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The talent that changed Malawi music

At the turn of the millennium, there was a young man whose artistry and versatility is beyond imagination.

Little wonder, he produced a lot of music that proved to be hits.

Chuma Soko
Chuma Soko

Even now, some of his productions continue to be among the most sought after.

But when it comes to celebrity, fate has other ideas—Chuma Soko died on December 23 2003 aged 25.

But he left a legacy that many Malawi musicians still cherish.

The late reggae king Evison Matafale, Black Missionaries, Anthony Makondetsa, Billy Kaunda, San B, Wycliff Chimwendo, Ethel Kamwendo-Banda, Charles Msaku are some of the artists that worked with the fallen producer.

Although he did not have a well established studio, he took his talent to different production houses around Blantyre, where he birthed songs such as Matafale’s Yang’ana Nkhope and Chauta Wamphamvu, Billy Kaunda’s Agalatiya, Mphinjika Yawo and Nena Za Ena, George Mkandawire’s Nkhampenjanga and Mkhale Nane.

Talking about Matafale in particular, his Kuimba 1 released in 2000 was warmly welcomed in both on the market.

The lead single Watsetsereka enjoyed massive airplay on radio and dominated music charts and ushered Matafale as the new star of Malawian music.

It was beyond everyone’s expectation and the response energized Matafale to compose several hits and start planning for Kuimba 2.

The artist sent an image of his calibre with his second release in 2001, which contains hits such as Olenga Dzuwa, Time Mark and Yanga’na Nkhope.

Behind all this success was Chuma—a young and enterprising man who saw life in music and lived it to the fullest.

“Chuma was my younger brother. He was a musician and music producer. He started music while young. I remember those days we used to have fun with home-made drums and zitolilo [flutes] that we used to play, imitating the police and army bands.

“But he was active for about seven years as his interest in music became very known at the age of 18 soon after he wrote his MSCE [Malawi School Certificate of Education]. He was a full time music producer, instrument player and multi-talented musician until his death,” said his brother Lameck in an interview.

At his home in Manja, Chuma had a makeshift studio which proved to be a haven for some artists who trekked there on a daily basis.

But according to Lameck, the artist loved moving from one studio to another to produce music.

“He worked with several studios in the country including MC Studio, Rhem Studio and Aktone Studio, just to mention a few. He was a freelancer and he loved it that way,” he explained.

Aside his life as a producer, Chuma gave recording his own music a try.

Together with Lameck and their younger sibling Amos, the brothers formed a gospel outfit called LAC, an abbreviation of their first names.

The fruits of that decision were two albums: Limbani Mitima and Mtamandeni, both of which sold well.

“The group started after we sat down, shared some ideas and also by looking at the potential, talent and skills we had. We had a family choir called The Comforters in Christ, which was led by our elder brother Willie Soko. He used to teach us the voices and how to play instruments.

“Thereafter, we produced some songs that had a Malawian touch as part of our objectives which attracted many, including our first promoter Tim Debord from UK who loved our music. He paid for the studio and the tape covers as there were no CDs back in the day. That’s how the group was born,” Lameck recollected.

Some of the hits from these albums included Mtamandeni, Limbani Mitima, Tanthwe Long’ambikalo, Wabadwa ndi Cholinga and Wasesema.

With the success from the two albums, the group did not live beyond Chuma’s death.

“Due to Chuma’s death, the group ended as well. Of course, partly because Amos left for the USA and that’s where he is still; working, singing and studying. Other band members who were assisting us on the instruments also travelled abroad and are currently in UK and USA as well,” he stated.

Some musicians especially accord Chuma with the maestro producer accolade which Lameck gladly accepts.

“His biggest achievement in terms of his contribution to Malawi music is being one of the best music producers that made other artists to be what they are today,” he mused.

After all is said and done, Lameck, who is still working as a solo artist, wants his late brother to be remembered “as one of the greatest young producers in the nation”.

He adds: “I appreciate The Nation for remembering one of the talented young men who transformed Malawian music, both gospel and secular. He was unique, creative and very sharp. Personally, I miss him as a brother and also as a friend. I miss his input and the great talent and skills he had in music.”

 

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