Tay Grin ‘Chipapapa’ Shame

Sometime ago I had listened to the latest song that the self-styled Nyau King Limbani Kalilani – showbiz named as Tay Grin – released called Chipapapa, which features the Nigerian singer 2Face.

I was about to write something against how it has been done when in this week, The Nation wrote a story implicating him in a copyright infringement case.

What is worse is unknown rapper Zizipizgani Beza aka Zizi-B accusing Tay Grin of redoing his Chipapapa song.

The reason I wanted to register my arguments has now been well buttressed by this case considering that Zizi-B is a mere Form Four student at Pact Secondary School in Blantyre, and he claims to have produced the song earlier in December last year with Twin Beats at 123 Records and gave it to Marcus Pasanje a DJ at Joy FM.

The argument of the two is that the hook is the same and I am surprised they are making such claims when this is a childhood song that all of us partook in singing.

Rightly put in the article, Tay Grin says Chipapapa is a childhood song that no one can claim ownership and if such song was like Chinafuna M’bale he would have sought permission to redo it.

He goes further to say it is his trademark to reproduce old songs…

Now this is where it was all clear that I needed to say something about this.

Now if you are like me and are listening to Chipapapa by Tay Grin one thing that comes out clearly is that it has been badly done if one compares it with what used to obtain when we consider the musicality in the original childhood Chipapapa.

Even the hook that these two are fighting for is one a short riff that used to appeal to us not only as children but even to our elders at the time.

What is even more disappointing is that just like he did with ‘2by2’ he has clearly killed the musicality in the childhood song.

The original Chipapa has was able to exude some sensitivity, knowledge of eerie and flat but sticking musical talent that provided the quality and state of being musical which is absent in the Tay Grin rendition even after trying to elicit the services of the Nigerian musician.

The Tay Grin beat has also failed to relay or even better the musical ability pitch, rhythm and harmony that the earlier one commands.

The original Chipapa had a very strong musical receptivity which was why generations after generations we were able to reproduce it and its storage was just in the air and the mind. That’s how powerful the folklore and childhood songs were or are.

Now this is why it is bringing me to appoint that Government as a representative of the people needs to hold the intellectual property as well as the copyright of these songs. I suggest the Museums of Malawi or the Malawi National Archives must be holder or custodians to these rights.

We can’t have artists like Tay Grin who are more of entrepreneurs than musically talented artists to be defiling such a rich heritage. These holders are supposed to ascertain if the recreation of such folklore or childhood songs because we do not want the mediocrity that Tay Grin churns out that destroys this treasure.

In The Nation story that I talked about earlier also interrogated Copyright Society of Malawi senior licensing officer Rosario Kamanga who said they can only act if they have established a violation.

My question is it will be violation against what because anybody can just woke up one day and start destroying the contents of the country’s musical treasure trove.

The challenge when artists fail to stimulate their creative juices they only settle for something that is already a household. This is what entrepreneurs like Tay Grin do.

He is like Shawn Corey Carter, known by his stage name Jay Z, who although a rapper, record producer and entrepreneur his music rides on his entrepreneurial scores and not the other way round.

You look at people who have creative juices like Evison Matafale; he composes a track like Waseseleka and it stays on the lips of everyone. But artists like Tay Grin do not have what it takes to come up with such compositions and instead just want to regurgitate the famous folklore and childhood music.

My problem therefore is how instead of improving on the same so that it helps to perpetuate our priceless treasure, these Tay Grins of this world come to degrade them. Of course there is also timeliness related to copyright where after such a time elapses its free for all…But I still want some honour to be bestowed on our best works.

We therefore need the protection of those that we should empower so that we are able to preserve the musicality and all those related and attendant issues that make such songs priceless.



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Anko Layi in Champweteka Chimanga

Let me start with a confession that when Layison Njati came on the musical scene, with his track, ‘Ndizakupasa Love Yabwino’as Anko Layi I had huge reservations.

This was at a time when I had been arguing that we needed a musical identity as a country where anything musical that would be produced by us once played within any earshot should easily be recognised as a Malawi music genre.

But here was an artist who did not only come up with a childish showbiz name Anko Layi, but came up with a cheeky track ‘Ndizakupasa Love Yabwino’  and worse still he was sounding Zambian. And everyone was as usual overtaken by another bubblegum production.

However, a track ‘Makwatirakwatira’ in his latest album ‘Khala Chete’ has changed all that. It has made me pause a bit and take a look at the artist with a really serious ear.

