2 Mabone (1973)

1970s South Africa developed a taste for everything American. In fact, one could argue that black South Africans have always looked towards the African-American scene for inspiration and influence - but particularly into the 1970s, together with the afros and platform shoes, the Chevy Impala became something of a key image for the urban, modern city dwellers.

In 1973, the studio group West Nkosi Nabashokobezi worked up a sensational mbaqanga beat that just had to be recorded. Released on the FGB Producers label in 1973, the hit single “Two Mabone” defined that alignment with the US. The single became a huge hit within South Africa, quickly attaining gold status – the tune was so popular that Gallo Africa issued it for international release via London Records in the US. Before long, jive Mabone – referring to the headlights of the Impala – became the in-thing. A long string of recordings by various sax jivers all helped to keep the trend alive for some two or three years. It may be something of an irony that this typically, uniquely African beat displayed the increasing Westernisation of black people living in the cities of South Africa.

The obscure long-playing record 2 Mabone, released on the FGB Producers label in 1973, comprises 12 ‘headlight’ offerings by various Mavuthela combos.

Mavuthela did begin the trend with “Two Mabone”, but were by no means the only black music production company to peddle it to the public. Lulu Masilela, backed by Teal Records' effervescent Boyoyo Boys, recorded “Three Mabone” in anticipation of the great sales that the original recording had received. West Nkosi Nabashokobezi recorded “Four Mabone”, while violinist Noise Khanyile and His Violin gave “Five Mabone”. The Big Bag Boys, led by alto saxophonist Elias Shamba Lerole, gave the public the peppy little “6 Mabone”, but was perhaps blown out of the water by Lulu Masilela’s soulful stomping “Six Mabone”, which became a big hit. Nonetheless, West Nkosi hit back with the great “Seven Mabone”, which added accordion rhythms into the mix. The tunes came fast and thick from all of the major black labels and producers including Thekwane, Bopape and Nzimande... and it was by no means a given that once somebody had recorded “10 Mabone” that the next tune must be “11 Mabone”. In fact, “12 Mabone” superseded “Seven Mabone” and then was followed straight after by “17 Mabone”… the highest number (to our current knowledge) was “Jive Mabone 800”, recorded in 1974 by studio artist 'Mr. Singo'. We can safely assume that there were not 799 Mabone tunes recorded before we got to that one (!) But indeed, just the use of the word "Mabone" was enough to capture the eyes of people (see last week's post from Chris for a nice example). David Thekwane instituted a Teal label named 'Six Mabone' after Lulu Masilela's big hit, and Teal's popular soul outfit The Movers did their own great version of the tune which, in true Movers style, sounded nothing like straight-up mbaqanga!

Not all of the tunes on this "collector's album" (as the liner notes of West Nkosi's Sixteen Original Jive Hits describes it) contain “Mabone” in the title, but all of them are certainly performed in that classic jive Mabone style. Every tune has its moment, but highlights away from the “… Mabone” titles include “Shiluvani”, “Marabi Bell 800”, and “Tonkana”. If you’re a fan of violins – and shouting voices – then I’m sure this album is for you…!

Enjoy!

2 MABONE (Various artists)
FGB Producers LPBS 17
1973

1. TWO MABONE – WEST NKOSI
2. SHILUVANI – BIG BAG BOYS
3. MARABI BELL “800” – WEST NKOSI
4. FIVE MABONE – NOISE KHANYILE
5. ZOLA-MNDENI – WEST NKOSI
6. POKOLO SPECIAL – MARKS MANKWANE
7. FOUR MABONE – WEST NKOSI
8. SIX MABONE – BIG BAG BOYS
9. UMTHAKATHI “500” – WEST NKOSI
10. BRA JOE – NOISE KHANYILE
11. PLATFORM “17” – WEST NKOSI
12. TONKANA – MARKS MANKWANE

RS / MF

The Last Special: The Mallory Hall Band (1974)

The second album from the December 1974 three-day studio stint by what had become a versatile big soul-jazz band assimilating and reflecting their South African geographical context. If you have not heard the companion album "Song of Soweto" yet check it out - the link is also at the end of this post. Some of you who did download and listen to "Song of Soweto" earlier this week might have realised by now that I got the links mixed up. The proper links are now restored.

