The Vampires: Underground (c1971)

 

The mere existence of Durban’s Raj Recording Company in the 1960s and 1970s is testament to a viable market with a unique and eclectic mix of influences among musicians and fans who were classified as “Indian” and “Coloured” at the time. I remember the time and place well, buying my "underground" vinyl at Record King in the bustling Ajmeri Arcade off Grey Street. At that time in Durban "underground music" referred to the likes of Led Zeppelin, Deep Purple, Uriah Heep, Pink Floyd.

I am struck by the comments on an earlier posting of “TheRaiders”, and also the follow-up e-mails I keep getting from people looking for more recordings of this clearly enduring and popular band who also recorded on the Raj label.  More of the Raiders in another post soon.

Raj Recording Company was located in Durban's CBD "Indian Quarter" at 48 Prince Edward Street, next to the Raj Cinema. They issued their first LP in 1967. Within three or four years Raj had already pressed 23 albums performed by local Dance Bands bearing names such as: Los Pepitos, Conquerors, Gay Cavaliers, El Ricas, Cyclones, Helmets, Soul Crusaders, Red Roosters, and the Green Pastures.

The LP featured in this post gives some perspective on the popularity of the likes of Led Zeppelin, Deep Purple, Rare Earth, Wilson Pickett and even Trini Lopez. This second album by The Vampires is full of fuzz guitars, flute, and even some vocals that pass for a credible Robert Plant in Whole Lot of Love.  Motown arrives in the form of the 1970 Rare Earth hit "Get Ready", with R&B and jazz getting the nod with Herbie Mann's 1969 success, Memphis Underground. Trini Lopez toured South Africa in 1968 and was hugely popular with Unchain My Heart. Arguably the first "funk" chart topper (by Wilson Pickett in 1967) also features in the form of Funky Broadway.

Ashwin Desai and Goolam Vahed are vivid in their description of growing up in the Indian Quarter around that time.

“We grew up in the Indian quarter during the 1960s and 1970s, Vahed in Pine Street and Desai in Prince Edward Street. Our histories are folded into the labyrinth of this area. Writing these words is to write our boyhoods. It was a time of street football (illegal of course), the electric atmosphere on Saturday nights as thousands thronged Victoria Street, dressed to the nines, to watch English and Hindi movies at Shah Jehan, Avalon and Naaz cinemas, the adolescent male street corner society with its petty chauvinisms and repressed sexualities, and the gangsters whom we both feared and respected.

“We were witness too to the emptying out of the quarter. The movie houses closing, neighbours across generations disappearing into the designated Group Areas on the outskirts of the city, the Quarter locking-down every night as shop owners pull down their steel shutters. It is a sign of the times that even the mosques have to shut shop. Those who survived the Group Areas were relocated when the Western Freeway was built in the 1970s. It comes into the city at the very point where “Red Square” stands. In the name of “development” even the dead were not spared. Part of the cemetery was lost and several hundred graves were dug up, much to the chagrin of locals. All this took place behind our backs as we watched ‘Enter the Dragon’ at the Raj Cinema, one more time.” Taken from Indians In Africa.

Raj Recording Company was one of multiple business initiatives of Rajadhaysing who, it seems, was born in the Indian Quarter in 1895. In addition to owning sugar, timber and cattle farms, Rajadhaysing established the Atlas Brick Company, National Fuel Supply (Umgeni Road) and the Raj Cinema in Prince Edward Street and the Raj Mahal Cinema in Stanger. He also owned properties in India and Scotland.

Rajadhaysing’s first two wives died in childbirth. With his fourth wife Lilawathy, they had five children. (Inside Indian Indenture. www.hsrcpress.ac.za).

I would be very interested to hear from anyone who has more information on the Raj dynasty in Durban – and particularly, the Raj Recording Company.

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Daisy Dumakude's African Disco Soul Triumph (1977)

Some artists who left South Africa in the ‘dark days’ found themselves in the right place at the right time, while equally talented others just did not get the breaks they should have. Here is a great album, but allow me to introduce you to a great person too!

Thuli Daisy Dumakude: Image taken from
Ulwazi
 

A French pressing of this rather extraordinary African disco soul album is hotly pursued worldwide by vinyl collectors who know. Here is the 1977 original South African pressing. 

