This dark tall young chap, very lively, and cheerful from Gwong is up and running with His culture again. His passion for preaching Christ developed a tough skin for him. He will not give up on the lost, not one.
KEZI JEP navigates the gospel of Jesus to his root [Kagoma Southern Kaduna] after His last album in “FORGIVE US” in 2015. Banking on the scripture that says the race is neither for the swift nor the battle for the strong, He “Jep” in total submission sang “BEHMI NUM" which is the album titled track, meaning God help us.
The devout piece of album with eight tracks from three producers [APRO, MR. BEN & GIDEON MESSEY] is a true call to consciousness of the power of God through the Holy Spirit to help us live a holy life.
In an interview with SORTMAG Jep disclosed the album's launch date which is 25th December 2016, “A lot has gone down for the work to blaze a trail and set a pace, lyric and production wise” Kezi Jep.

Follow Jep on twitter for update @therealkezijep


While Ibro Chatjock prepares for His forth coming album “BAKI NA”, He still pegs a live peace concert with endorsement and support from his senior minister Rev. Jonah Adamu and Rev. Dr. Nehemiah Maji who are pillars and advocate for peace in Kaduna State, schedule for 11th December 2016. I have enjoyed and am still on it, songs from my album MARMARI NA he said, I listen to the lyrics of my tracks and pause to think about my walk with God most times He added. 

For over three months Ibro Chatjock and his band, Eric P., Obed Y., John K. and Cefas A. [Keyboard], Shadrach T. [Drums], Benjamin R. and Edward S. [bass guitar], Lizzy Umar [electric acoustic guitar] and Datty [Lead guitar] have been pinned down, scoring the album live, in preparation for the event. 
Ebenezer Iriemi the album producer is also part of the band but will not make it to the stage due to his busy schedule this December.

Lizzy Umar the youngest of them, a 17 year old teen with very fast and supple fingers on guitar strings said she is ready to play in the stead of “EBENEZER IRIEMI. Am a very big fan of Ibro Chatjock and it will be a dream achieved to play back to back, side by side with my Biggest Artiste she said.

I sneak from the classroom most times when I hear lines of strings or I get inspiration to strike my guitar, it’s fun to play! “Lizzy Umar” I can coach a complete novice to try out stuffs on guitar in ten days depending on the person’s ability and speed to catch up she explained.

Out of doubt I demanded a token of a guitar version of Bob Marley’s Redemption song from this little angel and I was wowed! “Chris Camera Victor [Lizzy’s Photo Director]

The LIVE PEACE CONCERT of Marmari Na by Ibro Chatjock is an evening to slot in your schedule. Prepare, come with your loved ones because it's an event with FREE ENTRY TAGS. 

Concert hall seating capacity is 2000. Red carpet unveils at 4:pm., Doors open at 4:45pm to close at 5pm. on the  11th of December 2016 at EWCA GOSPEL Ungwan Sunday by Halima Junction, Kaduna State Nigeria.

Follow Ibro Chatjock on Facebook and Twitter for updates.



The Advent of Baki Na by Ibro Chatjock
“I don’t write songs, I sing whenever it comes, even if it takes a decade” Ibro Chatjock finally gave tongue to SORT MAGAZINE in an interview last week.
He told, lately he’s been singing in-heart, his new pack full revelation broken into eight tracks title “BAKI NA” [MY MOUTH], and that it’s time to let it out.

“Death will be to me a better option than to be dumb, the praise of my father [God] most come aloud Ibro's forthcoming album title track “BAKI NA” is a sword that pieces  man's spirit and soul, with vocal progression like a calm wind maneuvering through lilies at sunset, in his native language [Hausa].

If you no dey understand Hausa, please learn He said, adding that whatever interpretation in between, will reduce the power and connection that was birthed along with the track.
The song featured Fada P. and Mrs. Diya, produced by Ebenezer Iriemi at RIEMS, his home studio in Nigeria.

The line of deep thought entwined with the lyrics and production is awesome “Chris Camera Victor expressed during the first premiere of the album at DISCMAN MUSICBOX.
Deliberation to release the album with a company video is not finalized yet.