The song titles on "The  Last Special" were very much contemporary for South Africa at the time. The "Mabone" (headlight) craze was sweeping through the soul, bump and mbaqanga world - with the "blue" in this particular title having a number of possible references. Al Hall went on to re-record "Abafu" as "Clouds" on Patt Britt's 1975 album Jazzman. The final track "Princess of Joh'Burg" nicely closes the circle that enfolds the four albums in this thread - being a track that could seamlessly have been included on Kirk Lighstey's Habiba.

If anyone is aware of any further recordings this group made while in South Africa, or elsewhere - please do let us know.

1. The Last Special (11.10) Mallory

2. Blue Mabone (12.12) Mallory

3. Abafu (Clouds) (7.07) Hall

4. Princess of Joh'Burg (4.15) Mallory

Last Special on Rapidshare here

 Last Special on Mediafire here

Song of Soweto on Mediafire here

Song of Soweto: The Mallory Hall Band (1974)

Two more tight and enticing offerings this week from the twelve-piece band of U.S. jazz musicians that backed Lovelace Watkins on his extended stay in southern Africa during 1974. This time guitarist Charles Mallory and trombonist Al Hall jnr come to the fore with excellent compositions that reflect their time on the sub-continent.

If you have not had chance to connect with Kirk Lightsey and Rudolph Johnson’s “Habiba”, and Monk Montgomery’s live set in Soweto – do yourself a favour - here and here. These four recordings should really be enjoyed as one volume expressing a growing and shared experience which results in a funky soul-jazz interpretation of southern Africa at the time. Johnny Boshoff very ably again steps in for a contractually tied Monk Montgomery on bass.

Despite an impressive list of credits, this particular Charles Mallory is surprisingly scarce on the internet. He appears along with Herman Riley on a 1968 “Big Black” album with Caiphus Semenya ; and then on a 1973 funk-soul offering: “Hodges, James and Smith – Incredible”.

 The record sleeve credits Mallory as having been musical director of Martha and the Vandellas, two years as guitarist for Diana Ross, and as guitarist and conductor for Dusty Springfield’s band for a similar period. Other credits include playing for Marvin Gaye, Stevie Wonder Tuijuana Brass, John Lee Hooker, O.C. Smith, and so the list goes on. On these sessions he treats us with five sensitive and strong funky soul-jazz compositions. I would love to know what became of him.

Al Hall jnr already showed us what he could produce with his great “Blues for Nkwe” track on the Monk Montgomery live offering. Hall went on to arrange, conduct and lead Johnny Hammond’s 1977 jazz-funk offering “StormWarning: on Milestone Records. Hall’s writing, arranging and playing pedigree can be checked out here.

The two albums being showcased this week (the second one will come through in a few days) are surprisingly rare, and should really be better known. The tracks were recorded over three days from 7^th to 10^th December 1974 at the Video Sound studios in Blairgowrie, Johannesburg.

Recorded by Nino Rivera and John Lindemann.
Re-mixed by Johnny Boshoff and Nino Rivera.
Cover Art from original paiting by Eli Kobeli.