Sure, Daisy Dumakude has been very successful, gracing the stages of Broadway, associated with multiple productions, including the Lion King, Sarafina, singing solo in the movies “Cry Freedom” and “Power of One”. But, just listen to this powerful and beautiful voice and tell me why she was not at least as big as Letta Mbulu?  Perhaps she found herself in the ‘right place’ at the ‘wrong time’, arriving in New York more than a decade later?

Born 1949 in Durban, Thuli Daisy Dumakude lives in New York, married to Welcome Msomi, the co-producer of this album. Msomi has been Director of the Izulu Dance theatre in New York since 1979. Given a living legend award by the city of her birth in 2009, Dumakude  continues her work with rural women in the village of Galibasi in Muden (KZN) doing beadwork. The beadwork is sold to New York theatre goers, with part of the proceeds going to AIDS organizations in South Africa.

Umabatha (1975) featuring
Welcome Msomi and Daisy Dumakude

In 1987 the New York Times published a rave review of a “superb” South African band featuring Dumakude as leader, with Morris Goldberg playing saxophone.  “Ms. Dumakude is a simply extraordinary singer, with a vivid soprano voice that reaches up for high, Zulu-style ululations.”

Msomi and Dumakude go back a long way, with Msomi in 1975 producing Umabatha, a South African version of Macbeth set in Mfolozi around the time of Kings Shaka and Dingane. With Dumakude as ‘Lady’ Mabatha  (KaMadonsela) and Msomi as Mabatha, the production toured the world.


Itsyou! Daisy Dumakude

Produced by Johnny Boshoff and Welcome Msomi

Engineer: Owen Wolf

1. Why Did You Go Away (6:29) (Boshoff & Msomi)

2. Early In the Morning (5:15) (Msomi)

3. Call Me Baby (3:58) (Msomi)

4. It's You (6:25) (Msomi)

5. Is It True (6:21) (Boshoff)

6. Who Can It Be (3:49) (Msomi).

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Jazz in District Six: The Smart Street Sessions

District Six in Cape Town was once home to a number of the jazz musicians that Ian Bruce Huntley recorded and photographed – until this mixed and vibrant community of 60,000 people was bull-dozed by the apartheid regime.

While the community and buildings of District Six were destroyed, there have been important efforts by the District Six Museum and many others to preserve and honour the memory. In the coming months Electric Jive will be sharing two or three posts of Ian’s District Six photos and recordings as a small contribution to this important heritage.

District Six: Pic Ian Bruce Huntley

District Six was established in 1867 as a mixed community of freed slaves, merchants, artisans and labourers. In 1966 the apartheid government declared the area “white” leading to the forcible removal of all its people and the destruction by bull-dozers of their homes, businesses, and places of worship.

It is with great respect and joy that Electric Jive is able to share Ian Huntley’s images and music recorded in District Six.  Just click on any of the images to get an enlarged view of all the pics in this post.Today’s musical offering is of some private sessions that took place in the Smart Street home of Basil and Cliffie Moses. In addition to the Moses brothers, Chris, Philly and Jackie Schilder feature, along with Roy Petersen, Monty Weber and Billie Dollie.

Monty Weber and Basil Moses are perhaps most widely known, in the context of South Africa’s jazz history, as having recorded prolifically – including performing on seven or eight of Abdullah Ibrahim's 1970s recordings. Both artists also feature on Sathima Bea Benjamin’s “African Songbird”, due for re-release by Matsuli next month. Monty Weber’s “District Six” album can be found here. The 1959 musical "Shebeen", set in District Six can be found here.

Basil and Cliffie Moses (1974)
Pic: Ian Bruce Huntley

You can read or listen to Colin Miller’s 1998 life history interview of Monty Weber here. Colin did a great series of interviews in the late 1990s with amongst others, Cliffie Moses, Richard Schilder, Maurice Gawronsky, Cups and Saucers Nkanuka. These recordings and documents can be accessed through the Centre for Popular Memory at the University of Cape Town.

Guitarist Cliffie Moses, three years older than brother Basil, was another professional musician who also had a day job. Cliffie tells Colin Miller of his time: “I want to say in the 10 years that we played at the Three Cellars, ... Don’t forget it was six nights a week we played. Working during the day, playing at night.” Cliffie relates that he also produced an album of “jazz from District Six”. “.. this particular song came to mind and I saw a complete picture of me walking Hanover Street and sitting on the Seven Steps. It was then that I composed this tune called "Seven Step Lament.”

