Add that to his open and unrestricted approach to music and you can understand why he is considered a ‘breath of fresh air’ in the sometimes stagnant scene. “I like to fuse a lot of different types of music together. I listen to all sorts and I think it reflects that. Also the fact I sing and rap gives me an opportunity to use more than one method to get my message across”

KOF has taken that approach and ran with it.  Despite being classed as a ‘new artist’ by some KOF has already achieved consistent air play on stations such as BBC 1Xtra, Galaxy and Radio 1, and has opened up for international touring artists, in the process gaining a dedicated following; not only in the shape of his ever expanding fan base, but in respected music industry officials alike.

KOF’s developing buzz across the nation has led to collaborations with Sway, Wretch 32, Skinnyman, Rodney P and numerous top producers. Further his trilogy of mixtapes have independently sold over 8,000 copies, buoyed by a superb live show and massive singles such as Body Rock and 80’s Baby.

KOF’s music is a synthesis of the highs and lows of life as he sees it, providing a much needed breath of fresh air to the UK Music Scene, stretching boundaries with sound, subject matter, style and substance.  KOF’s reign is not just reserved for the future, he has already arrived!

For more on KOF check out www.kofmusic.com and www.myspace.com/youngkofurbeatz

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Francis Kofi Akotuah, a 31-year-old who has taught at the University of Ghana, Legon, for 11 years and is married with two small children, was denied entry because immigration officials concluded he was at risk to stay here, didn’t have strong enough ties to Ghana and didn’t have an adequate travel history or income.

“The government supports us with one hand and takes it away with another,” said Larry Graves, the York lecturer and musician who won the $3,000 arts grant to create a month of programming around Akotuah. The Ghanian master drummer was to visit Toronto, Ottawa and Montreal, where he was invited by McGill University music department to teach a workshop.

Graves, whose band Mr. Something Something has been nominated for a Juno award, met Akotuah while in Africa. He plans today to make another appeal to authorities on Akotuah’s behalf, armed with more documents and a letter from NDP immigration critic Olivia Chow. Akotuah has a permanent university job and a return ticket.

In recent months, visa officers abroad working for Citizenship and Immigration Canada have refused visitors’ visas to three Asian film directors scheduled to attend the Vancouver Film Festival; the Eritrean foreign minister; the head of the national Nigerian library association; four Nigerian wrestlers; 19 Iranian scholars and artists; as well as labour leaders from the Middle East and Nigeria invited by the Canadian Labour Congress.

Madona Mokbel, spokesperson for the Ontario region of CIC, said, “Thousands of people each year are admitted to participate in events hosted in Canada. Our visa officers work to ensure that all visitors will leave Canada voluntarily at the end of their authorized stay.”

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Local drummer Curtis Andrews is known by his musician friends to always be willing to help out in a pinch, volunteering his time and talent at countless fundraising concerts and benefits.

Now, he’s recruited them for a payback favour.

Andrews has organized a benefit concert for a foundation he has set up in the village of Dzogadze, Ghana, to be held at the Majestic Theatre next week. Performing at the event are his brother, guitarist Duane Andrews, and friends in The Idlers, Mopaya, Neighbourhood Strays bellydance troupe, Funky Dory, The Discounts and Dzolali Drum and Dance Ensemble.

“I didn’t want to ask people I barely knew - I wanted to keep this simple, use groups that I’ve played with, and most of these groups are well-known,” Andrews explained. “The music for the event is fun-times music.”

Andrews is producing the concert in aid of his own Dzogadze Educ-ation Development Fund. Dzogadze is the town in Ghana with which Andrews fell in love in 1999, while in the country studying music and dance with a drummer friend from there.

When he returned to the country in 2002, he told his friend he wanted to go back to Dzogadze to learn more about the unique style of music he had heard there.

“I went and stayed in this little compound with this guy who was going to teach me,” Andrews said.

“We learned all the music and dancing and drumming inside the house first before we went outside, and kids would come by because they knew what was on the go. Everyone was very interested because no one had ever come to that village and done that before.”

Andrews spent two months in the village - which he describes as “a magical place” - living without electricity or running water.

Residents burned candles in the nighttime, fetched water from a well, and got the latest news from a town crier, who would go door to door each evening, proclaiming the next day’s events.

The next time Andrews returned to Dzogadze was last year, and he noticed the town had changed. It had electricity and its own new health clinic, but the school was still too small, and the youngest students were forced to learn outside, under trees.

“We’re romantic here and think it’s always sunny, but when it rains it’s kind of crappy and there’s dust everywhere and school supplies blowing everywhere. It’s just not conducive to learning,” Andrews explained.