Marshall Royal (Alto sax and flute)
Herman Riley (Tenor Sax and flute)
Kirk Lightsey (Keyboard);
Rudolph Johnson (Tenor Sax / Flute);
Johnny Boshoff (Bass);
Curtis Kirk (Drums);
Charles Mallory (Guitar);
All Hall jnr. (Trombone);
Delbert Hill (Clarinet);
Danny Cortez (Trumpet).
Tommy 'Cab' Cortez (Trumpet and Flugelhorn)
George 'Buster' Cooper (Trombone)

1. Song of Soweto (9.24) - Mallory
2. Hamba Samba (9.34) - Hall
3. Cape Town Blues (9.11) - Hall
4. Moroka Rock (4.34) - Hall
5. The African Night (8.10) Mallory

Rapidshare here

Mediafire here

Nzimande All Stars - Breadwinner Part 2 (1980)

Seriously grooving studio sounds from the Nzimande All Stars (sometimes backing band for Izintombi Zesi Manje Manje), named after uber-producer Hamilton Nzimande.

Nzimande started his musical journey in an early mbaqanga group The Big Four whose single Woza Friday was a big enough hit in South Africa during the sixties to see release "overseas" (listen at Matsuli). Nzimande was instrumental in recording and developing the early careers and musical styles of key seventies artists The Soul Brothers and The Movers. Check this earlier post for details of his relationship with Izintombi Zesi Manje Manje.


A partial discography of the studio group includes Nomali (1974), Sporo (1978) that contained the track Breadwinner, Side by Side (1980) and today's Breadwinner Pt 2. Any further details on the Nomali LP fully welcomed at the electricjive HQ.

So get ready to groove! In 2010 the Nzimanade All Stars also caught the attention of tropical dancefloor specialists Sofrito who released an edit of Sporo Disco.


NZIMANDE ALL STARS - BREADWINNER PT 2
Links: MF / RS

Spokes Mashiyane - Spokes Hit Parade No. 1 (1962)

Next week marks 40 years since the untimely death of Spokes Mashiyane at the age of 39. The South African legend died of cirrhosis of the liver on February 9th, 1972 at Baragwanath Hospital in Soweto. Significantly last week marked the 79th anniversary of his birth. On this occasion it seems fitting to present two very rare issues by the renowned penny whistler and saxophonist — one (pictured above) released 50 years ago and the other perhaps his last recording.

An extensive discography for Spokes Mashiyane has been compiled in conjunction with this post and can be viewed at flatint. Many thanks to the team here at Electric Jive for help with that and also to Laurent Dalmasso who suggested the idea for this post.

Willard Cele introduced pennywhistle jive or what would later become known as kwela to South African audiences in the classic 1951 film The Magic Garden. Remarkably the commercial potential of this music was not evident and thus was not exploited by the record companies at the time. Subsequently no other recordings of this music were made until three years later with a track by the Orlando Tin Whistlers. (Rob Allingham in Lara Allen, Circuits of Recognition…)

But it was Johannes 'Spokes' Mashiyane — more than any other — who would popularise this style of music and transform it into a household name starting with four tracks recorded for Trutone on October 8, 1954. One of those, Ace Blues, became a hit, and by 1955 was receiving favorable reviews in the black press. Soon every record company in South Africa was looking to capitalize on an instrument that had been regarded as a mere toy relegated to the rural life of young herd boys.

Of course the instrument’s history is more complex and elements of its 20th century use can be traced back to Scottish marching bands of the 1920s. Lara Allen’s excellent article Circuits of Recognition… elaborates on this subject in great detail and is well worth the read.

Spokes Mashiyane was born in Vlakfontein near Pretoria on January 20th 1933. According to the liner notes of his first Trutone EP, Mashiyane taught himself to play on a reed flute while tending his father’s cattle. Albert Ralulimi in an interview with Lara Allen reveals that Spokes first played on a plastic toy penny whistle before moving on to a metal one. When he was eighteen, Mashiyane moved to Johannesburg where he met Frans Pilane with whom he formed a duo. Together the two busked with flute and guitar on street corners and in parks. Ralulimi goes on to say that Mashiyane's style at the time improvised on grassroots tunes played by "anybody" - the community in general, kids on street corners, and those at shebeens and stokvel gatherings.