When one listens to the track, you would wrongly dismiss it as just one of those tracks that are hitting the airwaves all over the place because besides entertaining, it leaves you in stitches as it has a description of the song’s character that borders on comedy.

But this is the track that needs to be taken seriously as it has again shown that it is possible to have a Malawian genre.

Three years ago when Maskal released ‘Zili ndi iwe’ and ‘Usatope’ I was of the view that ‘Usatope’ was truly a fusion of an R’n’B like resonance that was reverberating in a ‘Manganje’ like thrash; it kind of fit in the frame of most of the traditional tracks that take after the ‘Champweteka Chimanga’ lilt.

This quickly takes me to the works of Sonyezo Houston Kandoje, especially a song track called “Tsika” which he also describes as Manganje on steroids as inspired by Malawi’s very own‘Champweteka Chimanga’ sound.

No other African country has this sound which is fortunately present in Manganje, Vimbuza and many other traditional beat.

These tracks are a sign that Malawi music is slowly and surely observing a departure from a cacophonous and fleetness beat that characterized it in the past.

The advantage is that Sonye’s place is in the musical studio and his self-produced song is an indication that he is turning the studio into an experimental lab.

The same experiment would be said of Anko Layi who has a studio rightly called Audio Clinic.

Two years ago he produced a sound track for a story board and animations project called ‘Tilitonse’ by Stephen Emilio of GD Art & Designs.

If one attentively listens to this sound track, they would not be surprised with Anko Layi’s ‘Makwatirakwatira’ because it is as a result of a long time experiment on how to turn the ‘Champweteka Chimanga’ beat into some hybrid funky that should identify with Malawi.

Its simplicity explains why Anko Layi should be taken serious because he almost made me get disappointed that this is an artists who has studied music at the University of Cape Town in South Africa; was nominated as the best guitarist, has a diploma in music reading, writing, and composing as well as being a vocalist and yet look at his lack of contribution to the development of a local genre.

Now I can confidently describe him as an accomplished singer, guitarist and producer and now with his own band known The Boosters Band he needs to spread this genre across.

Having been performing with Edgar ndi Davis Band, it would not be difficult to popularise the Malawi beat.

I do not know why our sound scientists like Anko Layi and Sonye for example, do not come together to experiment with ‘Champweteka Chimanga’ beat even further. When you listen to the ‘Tilitonse’sound track I am talking about, then Sonye’s ‘Tsika’ as well as Maskal’s ‘Usatope’ you’ll realise that even with ‘Champweteka Chimanga’ as the holding sound in order to identify the genre there can still be sound variations that in any way cannot remain monotonous.

‘Makwatirakwatira’ is built on ‘Champweteka Chimanga’ with a soft continuous tap which is fused with ‘brass bridging’ that could have come from synthesisers and this is maintained throughout the song as it is cascading with some playful lyrical content that has been embossed in powerful and disciplined vocal output.


Anko Layi in ‘Champweteka Chimanga’ should be taken serious. It’s one of the best experimental versions, as we try to procreate our Malawi music genre from our musical laboratories. I guess I now take my earlier reservations back; Layison Njati is indeed trying to become the Uncle of Malawi’s music genre.

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Laughing at Msati Mseke

Patience Namadingo has once again proven that he is the master of creativity with his latest ‘Msati Mseke’.

The video and audio of the track is top notch especially in the way he fused the Gulewamkulu, Beni and Malipenga dances.

Most of the musicians and poets that we have in this country will try to rhyme just to fulfill the assonance requirement but when you hear Namadingo give you words that end the same like matope, nkhope, atope, alape, afupe, pampope in the verse he is depicting the Nyau dancers, you realise he took his time.

And to prove that the first same sounding verse is not a fluke he does the same in the other two subsequent verses like one where Beni dancers exhibit the dance’s trademark steps by stitching words like asilikali, phuli-phuli, cham’mbali, liri-liri, mliri, ambiri.

When Namadingo first appeared on the music scene, the gospel music scene to be specific, he was just like any other gospel artist save for his unique voice.

But in his latest offering, it appears that Namadingo has dug deep into his creative bank to dish out something different. The gospel in his music is nicely woven in stark creativeness and entertainment.

Of course the track says we should not laugh at the performers but the shooting of the video is exactly eliciting this aspect of making one laugh at the production.

Why should one pretend to dance with the Nyau dancers while strumming the guitar. If indeed he wanted to be part of the act he should have done better.

The quality picture, production in general and even the dancing by the performers of the three traditional dancers that are captured in the video clearly shows that this is something that was planned well ahead of the production.