Seven Steps, District Six

Pic: Ian Bruce Huntley

In 1970 Basil, Cliffie, Roy Petersen and Monty Weber were all hired to tour the country as core of Percy Sledge’s backing band for a seventeen-week sell-out tour of South and southern Africa. The tour opened to a three-week sell-out season at the 1,300-seat Luxurama Theatre in Cape Town. Percy Sledge described it as the “greatest tour of my career”.

Drummer Billie Dollie was raised by Imam Dollie. Roy Petersen, like many other talents, cut his teeth in touring with the Golden City Dixies.

According to Cliffie Moses, Chris Schilder (now Ebrahim Kalil Shihab) spent some time living at the Smart Street House, playing the piano there non-stop.

The sessions recorded by Ian were private sessions played in the Moses' home. They are split into two separate downloads, the first comprising mostly quality renditions of jazz standards. Ian recalls the second session with Roy Petersen at the piano as an impromptu jam during which the compositions "Smart Street" and "Requiem for Reg" emerged.

The Smart Street Sessions

Recorded by Ian Huntley at Basil and Cliffie Moses’double-story house in Smart Street, District Six - 1964

Chris Schilder (piano), Basil Moses (bass), Roy Petersen (Drums) Clifford Moses (guitar) 

1.     Veet Blues (9:19)

2.     Straight No Chaser (8:42)

Eckhard Street, District Six
Pic Ian Bruce Huntley

Chris Schilder, Basil Moses, Monty Weber

3.     Sad John (8:26)

4.     It Aint Necessarily So (14:26)

Chris Schilder, Philly Schilder, Jackie Schilder

5.     Look Up (7:59)

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Roy Petersen (piano), Billy Dollie (drums) Basil Moses (bass)

1. Smart Street

Roy Petersen (piano), Monty Weber (drums) Basil Moses (bass)

1. Smart Street (2)
2. Requiem for Reg

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IF YOU HAVE NOT SEEN THE EARLIER POSTINGS OF THIS JAZZ ARCHIVE - USE THE SEARCH FUNCTION ON THE RIGHT AND SEARCH IBH JAZZ

Africa Music and Life of Today Vol. 1 (c1958)

As promised, today we feature another double disc gatefold EP similar to the one we posted last week — Music and Rhythms of Africa Vol. 2. At first I thought this was volume one in that series: the design is identical and the matrix numbers are consecutive... almost! What is different is that this disc was issued on Columbia (SEYJ 101/102) while that volume was on HMV (7EYJ 103/104) — both EMI labels. The matrix numbers for all four discs run consecutively even though their prefixes are slightly different: 7TCA 105-108 and 7TAS 109-112. Nevertheless the comments below reveal that Volume one of the HMV series does exist and can be viewed here at Soul Safari.

Where volume two of the HMV series featured "traditional" music and vocal jive, this volume focusses on African jazz and kwela. The four volumes thus marketing the key South African styles of black music in the late  1950s. The covers of both though betray an idealised, traditional view of "African life" far different from the modern images of musicians found inside the gatefolds. It is likely that these EPs were marketed to white audiences or for international export.

Disc one opens with the Sharpetown Swingsters playing two 1957 tracks you may be familiar with from Electric Jive's Majuba Jazz compilations. Two tracks by the Sophiatown Septet follow. Disc two focusses on kwela and features the Jumping Jacks with one track composed by Zacks Nkosi. If you are a fan of Tom Hark and are looking for other material by Elias and his Zig Zag Jive flutes then side two will not disappoint. Bomma, composed by Rupert Bopape, is vocally quite dynamic, with the base background singing sounding very familiar to me... did Miriam Makeba sample this melody in one of her later songs?

As before, here are some excerpts from the rather dry liner notes:

The Sharpetown Swingsters

"The Sharpetown Swingsters, unlike most other African Jazz bands do not come from Johannesburg, but they live in a quiet little town on the banks of the Vaal River, the border of the Transvaal and the O.F.S. They are extremely popular and have brought much entertainment to their people. Their jazz, which is known as "Marabi", differs from other African Jazz in that it is closely linked with African traditional music. In fact, "Maeba" and "Jikela Bessie" could be called Traditional African Jazz."

