Emmanuel Mwendwa narrates the ups and downs of a man whose music career has been a long and eventful journey

Though his name may not ring a bell for many young music enthusiasts, for the older generation, Ochieng Nelly evokes fond memories of the ‘golden age’ of Kenyan music.

For more than four decades he has lived up to the title ‘doctor of benga music’. And though aged, only handful local benga musicians can measure up to his prowess as a lead guitarist.

His distinctive guitar-playing skills have been perfected over years. He worked for more than two decades as a solo artiste before forming the Rachuonyo Jazz band, few years ago. He is the bandleader.

Critics concur that Nelly reigns among Kenya’s most accomplished yet uncelebrated benga artistes. His career started off as member of George Ramogi’s band. This was before he formed the Victoria Jazz Band in early 1970s, bringing on board then emerging benga guitarists like Richard Owino aka Collela Mazee.

SYNCOPATED MELODIES

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Guitarists were then a popular feature on Kenya’s burgeoning music scene. "We attempted to mimic the quick, syncopated melodies created with eight-stringed nyatiti. As electric guitars gained prominence, Luo lyre push-and-pull character began to influence benga’s electric bass lines," explains Nelly.

In typical benga music, the hi-hat drums sizzles while bass guitar riffs step up tempo. Solo and rhythm guitarists ‘chase’ each other in sprightly interplay of chords, vocalists try to keep pace, singing out high-pitched harmonies.

Nelly takes a hard-earned and distinct place in benga roll of honour. He bounced back into the limelight recently and staged a thrilling concert during the Spotlight on Kenya Music series.

He learned to strum the guitar in 1961 while at school. By 1963, he teamed up with John Ongara to stage informal social gigs. In 1966 he joined a Zairean outfit, Orchestra Fiesta, in Kisumu. "I stayed with the band for two years until a resident band at French Paradise Club — then a popular entertainment hang out joint — enlisted my services", recounts Nelly.

But a chance encounter with the Great Royal Circus troupe from India, then visiting the city, marked a turning point for his career. "They were impressed by my strumming skills. They promptly granted me a sideshow act — performing at intervals as the circus toured Kisumu town. Before then, I used to do cover versions of top pop songs by Harry Belafonte and Cliff Richards," he explains.

A few weeks later Nelly quit the troupe to rejoin the French Paradise resident band. He had also worked with an American travelling theatre troupe.

In subsequent years, he carved a niche as a popular solo performer. This catapulted him into prominence much more than when working in collaborations with bands like Nakuru-based Bongo Boys, which comprised famous musicians like John Lwango, Mark Lumula and James Mbimwa.

However, Nelly became disenchanted with his knack for composing Luo songs owing to non-payment of royalties and poor terms for recording deals. "I preferred to perform cover songs for survival", he remarks. And in 1976 he formally quit music, due to scant gains, to work as a mechanic and electrician.

His woes took root in late 1960s when he fell out with handful recording studios. "These guys were crafty and unscrupulous — a musician was paid a paltry Sh300 flat rate fee and one-off payment for two songs’ deal in the era of flip side single records. The producer also retained copyright for unstipulated period," he laments.

But his fame had spread and was often enlisted to teach guitar playing skills to teenagers at a local Hindu temple. The youths under his tutelage performed at a function graced by His Highness Aga Khan. In appreciation, Nelly was presented with a new guitar. He had discarded his instrument after giving up music. Now as founder of the seven-piece Rachuonyo Jazz band, Nelly says he has no plans to bid bye the industry despite its relentless woes.