But when you start seeing something like this then you start thinking about the way we plan for our video productions. It goes down to concept development and how involved the producers of the same, are attuned to the production work in hand.

Sometimes a whole beautiful work that has been done 95 percent with perfection can lose its standing because of a small mistake that has been created because of poor production planning.

Otherwise, much as everyone else is talking about the Msati Mseke video because of its uniqueness in innovation and class that aspect has robbed its credit.

Not that what I am demanding is to have it redone but just to point what I think should be done.

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Grace Chinga: A gain among angels

IF you follow this column you will realise that it carved a special place of veneration for the fallen gospel music songstress Grace Chinga.

Unlike all and sundry who love to talk highly of people that have died, this column wove praises for her long before she took a leap into the Celestial Kingdom of Glory weeks ago.

Grace’s rare talent was that she was the most unique one amongst the many gospel artists that we have in the country. She was a gifted lyricist as she made writing lyrics for her songs a speciality.

Besides, she could also sing for which she became known in musical cycles as singer-lyricist.

There is also more to her in that she embodied the differentiation that exists between a singer-lyricist and singer-composer, who composes the song’s melody.

In short, she was triply endowed as she was singer-lyricist-composer.

Last time I pointed out that when you are a gospel artist you risk being dismissively given the rubbish tag that is cynical of every musical talent and endowment on display.

I have argued on the basis that every religious belief is a closed system and as a result it has its bedrock on a specific dogmatic belief. This is the reason one can neither question nor disagree with church authorities.

While the explanation is that God is Omnipotent, He was there and shall always be there looks like enough, it still has holes which fail to hold together even a child’s credulity.

This is where a belief will use its ‘closed system’ which simply shuts up you by saying it is the evil powers of Satan that drives you to ask such questions. This snaps any desire to ask more questions. This approach is what is usually looked at as a dogmatic slumber where you wake up at your own peril.

This frame is unfortunately one which most gospel musicians want to use. They sing very bad songs, which they are not even ashamed to put on CDs or tapes and call them albums, comfortable in the belief that no one will point a finger at their mediocrity because it is the Word of God.

Artists that are into gospel take it for granted that since it is gospel music then they could get away with murder.

No, as I have disputed before, I am not going to fall for that; this is a big blue lie.

God loves beauty, this is the reason even his creations are beautiful, including Lucifer himself although in believers’ depiction he is shown as a badly-horned looking creature!

Now for Grace, she carried her way into the musical journey so well that she even made her dismissing agitators appreciate her talent.

Grace underwent a very horrible divorce court battle in 2007 and many thought the end of her musical career was signed off and sealed.

A year earlier she had released ‘Thandizo Langa’ which despite registering onset success ended up being sneered at due to her divorce court case.

Many people never bothered to look at what Jesus was scribbling down and wanted to start stoning her and due to such condemnation she left for the United Kingdom in the hope that it would provide an asylum where she would be able to recharge her batteries.

She returned home and on 10th October 2010 Grace unveiled what have become hits songs in what as her third album ‘Udzayimba Nyimbo’.Whatever bad publicity that derided her inspired her to come up with tracks that carry pure musical touch like ‘Mundisungire Korona’.

It was a ringing response to the ridicule she suffered when things turned up solemn after her divorce. She exacted her attack back to those that derided with the kind of art that was uniquely created.

And at the launch of her album she never shied away from declaring that ‘Grace is Grace, Take it or leave it!’

When you listen to Grace’s music one thing that is clear is that the instrumentation is not the hurried kick-kick, rush-rush concoction that has crammed the gospel music market.

She took her time to make music that appeal, unlike most so-called gospel musicians that sing mediocrity in the hope that people will listen to it anyway because it is gospel after all.

From such tracks like Ndayalula, Tapulumuka, Anandigula to Absalom one would appreciate, not only the resilience that is a tool of a brilliant musician in a challenging market, but also the patience of taking time to compose and record music.

The piece of work that is Grace Chinga’s third album for example is one product that one rarely releases. It complicates the text book theories that prescribe what is the best mood, time, place, state of mind to compose music.

When one deeply listens to content of Grace’s music, you would but realize with veneration such an intelligent talented maker of music she was.

I know that while her departure is a loss to the local music fraternity, it is a gain amongst the angels.

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The Mockery that was Grammy Nominee

I listened to Zomba Prison Project album titled ‘I have no everything here’ and I am still bemused that for time in memorial this is the kind of work that will be identified as the best in musical aspect that the country could offer to the world.

