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43. Mr. Nicholas Winterton (Macclesfield): What proposals he has to reform of the Oath of Allegiance for hon. Members taking their seats in the House. [25058]
The President of the Council and Leader of the House of Commons (Mr. Robin Cook): The form of the Oath is prescribed by statute. The Government have no plans to amend it.
Mr. Winterton: The Leader of the House will appreciate the reason for my question and, I am sure, my total commitment to this place. Does he believe that anyone who becomes a Member of Parliament should have a true allegiance to the country in whose Parliament he or she seeks to serve? Is not there a danger in what the Government have done recently that we will establish two classes of Member of Parliament, which is a dangerous precedent indeed?
Mr. Cook: I fully recognise the commitment of the hon. Gentleman to this place and the service that he has given to it. I assure him that I fully endorse his view that people should not take their seat here unless they are committed to making a success not only of this place but of the nation that this place represents. That is why we have made no change that would enable any of the Sinn Fein Membersor anybody else who does not take the Oath or affirmto take their seats, to take part in votes or to speak. On the issue of two classes of Member of Parliament, I take the view that what we did in December erodes the distinction between those who have not taken the Oath and those who have in relation to allowances and access to this place, but in no way does it erode the difference between those of us who take our seats and those who do not.
44. Mr. Gordon Prentice (Pendle): If he will invite the House of Lords Appointments Commission to discuss with people's peers their experience of their membership of the Lords with a view to informing its future recommendations. [25059]
The President of the Council and Leader of the House of Commons (Mr. Robin Cook): The first round of appointments made by the Appointments Commission included the chief executive of Centrepoint, the chief executive of Childline, and a trustee of Oxfam. The appointments also brought a welcome balance to the membership of the Lords. [Interruption.] I shall get to the question, if Members will be patient. Almost a third of the new members belong to ethnic communities and a similar proportion are women. They have brought their experience and authority to proceedings in the Lords on
Mr. Prentice: If appointed peers are expected to make a contribution in the House of Lords, is the chair of the Appointments Commission setting a good example by having spoken twice in the two and a half years since he was ennobled in 1999?
Mr. Cook: I do not think that it is any part of my remit or that of the Government to encourage even more people to speak in debates in the House of Lords.
Mr. Paul Tyler (North Cornwall): In addition to taking advice from the Appointments Commission and the people's peers, will the Leader of the House say what his proposals are for a further consultation period beyond the end of this month? He will be aware of the gathering consensus that the White Paper represents nobody except the Lord Chancellor, and that he is in a minority of one. What steps will the Leader of the House take to ensure that the House and the other place have a proper opportunitywithout the Whips and on a free voteto discuss the issues, and when does he expect us to be given that opportunity? Does he accept that there is one thing on which there is a unanimous viewthat doing nothing is unacceptable?
Mr. Cook: I wholly endorse the last sentence of the hon. Gentleman's question, and since it is the only part of his question that I can wholly endorse, I shall seize upon it. It is important that we continue the process of reform of the House of Lords to create a modern second Chamber. As I warned last week, we must not let divisions among those who want reform to prevent there from being any reform. We had a full opportunity for the House to express itself last week and, as someone who sat through the entire debate, I can say that the House expressed itself robustly. The views expressed last week are being reflected upon. The consultation process goes on until 31 January. It is perhaps premature now to announce any further consultation. It is important that we reflect on the views expressed in the House and in the country and, as I said last week, seek to find the centre of gravity that will enable reform to proceed with support.
Mr. Dennis Skinner (Bolsover): If only the Government had kept to the 1976 policy and abolished the House of Lords, they would not be suffering all this heartache at the present time. It is sad that nobody knows what the new proposal will be at the end, despite all the consultation that is taking place. In the knowledge that there are not enough Members like myself who want to abolish the House of Lords completely, irrespective of the percentage who are elected, my right hon. Friend must remember one thingdo not give it very much power.
Mr. Cook: I can certainly assure my hon. Friend that I am in no danger of forgetting that very important maxim. It is precisely because of that that I sought to warn the House last week of the danger of a wholly elected second Chamber. I find it hard to see how we could preserve the present supremacy of the House of Commons
With regard to my hon. Friend's first point, I do not wish to rehearse the debates of 1966.
Mr. Cook: 1976. I have enough difficulty rehearsing the debates of last week. However, it has been the case in the past, particularly in the 1966 Parliament, that what stopped reform was division among the reformers. We must not let that be the case now.
Mr. Greg Knight (East Yorkshire): Before the Leader of the House has any discussions with the Appointments Commission, will he confirm that his own proposals for reform of the Lords, which were criticised in every quarter of this House last week, are in effect now a dead duck? Will he seek to use his influence with the Prime Ministerhowever great or small that might beto ensure that the correct way forward is to propose a House of Lords where the majority of the membership is elected, not where the majority in the House are Tony's cronies?
Mr. Cook: Without getting engaged in a discussion about the extent of my influence with the Prime Minister, I suspect that, such as it is, it would be sharply diminished if I announced to the House in advance what my advice would be.
The right hon. Gentleman has to take on board the fact that Conservative Members must also face up to problems with their proposals, as some Labour Members have pointed out. The Conservative party has supported the hereditary principle for a century, so it is entirely welcome that it has finally recognised that that principle is indefensible, and has been so throughout the century that the Conservative party has defended it.
I welcome the Conservative party's move towards democracy, but its proposals show that it believes that democracy means providing in the second Chamber the same representation for Surrey as for London. That shows that Conservatives have some way to go before they understand democracy as it is understood in Britain, and certainly as it is understood in London.
45. Mr. Michael Jack (Fylde): If he will ask the Select Committee on Modernisation of the House of Commons to consider in what further ways the use of Information Technology can assist the work of hon. Members. [25061]
The Parliamentary Secretary, Privy Council Office (Mr. Stephen Twigg): The memorandum from my right hon. Friend the President of the Council to the Modernisation Committee raised a number of ways in which information technology might be used to assist hon. Members, ranging from electronic voting in the Lobbies to ways of giving opportunities for communication between members of the public and Members of the House.
I believe that the Select Committee on Information may soon look at the issue of information technology in the House, and I very much hope that the Modernisation Committee will draw on its work.
Mr. Jack: I thank the Minister for again giving an enthusiastic and encouraging reply. As part of his agenda of action, will he look at the possibility that Departments might send answers to parliamentary questions by e-mail? Will he also investigate the feasibility of a case-tracking system, so that hon. Members might know where letters go to when they disappear into the black hole that is a Department, and of supplying information electronically to hon. Members about what has happened to them? Finally, has any progress been made on the question of using laptop computers in Committees of the House?
Mr. Twigg: I congratulate the right hon. Gentleman on the persistence with which he has pursued that final point. I believe that the matter will be addressed by the Information Committee and the Chairmen's Panel. The right hon. Gentleman also raised some broader issues, some of which fall within the Modernisation Committee's remit, but others of which fall within the remit of the newly established Cabinet Committee on e-democracy. My right hon. Friend the Leader of the House will chair that Committee, which will have its first meeting next week. I shall ensure that the matters raised by the right hon. Gentleman are drawn to the Committee's attention.
Mr. James Wray (Glasgow, Baillieston): When my hon. Friend the Minister looks at the rules governing the modernisation and constitution of the House of Commons, will he bear in mind that, as a member of the Council of Europe and the Western European Union, I find it very difficult to get oral questions accepted by the Table Office? The office will not allow my research assistant to hand in a question from me, so he has to run about to find a Member who is willing to hand in the question for him. Some Members are too busy and do not want to hand in a question.
Mr. Twigg: I am grateful to my hon. Friend for raising that matter, which clearly falls within the remit of the Modernisation Committee's discussions. We want to ensure greater flexibility, so that hon. Members from all parties can balance their commitments outside the House with their commitments here. I shall ensure that the point is considered in the Modernisation Committee's inquiry.
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Parents: If it is time to tell your child the truth about Santa Claus in a positive way, this is the book for you!
Children the world over have been enchanted and captivated by the charismatic being known as Santa Claus, Father Christmas, St. Nick, Sinterklaas, and Papá Noel. But eventually, they begin to ponder just how, with the help of flying reindeer, he can deliver presents to boys and girls all around the world in only one single night. And how does he fit down chimneys? And visit houses where there are no chimneys?
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THE SECRET OF THE SANTA BOX by Christopher Fenoglio and illustrated by Elena Makansi, is a delightful poem written in the same lyrical style as 'Twas the Night Before Christmas. This colorful book helps parents navigate the difficult terrain of moving from Santa Claus to the Manger in a loving and empowering way. It is a natural transition for children who have outgrown the "Elf on a Shelf" and are ready to move forward to the real meaning of Christmas.
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Hardcover, 32 pages, 10 x 8 inches
Retail price: $16.95
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Publisher: Treehouse Publishing Group
U.S. Distributor: Midpoint Trade Books
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European Distributor: Gazelle Book Services
Review this book on Goodreads, on Amazon, or at the book's web page at another online retailer.
Like this book on Facebook!
Media Reviews
The Deseret News: "The family in Fenoglio's story comes to understand that everyone has a role to play as Santa, reflecting the goodness, generosity, and mercy of God." Read "Should Christians celebrate Santa Claus?" The Deseret News also syndicated the article to six papers, including:
- Herald Times Online (Bloomington, Ind.)
- The Effingham Herald (Effingham, Georgia)
- Aberdeen News (Aberdeen, So. Dakota)
GateHouse Media Publications: GateHouse continued the syndication by sending the article, now titled "How Santa can be part of a Christian celebration of Christmas," plus photos from the Fenoglio home, to publications and websites in 540 markets across 36 states, including:
- Winchester Star (Lexington, Mass.)
- Oakridger (Oak Ridge, Tenn.)
- Rockford Register Star (Rockford, Ill.)
- Morton Times-News (Morton, Ill.)
- Northwest Florida News (Fort Walton Beach, Fla.)
Humanities Tennessee: "Celebrates wonder, the thrill of hope, giving, and God's goodness in beautifully crafted verse that, like a great song, can't help getting stuck in your head." Read the full quote at Chapter 16.
Catholic News Service: "A needed book for curious children ready to move past the secular stories of Christmas." Read the entire review in one of these newspapers:
CatholicMom.com: "Offers a beautiful way to teach children how to participate in the magic of Christmas giving in a new way." Read the review.
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Notre Dame Magazine: "Helps parents navigate the troubling terrain of moving from Santa Claus to the manger in a loving and empowering way." Read more in the 1980 Class Notes.
The United Methodist Church: "As Santa Claus, we spread the spirit of Christmas through our gifts and the good deeds we do for others." Read the feature.
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- Illinois
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- Tennessee
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- Lebanon, Harper's Books
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"Fresh, funny, original and perfect for girls and boys everywhere." – Adriana Trigiani (Kiss Carlo, Brava Valentine, Big Stone Gap)
"I believe it will become a cherished part of your family's Christmas traditions!" – Lisa Hendey (CatholicMom.com)
"This tender, sweet poem captures the essence of Christmas." – Julie Cragon (Bless My Child, Jesus at My Side, Talking to God)
Every year, young children around the world await the arrival of Santa Claus on Christmas Eve. In the same house are parents who wonder if this is the year their child begins to question the magical nature of Santa Claus.
Like a sleigh pulled by reindeer that power its flight
And that Santa Claus visits each house in one night
Where he fills all the stockings of good girls and boys
With delicious confections and marvelous toys.
There are numerous names for this jolly old elf:
Father Christmas, St. Nicholas, Santa himself.
But the truth about Santa is more than his name;
There's an actual person who's rarely the same.
About the Author
Christopher Fenoglio has served the Christian publishing industry through positions with The Tennessee Register (Nashville's diocesan newspaper), CCM Magazine, The CCM Update, and UMC.org, the denominational website for The United Methodist Church.
A graduate of the University of Notre Dame, Fenoglio garnered First Place Awards from the Catholic Press Association for his Reel Life Journeys columns. A writer and editor by trade, he especially enjoys his ministry as a cantor and music minister for St. Henry Church in Nashville. He and his wife Linda have three grown children and one lovely, inquisitive granddaughter.
He still has the original props he used to tell his children about Santa Claus.
About the Illustrator
Elena K. Makansi graduated from Oberlin College where she majored in Environmental Studies. She is a writer, artist, and vegan/vegetarian cook. She is part of the K. Makansi trio of writers of THE SEEDS TRILOGY (currently optioned for film by an award-winning independent production company), and is currently working on her first solo novel, LUNA AND THE MIDNIGHT CAFE. She blogs and runs a Facebook page about vegetables and cooking and works part-time for an organization promoting farmers markets and local artisans. She has worked on illustrations for several non-fiction titles and has designed many book covers. THE SECRET OF THE SANTA BOX is her first children's picture book. Visit her website.