Andrews spoke with village elders and came up with a plan to raise money to have the school expanded. He made some calls home and was managed to raise $2,000 from family and friends, which was used to start the renovations after Andrews returned to St. John’s.

Since then, the rising cost of materials in Ghana has eaten up the money, and although the shell of the new building is complete, it has no roof and the inside hasn’t been touched. Contractors have quoted the village about $6,000 to finish the school.

That’s where Andrews’ friends come in.

All money raised from the fundraising concert will go to the project, with any leftover funds used to buy school supplies and uniforms for the children in Dzogadze.

“There are always kids in the village, their parents are poor. They can give them school uniforms or books or whatever,” Andrews said. “Most of the people there are farmers, and that’s mostly farming to feed themselves or for trading, buying or selling.

“After I was there for so long, the older kids, age 10 and 12, I’d see that some of them would be at school sometimes, and sometimes wouldn’t be at school. You can’t go to school unless you have a uniform, that’s one of the rules of the Ghana school system, and others would have to go help their father with the farm.

“A lot of the kids really want to go to school, they really like the idea of being there and learning all those things, but sometimes they’ve got to be taken away because economic circumstances prevent them (from attending).”

The only fee associated with the fund is the cost to wire the money to the bank in Ghana, Andrews explained. His friend has taken on the job of accountant for the project, and sends him receipts for all expenses, and the project is overseen by two local elders.

Andrews hopes to go back to Dzogadze next year to see the new school first hand.

“If you ever wanted to donate to something that was worthy and would have immediate impact, this is it,” he said.

The fundraiser for Andrews’ Dzogadze Education Development Fund takes place Thursday, Oct. 9, beginning at 8 p.m. sharp, and costs $20 at the door. In addition to music and dance, the event will feature a silent auction and a presentation by Andrews on Dzogadze, its culture and his experiences there, with the help of photographs and videos.

Andrews’ foundation in Ghana is partnered with All Hallow’s Elementary School in North River, and anyone who can’t attend the concert but would like to make a donation to the cause can do so through the school.

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To employ her melodious voice to her maker’s praise has been the dream since childhood of the Switzerland-based Ghanaian, and she is pleased - just as all who have listened to her work – with the outcome.

The youngest from a family of among three siblings, Jennifer Chonia schooled at Roman Catholic Primary and JSS, Mamprobi, Accra, before pursuing other interests at the Social Advance Institute and then to Switzerland.

Asked in a recent interview by the Sunday World newspaper what could have informed the choice of ‘Mighty Power’ as the title track for the eight-track album, Jennifer explained, “I chose mighty power as the title of my album because I believe that in everything you need the mighty power of God before you can be successful”.

Other tracks on the album include “Closer to Thee” and “Be Praised.”

Having been in music for a while after identifying her talent at an early age, and particularly enthused when many put her powerful voice in the class of the Celine Dions of the world, Jennifer says she has a lot to offer and urges colleagues to help engender a healthy competition with more research.

“I wish to use this opportunity to tell my fellow musicians to reach out for more, thus by making a lot of research about music to make our music industry interesting,” she said.

Jennifer Chonia urged industry players to be guided by the old adage that counsels that “If you have never been to someone’s farm, never say yours is the best,” so they would continuously strive to achieve excellence.

She is due in Ghana shortly to outdoor her work.

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On Saturday afternoon, Mr. Ackah attended the Divine Performing Arts Mid-Autumn Spectacular in Toronto, and the drumming had him talking.

“The last feature was the bomb,” he said, referring to the performance Victory Drums. “It was very very nice. How it started from low and built up to high.”

“I love the drummers,” said Ackah, also singling out the performance Drummers of the Tang Court, which closed out the first act. “I like the drums and the dancing the way they move up and down.”

But, it’s not just their technique, he said, it’s also their attitude.

Kofi comes from the legendary Ackah family in Ghana. His father was a founder of the popular highlife music genre. As a teenager, Kofi joined his father’s band as a percussionist and travelled to entertain Ghana’s president.

“I like the show, especially the dancing. I’ve never seen something like that,” he said. “The way they used their hands; I can’t do that. Their movements are perfect.”

He was impressed with other aspects of the production, as well.

“I like the effect of the background. It’s amazing. I love that,” he said.

Kofi characterized the show as high-class, but more intriguing than ballet or opera.

“I watch ballet and stuff. It’s very different,” he said. “This keeps me hooked. I keep thinking, ‘maybe the next one will be even better.’”

Part of what kept him so entranced, he said, was the extravagant costumes.