It was on one such occasion at Zoo Lake Park (Yvonne Huskisson has it at Phomolong Train Station) that the duo was spotted by Trutone producer and talent scout Strike Vilakazi. According to Rob Allingham, Vilakazi cut at least four tracks with them in 1954: Ace Blues (4080) Kwela Spokes (4081), Skokiaan (4082) and Meva (4083). Huskisson, on the other hand, does suggest that Mashiyane’s first recordings were made in 1949. He would have been sixteen at the time and given that Allen’s account has him moving to Johannesburg when he was eighteen, the earlier recordings may be unlikely.

While penny whistle recordings were popular amongst black consumers in South Africa between 1954 and 1958, two events in 1958 helped propel this style of music onto the international stage and subsequently elevated its stature with white consumers, as Lara Allen points out. One was the UK television show, The Killing Stones, which featured as its theme Elias Lerole’s Tom Hark (Columbia YE 164); and the other was the recording of Spokes Mashiyane and touring American bop pianist Claude Williamson.

In April 1958, Trutone arranged for a collaborative recording with Mashiyane and the Claude Williamson Trio who were touring the country with Bud Shank as the “Jazz West Coast No. 3” at the time. The concert took place at the Bantu Men’s Social Centre (BMSC) and the live recording produced at least two tracks with Mashiyane, Kwela Claude and Sheshisa!

While EMI did well marketing Tom Hark, Trutone did a better job of further branding Mashiyane by exploiting the American connection with the Claude Williamson Trio and transforming him into an “instant celebrity”.

Allen goes on to say: “Trutone's aggressive marketing included billing Mashiyane as 'King Kwela', and printing his picture on record labels; it was the first time a South African record company had lavished such extensive publicity on a black musician. Although it was unprecedented to print comments on record labels of 78s aimed at black consumers, the "Kwela Claude" label declares: "The famous American pianist CLAUDE WILLIAMSON, says: "The Kwela Rhythm, born in the craddle of jazz, is unlike any other I have played. It could well take its place alongside Calypso and the Samba.""" (Allen)

Such successful marketing certainly helped raise the prestige of kwela and Mashiyane at the time. Trutone issued copies of Kwela Claude not only on its Quality label but also on its Rave label. This is significant in South Africa in that Quality records were typically marketed to black consumers while Rave records were marketed to white consumers. The EP Kwela Claude (Rave, REP 4) is the first to feature a black artist in such a significant profile on a Rave release.

Likewise Mashiyane’s first full-length album, King Kwela (Rave, RMG 1107), issued around 1958 or 1959, became the first long-playing record to feature exclusively a single black artist. Most recordings by black musicians until that point were issued on 78 rpm. If black music appeared on compilation LPs, it was usually marketed to white consumers or intended for international export. Issued on the Trutone’s Rave label, it is likely that King Kwela was also being marketed in this way. Though a full length LP, King Kwela is still a compilation of previously issued 78 rpm tracks.

1958 also marked another watershed moment in Mashiyane’s brilliant career. Trutone producer Strike Vilakazi persuaded Mashiyane to take up the saxophone and apply his penny whistle techniques to the instrument. Big Joe Special (Quality, TJ 500) recorded that year, was one of the early results of the saxophone experiment. As with his earlier Ace Blues, Big Joe Special was a sales phenomenon. The record became the trendsetting hit of that year and would inspire a whole new style of music. Sax jive — latter called mbaqanga — would dominate South African urban music for the next twenty years. In many ways this track marks the beginning of the eventual decline of not only the majuba big band jazz era (see Majuba Jazz on Electric Jive) but also penny whistle kwela itself. Younger consumers were looking for faster, heavier sounds and mbaqanga would soon satisfy those desires.

Trutone’s success with Mashiyane was extremely lucrative for the company, yet they continued to pay Mashiyane a flat fee for his recordings ranging from seven to fifty dollars per record. David Coplan mentions that after Mashiyane pressed the company on royalties he was assaulted by thugs. It is no surprise then that the musician was subsequently lured away by Gallo Records in 1958. Under a deal brokered by Union Artists with Gallo, Mashiyane became the first black musician in South Africa to receive royalties from his recordings.