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Sunday, June 24, 2018
More Military Sounds from Kenya
Posted by John B. at 9:05 AM 4 comments
Labels: Kenya, Laban Ochuka, Swahili, Ulinzi Orchetsra
Sunday, June 10, 2018
Wanyika's Back!
I promised this one a while back, and here it is! Tanzanian/Kenyan superstars Les Wanyika give us another scinitillating slice of Swahili Rumba, 1989's Nimaru (Polydor POLP 598). Nothing much to say about this one, so I'll let the music speak for itself. Enjoy!
Les Wanyika - Nimaru
Les Wanyika - Mama Watoto
Les Wanyika - Mumu Wangu Waniteza
Les Wanyika - Shemeji Agnes
Download Nimaru as a zipped file here.
Posted by John B. at 11:59 PM 4 comments
Labels: Kenya, Les Wanyika, Muziki wa Dansi, Swahili, Tanzania
Monday, April 30, 2018
Let's Dance Kibushi!
Various problems, notably with residency permits, forced the band to break up some time in the late '70s or early '80s, and the members scattered to the four winds. Many years ago my friend Kenneth Chitika loaned me this album, Wanawachezea Mfululizo wa Kibushi (Philips PKLP 105, 1972), and I dubbed it to a 10" tape reel. Ten years ago I digitally ripped this in turn, and here it is! I got the sleeve and label art from Discogs, which was also the source for some of the information in this post.
Posted by John B. at 11:59 PM 3 comments
Labels: Congo, Congo to East Africa, Kenya, Les Hi-Fives, Lingala, Swahili
Sunday, April 15, 2018
Wanyika Memories
Posted by John B. at 11:59 PM 3 comments
Labels: Kenya, Les Wanyika, Swahili, Tanzania
Monday, March 19, 2018
Welcome to Maroon!
Three nights a week 20 Kenyan soldiers take a break from the rigorous routine that defines their military life from sunrise to sunset. On these nights they let another side of their personalities take over as they mingle with civilians through music. Hands trained to hold weapons hold guitars, trumpets, drumsticks and microphones. Feet accustomed to marching in formation and jumping in and out of trenches tap lightly, keeping beat to the music.
Voices conditioned to bark out orders in military drills croon words that have entertained generations. And the faces that seldom crack the faintest of smiles soften and become warm. During the two hours on stage there are no ranks, no obligatory salutes. During this rehearsal, united by their common love of music, they are all equal.
Enjoy Mwakaribishwa na Maroon!
Posted by John B. at 11:59 PM 5 comments
Labels: Kenya, Maroon Commandos, Rumba, Swahili
Thursday, November 9, 2017
Sweet Sounds From Baba Gaston
I was all ready to post today's selection - Baba Gaston's wonderful 1983 release Condition Bi-Msum (ASL ASLP 971) - when I realized that Stefan Werdekker had made it available on his blog WorldService a while back. Should I or shouldn't I, I wondered? Then I decided to go ahead with it. If you missed it before, here's your chance to enjoy some of the sweetest soukous the '80s managed to produce.
I've written about Baba Gaston before. He's one of many Congolese musicians who made their way to East Africa during the '70s and '80s. Coming from Lubumbashi in the southern part of then-Zaïre, where Kiswahili was already the lingua franca, it wasn't a difficult transition for Gaston and his Orchestre Baba Nationale to settle down in Dar Es Salaam in 1971, relocating to Nairobi a few years later. Here the band gave rise to many offshoots and a distinctive East African iteration of the classic Congo rumba sound. It all came crashing down in 1985 when foreign musicians were ordered to leave Kenya under President Daniel Arap Moi.
Enjoy Condition Bi-Msum. And for more information about Baba Gaston and other Congolese musicians in East Africa, read Alastair Johnston's essential Congo in Kenya.
Baba Gaston - Ekelekele
Baba Gaston - Hello Hello
Baba Gason - Rudi Nyumbani Africa
Baba Gaston - Condition Bi-Msum
Download Condition Bi-Msum as a zipped file, complete with album and label art, here.
Posted by John B. at 10:54 AM 3 comments
Labels: Baba Gaston, Congo, Congo to East Africa, Kenya, Lingala, Soukous, Swahili
Friday, August 25, 2017
Lions of the Jungle
Now, this is an album I've been wanting to post for a long time!
Orchestra Simba Wanyika (Swahili for "Lion of the Jungle") was founded by the brothers Wilson Peter Kinyonga and George Peter Kinyonga of Tanzania, who joined the popular Jamhuri Jazz Band in 1966, where they served four years before leaving in 1971 to form the Arusha Jazz Band. A move to Mombasa, Kenya and a name change and in 1973 Simba Wanyika was born! They were to play a crucial role in the East African music scene for more that twenty years, giving rise, directly and indirectly to a plethora of other groups: Les Wanyika, Wanyika Stars, Orchestra Jobiso and many others. For more information about Simba Wanyika and its offshoots, go to the discography I authored with Doug Paterson and Peter Toll some years ago.
Haleluya (Polydor POLP 552, 1985) marks the high tide of Simba Wanyika's influence and creativity, following a flock of hit songs and right at the moment cassette tape piracy began to cripple the East African music scene. The band would go on to tour in Europe in 1989 and internationally in 1991, when they recorded their only world-wide release, Pepea (Kameleon KMLN 01, 1992). Sadly, George Peter Kinyonga passed away on Christmas Eve 1992 after a brief illness, and Wilson followed him in 1995. Although there was at least one recording made under the "Simba Wanyika" tag without the brothers, the band dissolved shortly after.
Enjoy Haleluya!
Orchestra Simba Wanyika - Haleluya
Orchestra Simba Wanyika - Mama Nyange
Orchestra Simba Wanyika - Mapenzi Yaniua
Orchestra Simba Wanyika - Baba na Mama
Download Haleluya as a zipped file here.
And, as an extra special bonus, here's Simba Wanyika's hit 1983 single, "Shillingi"(Polydor POL 543):
Orchestra Simba Wanyika - Shillingi
Posted by John B. at 1:36 PM 6 comments
Labels: Kenya, Muziki wa Dansi, Orchestra Simba Wanyika, Swahili, Tanzania
Sunday, August 22, 2010
Disco Benga!
Posted by John B. at 8:14 AM 10 comments
Labels: Benga, Kenya, Swahili, Sylvester Odhiambo
Thursday, June 24, 2010
The Down-Home Sounds of Kakai Kilonzo
Major players in the '70s and '80s music scene in Kenya, Kakai Kilonzo and his band the Kilimambogo Brothers were one of the few benga groups whose popularity crossed tribal lines. It helped that they recorded in Swahili as well as their native Kamba language, but the quality of their musical output no doubt played a major role as well.
Kilonzo's beginnings in life were modest indeed. His daughter Anita Kilonzo writes:
Kilonzo's talents as a musician soon won him renown. He recorded "Kaylo Kyakwa na Mary" in 1974 and with the Kilimambogo Brothers scored many hits like "Baba Mkwe," "August One" and "Mama Sofia." Many of these recordings are collected in two CDs, Best of Kakai Vol. 1 (Shava Musik SHAVACD011-2, 2002) and Best of Kakai Vol. 2 (Shava Musik SHAVACD017, 2006) and an LP that was released in 1987, Simba Africa (Popular African Music PAM 03). As far as I can tell, these compilations are all out of print.
Kakai Kilobzo was born in1954 at Kilimambogo in Machakos district. He attended Primary education at Kilimambogo in 1962 to 1965. He definitely did not finish it because of lack of school fees. Kakai then sought for cheap labour like herding in to help his poor family. These continued for a duration of five years.
In 1970 he was employed in Thika town at farms that dealt with pineapple plantations as a harvester.
While in Thika, Kakai made single stringed guitars which were made of tin, due to his interest in music. He played then during his leisure time in the farms. Through his peanut earnings he managed to by a box guitar. He used to entertain local people at night during his off-time; which is termed as Tumisonge in Kamba.
Well before his time, Kakai Kilonzo passed away in 1987 after a brief illness. His presence in the Kenyan music scene is sorely missed.
Many years ago I dubbed onto 10" tape reels a number of 45s by Kakai Kilonzo and the Kilimambogos, and was recently able to digitize them. None of these are on any of the above-referenced pressings. Except for "Christmas Day," which is in Swahili, these records are all in Kamba. For the most part I have no idea what the lyrics are about, but I presume that they deal with the usual subjects of Kenyan popular music: Family matters, love and harvests. It is benga, the music of Kakai Kilonzo and artists like him, that is the true voice of Kenya's rural majority - blunt and straightforward, real Kenyan "country music."
Here's a recording from the late '70s or early '80s, the A & B sides of Kakai Kilonzo Sound KLZ 7-002:
Kakai Kilonzo & Kilimambogo Brothers Band - Kithetheesyo Ki Muka
Kakai Kilonzo & Kilimambogo Brothers Band - Katuli Lungi
Les Kilimambogo LES 007:
Les Kilimambogo Brothers - Mutwawa Niwatwana
Les Kilimambogo Brothers - Mathitu Mowe
Les Kilimambogo LES 08:
Les Kilimambogo - Ngungu Na Muoi
Les Kilimambogo - Kilinga Munguti
The Kilimambogos celebrate the birth of Christ on Les Kilimambogo LES 16:
Les Kilimambogo - Christmas Day Pts 1 & 2
Hear another Kilimambogo Christmas song here. Here are the A & B sides of Les Kilimambogo LES 17:
Les Kilimambogo - Sera Ndungembeti
Les Kilimambogo - Ngomelelye Kitambaasye
Let's close with the Swahili sounds of the Original Kilimambogo (OKB) Stars. The OKB Stars were formed in 1978 when Joseph Mwania left the Kilimambogo Brothers Band to form his own group. This recording was issued as New Mwania Sound NEW 108:
Joseph Mwania & the Original Kilimambogo (OKB) Stars - Mama Sheria Pts 1 & 2
For more rustic, down-home Kamba sounds, go here. Download the songs in this post as a zipped file here.
Posted by John B. at 6:24 PM 5 comments
Labels: Benga, Kamba, Kenya, Kilimambogo Brothers, Original Kilimambogo Stars, Swahili
Saturday, September 5, 2009
From Congo to Kenya Pt. 2
As a follow-up to my earlier post From Congo to Kenya Pt. 1, here are some melodies courtesy of the Congolese diaspora in East Africa. Like that post, this one is focused on the early 1980s. In 1985, President Daniel Arap Moi ordered the expulsion of foreign workers, including musicians, from Kenya, and the Congolese/Zairean musical community there scattered to the four winds.
For some time I had wondered who possessed the soulful voice that featured on so many 45s issued during the '80s in Kenya by such disparate groups as the Kenya Blue Stars and Bana Ngenge. Was it the same person? Along comes Alastair Johnston to clear up the puzzle in his article Congolese/Zaïrean Musicians in East Africa. Turns out the mystery voice is Moreno Batamba (nee Batamba Wenda Morris), who was born in Kisangani in 1955 and joined Orchestre Maquis Sasa in 1971. In 1974 he hooked up with Fataki Lokassa and a number of other Congolese exiles in Uganda to form Bana Ngnege, which seems to have undergone a number of permutations and name changes over the years. Although Alastair writes that Bana Ngenge broke up in 1976, a group called Bana Ngenge Stars Popote, featuring Fataki Lokassa, released this record in Kenya (Universal Sounds USD 005) in the early '80s. Moreno is relegated to supporting vocals:
Bana Ngenge Stars Popote - Dunia Imelaniwa Pts. 1 & 2
After serving stints with Orchestra Shika-Shika, Les Noirs (both featured in From Congo to Kenya Pt. 1) and Orchestre Virunga, Moreno started Moja One in Nairobi in 1980 and recorded "Dunia si Yako si Yangu" (CBS/ACP 702) around 1983:
Moreno & Moja One - Dunia si Yako si Yangu Pts. 1 & 2Finally Moreno shows up as part of the pop/disco trio the Kenya Blue Stars, along with Margaret Safari & Sheila (pictured at the top of this post), who recorded this infectious little ditty (CBS/ACP 1201) in 1984:
Kenya Blue Stars - Shufa Pts. 1 & 2
Along with Jimmy Monimambo and Frantal Tabu (about whom more below), one of Moreno's colleagues in Shika-Shika was Lovy Mokolo Longomba, whose high-pitched voice was a perfect counterpoint to Moreno's. His father was Vicky Longomba, a founding member of OK Jazz, and his brother Awilo Longomba, is one of the biggest stars of contemporary Congo music. Lovy moved from Kinshasa to Nairobi in 1978 and joined Les Kinois, a predecessor of Orchestra Virunga. His sojourn there lasted only three months, after which he left for stints with Boma Liwanza and Super Mazembe. While a part of Orchestra Shika-Shika, he also helmed his own band, which recorded under the names Orchestre Super Lovy and Bana Likasi. Sadly, Lovy Longomba died in an auto accident in Tanzania in 1996. Here he is on Editions Lovy 01:
Orchestre Super Lovy - Elee Pts. 1 & 2
Frantal Tabu (picture below), like Moreno Batamba, hails from Kisangani, and also played a role in Orchestra Shika-Shika, as well as Boma Liwanza and other bands. He formed Orchestra Vundumuna in 1984, which also featured Ugandan Sammy Kasule on vocals. Here is a recording Frantal Tabu made with Orchestre Malekesa du Zaire on the Editions du Hudson label (EDH 01):
Frantal Tabu & Orchestre Malekesa du Zaire - Asali Pts. 1 & 2
Finally, here are a couple of sides in the style made famous by Verckys & Orchestre Veve, from a group I know nothing about. I don't know for sure that Python Mas's group Zaire Success was based in East Africa, although the name gives a clue (groups that were actually based in Congo/Zaire didn't usually include "Zaire" in the name), and this 45 (sides A & B of Africa AFR 7-36) was pressed in Kenya:
Python Mas & Orchestre Zaire Success - Sofia Motema
Python Mas & Orchestre Zaire Success - Mado
For more about these artists and many more I refer you once again to Alastair Johnston's essential article Congolese/Zaïrean Musicians in East Africa.
Posted by John B. at 7:29 PM 7 comments
Labels: Congo, Congo to East Africa, Frantal Tabu, Kenya, Lingala, Lovy Longomba, Moreno Batamba, Python Mas, Swahili
Tuesday, July 21, 2009
Ugandan singer/guitarist Sammy Kasule is present on many Kenyan recordings made during the 1980s. He was a member of Frantal Tabu's Orchestra Vundumuna, and as part of another group, Africa Jambo Jambo, was recruited to fill in as part of Orchestra Simba Wanyika during their 1989 European tour.
The 1984 solo LP Kasule (CBS (N) 014) was a smash, spawning three hits, "Kukupenda (Kuusudu)," "Ushirikiano" and Kasule's English-language version of Nguashi Ntimbo's "Shauri Yako," which I featured in my last post. Kasule's translation in turn formed the basis for Mbilia Bel's version of the song.
I understand Sammy Kasule is presently living in Stockholm.
Here are the complete contents of Kasule:
Sammy Kasule - Pesa Kuja
Sammy Kasule - Zongolo
Sammy Kasule - Shauri Yako
Sammy Kasule - Kukupenda (Kuusudu)
Sammy Kasule - Ushirikiano
And here are two singles that Kasule recorded around the same time that Kasule came out. "Numevumila" was on the Doromy label (DM 41), while "Niliota Ndoto" was issued on the VGA Editions Scolar label (VGA 008):
Sammy Kasule & Orchestra Samajako International - Numevumila Pts 1 & 2
Sammy Kasule & Ochila Odero - Niliota Ndoto Pts 1 & 2
Note: Tracks from the LP Kasule are no longer available for download. The album may be purchased online here.
Posted by John B. at 6:12 PM 5 comments
Labels: Kenya, Sammy Kasule, Swahili, Uganda
Sunday, July 19, 2009
From Congo to Kenya Pt. 1
Have you seen Alastair Johnston's website Muzikifan? It's a must-go-to destination for anyone who's interested in African music or World Music™ in general. Alastair recently published A Discography of Docteur Nico (Poltroon Press, 2009), which is an outgrowth of the site. I haven't seen it yet, but it's an obvious labor of love, and a must-have for any African music fan. You can get it through the site. As of yet there doesn't seem to be any distribution through Amazon or Sterns, but hopefully there soon will be.
But that's not what this post is about. Some time ago, Alistair began a comprehensive study/discography of Congolese/Zaïrean musicians in East Africa, which over the years has grown into an impressive body of work. It turns out I have a fair number of tracks by some of these musicians, so I thought it would be worthwhile to give them a spin.
Political and economic turmoil sent Congolese/Zaïrean musicians east to Tanzania and Kenya beginning in the '60s, and the '70s through the mid '80s were the "Golden Age" of expatriate musicians in East Africa (in 1985 President Daniel Arap Moi of Kenya ordered the expulsion of foreign workers, including musicians). The well-known Samba Mapangala of Malako Disco fame is part of this generation, as are Mose "Fan Fan" Se Sengo and Remmy Ongala.
Probably the most influential of these artists was Baba Gaston (1936-1997), whose picture is at the top of this post, and who ended up in Dar-es-Salaam with his Orchestre Baba Nationale in 1971, moving to Nairobi four years later. Gaston's various orchestras comprised a veritable university of East African music owing to the numerous musicians who passed through before going on to join or establish other outfits, among them Les Mangalepa.
Here are some 45s from Gaston's career in East Africa. I suspect the first two tracks (from ASL ASL 7-1520) are from 1973 or thereabout, while "Kalai" (Yahoos YS 001) is probably from the early '80s:
Baba Nationale - Zala Reconnassant Fa Fan
Baba Nationale - F.C. Lupopo Bana Ya Tembe
Baba Gaston & Orchestre Tchondo National - Kalai Pts 1 & 2
You can download Baba Gaston's wonderful LP Condition Bi-Msum (ASL ASL 971) from Worldservice here.
Jimmy Monimambo, who features in "Amba," was one of three outstanding vocalists in Orchestra Shika-Shika, the others being Moreno Batamba and Vicky "Lovy" Longomba, who will be discussed in a future post. "Amba" (Daraja DJ 005) was one of the group's major hits:
Jimmy Monimambo & Orchestra Shika-Shika - Amba
"Shauri Yako" is a song that is well-known to many Likembe reader/listeners thanks to the version by Orchestre Super Mazembe, but it was written by Nguashi Ntimbo, a veteran of Baba Nationale for many years before starting his Orchestre Festivale du Zaire and later working for Franco's TPOK Jazz. In addition to Super Mazembe, "Shauri Yako" was recorded by Ugandan singer Sammy Kasule and Mbilia Bel, but Festival du Zaire's version (ASL ASL 3393) is arguably the best. You may have heard this one before as it's been on a couple of other blogs, but another go-round won't hurt you:
Orchestre Festival du Zaïre - Shauri Yako
"Madya" (ASL ASL 7-3351) was apparently recorded a year or two before "Shauri Yako":
Orchestre Festival du Zaïre - Madya
It's interesting how, once Congo musicians moved to East Africa, their sound opened up and became more rhythmically free and experimental. To get what I'm talking about, listen to the guitar and horn work in the next two tracks (ASL ASL 7-1145) by Les Noirs/City Five. Alastair doesn't say much about the origins of Les Noirs, but they seem to have been one of those groups that everyone was a member of at one point or another:
Les Noirs/City Five - Mungo Iko Helena
Les Noirs/City Five - Lwaki Oyomba Awatali Nsoka
Alastair Johnston's article "Congolese Bands in East Africa" was of inestimable help in preparing this post, and should be consulted for more information about these artists. I'll be discussing more Congo musicians in East Africa in a future post.
Posted by John B. at 5:45 PM 8 comments
Labels: Baba Gaston, Congo, Congo to East Africa, Kenya, Les Noirs, Lingala, Orchestre Festival du Zaire, Shika-Shika, Swahili, Tanzania
Friday, July 3, 2009
Kamba Sounds