When I was going through the 20-track-album I could not help it but feel very offended considering that we are one of the best musical creative minds in this part of Africa. By the way I should say it here again that our Kwela genre which was popularised by late Daniel Kachamba found itself in South Africa taken there by our local miners where it engendered with the musical culture of that country to become what has become that country’s popular musical genres.

This has been achieved after passing through a series of stages in form and musical functionality and successive recurrences that has come to be known with localised names of those countries while we are still struggling to establish a national music genre.

By the way Kalimba Band’s ‘Sometimes I wonder’ was hit BBC top 20 (40) charts.

At the moment we have artists like Lawi, Peter Mawanga, and Wambali Mkandawire whose productions can win us a Grammy.

When the Malawian prison band album was nominated for a 2016 Grammy Award in the Best World Music category which of course was won by Angelique Kidjo from Benin, I knew it was a disaster.

Convicted murderer Elias Chimenya on bass guitar, burglar Stefano Nyirenda, and prison guard Thomas Binamo, one of the band’s songwriters, are just some of the 60 prisoners who make up Prison Project band and I have nothing against them.

My misgivings are not even coming in because those nominated are convicted criminals but because this is mocking our music industry by dangling this recording industry’s most prestigious prize right above our noses knowing that we are not up to a scratch to stand shoulder to shoulder amongst those that matter.

But, imagine apart from Kidjo, the album was competing with works from three other international music stars including Ladysmith Black Mambazo of South Africa, Gilberto Gil of Brazil and Anoushka Shankar from India.

As I said earlier Kidjo won the award for her album “Sings” and to understand my contention, you just need to listen to this album and appreciate its musicality which can not compare by any iota our offerings to the Grammy.

At first I was wondering how the album found itself on the list of the nominees, but when I learnt that Ian Brennan, the album’s producer is a 2012 Grammy award winner, pieces started falling into place.

In fact he told the Associated Press news agency that he was surprised that his “massive, money-losing labor of love” had gained attention on the world music stage justifying it by saying Music is a tool for empathy having worked for the past 20 years in psychiatric facilities where he became an expert in violence prevention.

Now all other people across the world are attacking Brenann saying this album celebrated criminals to which he is arguing that it is not about glorifying anyone but it is about humanizing, and everyone should be humanized.

He struck a deal with Malawian prison officials to host workshops on conflict prevention with detainees for two weeks in 2013 while being given the opportunity to record their hymns and traditional songs in a makeshift studio next to a noisy carpentry workshop at the facility.

Yes all inmates who contributed to the project were given a monetary payment, clothing and other food and basic supplies while profits from the sale of the EP will be shared amongst the participants, including those who have been released.

Now an EP which is a short form for extended play is a musical recording that contains more music than a single, but is usually too short to qualify as a full studio album or LP and it took Brennan six hours to have the recorded music edited back to the final tracks on the album, which feature 16 of the prisons’ musicians and 18 of the disc’s 20 songs are sung in the local Chichewa language.

Now, this to me is the ‘mzungu’ mentality display when it comes to African issues where they will come and take several pictures of our Malawian children for example, and decide to publish those pictures that show our children that have been badly ravaged by hunger or shredded by the pangs of poverty. This does not mean there were no better pictures, but this is to put on show the cultural imperialism that feeds their superiority activism demons.

My point finally is that what was put on offer for the award is not the best from the land, but perhaps one would wonder why no one from home has ever sent any entries for the award and therefore those that do it on our behalf are not to blame when they pick and choose that which will otherwise serve their personal interests more than our national pride.

Compared to what is obtaining in our music industry, what was sent from Malawi is what Limbani Banda would call ‘trash’ without blinking.

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Mablacks and Wailing Brothers Paradox

Ever since drummer and lead guitarist Paul and Takudziwani Chokani respectively left reggae group Black Missionaries to revive Wailing Brothers that was started by their elder brother Elias(deceased) in the early 1990s, more questions than answers have emerged.

Before, I brushed it off, as something expected. Having been the band that helped in the revelation of Evison Matafale to Malawians, I argued then that we needed variety because Wailing Brothers was not supposed to die after all.

What has however prompted me to come back this time, is the absurdity that surrounds the lack of willingness to tell Malawians what exactly happened for the Wailing Brothers to decide to wake up and reclaim its musical spot at this point in time.