Gallo picked up where Trutone left off and continued the extensive marketing of Mashiyane. Gallo’s New Sound label, with whom Mashiyane was recording, donned their all-to-familiar record sleeves with his image and a listing advertising his other recordings. View Chris Albertyn's two posts on some of the New Sound 78 rpm recordings here and here at Electric Jive.

In 1959 another full-length album Spokes of Africa was issued. Mashiyane's second, this LP to my knowledge was also the second for any black artist. Gallo’s New Sound label then launched an excellent series of LP records around late 1959 or early 1960. The first being New Sounds of Africa (NSL 1001) a compilation LP with Mashiyane, Miriam Makeba and the Skylarks but almost exclusively featured tracks by Mashiyane. This series would go on to included the classic 1962 Castle lager Jazz Festival (NSL 1010) and the highly acclaimed and collectable Chris McGregor and his Castle Lager Big Band (NSL 1011). Of the eight LPs that I am familiar with from this series, Mashiyane appears on four and it is his Spokes Hit Parade No.1 (NSL 1009) that we feature on Electric Jive today. (Thanks to Sean Conlon for trading this into the flatinternational archive.)

The Gallo NEW SOUND Series:

NSL 1001 - New Sounds of Africa Vol. 1 (c1960)
Spokes Mashiyane with Miriam Makeba and the Skylarks
NSL 1002 - New Sounds of Africa Vol. 2 (c1960)
Spokes Mashiyane with Miriam Makeba and the Skylarks
NSL 1006 - Top Hits of the Big Three - New Sound Vol. 4 (c1961)
Spokes Mashiyane, Reggie Msomi and Lemmy Mabaso
NSL 1007 – Twisting with Reggie Msomi (1962)
Reggie Msomi
NSL 1008 – Lemmy Hit Parade No. 1 (1962)
Lemmy Mabaso
NSL 1009 - Spokes Hit Parade No. 1 (1962)
Spokes Mashiyane
NSL 1010 – 1962 Cold Castle National Jazz Festival (1962)
Various Artists
NSL 1011 – Jazz: The African Sound (1963)
Chris McGregor and the Castle Lager Big Band

Mashiyane continued recording with Gallo throughout the early to mid 1960s. In July of 1965 he was invited to appear at the Newport Folk Festival in the United States where he “stole the show” according to the sleeve notes of his US issued LP, (King Kwela) (London, TW 91408). An August 7, 1965 article in Billboard Magazine remarks that "Spokes Mashiyane, from Johannesburg, South Africa, was an unscheduled treat. His swingy beat and flute captured the audience. He was the unexpected highlight of the Saturday night concert."

Murray Lerner’s film Festival documents the concert and includes footage of Mashiyane's performance. Watch a clip here. Note that Mashiyane is not the first performer but comes in towards the end of this clip at around 7 mins and 40 secs.

A number of Mashiyane recordings post-Newport reference his US visit, for example the tracks 5th Avenue and New York City (New Sound, GB 3617) not to mention New Port and America on his final LP.

Though Mashiyane is present at the birth of Gallo’s Mavuthela, his recordings for Gallo appear to taper off towards the later half of the 1960s. It is not clear to me why, but I suspect that the success of the hard-mbaqanga sound produced by Mavuthela during this period might have contributed to what appears to be a waning interest in Mashiyane.

Interestingly a 1969 compilation LP, the Golden City Album does include a mbaqanga styled sax jive by Mashyiane. The track is noticeable for two reasons: one, the title “The Return of Spokes” suggests an absence, and two the record is issued by Trutone not Gallo. Perhaps the “Return of Spokes” has a double meaning here, and could be interpreted in one of two ways: he is returning to recording or he is returning to Trutone. A recording with Trutone does suggest a break with Gallo. Moreover his next LP King of the Penny Whistle was produced by David Thekwane and issued by Teal Records.