I've written here before that twenty years ago I accumulated an archive of about 24 hours worth of East African music on 10" tape reels that I finally got around to digitizing a year and a half ago. These records were loaned to me by friends from that part of the world, most of whom have moved on to other cities, and cover a gamut of languages and styles.
Digitizing this material was fairly straightforward, but actually processing, organizing and making sense of the collection has been a daunting task, one that I've pursued in whatever spare time I've had. It's complicated by the fact that the various genres and artists are scattered among the tapes willy-nilly.
Some of the more refreshing of these tracks have been the ones recorded by Kamba musicians. The Akamba, related to the Kikuyu, are said to number about four million and live in the south-central region of Kenya just east of Nairobi (refer to the map on the right; click to enlarge). While contemporary Kamba music is often labeled "Benga" or "Cavacha," it's characterized by its relative simplicity and straightforwardness. Doug Paterson had this to say in World Music: The Rough Guide (Rough Guides, 1994):
. . . Although distinctive melodies distinguish Kamba pop from other styles of benga, there are other special Kamba features. One is the delicate, flowing, merry-go-round-like rythm guitar that underlies many Kamba arrangements. While the primary guitar plays chords in the lower range, the second guitar plays a fast pattern of notes that mesh with the rest of the instrumentation to fill in the holes. This gentle presence is discernible in many of the recordings of the three most famous Kamba groups: The Kalambya Boys & Kalambya Sisters, Peter Mwambi and his Kyanganga Boys and Les Kilimambogo Brothers Band, led, until 1987, by Kakai Kilonzo.It turns out that I have quite a few tracks by the Kilimambogos, almost none of which are on the two recent compilations Best of Kakai Vol. 1 and Best of Kakai Vol. 2, so you can assume I'll be devoting a future post exclusively to them. Tunes by various other Kamba musicians (most recorded around 1983) add up to about three hours' worth of music, and the ones I'm posting here are a representative sample. If you like these I'll be happy to post more in the future.
Back in the early '80s Kenya was under the sway of the imported Congolese musicians, Virunga, Baba Gaston and the like, and the various Swahili "big bands" like Mlimani Park and the Wanyika groups. Kamba music and the other "vernacular" styles were part of an older, less-sophisticated tradition that had its roots in the '60s and earlier, as described by John Storm Roberts in the liner notes to his compilation Before Benga Vol. 2: The Nairobi Sound (Original Music OMCD 022):
. . .I soon found that this was very much a people's music. The hip young Kenyans moving into government and the professions were uneasy with its reminder of the Swahili-speaking, makeshift past, more happy with the sophistication of Zaïrean music and English-language pop and rock 'n' roll. True, compared with the work of the great names of Kinshasa, the discs cranked out of the scruffy record stores of River Road, down near the country bus station, were simple and sometimes seemed naïvely optimistic. But for the majority of Kenyans whose English was functional at best, they reflected day-to-day life with a plain-man exuberance that was very like their audience: lacking the glamour of West or Central Africa, but in their own way wholly admirable. . .In this light I regret that I've been unable to find anyone to translate the lyrics of these records for us. I'm sure they would be even more pleasurable if we knew what they were about! As it is there's plenty of wonderful singing and guitar-picking for our musical enjoyment.
The Kalambya Boys, led by Onesmus Musyoki and Joseph Mutaiti, were one of the primary Kamba bands of the 1980s. Unfortunately I have nothing by the naughty Kalambya Sisters, the Boys' female auxiliary, who caused a sensation with their 1983 release "Katelina," but there is a good track by them on the compilation The Nairobi Beat: Kenyan Pop Music Today (Rounder CD 5030). Here are the A & B sides of Utanu UTA 108 by the Kalambya Boys:
Onesmus Musyoki & Kalambya Boys - Katelesa
Onesmus Musyoki & Kalambya Boys - Kyonzi Kya Aka
And here are sides A & B of Utanu UTA 113:
The Kalambya Boys - Eka Nzasu
The Kalambya Boys - Mwendwa Losi
The Kyanganga Boys Band, led by Peter Mwambi, have also been quite popular. Doug Paterson writes that Mwambi's ". . . musically simple, 'pound 'em out,' pulsing-bass drum style may not have enough musical variation to keep non-Kamba speakers interested." Listen to these sides from Boxer BX 018 and judge for yourself:
Peter Mwambi, Charles Mutiso & Kyanganga Boys Band - Beatrice
Peter Mwambi, Charles Mutiso & Kyanganga Boys Band - Mwenyenyo
From Mwambi BIMA 002, here are two sides that Mwambi apparently recorded without the Kyanganga Boys:
Peter Mwambi - Matatu
Peter Mwambi - Mueni
Of course, the Kamba music scene has produced nuemerous other artists, including the Kaiti Brothers, who give us these refreshing tunes (from Kaiti Bro's KAITI 04):
Kaiti Brothers - Ndungata
Kaiti Brothers - Nau Wakwa "J"
The Ngoleni Brothers, led by Dickson Mulwa, a Kalambya Boys alumnus, also produced numerous hits, including these, side A & B of the Ngoleni Brothers Boys single DICK 02:
Professor Dick Mutuku Mulwa & Ngoleni Brothers Band - Kavinda Kakwa
Professor Dick Mutuku Mulwa & Ngoleni Brothers Band - Ngilesi
"Kibushi" was a dance craze imported from Congo/Zaire, the most important exponent of which was the Orchestre Hi-Fives. Here's a Kamba version of Kibushi which doesn't bear much resemblence to the original style. These tracks are the A & B sides of Akamba AS 801. I know nothing of Fadhili Mundi & the Ithanga Brothers, but these are certainly enjoyable tunes, especially the delightful "Wakwa Sabethi."
Fadhili Mundi & Ithanga Brothers - Mzee Tamaa
Fadhili Mundi & Ithanga Brothers - Wakwa Sabethi
Fans of East African 45s know that looking at their colorful labels is almost as much fun as listening to them. Unfortunately, I haven't been able to provide you with scans of these recordings, but KenTanza Vinyl has an excellent gallery for your enjoyment. The picture at the top of this post is entitled "My Neighborhood" and is by a Tanzanian artist named Mkumba. Explore more of his work and that of a number of other excellent East African artists here.
Posted by John B. at 10:20 AM 9 comments
Labels: East Africa, Ithanga Brothers, Kaiti Brothers, Kalambya Boys, Kamba, Kenya, Kyanganga Boys, Ngoleni Brothers, Peter Mwambi
Friday, October 31, 2008
Happy Halloween!
Whoa! I just realized today is Halloween, and to mark the occasion, here's the only thing I could come up with that approaches being an "African Halloween song." From the Congo via Nairobi, here's Orchestre Les Mangalepa (above) and "Dracula" (ASL 2250N, circa 1983):
Orchestre Les Mangalepa - Dracula Pts. 1 & 2
Posted by John B. at 4:44 PM 4 comments
Labels: Congo, Kenya, Les Mangalepa, Lingala, Soukous
Saturday, September 27, 2008
African Divas Vol. 1
With the kids back in school and monopolizing the computer, and me swamped under a ton of overtime, I just haven't been able to give this blog the attention it deserves. As usual, I have several posts in progress, which I'm putting the finishing touches on, but I haven't wrapped things up yet.
Still, I want to put something up, so here goes:
You're probably familiar with Matt Temple's blog Matsuli Music. Last year, shortly before I started Likembe, I compiled an installment in his great "African Serenades" series. It was Volume 47 in two parts, subtitled African Divas 1 and African Divas 2, a selection of great female vocalists from across the continent.
I'm really proud of the work I did on this collection, but it was only online for a week or two on Matsuli Music. So I'm bringing it back into the light of day here. Here's the tracklist for Volume One:
1. E Beh Kiyah Kooney – Princess Fatu Gayflor (Liberia)There are a few tracks you will recognize if you've been following Likembe for a while, but most may be new to you. In a departure from my usual practice, I'm posting this as a zipped file (108 MB) rather than as individual tracks, as it was meant to be listened to as a unit. An inlay card has been included as a Word file if you want to make your own CD. Volume 2 will follow shortly:
2. Haya – Khadja Nin (Burundi)
3. Ndare – Cécile Kayirebwa (Rwanda)
4. Du Balai – Angèle Assélé (Gabon)
5. Kalkidan – Hamelmal Abate (Ethiopia)
6. Ezi Gbo Dim - Nelly Uchendu (Nigeria)
7. Odo (Love) – Sunsum Band featuring Becky B (Ghana)
8. Dikom Lam La Moto – Charlotte Mbango (Cameroun)
9. Kuteleza Si Kwanguka – Lady Isa (Kenya)
10. Vis à Vis – Monique Seka (Côte d'Ivoire)
11. Femme Commerçante – M'pongo Love (Congo-Kinshasa)
12. Fe, Fe, Fe – Tina Dakoury (Côte d'Ivoire)
13. Koumba – Tshala Muana (Congo-Kinshasa)
14. Fote – Djanka Diabate (Guinea)
African Divas Vol. 1
Posted by John B. at 7:45 AM 7 comments
Labels: African Divas, Burundi, Cameroun, Congo, Côte d'Ivoire, Ethiopia, Gabon, Ghana, Guinea, Kenya, Liberia, Nigeria, Rwanda
Friday, August 22, 2008
Some Somo-Somo
Guitarist Mose Se Sengo "Fan Fan" was a crucial member of Franco's Orchestre TPOK Jazz from 1967 to 1972. In that year he left, and after some time in Orchestre Lovy, founded the first of several orchestras called Somo-Somo in 1974. This band was short-lived, and Fan Fan soon made his way south and east, first to Zambia and then Tanzania, where he played with the legendary Orchestra Makassy, composing some of its greatest hits, notably "Ciska," "Mosese" and "Molema." Moving on to Nairobi in the early '80s , he founded another iteration of Somo-Somo, recording two LPs and several singles with the group.
In the mid-'80s Fan Fan ended up in London where he formed a new Somo-Somo band, which recorded a wonderful LP entitled, of course, Somo-Somo (Sterns 1007, 1985, left). What set this London version of the band apart from the earlier incarnations was that, apart from Fan Fan, fellow Congolese N'Simba Foquis and South African vocalist Doreen Thobekile Webster, it was composed entirely of British session musicians.
I suppose the line-up of the UK Somo-Somo was more a product of necessity than design (Unlike, say, Paris, there is a dearth of Congolese musicians in London), but the tracks on Somo-Somo, mainly reworks of songs Fan Fan recorded earlier in Africa, have a punchiness and vitality lacking in many of the more formulaic Paris productions. The extensive use of saxophones really sets it apart - talk about making lemonade from lemons!
Somo-Somo has long been out of print. For some time I've wanted to digitize it and make it available here, but wouldn't you know? Moos, over at the blog Global Groove, has beat me to it! You can download it here.
However, I have two more hard-to-find Fan Fan tracks for you, apparently recorded around 1983 during his sojourn in Kenya. I have no idea what the lyrics of "Kimoze-Moze" (Editions FrancAfrique EFA 015) are about but the chorus does seem to share a theme with Fela Anikulapo-Kuti's classic recording "Lady." Musically, of course, the songs have nothing in common:
Mose Fan Fan et son Orchestre T.P. Somo-Somo - Kimoze-Moze Pts. 1 & 2
And here's Fan Fan's cover of Pamelo Mounk'a's classic tune "l'Argent Appelle l'Argent" (Editions FrancAfrique EFA 013):
Mose Fan Fan et son Orchestre T.P. Somo-Somo - l'Argent Appelle l'Argent Pts. 1 & 2
You can get Pamelo's original here.
An excellent overview of Fan Fan's career is available on the CD Belle Epoque (RetroAfric RETRO 7CD), issued in 1994 and
available here. Several recent recordings by this consummate professional are available from Sterns.
Posted by John B. at 5:20 PM 6 comments
Labels: Congo, East Africa, Kenya, Lingala, Mose Fan Fan, Soukous
Thursday, May 22, 2008
Brother Charlly Computer & his Friends
Reader/listener Tim Clifford has a big interest in East African music and is responsible for two of the best installments in Matsuli's late, great "African Serenades" series. Tim's working on a detailed discography of East African music and I was happy to pass on to him a listing of titles in my collection. In response to one of these, he wrote, ". . .I can't wait for you to post the single by Brother Charlly Computer and the Gloria Kings as it just might be the best band name ever!"
Of course, I agree. I'm happy to post Brother Charlly, and why don't we listen to a few more Kenyan 45s while we're at it? Most of these are from around the same period, the early to middle '80s, and they are among the last singles pressed in that country (record piracy pretty much killed the format within a few years).
I know absolutely nothing about Brother Charlly and his band. They apparently didn't make many waves, but "Goodbye Hully!" and "Achieng Born-Zo" (Brother Charlly BRO 1) are prime examples of the benga sound, then at the peak of its popularity:
Brother Charlly Computer & the Gloria Kings - Goodbye Hully!
Brother Charlly Computer & the Gloria Kings - Achieng Born-Zo
One thing the Victoria "B" Kings cannot be accused of is being one-hit wonders. Together with D.O. Misiani's Shirati Jazz they were the foremost proponents of benga in its salad days. The Mighty Kings of Benga (Globestyle CDORBD 079, 1993) is a great collection of their 45s. Here are two side of a single (Pamba Oluoro Chilo PAC 14) that is not on that release:
Victoria "B" Kings - Leo Odondo Mak-Awiti
Victoria "B" Kings - Wabed Gi Hera Chuth
Barrier 4's version of benga (this example being Elimu ELM 06) is somewhat more subdued than the above examples, and is also in Swahili rather than Luo:
Barrier 4 - Gharama Haihesabeki Pts. 1 & 2
I understand that the Mombasa Roots Band are one of those Kenyan groups that cater primarily to the tourist trade. Here's their infectious update of the coastal chakacha style (Polydor POL 561):
Mombasa Roots Band - Disco Cha-Ka-Cha Pts. 1 & 2
Malako, recorded by Samba Mapangala & Orchestra Virunga in the early '80s, is rightly considered an African classic (it was reissued in 1990 as Virunga Volcano [Sterns/Earthworks CDEWV 16]). Mapangala, who is originally from the Congo, had a thriving career in East Africa throughout the decade. Around 1990 he left for greener pastures abroad, first in Paris and more recently in the U.S. Sadly, his more recent efforts, recorded with Congolese expatriates, lack the spark of his earlier recordings. "Kweya" (Editions Virunga EDV 005) represents him at the peak of his Kenyan success. Even the cheap-sounding drum machine (something I normally abhor) is in good form here:
Samba Mapangala & Orchestra Virunga - Kweya Pts. 1 & 2
To close out, let's journey about ten years earlier than the previous records. Gabriel Omolo & the Apollo Komesha's record "Lunch Time" not only received a gold disc in Kenya in 1973, it was a smash throughout Africa. Here's the B-side of the Nigerian pressing (Philips West Africa APL 7-618). And if you want to hear "Lunch Time," you can get it on Kenya Dance Mania (Sterns/Earthworks STEW 24CD):
Gabriel Omolo & the Apollo Komesha - Tutakula Vya Ajabu
Update: Tim Clifford's two "African Serenades" compilations are available again, for a limited time, here. Get 'em while they're hot!
Update 2: They're already gone. Sorry!
Posted by John B. at 2:00 PM 8 comments
Labels: Barrier 4, Benga, Brother Charlly Computer, Gabriel Omolo and the Apollo Komesha, Kenya, Luo, Mombasa Roots Band, Samba Mapangala, Swahili, Victoria Kings
Monday, December 31, 2007
East African Memories
Sadly, Daniel Owino Misiani, founder of the influential Kenyan band Shirati Jazz (also known as the D.O. 7 Band and D.O. 7 Shirati Jazz), passed away on May 17, 2006, but he left a legacy of hundreds of memorable tunes. While Misiani and Shirati Jazz did not establish benga music, they did more than anyone else to popularize and codify that musical style.
"I'm Tired" (Bwana Otieno Weche PIC 3) is not at all representative of the Shirati Jazz style. It's a novelty tune, sung in Swahili and English rather than the group's usual Luo. I think that D.O. Misiani might not even be on it (the group occasionally recorded without him). In the future I'll probably post some more "typical" Shirati Jazz songs, but I'm sure you'll enjoy this one:
D.O. 7 Shirati Jazz - I'm Tired Pts. 1 & 2
The Maroon Commandos (above) were established by Habel Kifoto (center) as a military band from the 7th Batallion of the Kenyan Army, and are best known for their smash hit "Charonyi Ni Wasi," which was featured on the compilation CD Kenya Dance Mania (Sterns Eathworks STEW 24CD). The Commandos usually record in Swahili, but "Liloba" (African Beat PA 7226), which features Laban Ochuka on lead vocals, is sung in Luhya:
Laban Ochuka & the Maroon Commandos - Liloba Pts. 1 & 2
Tanzanian singer Issa Juma was a founding member of the group Les Wanyika in 1978, and graced their smash hit "Sina Makossa" (also available on Kenya Dance Mania) as lead vocalist. He soon split off from that group to form his own band, variously entitled Waanyika, Wanyika Stars, Super Wanyika, Wanyika Super Les Les etc. "Ateka" (Waanyikaa NYIKA 09), is an outstanding example of his work:
Issa Juma & Waanyika - Ateka Pts. 1 & 2
Les Volcano were originally the backup band for Tanzanian vocalist Mbaraka Mwinshehe. When he was killed in an auto accident in 1979, they continued under the leadership of Charles Ray Kassembe, and made a number of outstanding recordings, including "Uhangaika Bure" (Superphonics BOY 002):
Les Volcano - Uhangaika Bure Pts. 1 & 2
The Luhya people of western Kenya have produced a number of outstanding musicians, but the most renowned is probably Sukuma Bin Ongaro, who contributed a couple of tunes to the compilation Guitar Paradise of East Africa (Sterns Earthworks STEW 21), a few years back. Listen to "Mukamba Leya" (Upendo UPP 7-644) and you'll understand the reason for his popularity:
Sukuma Bin Ongaro & Sukuma Band - Mukamba Leya
The picture at the top of this post is from the Shirati Jazz release Benga Beat (World Circuit WCB 003, 1987).
Oh, and Happy New Year!
Posted by John B. at 10:41 AM 10 comments
Labels: Benga, D.O. Misiani, Issa Juma, Kenya, Les Volcano, Luhya, Luo, Maroon Commandos, Shirati Jazz, Sukuma Bin Ongaro, Swahili, Tanzania, Wanyika
Wednesday, December 19, 2007
Merry Christmas!
As you would expect this time of year, things have been super hectic around here, and I just haven't had time to post. There's not a lot of African Christmas music out there, but I did manage to dig up a couple of tunes for your holiday enjoyment. Our first selection is by Kenya's Kilimambogo Brothers Band, "Shangilia Christmas Pts. 1 & 2," (Les Klimambogo LES 22). The second is side 1 of Ebenezer Obey's (left) 1972 LP Odun Keresimesi (Decca WAPS 62), also known as A Christmas Special From the King of Juju.
I'll try to get in another post in the next couple of days (I've got a couple in the hopper; I'm just working on the finishing touches), but if I don't: Merry Christmas, Happy Holidays, a festive Kwaanzaa, whatever!
Les Kilimambogo Brothers - Shangilia Christmas Pts. 1 & 2
Chief Commander Ebenezer Obey & His International Brothers Band - Odun Keresimesi / Irinse Lo Jona Obey O Jona / Irin Ajo / Ile Oba To Jo
Update: I just found out that Eid Al-Adha begins Thursday, December 20 this year. My very best wishes to all of our Muslim friends, and I apologize for overlooking this earlier.
Posted by John B. at 6:43 PM 1 comments
Labels: East Africa, Ebenezer Obey, Juju, Kenya, Kilimambogo Brothers, Nigeria, Swahili, Yoruba