For more updates LIKE and FOLLOW Ibro Chatjock on Facebook and Twitter@



Chanting “ALL THINGS ARE POSSIBLE! ALL THINGS ARE POSSIBLE!! ALL THINGS ARE POSSIBLE, IF YOU BELIEVE!!!”  Is the Newest Single from Jerry SwamSidi as produced by A-Pro. This is not just a song but an unhurried testimony and assertion of the all-round goodness of God upon his life in Nigeria and in Highland Baptist Church Waco, Texas USA.

Padded with soothing Reggae rhythm, you cannot help but worship God with the background flute like a lone wolf in a company of surround bass and tranquil yet playful drum kick, carefully arranged and hitched with the vocals of Jerry SwamSidi’s flowing  smoothly like quite streams of waters rolling from the Almighty’s  throne of Grace.

Blac’King, Sir’ Danny, Tokkida Semlek, SteveBell, Sweet Leke, George, PaJerra, E-Wonder, Discman MusicBox, El-Roy, A-Pro [Mr. Marvel] and our guest Egypt McKee all the way from Illinois, Chicago USA  alongside Jerry SwamSidi at his home studio [HephzibahAfrika] all nodding to the reggae groove and chanting “ALL THINGS ARE POSSIBLE! ALL THINGS ARE POSSIBLE!! ALL THINGS ARE POSSIBLE, IF YOU BELIEVE, IF YOU BELIEVE!!!

“Being away from home, family and loved ones for such a length of time has not been easy, I will forever be grateful to my wife Rachael S. Sidi who has always stood by me. I missed studio recording, most especially my little Princess Zanang Damita who is always here to cheer me as she glues herself to Daddy (Jerry SwamSidi) like a picture frame against the wall of Discman Musicbox

It’s far from my indulgent how He [Jesus] makes the Impossible, Possible, I am forever obligated to God for his faithfulness, grace and favor upon my life. I can’t help but sing his praise”  






Yes! Mr peculiar Just meliorated Karbi daukaka into a groove, a tech-no fuse percussion with a moderate dance-able pace. Four-in-hand Mr. Peculiar, Amos Praise, Macquin, Mr. Joe [Project Supervisor] and Ebenezer Iriemi [Producer] twigged.
"Most unlike Ebenizer's production, Karbi Daukaka [rmx] assures he [Ebenezer] is extremely negotiable in terms of music production, pattern and genre. Without guess, he is a full listener" CEO Discman Musicbox.
Amos Praise the chanter in the track, is a shock for blending in back and forth after in a long time, positioned himself as a still age in the class of high life in the Nigerian entertainment. I will tag Macquin as the last man standing on the porch, doing rap in Hausa Language.
Nigerian music entertainments' mirror just close-cropped Mr. Peculiar and his rattling talent as THE NEXT RATED in the Gospel scene.

Follow Mr. Peculiar on twitter @mrpeculiar

Was oldest gospel really found in a mummy mask?