Released on Teal’s Star Black label (SKL 3000) (their first I believe) in 1969, Mashiyane here returns to the penny whistle, which for that time seems particularly unusual. The popularity of kwela had been waning since the late 1950s and with the rise of mbaqanga in the 1960s, it seemed that the style of music had all but been abandoned. Mashiyane here revisits in name at least some of his big hits like Ace Blues and TJ 500, the catalogue number for his first sax hit Big Joe Special. Surprisingly, he is backed by a band boasting a full elastic mbaqanga sound. My guess is that this is Mashiyane’s last album. It is also the second we are sharing today.

To view an extensive discography for Spokes Mashiyane visit flatint.

Enjoy!

SPOKES HIT PARADE NO. 1
1962
New Sound
NSL 1009
RS / MF

KING OF THE PENNY WHISTLE
1969
Star Black
SKL 3000
RS / MF

Mahotella Queens - Pitsa Tse Kgolo (1981)

A simple offering today, but one I hope you will enjoy. Pitsa Tse Kgolo, recorded in late 1981 and released in new year 1982, is a Sotho/Pedi language album by the Mahotella Queens, produced by Marks Mankwane and released on Gallo's Hit Special label.

Pitsa Tse Kgolo ("the big pot" [idiom: melting pot of music]) was one of a steady stream of LPs released by the then-familiar line-up of the Queens, led by the throaty Emily Zwane. The album contains that classic Mahotella vocal sound combined with the typical early eighties mbaqanga beat - crystal clear guitar, thumping bass, soulful drums and shimmering keyboards. Some readers may recognise the title of the LP as a lyric from Mahlathini and the Queens' 1987 song "Melodi Yalla", a tune that pays tribute to Gallo-Mavuthela by calling it a big melting pot of music - but no version of this song actually appears on this album! The phrase "pitsa tse kgolo", however, had often been utilised in songs over the years to refer to Mavuthela and its music, so its usage as the title of this 1981 LP is perhaps incidental.

"Ditaba Tse Monate" is a nice tune to open the LP. It features some brief lead vocals from vocalist Virginia Teffo (a studio regular since around 1967), lovely Marks guitar, and tight Queens harmonies. Tenor singer Sinah Thibedi takes over in "Tate Nswarele", composed with male soul vocalist Willie Rasebotsa (though his voice does not appear on this album). The pace keeps up through to the Rupert Bopape-Marks Mankwane penned number "Lebowa Le Legolo", a tribute to the North of the country to which this album is dedicated. (Pitsa Tse Kgolo was so popular with Pedi listeners that a follow-up album, Tsa Lebowa, was recorded and released later in 1982.) "O Somela Byalwa" is another straightforward tune that contains pleasant and tightly-binding harmonies. "Dikgupa Marama" is something of an oddity in as much as it throws soul into the mix - but that's no bad thing. Marks is clearly adept at playing in different styles and the long honed "strong" vocal styling of the ladies is put to great use here. It isn't a tune to miss, and the same goes for "Koko". That song, closing the LP, is a lovely soul ballad written by Virginia Teffo in tribute to her grandmother.

The ladies in 1982, being handed carnations by their producer and mentor Marks Mankwane.

L to r: Emily Zwane, Hazel Zwane, Caroline Kapentar, Marks, Beatrice Ngcobo

Though by 1981 the Makgona Tsohle Band had dissolved (not reuniting until 1983 after a 6-year break), producer Marks Mankwane had put together a unique combo of musicians which he named The Beggers to back his mbaqanga/soul artists, including the Queens. (If you haven't already, check out Teaspoon Ndelu's wonderful 1981 LP Ke Kopa Madulo, released shortly before Pitsa Tse Kgolo and featuring excellent on-time accompaniment from The Beggers.) Marks the guitar wizard cuts through the rhythmic atmosphere with his talents, backed by virtuoso Mzwandile David on bass and the other Beggers.