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Expect High Level of Professionalism
(PRWEB) August 06, 2014
On July 6, 2014, Fluid Cooling, a new company, began offering free cooling, water-cooled, air cooled and heat recovery chillers services with an aim of reducing the extra costs incurred in HVAC data centers as a result energy being wasted. Their main goal at Fluid Cooling is to reduce the payback period in case one decides to install these equipment while making the system more environmentally friendly.
They believe that installing modern HVAC equipment in data centers will not only guarantee reliable and efficient service delivery but also help the data center owners to save a substantial amount of money by the end of it all.
The services offered by this company addresses some of the major issues and tries to focus on improving the existing systems to fulfill all the societal needs as far as the HVAC systems are concerned.
It is quite evident that most HVAC systems which are still being installed in most buildings and data centers are not fully automated, and this leads to wastage of energy. This makes them more expensive to run. They will venture in the low air volume (LAV) systems and the variable air volume (VAV) systems too since this is the only viable option to revolutionize the HVAC industry.
Furthermore, they also intend to begin more research on how to optimize the existing cooling mechanisms since both air and water are not 100% efficient. They cannot provide maximum cooling, more so in gadgets which dissipate a lot of heat. They believe that by investing in magnetic Nano-fluid whose heat transfer coefficient can be increased by 300% will improve on the existing cooling systems.
As they will be going about their new venture in the HVAC industry, they also have it in mind that air conditioning systems play an integral role industrial processes too. They acknowledge the fact that it is only through controlled processes that quality products can be realized throughout the year.
As Fluid Cooling will be going about our new venture in the HVAC industry, they also have it in mind that air conditioning systems play an integral role industrial processes too. They acknowledge the fact that it is only through controlled processes that quality products can be realized throughout the year.
They intend to take a totally new dimension in the HVAC industry which is mainly geared to reduce operational costs, improve both customer and employee environment, save time, reduce maintenance costs, increase productivity and meet all sustainable initiatives. They'll help you to adopt: a better total cost of ownership; prioritize on efficiency; focus on indoor air quality; evaluate advanced control mechanisms and establish the vendors deliver process. In short, the Fluid Cooling Company believes that they will be able to change lives by reducing energy consumption in most HVAC systems. This will help them to bridge the existing gap in this industry.
All their customers should expect high level of professionalism with a state art technology and equipment which is basically geared to ensure safety. The company is determined to accomplish all these since they believe it is manageable.