"The Sophiatown Septet are a truly exceptional group. Not one of them can read a note of music! They are "natural" musicians, who never fail to please their audiences. The Septet, all young Johannesburg boys, were brought together by our African talent scout Rupert Bopape and are now one of the top names on Bantu records."

Elias and his Zig Zag Jive Flutes

[...] "Elias Lerole, leader of Elias and his Zig Zag Jive Flutes, is one of the best exponents of the penny-whistle in this country, and this group has already had one of their records released on the international market. The tune, "Tom Hark", was written by Rupert Bopape, and since it was featured in the T.V. serial "The Killing Stones" it has caused quite a sensation overseas, reaching the top twenty on the English "Record Mirror" hit parade within 3 weeks of issue." [...]

AFRICA Music and Life of Today Vol. 1
Columbia, EYJ 101/102
(c1958)

1) Sharpetown Swingsters — Maeba (trad. arr. H. Bessie) 

2) Sharpetown Swingsters — Jikela Bessie  (H. Bessie) 

3) Sophiatown Septet — Sophiatown Special (Blacky) 

4) Sophiatown Septet — Blacky (Blacky) 

5) Jumping Jacks — Jumpingjack Special (I. Nkosi)

6) Jumping Jacks — Opa Skaef Weet (D. Moumakoe)

7) Elias and his Zig-Zag Jive Flutes — Dark City (E. Lerole)

8) Elias and his Zig-Zag Jive Flutes — Bomma (R. Bopape)

Music and Rhythms of Africa Vol. 2 (c1958)

Today we continue the series on interesting EPs. I recently came across this double disc gatefold 45 and was struck by how eclectic the eight tracks were on the compilation. The first four cover what has been termed "traditional" music and the remaining are a number of vocal jive and kwela hits from around 1958. It is the "traditional" music that I found most striking, especially the tracks by Veshna Dinaka which, to my ear, come across as quite dissonant and sound remarkably contemporary and almost avant-garde. Likewise the two tunes featuring autoharp or dipela are equally arresting.

The second disc couldn't be more of a contrast opening with the jazzy vocal number, Thimela, composed by Elijah Nkwanyane and performed by Philemon Mokgosi and his Inkspots. (I believe Nkwanyane is on trumpet.)  What follows must be one of the first recordings by the Dark City Sisters, Bra-Cabbage, penned by Rupert Bopape and accompanied by the pennywhistle group Black Mambazo (not LBM). Interestingly the liner notes reveal that the Dark City Sisters recorded this tune "spontaneously" after they just happened to come with their "boy-friends", the members of Black Mambazo, to the studio that day.

Below are some excerpts from the rather dry liner notes:

[...] "MADIKOTI and PHALA BORWA are played on an unusual instrument known as "Dipela", which is an African traditional piano or autoharp. It is made of beaten wire which is flattened and fitted on to a wooden board and sometimes this is placed in a large calabash (gourd) or tin, to make it sound louder. The instrument is played only with the tips of the fingers. WILLIAM MALAETSE, who plays PHALA BORWA besides playing the autoharp, also wears "Mathotsi" on his legs and dances around while he is playing. (Mathotsi are similar to maracas.)"

[...] "THE AFRICAN INKSPOTS are one of the best vocal groups in the country. Their leader PHILEMON MOKGOSI is the driving force behind the group, he is a born artist, and has appeared on stage, screen and radio in South Africa. He has a voice very similar to that of our old friend Nat "King" Cole. Philemon is an extremely talented composer, with many song hits to his credit. Given the opportunity he could develop into one of the world's finest "pop" vocalists. THE AFRICAN INKSPOTS with PHILEMON MOKGOSI do a terrific job on this disc with "THIMLELA"."

"The DARK CITY SISTERS, a group of young girls who came with their boy-friends, a penny whistle flute group called the Black Mambazo, to our Recording Studio, just to look on, and unable to resist themselves they spontaneously burst into song to the accompaniment of the flutes and BRA-CABBAGE is the result. A happy little tune about the fun they have at the Zoo on a Sunday afternoon." [...]