Media outlets have been abuzz this week with the news that the oldest fragment of a New Testament gospel -- and thus the earliest witness of Jesus' life and ministry -- had been discovered hidden inside an Egyptian mummy mask and was going to be published.
The announcement of the papyrus' discovery and impending publication was made by Craig Evans, professor of New Testament at Acadia Divinity College in Wolfville, Nova Scotia. Evans described the papyrus as a fragment of the Gospel of Mark.
He added that a combination of handwriting analysis (paleography) and carbon dating led him and his team of researchers to conclude that the fragment was written before 90 A.D. This would make it at least a decade older than other early fragments of the New Testament and, thus, an invaluable resource for biblical scholars and object of considerable interest for Christians the world over.
The fragment, according to Evans, was discovered when an Egyptian mummy mask -- known as cartonnage -- was dismantled in a hunt for ancient documents. Mummy masks were an important part of ancient Egyptian burial practice, but only the very wealthy could afford examples made of gold.
The majority of mummy masks were made from scraps of linen and papyrus, which were glued together into a kind of ancient papier-maché. Dismantling these masks yields a trove of ancient documents. Evans claims that in addition to Christian texts, hundreds of classical Greek texts, records of business transactions, and personal letters have been acquired. In the process, the mask itself is destroyed.
Though it may be making headlines now, the claim that the "oldest known gospel" has been discovered is not new.
News of the fragment first came to light in 2012 when its existence was (perhaps inadvertently) announced by Daniel Wallace, founder of the Center for the Study of New Testament Manuscripts at Dallas Theological Seminary.
No one saw the text then, and no one has seen it now; though it has been mentioned repeatedly by a select group of people who evidently have been given access to it, its planned date of publication has been consistently pushed back, from an original plan of 2013 to 2015 and now, just this week, all the way to 2017.
Despite the seemingly explosive quality of the news, therefore, it is important to take a step back and consider what is actually being revealed here.
Some people are saying they have this really old and important thing, and they will show it to all the rest of us in a few years. (Essentially, this papyrus is the scholarly equivalent of "my girlfriend who lives in Canada.")
It is unclear why anyone would start talking about a text like this, a year, indeed now at least two years, in advance. The most important established fact about this papyrus, at this point, is that it has not yet been published—which is to say, only a small handful of individuals have seen the text and are able to say anything at all about it.
As Roberta Mazza, an ancient historian and papyrologist from the University of Manchester in England, told us, the academic community has not "been given access to firm information and images on the basis of which could eventually say something."
In other words, this sort of notice really serves mostly to remind us of just how little we know about this purported discovery. Here, for example, are five key, unanswered questions.
1. What is the actual text on the papyrus?
We are told that it is from Mark, but, after all, no one has seen it. Which part of Mark?
2. Is the handwriting consistent with the supposed dating?
Brice Jones, a papyrologist at Concordia University, told us that dating a text by handwriting, or paleography, "is not a precise science, and I know of no papyrologist who would date a literary papryus to within a decade on the basis of paleography alone."
3. Is the ink or papyrus itself consistent with the supposed dating?
According to Jones, if paleography is inexact, "radiocarbon dating is equally (and perhaps more) problematic, since one must allow for a time gap of a century or more."
They say that these lab tests have all been done, but as no one has actually seen the reports, they are less than confirmatory.
4. Who owns the papyrus, or the mask from which it was taken, and from whom was it purchased, and when?
The time and place of a text's discovery, known as its provenance, are crucial for verifying its authenticity, especially in a period of extensive looting of archaeological sites and museum theft.
According to international law, if the mask was taken out of Egypt after 1970, it is officially "unprovenanced," and is effectively prohibited from being sold or published. Evans told us "I do not know the specifics" about the provenance of this mask.
5. Who has seen the text, who has verified it, and who has studied it?
Evans is not a trained papyrologist, but is rather a scholar of the New Testament. To this point, none of the papyrologists, text critics or other highly specialized experts, who must have worked on this text before these claims could be made about it, have been identified or spoken publicly about it.
These questions are not necessarily challenges to the authenticity of the text. They are, rather, a recognition that, until the scholarly world has been granted access to this papyrus, the public statements made about it are no more revelatory than if we announced that we had found Moses' private copy of Genesis in a hummus container, and we'll show it to you later.
There is, however, one bit of information about this text and its discovery that can be discussed now, without having even seen it: the fact that it was uncovered by destroying an ancient Egyptian mummy mask.
Evans said the cartonnage destruction was acceptable because "we're not talking about the destruction of any museum-quality piece."
We are, however, talking about the destruction of 2,000-year-old Egyptian antiquities: funeral masks, painted with representations of people who lived and died and were commemorated by their families.
We might wonder, at the very least, who it is that gets to determine which masks are worth preserving and which aren't. Evans told us that such decisions "are based on expert opinion," but as to who exactly makes that determination, he said, "I do not know specifically."
Evans has said, "We dug underneath somebody's face, and there it was."
He has since clarified that he was not personally involved in the destruction of the mask. But it is unclear precisely which individuals did the dirty work.
Evans' language of "digging" makes the dissolving of mummy masks sound like archaeology, but some would characterize it, and some have, as cultural vandalism.
There is an implicit sense that the discovery of a rare Christian piece outweighs the preservation of a relatively common Egyptian artifact. And this may be so, but surely the optics would be better if this were announced by someone from, say, the Egyptian Ministry of State for Antiquities.
"The destruction of mummy masks, though legal, falls into an ethically gray area right now because of the difficult choices scientists have to make in the lab when working with them," said Douglas Boin, a professor of history at St. Louis University.
"We have to ask ourselves, do we value the cultural heritage of Egypt as something worth preserving in itself, or do we see it simply as vehicle for harvesting Christian texts?"
Even if one agrees that these masks can be taken apart — archaeology is, by its very nature, a destructive process — it should be remembered that the process is a crapshoot: If a mask contains no texts, then the equation changes, and even a relatively unimportant cultural piece has been destroyed for nothing.
Mazza also reminded us that "you do not need to completely destroy masks for getting out texts if you use methods developed and improved by papyrologists since 1980."
If a mask is to be destroyed, surely that process should be documented thoroughly, with constant photography and annotation, rather than undertaken as a classroom project with undergraduates using a bottle of Palmolive and a little elbow grease.
It is possible that the earliest text of the Gospel of Mark has been discovered. But until the world is given access to the papyrus through its publication, there is no story here, except that ancient Egyptian mummy masks are being destroyed in the ongoing search for Christian relics.