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5 ways supply management matters
Keeping shelves stocked and enough supplies in their place is one of the most important aspects of managing any hospital department efficiently and safely. Supply management is the pipeline from whence all instruments of care flow, and if it causes more problems than it solves, a department runs a risk of wasting money or, worse, negatively affecting patient care.
Monica Goetz, clinical nursing manager at Greater Baltimore Medical Center (GBMC), says that while supply chain management is often not the first thing that comes to mind in running a critical department, but it plays a crucial part. "It's hard to keep track of stock," she says, noting that there are "some things that aren't as important as others but when you have someone who's seriously ill you want to know something is going to be there when you reach for it."
Goetz talks about five key ways that supply management can improve patient safety.
1. Accurate stock counts. In a busy department, supply levels can fluctuate. When what's supposed to be in inventory isn't there, that "could definitely be a patient safety issue," says Goetz. "If we don't have accurate inventory and we reach for it and it's not there, it's something we can't use." The electronic system Goetz' department utilizes automatically reflects stock levels as items are ordered from the system. Staying on top of supply levels means that when something is running low and a redelivery isn't scheduled in the near future, department managers can arrange for a resupply. Goetz says with the technology her department uses, "when we push that button ... it allows us to communicate with purchasing, allows them to do off-schedule delivery."
2. Reporting. Managing supplies is a battle of par versus usage: par level being the "supposed" amount of use a product gets, versus the actual usage. Analytics can help determine the gap between these two numbers, and it can greatly improve quality of care. A reporting system built in to a supply management system allows Goetz' team to "see how often we go through [certain items] like water. Is there a better product out there that gives us a better cost savings?" The analytics that can be generated go beyond finding product replacements and keeping them in stock, too: It can influence training and how a team works. Goetz says her team can look at usage patterns and see when someone is using resources inefficiently. "We can track back to who the users are, we can look for trends," she says. "We are able to go back and say can you talk to me about this day, and that gives us an educational opportunity."
3. Money saving. This is the one on top of everyone's mind, for sure. "If I have that extra dollar at the end of the year, we can invest that back in to our unit and our patients," says Goetz. She says that by leveraging supply management systems to keep better track and to influence more efficient use of inventory, she can save her department more money. That money can be put back in to the department. "If we're getting cost savings from a supply management perspective, we can turn that back and invest in our patients," she says. Can the analytics that saved that cash actually help determine what would be the best investment? "It kind of does," says Goetz. She says that analytics generated by supply management can allow her to see what supplies a department goes through the most, and allows her to ask "is there something that's newer out there, something that's better?" She says a hospital "can customize what your overall purchases for patient care could be based on what the trends are in supply management."
4. Organization. Keeping things in stock and on hand is a moot point if nobody can find it. Knowing who needs what and being able to pinpoint it is a strong feature of electronic supply management, says Goetz, who says GBMC's inventory is organized by service, meaning that in each general area all of the products are grouped to relate to each other. Orders are submitted through portable devices, which helps speed up the process and reduce errors. "You can search for a product, type what you are looking for and blinking lights under each product ... shows you where it is and make sure you have the right thing," says Goetz. The system is touch screen based as well, which makes it easy to see what the specific needs of each patient is. "All the patients pull up," when someone access the inventory system, she says. All that needs to be done is to "touch the patient [icon in the system] they're looking to charge items to." Having the ability to quickly and accurately identify specific products and track in real time who they are going to is an asset to hospitals in terms of accountability and cost savings, Goetz says.
5. Time. The less time spent in the supply cabinet the better. "Standing next to a supply room or having to call for products – those are things that take you away from the bedside and take you away from the patient," says Goetz. By implementing a smart system to manage supply, departments or whole organizations can begin to slash away at inaccurate retrievals, problematic supply levels, or time wasted in trying to locate an uncommon item. Goetz sees supply management as driving many of the day to day actions in a hospital. When properly implemented, electronic supply management helps keep track of stock, helps departments make smart decisions about what to change in the future, keeps them organized and operating fluidly, and can save them cash. All of these things tie back to the issue of time: She says that the less of it spent doing all of the above means more freedom for nurses to "spend their time doing things that are beneficial to the patient."