The 1964-1971 period was perhaps the heyday of the Queens - the triumvirate of Mahlathini, the Queens and the Makgona Tsohle Band was a strong steamroller that was hard to beat. 1971 saw the line-up of the Queens begin to change significantly (Mahlathini himself left the team in 1972 for 11 years) and, although the Queens continued to sell-out township halls and garner huge album sales for the next few years, their popularity - and the listenership of mbaqanga - faltered somewhere around 1978-onwards after the infamous political tension and no mbaqanga act was ever to regain its glory (at least within South Africa. Mahlathini and the Queens went onto become more celebrated overseas than at home). Despite this shift, some of the more famous mbaqanga artists continued to record and perform and did so with some degree of success (perhaps they could draw an audience because of the fame of their name). The Queens somehow managed to hang onto a sizeable core of listeners and record-buyers and as such the line-up was able to remain fairly active during these disco/soul-heavy years! (In fact, even when bubblegum music took hold and mbaqanga lost the battle with black listeners, Marks continued to preside over a number of various Queens productions. He left Gallo in 1984 and briefly ran his own independent label, "Mankwane", before joining CCP/EMI as a producer. He eventually returned to Gallo with old friend West Nkosi's persuasion in 1986. Unsurprisingly, Marks took the Queens with him wherever he went!)

Pitsa Tse Kgolo features a line-up consisting of Beatrice Ngcobo, Emily Zwane, Virginia Teffo, Sinah Thibedi, Maggie Khumalo and Caroline Kapentar. This was more or less the group that sustained the Queens during the mid-1970s and mid-1980s, until the original (1964-1971) line-up reunited for the international breakthrough.

Enjoy!

PITSA TSE KGOLO (Mahotella Queens)
Hit Special HIL 2004
1981

1. DITABA TSE MONATE
2. TATE NSWARELE
3. BA MPHURALETSE
4. O SOMELA BYALWA
5. LEBOWA LE LEGOLO
6. MAKAKO A MONNA
7. DITSHABA MATONA
8. EKWANG HLE
9. DIKGUPA MARAMA
10. KOKO

RS / MF

Monk Montgomery live in Soweto (1974)

9^th November 1974 – Orlando Stadium, Soweto

After more than ten months backing Lovelace Watkins on his southern Africa tour, this pedigree collection of musicians laid down a top-notch live jazz gig in Orlando, Soweto. The only difference to the line-up from the February 1974 Kirk Lightsey Habiba recording (see here) is that Monk Montgomery replaces Johnny Boshoff on bass, and Marshall Royal comes in as band leader and first saxophonist.

No need to dwell on Montgomery’s impressive credentials, but suffice to note that his musical bloodline goes way back to anchoring Lionel Hampton’s Orchestra from 1951 to 1953. Prior to his southern African touring, Montgomery had been playing with Cal Tjader for five or six years. While associated with Chisa Records, Montgomery recorded a fair bit with Hugh Masekela, including on the first recording of “Grazing in the Grass”. Born in 1921, Montgomery died of cancer at the age of 61 in May 1982 – before he could fulfil his dream of pulling together a “World Jazz Festival”.

This live album has its own special sense of place with the Soweto compere introducing Count Basie’s “Jumping at the Woodside” as “Jumping at the Woodstock”, but Basie’s band-leader of twenty years (Marshall Royal) does not miss a beat and plunges the band head-first into a tight and exciting set.

Side two becomes really interesting with an Al Hall jnr composition in tribute to Soweto impresario Ray Nkwe. African echoes abound in an eleven-minute cracker of a track.  Rudolph Johnson’s “Testing One, Two” rounds off the gig, showcasing both Johnson and Lightsey.

In February we will pick up this golden thread again, with two more recordings this twelve-piece band made a month later in Johannesburg.

Rapidshare here

Mediafire here