The 'Black Jim Reeves'

Uganda: Jimmy Katumba Gets His Groove Back

June 1, 2006
Posted to the web June 2, 2006

Joseph Batte
Kampala


Peterson Mutebi and Jimmy Katumba

A relic? Quite the contrary. Uganda's music industry was changed forever with the advent of Jimmy Katumba in the 1960s and 70s.

Nick-named the 'Black Jim Reeves' by former National Theatre director Christopher Ntalumbwa, Katumba is still an inspiration to many. If you need proof, just listen to Silver Kyagulanyi, Martin Seruga, the Gombyas and Mariam Ndagire's songs. The tonal structure of their melodies and 'churchy' singing style, all point to one man - Katumba.

What is it about Katumba that makes us love him so much? Is it the voice? the songs? It is a combination of many things. He is one of the finest baritones this country has ever produced. His singing style can best be described as American country music tinged balladeering made famous by the late Jim Reeves.

He started singing at the age of eight at Mukono Church of Uganda, where his father, the Rev. Blasio Katumba, used to preach.

"I started as an alto in the church choir but later joined bass. From childhood, I loved Jim Reeves' music. So it was just natural that I shaped my voice to sound like him."

A turning point came when he met Abbey Kibalama, a music-loving tutor at Buloba TTC. Together, they formed the Eschatoes Brides in 1973. However, Katumba left the Eschatoes in 1977 to concentrate on his group, The Light Bearers.

"We first sang gospel music, then diversified and included secular music. Subsequently, we changed the name to Jimmy Katumba and the Ebonies in 1976 and concentrated on cultivating a firm fan base," he says, adding, "We were spotted by Perez Bukumunhe (Timothy Bukumunhe's father) who was then the general manager of Cooperative Bank. On his advice, we staged our first public performance at Fairway Hotel to fundraise for the construction of the Church House.

Another fan, Yafeesi Sabiiti, bought the group air tickets to go to London to buy their first public address system in 1978. Unfortunately, the equipment were looted during the liberation war, but Sabiiti and Charles Nyonyintono Kikonyogo, the former governor of Bank of Uganda, helped them get another set.

How did Katumba survive the turbulent 1970s and 80s, especially during the Obote 2 regime?

"Together with other bands, we distanced ourselves from politics," he reveals. But not completely. In 1983, Katumba was invited to perform for president Mwalimu Julius Nyerere (RIP) in Tanzania. He was asked to sing the Chama Cha Mapinduzi party song, which he had re-arranged. Nyerere was so thrilled, he said it sounded better than the original.

However, as fate would have it, Obote (RIP) was among the invited guests. He asked Katumba to perform 'The Congress of the People' but he refused. It was an unfortunate decision he would regret later.

"As soon as our plane touched down at Entebbe Airport, our equipment was confiscated. I had to kiss the boots of UPC bigwigs, but Miria Obote finally convinced her husband to release them.

That did not go down well with Luwuliza Kirunda (RIP). When he learnt that Katumba was performing in Jinja Town Hall, he came and ordered them to sing 'The Congress of the People' or else... Shaking with fear, Katumba took the group through very quick rehearsals, and they sang 'The Congress of the People' like their lives depended on it.

Today, it is even more impossible to believe that at the time, Katumba could record timeless classics like 'Twalina Omukwano,' 'Munyambe Ntukeyo,' ' Congratulations' featuring beautiful tinkling of the piano by Andy Sewanywa.

Katumba's last recording was a country gospel album titled 'Beyond the Sunset,' recorded in Nashville, US, in 1991.

"While in Nashville, I met Mary Reeves, the widow of Jim Reeves. She was surprised that there was a musician in Africa who sang like her late husband," Katumba says.

The good news to his fans is that he has decided to come back. His 12-track album is being laid down in different studios.

However, the big question: Is the man with the golden voice still relevant, especially to the young audience whose tastes have been altered over the years?

After listening to four of the songs, including 'Nsiimye Ggwe,' 'Onsubira Otya' and the remix of crowd pleasers 'Akomyewo,' was enough to convince me that he is back for real.

EXCERPTED FROM: http://allafrica.com/stories/200606020530.html

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