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In a large bowl gently but thoroughly combine the ground beef, salt, pepper, cumin, paprika, and chili powder. Gently form the meat into 4 (6-ounce patties), about 1/2-inch thick, and place on a plate. Refrigerate the burgers, covered until needed.
Preheat broiler or grill. Char the chiles on all sides, turning occasionally with tongs, about 5 to 10 minutes. Transfer blackened chiles to a large bowl and cover tightly with plastic wrap. Let stand for 30 minutes or until cool enough to handle. Wearing rubber gloves, peel the chiles. Trim off stems, slice in half and discard seeds and ribs. Coarsely chop the chiles.
In a saucepan heat the oil over moderate heat and cook the onion until soft. Add the garlic and cook for another minute. Add the flour and cook for 2 minutes, stirring to coat. Slowly add the water, stirring to combine, and bring the mixture to a simmer. Stir in the chiles and cook until thickened. Season to taste with salt. Keep warm.
Cook the burgers to desired degree of doneness. Top each burger with a slice of cheese and cover, cooking until cheese melts. Transfer each burger to a bun and top with chile mixture. Serve immediately.
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Get a sneak-peek of the new Food Network recipe page and give us your feedback.See it Now!


text:
KKR, others eye SocGen's TCW subsidiary: paper
Kohlberg Kravis Roberts & Co and other private-equity firms are eyeing a buyout of Societe Generale's asset management subsidiary TCW Group, the New York Post said, citing sources.
Talks between SocGen and the private-equity firms are informal at the moment, the paper said.
The paper said a private-equity firm could help TCW recapitalize its ownership or assist in a management-led buyout.
TCW's interim chief executive Marc Stern, told the paper that private-equity firms may participate in a recapitalization of TCW but denied that SocGen was planning an outright sale of the unit.
Whether private equity could be involved is something that could be considered, Stein told the paper.
KKR and TCW could not be immediately reached for comment by Reuters.
(Reporting by Ajay Kamalakaran in Bangalore; Editing by Derek Caney)


