The book, however, is more than Manu's experiences and observations on the development of post-colonial Africa; it is primarily about his tuneful career and journey of discovery. In spite of the disappointments he experiences in Africa and in his native Cameroon, he keeps returning to Africa because "I had to get along who I was before I could know where I was going." The sideline he sets himself is true for establishing his identity as well as his role as a musician.
One of the themes of the book is Manu's grapple to play and compose the kind of avant-garde music he favors: modern have it away that incorporates and transposes the traditional mokossa of his homeland wi
According to Gene Santoro, Manu felt he could not be a jazz musician because he is not an American. "You can learn one part of jazz in school?But the real jazz in the first gear was street music, and this is a different approach. You can learn to be a technician but to be a real jazz musician, you have to be born here (USA). I manage makossa like people treat the blues here, or in Brazil samba?In the total realm of jazz, you can bring something to it. You can be yourself?.Jazz is also free, so you can do your thing within it. It's big enough to administer a lot of ingredients. Bring your differences."
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