Editor's Note: Joel Baden is professor of Hebrew Bible at Yale University. Candida Moss is professor of New Testament and early Christianity at the University of Notre Dame. The opinions in this column belong to them.


The Second Coming of The Word: Rockin' gospel supergroup returns.

 The Word: Cody Dickinson, John Medeski, Chris Chew, Robert Randolph and Luther Dickinson

Would it be sacrilege to say the new album by gospel supergroup The Word is a hell of a good time?
"Soul Food," the first offering from the occasional band in 14 years, is brimming with energy and a good-time spirit.
"We know each other so well now, that's just what happens when we get together," said pedal steel guitarist Robert Randolph. "We sit down and start playing and all these magical things happen."
Those magical things come from the funky mix of influences that make up The Word.
There's Randolph with his sacred steel heritage, avant-garde jazz keyboardist John Medeski, and the southern rock and blues of the North Mississippi Allstars -- Luther Dickinson, Cody Dickinson, and Chris Chew. 
"There's something that The Word has that nothing else is and it's worth doing," Medeski said.
The band is known for its explosive live jam sessions.
"Soul Food" is no different. The effort is brimming with the confidence that 14 more years of experience bring.
"This time everyone's probably played a thousand gigs," Randolph said. "This time we went to the studio and came up with idea after idea."
It's a far cry from 2001 when Randolph, now 34, was a newbie in the business. He hadn't recorded his first album with the Family Band or toured with Eric Clapton yet.
"A lot of people don't know the history," he said. "It was my first time doing any recording."
Still it was groundbreaking.
The Word's self-titled debut introduced Randolph's sacred steel guitar work to an audience outside The House of God -- the New Jersey church where he exercised his musical chops.

Back in the studio

Fourteen years is a long time between albums.
It's not like the band members didn't stay in touch. They'd reunite from time to time at music festivals like Bonnaroo or play some club dates. It's just that everyone was busy with their own gigs.
But last year, the quintet decided it was time to hit the studio again. They recorded first in New York, then Memphis.
It was a productive time. The fire was lit.
"We had so much material," Randolph said. "By the time we got to Memphis we had 14 songs and came up with 14 more there."
It all comes down to chemistry, according to Medeski.
"It's always a beautiful surprise when it works and the sum is greater than the parts, where it sounds like a band," he said.

The meal

And a little good food doesn't hurt the creative process either.
The album's title, "Soul Food," and two tracks by the same name were inspired by a tasty meal the band shared in Memphis.
It was an epic spread prepared by the daughters of Royal Studios founder, Willie Mitchell.
"They had cooked a big soul food spread -- healthy and delicious," Randolph recalls.
The vibe was so good, it couldn't be wasted. Back into the studio they went.
"Next thing you know we went into a 30 minute jam that turned into 'Soul Food' I and II," he said.
Medeski's not surprised that one thing spurred the other.
"Music is one of the absolute necessities, just like food," he said.
The band hopes listeners will find the music just as tasty.
  • "Soul Food" is the first album by The Word in 14 years
  • The band is known for its explosive live jam sessions.
Like THE WORD on facebook @