text:
Ay Carumba! Death Record For #JudgeCuriel Papa's Proves New York Times Lying About U.S. Citizenship
The death certificate for the father of the controversial Mexican judge confirms that Curiel's parents were not U.S. citizens when he was born. Death records from Indiana records confirm that Salvador Curiel died a Mexican citizen in 1964… not as the New York Times's Alan Rappeport reported in an anti-Donald Trump article. But Rappeport claimed […]Read Story


text:
Sign in to retrieve a saved callback list.
Scores based on 101 reviews
Invoice history based on 85 reviews.
My name is Harry and I am a fully qualified & insured Carpenter. I offer a professional and reliable service to meet the requirements of my customers. I have been sole trading for 8 years now with 10 years of experience. Quality craftsmanship and customer satisfaction are my top priorities. My range of work covers -
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Call today for a free Quotation
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text:
What is included with this book?
|p. xi
|p. xiii
|The Game Within the Game
|No "Me" in Mia
|p. 3
|Love the Game
|p. 15
|Love the Ball
|p. 25
|The Mental Game
|p. 31
|The Physical Game
|p. 47
|On the Field
|Trapping: The Ball Is Your Servant
|p. 61
|Passing: Making Your Teammates Look Good
|p. 81
|Dribbling: Take on Your Opponent
|p. 107
|Shooting: Be a Finisher
|p. 136
|Heading: Soccer's Own Skill
|p. 160
|Goalkeeping: The Last Line of Defense
|p. 178
|The Complete Player
|p. 189
|Being a Winner
|p. 195
|Champion of the World
|p. 202
|Talk the Talk: A Soccer Glossary
|p. 213
|Table of Contents provided by Syndetics. All Rights Reserved.


text:
The best way to keep up to date with Upton-upon-Severn RFC
The Sports Field Old Street Upton-upon-Severn Worcestershire WR8 0HW View with Google Maps
This website is part of the Pitchero Rugby Union network. Create your own free Rugby Union club website with Pitchero.
© Pitch Hero Ltd 2008-2018
Pitch Hero Ltd Registered in ENGLAND | WF3 1DR | Company Number - 636 1033


text:
Open Thread: Everything You're Reading, Watching, Listening To and Looking At
This is your place to talk about the TV, movies, music, books and art that are thoroughly entertaining you.
In the spirit of one of my favorite Ephron-isms, a photo of me in bikini (with a see-through shirt on top. Sorry, everyone but my mom.) "Oh, how I regret not having worn a bikini for the entire year I was twenty-six. If anyone young is reading this, go, right this minute, put on a bikini, and don't take it off until you're thirty-four."
I discovered Nora Ephron in 2006 in the most embarrassing way: I thought I "discovered" her. I knew her name, of course -- who hadn't heard of "Sleepless in Seattle"? -- but it wasn't until I read her New Yorker piece "Moving On" about her love affair with her apartment building the Apthorp that my obsession started.
It was such a passionate piece about Upper West Side real estate; it ended with her leaving and announcing "Unrequited love's a bore" -- and me falling head over heels for her writing.
"Have you heard of this writer, Nora Ephron?" I asked a friend. I was a freshman in college. From California. Forgive me. Despite being late to Nora Ephron game, I still had a lingering feeling that there was some sort of special connection between us. I wrote down quotes from her books ("...he was capable of having sex with a Venetian blind") and wished for opportunities to use them in real life (even if it meant suffering "Heartburn"-style agony).
I dug through her oeuvre, hoping to find more things to tie us together.
"In many ways Meg and I are sort of scared of Nora. You don't want to disappoint her," Tom Hanks said in one. "You don't want to go neck and neck with Nora in a battle of wits."
In another, Washington Post columnist and close friend Richard Cohen was asked to comment on her and answered "I'm afraid to!" He added (out of fear?) "Yes, she's tough. She can kill you at 50 paces with her wit."
I killed no one with my wit, but I imagined a world in which I did, and therefore felt even closer to Ephron. I read "I Feel Bad About My Neck" over and over, always finding new things we had in common. Small breasts! A disdain for thousand-dollar handbags!
I always imagined that I'd run into her one day (Zabars?) and start a friendship so powerful that she'd have no choice but to write about it (with me, perhaps?). We'd be played by Diane Keaton and Ellen Page and wear matching dresses to the Academy Awards!
So when my editor at a fashion trade publication asked me to cover an event she would be attending, I hardly felt nervous. I felt ready. Ready to meet Nora Ephron -- current idol, future BFF -- for a Tom Hanks-produced movie premiere and dinner party. Instead of planning my approach, I spent the day planning what would happen in dramatic form.
Amy: Hi, Ms. Ephron, my name is Amy Preiser, and I'm a huge fan of your work.
Ms. Ephron: Really? Well, call me Nora! Actually, why don't you call me at home tonight? Here's my phone number. You're adorable, and look very smart. I think we will be good friends.
Amy: Really? I felt that way too! You know, I love I Feel Bad About My Neck, and I also have small breasts.
Nora: I can see that. Here, sit down next to me, and let's throw our heads back laughing as Tom Hanks tells another zinger.
That this is NOT what occurred. We were in the same theater for the premiere but did not sit next to each other (weird, right?). At the restaurant after, I approached her candlelit table, leaving my sub-thousand-dollar handbag and a plate of steak frites back at the reporters' table. She sat in front of her identical meal (kismet!) at a table with more important people, more expensive bags.
"Hi Ms. Ephron, my name is Amy Preiser. Do you mind if I ask you a couple questions?"
Plan set in motion: Stun her with fantastical journalistic skills, then chummy up over the praise. But she faltered from my script. Looked bored.
"What are the questions about?"
Uh oh. I was struck dumb. How did I not plan for this? I stared at her for about 30 miserable seconds before stuttering "...about the film we just saw." I am still smiling, not yet panicking. She agrees.
"Only two questions though. Go."
In this moment, staring at a woman with no interest whatsoever in being best friends, my confidence falters, and I'm left with nothing. I grapple for an inane question about the movie, which she answers in a tone that suggests she'd rather be eating dinner.
"Next question?"
I looked around. To my left was Tom Hanks and a fancy salad. To the right, her husband, Nicholas Pileggi looking between me and his salmon.
"What is your favorite movie snack?" I blurted out awkwardly.
She didn't skip a beat. "I consider part of my job during a film to think about what I'm going to eat afterward." She paused. "Does that work?"
Yes. Perfectly. Apparently not all stupid questions get stupid answers when you're interviewing Nora Ephron. I switch off my tape recorder and launch into babbling praise. "YouknowI'mahugefanofyour—" I started, desperate to undo my idiocy with old-fashioned flattery.
She smiled coolly. "That's really nice. Thank you."
The thank you was not for the compliment; it was a polite goodbye. At that, I padded back to my seat. We never became best friends, Nora and I. This should have been obvious to me from the start, but it still stung.
I've told this story several times over the past few years as one of my brief celebrity encounters, and everyone usually laughs at her whip smart answer to my lazy question. That was the last time I did not prepare for an interview. But it was far from the end of my obsession.
Unrequited love can be a bore when it comes to real estate -- and yes, as she's pointed out, in marriage -- but for me, it's provided lessons in humility, grace, and the kick in the ass that comes with the sting of embarrassment. And now, Nora Ephron, the brilliant writer, the one to win every battle of wits, whether it's with Tom Hanks or simply an awkward reporter, has passed away at 71.
She left us with an incredible body of work and some of the best female characters we've ever seen on screen, among many other gifts. We were never best friends -- not even close -- but I, like countless other writers touched by her work, will miss her in a big way.
Amy Preiser tweets about her unrequited love of many things, mainly Hello Kitty, at @firstpreiser.


