, it is another matter altogether. Ends