Gospel music legend Andrae Crouch dies

Andrae Crouch, legendary gospel figure, performer, songwriter and choir director has died. He was 72.
(July 1, 1942 – January 8, 2015)
His publicist, Brian Mayes announced the death of the icon and said Crouch passed away Thursday afternoon at Northridge Hospital Medical Centre, where he had been admitted Saturday after a heart attack.
 He is one of a handful of Gospel artists with a star on the Hollywood Walk of Fame.
During his career spanning over more than a half-century, Crouch recivieved a total of 7 Grammys. The Recording Academy said in a statement that he was "a remarkable musician and legendary figure" who was "fiercely devoted to evolving the sound of contemporary, urban gospel music." His work graced songs by Michael Jackson (Man in the Mirror) and Madonna (Like a Prayer) and movies such as "The Lion King". Andrae Crouch worked on Madonna's
"Crouch was an innovator, a path-finder, a precursor in an industry noted for its conservative, often derivative approach to popular music," Robert Darden wrote for Christianity Today. "He combined gospel and rock, flavored it with jazz and calypso as the mood struck him and the song called for it."

Andrae was a pioneer in gospel music who was best known for bridging the worlds of church and mainstream music for more than 50 years and is aptly referred to as the Father Of Modern Gospel.
Some of Crouch's most beloved songs were "The Blood Will Never Lose Its Power", "Soon and Very Soon", “Let the Church Say Amen” and “My Tribute”.

Source: CNN and Associated Press.
Associated Press:


Like we told on April 3rd 2015, The Second breasting track from DD BABS is on your timeline now.
Singer/songwriter/Film-maker/Motivational speaker DD. Babs will release his full factual style of music in his 4th solo album "MOST GRATEFUL" in the second half of 2015. The 15-track album with few salient producers like Shady Justin, Ebenezer Iremi, Moses Abdulkass, GID, Metro and Grand P. was recorded  and mixed @64BEAT STUDIO, Kaduna Nigeria.
This second single from the album, a slow-burning bluesy salsa and calypso sieve number entitled “MASOYI NA”,  is currently streaming via Reverbnation, Facebook, twitter and hulk share and it is available as a free download.
 Vocals echoes beautifully with the sounds of the tempting Single hit;  bland chord progressions and cushy drum pads on “MASOYI NA”,  the song seems to owe more to the spacious salsa and calypso of eighties. It similarly slams with the same force of Carlos Santana's earlier songs like "MARIYA MARIYA. But the glowing edges of the track "MASOYI NA" are softer, and oddly enough, given it a technophilic inspirations, more human. One sound that probably wouldn’t have been found 17 years ago is the lilting voice of DD. Babs, a vocal synthesizer, He sings through with competence.

Since releasing “MASOYI NA” DD. Babs, His Manager [Comfort Yahaya], Cover art concept  director [Chris Victor of Prowess Media] and his photographer [Mr. Joe of SNAPPA PHOTO] have been busy with the total packaging of the project.
In 2011, DD. Babs released a limited edition of his life experience album “DARIYA VOL. 2,” which chronicled his 2009 album "DARIYA VOL. 1" meaning laughter. God blessed me without measure and caused my mouth to laugh "DD.Babs"
Next to follow MASOYI NA will be "IDIMMA", Like and Follow DD. Babs


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A six foot dark slim fit Nigerian Gospel Minister, always with an enchanting smile, tough-skinned, full of life, has compassion for the less privileged and a very soft spot for kids. He is play full and humble to the core, quick to forgive and open to corrections, a Bajju Native in the southern part of Kaduna State, Northern Nigeria.

Furbished DD Babs with lifelike and entrenched talent is back to anchor the Gospel contemporary and R & B genre with His fluent silver-tongue vocal. First album was ONE TOUCH, Followed by DARIYA SERIES 1 and 2, and now his forthcoming album "MOST GRATEFUL" dangling. But before the official release of this new album "MOST GRATEFUL", we will premiere three tracks to retail the album trend beginning with "TUNA DANI (Remember me)". ACTION!, NO TIME!! DOWNLOAD!!! Don't forget to leave a comment...

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