“I couldn’t believe the shoes,” he said, referring to the performance Ladies of the Manchu Court in which dancers move elegantly while wearing raised shoes.

“If it was me I would fall down right now,” he said. “I was like ‘wow,’ they really really did an amazing job.”

It was Mr. Ackah’s first time to attend a Divine Performing Arts show, but by the sounds of it, it won’t be his last.

“Any time this show is on, I will tell my friends to come and watch,” he said.

The Epoch Times is a proud sponsor of the Mid-Autumn Spectacular, playing in Toronto September 24-28.

The Mid-Autumn Festival is one of China’s most ancient and cherished holidays. The Spectacular expresses Chinese classical dance and showcases authentic traditional Chinese culture. Through background scenery, costumes, and choreography, the Spectacular expresses truthfulness, compassion, and pure beauty. China’s history comes to life in this gorgeous performance that is entertaining, inspiring, and uplifting. The content of all programs is presented in both Chinese and English.

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In the will filed this week in Probate Court, Hayes split his estate between his wife, Adjowa, his children and the Isaac Hayes Foundation.

The Commercial Appeal in Memphis reported the value and contents of his estate has not yet been filed. Part of his humanitarian work included building a school in Ghana.

The deep-voiced soul singer was 65 when he died Aug. 10 after he was found unconscious at his Memphis residence.

The baldheaded crooner, who laid the groundwork for disco and whose “Theme From Shaft” won both Academy and Grammy awards, was elected to the Rock and Roll Hall of Fame in 2002. He also acted in movies and provided the voice of Chef, the school cook, on the animated TV show “South Park.”

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Currently in the UK gospel industry hails a young man by the name of Sonnie Badu. He is regarded as one of the most celebrated worship leaders to emerge from the African Church sector in recent years. He is heating up the church circuits with his energetic sound and colourful blend of contemporary and African praise and worship. With a style so diverse, he appeals to every preference.

He began his ministry at a very young age, singing in his hometown of Accra-Ghana. Sonnie, the only boy in a family of five sisters was raised under a strict Christian upbringing. His father, a prominent pastor in the capital state Accra would wake his children up with a cane for Church every Sunday. It was this discipline that would establish his life-long passion of service to the Lord.

Although Sonnie Badu had been a worship leader from his youth, to all who knew him football was his gift. However any hopes of international football success were soon eclipsed when the Lord begun to turn his heart in His hands. At 18 years of age, Sonnie was attacked by a mysterious infection that had virtually pronounced him dead. It was during this time he made a promise to follow God if He would spare his life. His life was spared and “The Worshipper” as he is popularly known was born. On the 1 December 2007, his debut album “Lost in his glory” was released. Sonnie Badu has also published his first book entitled “The Worshipper’s Cry”, which was launched on the 21 March 2008, with another title already on its way to print. He has already sang alongside the likes of international gospel artists such as Juanita Bynum, Lionel Peterson, Alvin Slaughter, Noel Robinson, Muyiwa, Sammy Okposu, Mike Aremu and other gospel ministers.

On Good Friday 21 March 2008 “Africa Worships with Sonnie Badu” took place; a concert which teams up with a charity to raise awareness and aid for those in need. For this year efforts were focused on the beautiful country of Kenya, in support of all those that had been affected by the recent violence. It was the first of what will be an annual event. The response was such that the venue was filled beyond capacity even after all available rooms were converted into overflow facilities; still so many had to be turned away.

As a unique gospel singer, Sonnie Badu’s ministry is accompanied by signs and wonders including prophetic deliverances, healings of cancers, strokes, paralysis, barrenness and the salvation of souls. Christians would describe this as a confirmation of his calling.

He is described as the young man with the golden voice; others esteem him for his ability to move audiences. However these talents find their greatest expression because of His Love for God.

Sonnie Badu is no gimmick; “I did not call myself” is a statement he commonly relies on for expression. He is no ordinary man and is not one to be compared with any other. The truth is Sonnie Badu has only just begun.

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This young artiste started working on his album in 2006 and has recorded additional seven hit tracks. He has therefore, become one out of the thousands hip-pop artistes who have worked very hard to keep the Ghanaian music burning in UK.

The album has seven tracks including the Stickup Kid. The most interesting thing about this album is the quality of the sound track, the recordings and everything that makes music tick.

According to him, the two tracks which brought him into the lime light - The Burning Rose and It’s a Shame - which talk about relationship, featured Samita. Another track Lyfe, featuring Djinn on the vocals, also talks about what he went through with his mum and siblings when his dad left them.
Other songs on the album include All I Need, Tell Me and a remix, Burning Rose.