text:
The Censorship of British Drama 1900-1968 Volume 4
Volume Four: The Sixties
Distributed for University of Exeter Press
This volume is the fourth and final part of Steve Nicholson's analysis of British theater censorship based on previously undocumented material in the Lord Chamberlain's Correspondence Archives in the British Library and the Royal Archives at Windsor. The 1960s was a significant decade for the British, both in social and political spheres, especially in theaters. As certainties shifted and social divisions widened, a new generation of theater makers arrived, ready to sweep away yesterday's conventions and challenge the establishment. Focusing on plays we know, plays we have forgotten, and plays that were silenced forever, this book reveals how a powerful elite exerted pressure over these new voices in an attempt to preserve the veneer of a polite, unquestioning society.
- Contents
- Review Quotes
Timeline The Sixties: A Cultural and Political Calendar
Introduction: Galahad and Mordred
1. The Inflamed Appendix (1960-1961)
2. No Laughing Matter (1961-1962)
3. Pleasuring the Lord Chamberlain (1963)
4. Some S. I will not Eat (1964)
5. Blows for Freedom (1965)
6. Going Wild (1965-1966)
7. Getting Tough (1966)
8. An Affront to Constitutional Principles (1967)
9. Let the Sunshine In (1968)
10. Afterwords (1968-1971)
Select Bibliography
History: British and Irish History
You may purchase this title at these fine bookstores. Outside the USA, see our international sales information.


text: Advanced Single-Carrier and Multi-Carrier OFDM transceivers (Transmission protocols, Frequency Diversity, Optimal selection of OFDM parameters, OFDM-based multiple access schemes). Advanced Multiple-Antenna Techniques (Diversity-Multiplexing Tradeoff, Hybrid MIMO systems, MIMO-OFDM). Relaying and Cooperative Communications (Types of relaying, architectures, performance). Spectrum Management (Cognitive Networks, Sensing and Allocation Algorithms, Carrier Aggregation). LTE-Advanced (Evolution from 3G to 4G and beyond, Targets and IMT-Advanced Requirements, LTE Radio Access, Supported Transmission Modes). Towards 5G (HetNets, Small-cells). Wi-Fi ( family of standards, Super G Technology). Wired Standards (ADSL-VDSL). Satellite communication standards (DVB-S2, DVB-S2X extension, Hybrid terrestrial/satellite networks and applications).


text:
Arrange furniture in small bedroom - Bedroom lounge furniture - Acrylic furniture.
Arrange Furniture In Small Bedroom
- furnishings that make a room or other area ready for occupancy; "they had too much furniture for the small apartment"; "there was only one piece of furniture in the room"
- Furniture + 2 is the most recent EP released by American post-hardcore band Fugazi. It was recorded in January and February 2001, the same time that the band was recording their last album, The Argument, and released in October 2001 on 7" and on CD.
- A person's habitual attitude, outlook, and way of thinking
- Furniture is the mass noun for the movable objects ('mobile' in Latin languages) intended to support various human activities such as seating and sleeping in beds, to hold objects at a convenient height for work using horizontal surfaces above the ground, or to store things.
- Large movable equipment, such as tables and chairs, used to make a house, office, or other space suitable for living or working
- Small accessories or fittings for a particular use or piece of equipment
- Put (things) in a neat, attractive, or required order
- Reach agreement about an action or event in advance
- Organize or make plans for (a future event)
- put into a proper or systematic order; "arrange the books on the shelves in chronological order"
- stage: plan, organize, and carry out (an event); "the neighboring tribe staged an invasion"
- A room for sleeping in
- Relating to sexual relations
- Denoting a small town or suburb whose residents travel to work in a nearby city
- a room used primarily for sleeping
- A bedroom is a private room where people usually sleep for the night or relax during the day.
- (Bedrooms (film)) Bedrooms is a 2010 drama film directed and written by Youssef Delara. Starring Julie Benz , Moon Bloodgood, Sarah Clarke, Xander Berkeley, Dee Wallace and Barry Bostwick. It premieres August 20th 2010 at the Los Angeles Latino Film Festival 2010 .
- on a small scale; "think small"
- the slender part of the back
- Small items of clothing, esp. underwear
- limited or below average in number or quantity or magnitude or extent; "a little dining room"; "a little house"; "a small car"; "a little (or small) group"
otto haesler @ working class apartment 1931 - celle
too interesting!
master bedroom from 1931 in a 45m2 apartment.
please notice the wash basin!!!!!!
there is a very small museum in celle @ the working class blumfeld colony arranged by an architect which felt in love with the architecture of otto haesler.
this 1st example of a NEUES BAUEN working class colony in germany was - believe or not believe - partly destroyed around 10 years ago.
in detail a 220m horizontal slab was to 95% reconstructed. they did not detroyed the construction, but they replaced the facade (not too bad but in a modern style) . just the end part was reconstructed as the original was.
this passionate architect which is running this small museum (you have to call him in advance, it's not open day by day) was collecting from all old apartments the original interior for 2 small apartments. one apartment has all the furniture from the 30's, the other one from the 50's. every part of it is orginal and was found in this colony. this are the only fully furnished apartments in this kind of style you are still able to visit in germany.
the wash basin is amazing considering: this is a working class apartment.
iphone shot.
When Rochel (Zoe Lister Jones) and Nasira (Francis Benhamou) -- an Orthodox Jew and a Muslim, respectively -- meet as new teachers at a Brooklyn school, co-workers and students expect friction. But the women discover they have a shared expectation of entering into arranged marriages. As they experience tension between their traditional cultures and life in contemporary America, Rochel and Nasira form a special bond
Related topics:
bobs discount furniture pit
teak furniture stores
used retail furniture
country pine furniture
funky furnitures
and furniture legs
stores for outdoor furniture
canopy furniture collection
discount rattan furniture


text:
St. John's to host annual 'Victorian Tea & Bazaar'
The event will take place at the
New Milford United Methodist Church
, located at 68 Danbury Road (Route 7).
The bazaar will be held from 10 a.m. to 3 p.m., while the tea and lunch will be served from 11 a.m. to 2 p.m.
Tea sandwiches, breads, cookies, fruits and assorted teas will be available for $7.
In addition, the event will feature a bake shop, a silent auction, handmade crafts and a raffle for a quilt.


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Opening Ceremony as usual stays busy. Just before we gave you a look at the Timberland collaboration, here now some images of their new bag collection in collaboration with premium Japanese brand Master-Piece. They worked on two backpacks and two small messenger bags.
""Our collaboration with the Osaka-based brand stays true to their ultra specific quality-based productivity, and adds in Opening Ceremony signatures like the supple suede tonal colorblocked fabric. It's the details that keep in mind everything you need and nothing you don't that make this bag an instant classic.""
A complete look at the Opening Ceremony x Master-Piece Bag Collection follows after the jump.


text:
532 South Park St.
Madison, WI - 53715
Tel: (608) 268-0247
Tel: (608) 268-0248
Fax: (608) 268-0249
This location has Dining Room, Sushi Bar, Bar, Private Tea Rooms
Edo Japanese Restaurant menu features the finest Japanese dishes, both traditional and contemporary, including a wonderful selection of appetizers, sushi, teriyaki and more. Our chefs will delight you by preparing savory appetizers and entrees right in front of you. If you're seeking tranquility, relax in our spacious dining room. Here you'll be pampered by our gracious servers. We go beyond boasting delicious, authentic Japanese cuisine by providing a feast for all your senses. Our traditional Japanese rooms bring Japan to life by epitomizing its elegance and aura. Whatever your desire may be, we welcome your visit and hope to thrill you.


text:
WindfalleBook - 2017
From the critics
Community Activity
CommentAdd a Comment
Another great book by Ms. Smith. When Alice buys a lottery ticket for her best friend, Teddy, it changes their lives in more than one way. Teddy never saw what Alice wrote in the card she gave him so he does not know how she really feels. When the ticket makes Teddy the youngest ever to win the lottery, their lives change in more than one way. Like all lottery winners, Teddy buys things he has only dreamed about, a car, extravagant dinners, gives money away, people call asking for money, his gambling dad returns, and things just do not go well. Teddy has ideas of what he wants to do with the rest of the money but with a little help from Alice, and a trip to Stanford, he finally figures it out. Can two best friends get back to normal or some sense of normal before it is too late?
I've lost my faith in contemporary books by new authors, since I've read so many that have failed. But "Windfall" was perfect. It was just what I wanted to read, about a trio of friends that break and bond after winning a lottery ticket. It's not exactly exciting or different, but the relationships crafted out between every character made me feel warm, with their authenticity. You can tell the author has put her heart and soul into the phrases, that aren't full of prose but have a deep meaning to them. The general style gave this book a star quality and the characters were all loveable and stay with you for a long time! Definitely recommend! 4/5
- @jewelreader of the Teen Review Board of the Hamilton Public Library
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