Kuimba 1 which is Matafale’s first known album was backed by the Wailing Brothers, then came Kuimba 2 where Matafale introduced to the Malawians the forgotten legacy of the Robert Fumulani musical dynasty. It brought us Musamude(deceased), Anjiru and Chizondi.

Those of you who remember, Robert Fumulani had his younger brother Arnold who performed beneath his shadow under the banner of Likhubula River Jazz Band and with the emergence of Matafale and the Black Missionaries dominated by the Fumulanis from Robert, younger brother Arnold’s son Gift also materialized.

Now long before his passing, it was clear that Wailing Brothers would still perpetuate the spirit of its originator Elias Chokani but his younger siblings chose to follow a different path and performed, but hidden in the obscurities of Mablacks, as The Black Missionaries is now popularly known.

If anything, this was the time the two would have taken it upon themselves to build on the foundation laid by their elder brother.The Chokani Brothers only came on the Black Missionaries scene after Matafale died and when Musamude took over the mantle some 13 years ago.

Why now? Is the question none of the concerned have graced with convincing answers, leading to speculation. The guesswork has grounded many to believe that it was due to being treated as nonessential to the grouping.

Look, the Black Missionaries had late Gift Thugo, the two Chokani Brothers, the three (two)Fumulani siblings and of course their bassist Peter Amidu; however those appearing on their album cover sleeves have been the bassist and the Fumulani brothers while the rest were obscured.

I beg to differ with those using this conjecture considering the many years that Kuimba albums have been coming and none of the Chokani Brothers ever raised the alarm. One thing we are not being told is to answer the question of what the initial arrangement that was stricken when the Chokani brothers joined Mablacks upon the demise of Matafale. Again why did the Chokani Brothers part ways with Matafale? Was it therefore right for the Blacks to take them into their fold upon his death?

The other conundrum to ponder is on the split of the membership. From the onset Gift Fumulani and his cousins in The Black Missionaries were never in good books until Rasta Musamude talked things over with him and he became part of the Black Missionaries tours up to the time of his death. No wonder when his younger sibling Moda wanted to step into the shoes of Gift, Mablacks had no problems accepting him to become part of the fixture during all their tours.

Those that have patronised the Black Missionaries shows across the country will tell you that the lineup would usually include KhozieMasimbe, Toza Mourner Matafale (Kapito), Moda, Yanjanani Chumbu, Anthony ‘Mr. Cool’ Makondetsa and then Mablacks.

Surprise, surprise when Wailing Brothers decided to start their own shows the Chokani brothers took with them Toza and Moda from this line up. They even went further to introduce Moda’s younger brother Arnold Jnr and none of us asked those probing questions. What is it that we are not being told? Was Toza and Moda, just like the Chokani Brothers disgruntled with Anjiru and team?

Now, if you want to believe the all normal, all clear for  the cousins, as this is what they are, [the Wailing Brothers and The Black Missionaries are cousins] and considering the many years the Chokani Brothers toiled with Mablacks, any intention to revive the Wailing Brothers should be something that should be supported by the Black Missionaries. But it was never the case. When the revived Wailing Brothers launched their 14-track album titled Unfinished Project at Robin’s Park in Blantyre and Lilongwe Golf Club, Mablacks never made the list.

Lucius Banda was part of those that performed with his Zembani Band and welcomed Wailing Brothers’ revival saying Black Missionaries has given birth to a child, which is ironic considering that the former started first.

Takudziwani and Paul maintained that revival of Wailing Brothers is not to kill Black Missionaries but to strengthen the mission.

But performing at Mkango Lodge last weekend showed that with the departure of the Chokani brothers Owen Hulera and Amos Mlolowa are now playing the lead and the drums respectively. And Anjiru could not be drawn to comment on the revival of the Wailing Brothers when he told the audience that they were not at Mkango to talk about others but Black Missionaries because they are on a mission and still going forward. Bass guitarist Amidu kept on telling the audience during the gig that Black Missionaries were on a mission and not competition.

This behavior and lack of coming out of the cocoon is not healthy and will keep people talking. As performers of the public, the least the two groups can do is to come out in the open and speak out. Imagine if a show will be organized where Mablacks will perform side by side with The Wailing Brothers.

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Disgruntlement rocks treasury over new IFMIS provider

— Economy bad for the choices

By Gregory Gondwe

Malawi’s ministry of Finance and Economic Planning and Development has been rocked with disgruntlements after it settled for three out of 12 bidders expected to provide software solutions called Enterprise Resource Planning (ERP) which is set to operate Integrated Financial Management Information System (Ifmis) having set aside US$10m to replace the current one.