“For me it’s the only thing I love doing because I wasn’t really good in class but I tried to find something I could escape to and with God, every thing is possible,” he stated in an interview with The Saturday Statesman.

He explained that he was brought up in a church “but I always see myself as a lost soul and as a child growing up.” That wasn’t very pleasant because in those days things were very rough and his mother had to go through a lot before he later found himself back in the UK to change everything for himself and his family.

Since music seems to be the only thing he knew, he took that path and was later introduced to Djinn through a bosom friend, which led him to his new album. “I always wanted to have my own record label so I was glad with the help of Djinn Music which helped me to establish the Farac-Cann Music.

The said date of the Farac-Cann Music show in Ghana would be announced soon to the general public.

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Throughout the subsequent years, he taught himself to play a myriad of instruments such as drums, bass, guitar, and has become a trendsetter in the Reggae/Afro pop scene.

In an exclusive interview with this freelance journalist last weekend in Bronx, New York, “The Music Rabbi” stated that he would not have achieved his potential without Jesus Christ. “If I live today, I live for Him, if I die, I die for Him, and in all ways I am for Jesus Christ the Savior of Mankind”.

At the age of four, he recalls hearing the songs of the local fisherman. These “Call and response” songs were forever ingrained into his memory and have become a part of his sound today on songs like “Wala Aboloo,” meaning the “Bread of Life.”

“My literal meaning of spreading the word of God via the gospel music is to win lost souls to the Kingdom of God, ” the Music Rabbi” noted.

In the Ghanaian Gospel Music industry, there is only one style of praise and worship which is the traditional “highlife” style, but the “Music Rabbi” has dedicated his life to the styles of Reggae/Afro pop for Christ. Kenneth Appiah and The Soul Winners International have become popular in the U.S.A. displaying their God-given talents before massive audiences including thousands of fans at the McDonalds Gospel Festival and the Living Legends Concert in New York. They have also performed in about 13 other states. Their debut single “Keep On” was selected by Gospel reggae.com for the popular Boomshots compilation and this resulted in an agreement with Lion of Zion Entertainment to release Kenneth’s debut album. On this album the Music Rabbi takes us on a wonderful journey to some parts of West Africa with a fusion of Ghanaian rhythms, “Reggae and Afro pop”. The first of its kind in the Gospel Music arena. This unique sonic fusion is so different from anything else out there that any gospel reggae/afro pop enthusiast would be amiss to ignore it.

No other artist in the gospel arena has recorded music with the level of complexity involved in “Keep On.” It is truly musician’s music. The percussive polyrhythm alone will have you spinning around in circles.

Spiritually speaking, this album is undeniably Christian as every song directs you toward God. With five roots cuts there is plenty reggae to satisfy even the staunchest roots aficionado and the remaining African tracks will literally knock your socks off. But don’t just take my word for it–see for yourself.

Kenneth Appiah “The Gospel Music Rabbi” can be reached on his cell phone ,1-347 -694- 0378, Email address is knnth_ppiah@yahoo.com.

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His advanced studies took him to the University of Ghana and later to the Royal Northern College of Music in Manchester, England, where he won the Charles James Heywood Prize for Piano, the Charles Hall Scholarship, and the Terence Weill Prize for Chamber Music.

He has participated in numerous international concerts with a contemporary music ensemble, a jazz band and other smaller ensembles. With his keen passion for celebrating and promoting African folk idioms, he is gradually leaving his mark on modern classical music as an exponent of African folk music.

He has deep respect for the works of renowned Ghanaian composers such as Prof. J.H Nketiah and Dr Ephraim Amu and has rearranged several compositions from the two for audiences across Europe and America.

Although Mr François is normally performs for audiences that are used to the works of musical icons such as Beethoven, he tries to incorporate works by great African composers into his performances, with the hope that gradually his audience would accept the use of African rhythmic patterns, melody, scales and forms.

The sense and direction of his compositions are influenced by living and being. According to him, his inspiration ranges from his own sense of African folk music to Christian music, “I am very eclectic in my taste; I play many different types of music quite apart from classical piano music.”

He doesn’t see working within a predominantly Western territory as a challenge but rather believes that the real challenge for him is to expand. He adds that the best way to expand his art form is to play with standards which can be compared with the best in any part of the world. This attitude has certainly paid off as he has won several competitions and played in some very important concert halls.

As a pianist he hopes to always play with excellence and keep on improving. He also hopes to run an annual international Festival of African Music to celebrate and promote African composers who use African Folk idioms. The Festival would provide a forum for African composers to have their works performed by world-class solo and chamber musicians in an environment that would give them exposure to the Western music market. He hopes the festival would kick off in November 2009.

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