A source at the Treasury said Government has however failed to consider its financial limitations and has settled for Transnational Computer Technologies whose bid price is US$12,200.000.00; Twenty Third Century US$13,807,561.46 and Free Balance US$13,995,935.00.

“These three companies were shortlisted and qualified for opening of financial evaluation taking place in Salima as we speak now,” said the source in an interview on Thursday last week.

Government said it is surprised that this journalist has information that it kept under wraps.

Spokesperson for the Ministry Finance and Economic Planning and Development Nations Msowoya responded to a Malawi News questionnaire that the only latest information that is available for the public is information pertaining to the bid opening that was conducted on Friday, 11 September 2015 where 12 bids were opened and their respective prices were announced.

“The ministry is therefore surprised that you have information relating to this process when the same has not been released either officially or unofficially by the Ministry of Finance,” he said.

Msowoya then explained that the procurement process for supply and installation of IFMIS software is being guided by the World Bank’s procurement guidelines and the Malawi Public Procurement Act of 2003.

“Under the above legislative framework and guidelines, procurement information is treated as private and confidential up until the entire process is completed,” he insisted.

He therefore said that the Ministry in accordance with the World Bank’s procurement guidelines and the Malawi Procurement Act will provide to the public the necessary information regarding the procurement process of the new IFMIS platform at an appropriate time when the evaluation is finalized.

Information the journalist has sourced indicate that the other bidders include KPMG whose total bid price was US$47, 858, 154.00; TBL whose bidding price US$6,573,326.04; Neurotech whose bidding price was US$8,883,110.53; State Informatics Sparc Systems Novabase whose bidding price was US$28,241,975.00.

Others were Tech Mahindra Limited whose bidding price was US13,859,996.00; Timestamp whose bidding price was US$30, 141,770.00; Soft Tech Consultants Ltd, Epcor whose bidding price was US$10, 316, 934; Intrasoft Int. TechNet Verve K.O. whose bidding price was US$23,096,914.29; and Cleoliv Int. Smart Link Ltd whose bidding price was US$14,500,000.

The source said they believe the process has been compromised looking at how Government is struggling for money and yet they want to buy the expensive solutions.

“Transnational Computer Technology of course is not established in Malawi and their quote is over US$13 million but was given highest scoring by the evaluators,” the source said.

The second best scorer was Twenty Third Century while Free Balance came third.

“An independent impartial Public Financial Management Specialist or Consultant from outside Malawi should be brought to authenticate and investigate how the evaluation was done , whether they followed the proper procedures and all other related issues,” said the source.

The source said Malawi does not need such an expensive solution and this might end up becoming an all money making racket.

“Seriously this is not the time that our Government should be buying Rolls Royce kind of solution because it’s waste of public resources. They can do with the cheapest, best and reliable robust solution like Uganda or Kenya where a study team was sent,” said the source.

“There is need to do due diligence of these three shortlisted companies, their credibility as Government risks paying huge amounts, when in actual fact they can do with a good reliable and cheaper solution,” insisted the source.

As part of the Public Financial Management reforms, Government, in 2005, appointed Soft-Tech Consulting Limited (Soft-Tech), an Epicor Ltd software solutions technology partner, to implement an Epicor based Ifmis.

IFMIS is a common information and communication technology (ICT) platform which integrates core public financial management (PFM) functions to ensure efficient management of public resources.

However, due to massive theft of public resources as Ifmis was manipulated, Government engaged a Business Process Review study carried out by the task force which is now proposing a complete replacement of the system by identifying another vendor.

Treasury constituted a team to study the option of upgrading and replacing ifmis.

Government targeted top five ranked IFMIS ERP solutions in order of rank are SAP; Oracle Financials; Microsoft Dynamics; Infor; and Epicor.

Government started calling for bids through the local press of 22nd January 2015 before withdrawing it on January 30, 2015 amid pressure for a number of anomalies in the whole process.

Government started calling for bids to have a new service provider that would replace SofTech providers of Epcor software that has been in use for the country’s Ifmis that led to Cashgate.

A report that has been produced based on public financial activities that took place between January 2009 and December 2014 has once again faulted the weakness in the Integrated Financial Management System (Ifmis).

The report which is a result of analysis of financial data by PricewaterhouseCoopers Advisory Services (Pty) Limited (PwC) which was contracted by the Auditor General of Malawi shows that an anomaly on 1,911 cheques that were posted and could not be reflected in the Cashbook indicate a control weakness in IFMIS.


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