Music and Rhythms of Africa Vol. 2

HMV, EYJ 103/104 (c1958)

1) Vesha Dinaka
Lexowa (traditional)

2) Dipela Tsabapedi
Madikoti (traditional)

3) William Malaetse
Phala Borwa (traditional)

4) Vesha Dinaka
Lexalani (traditional)

5) Philemon Mokgosi and the African Inkspots
Thimela (E. Nkwanyane)

6) Dark City Sisters acc. Black Mambazo
Bra-Cabbage (R. Bopape)

7) Thandi Kumalo
Ithemba Lami (T. Kumalo)

8) Midnite Harmoneers
Isangoma (J. Nhlapo)

Mahlathini - Kudala Besibiza (1978)

Electric Jive presents an album containing some of the best 1970s material recorded by Simon 'Mahlathini' Nkabinde, perhaps the greatest male mbaqanga vocalist. I could not resist sharing this LP with you - some of my favourite songs are included on this album, which features Mahlathini in brilliant voice at the height of his career.

The "groaning" vocal style that became Mahlathini's most recognisable musical feature was originated not by him, but by Aaron Lerole, a member of the pennywhistle group that Nkabinde's older brother Zeph co-formed, Alexandra Black Mambazo. Lerole, who developed this vocal style to attract people on the streets where the group performed, was not a natural bass singer and ended up ruining his voice permanently. Zeph took over the reigns by the later 1950s when the group began introducing five-part harmonies into their performances. Mambazo was by now under contract to EMI under the auspices of producer Rupert Bopape. Simon, who was growing up to be a fine singer with a unique "gruffness" and baritone quality, was convinced by Zeph to join the group at EMI. So began a colourful and productive career.

At EMI, Simon featured prominently on lead vocals in Black Mambazo recordings, and often fronted the legendary recordings from EMI's girl group team, who recorded under names like the Dark City Sisters, the Flying Jazz Queens and the Killingstone Stars. Simon, informally known as Mahlathini, was also recording solo hits of his own as "Boston Tar Baby". Gallo Africa poached Bopape early in 1964, and he brought a selection of musicians - including Simon - over to the new Mavuthela division. With the new house band - the Makgona Tsohle Band - providing the all-important instrumental backup, alongside the Mavuthela girl group team - most well-known as the Mahotella Queens - providing the essential vocals, Simon completed the triumvirate as Mahlathini. Mahlathini and the Mahotella Queens enjoyed a very successful recording and touring period in South Africa and neighbouring countries until 1972, when Mahlathini fell out with Bopape over royalties.

Mahotella continued as normal, filling the gap with groaner Robert 'Mbazo' Mkhize, when Mahlathini decided to leave Gallo. However, his popularity perhaps hit an all-time high when he joined Satbel under producer C. B. Matiwane (and later under the production of Wilson Ndlovu). At Satbel, Mahlathini was backed by The Queens, a new girl group that held a very familiar name to his last one. Several of the original Mahotella members, including Mildred Mangxola, made the move to Satbel to become key singers and composers in The Queens. The creative was also bolstered by the presence of musicians from both Gallo-Mavuthela and GRC-Isibaya Music, such as Selby 'Bra Sello' Mmutung, who provided alto sax and additional male vocals in addition. Mahlathini was also joined by Lazarus 'Boy Nze' Magatole, a wonderful groaner in his own right.

Mahlathini's 1970s career at Satbel was decorated with a solid and consistent sound. The fierce, raw energy of this selection of musicians came across in every song that they produced. Such powerful recordings like "Bhula Mngoma", "Umkhovu" and "Abake Ba Bonana" are classic Mahlathini. The Queens, meanwhile, could also hold their own without the King - "Isitimela", for example, combines  only their beautiful voices with the combined prowess of Raphael Ngcamphala (lead guitar), Nunu Luphoko (rhythm guitar) and Alfius Madlokovu (bass).

This compilation of material recorded between 1974 and 1977 gives you a taste of Mahlathini's '70s rough-cut mbaqanga at its finest. This music is explored further in the fantastic Earthworks compilations The Lion of Soweto (1987) and King of the Groaners (1993), the first of which led the way in bringing the King's music to a wider international audience. I hope you enjoy Kudala Besibiza!

MAHLATHINI

KUDALA BESIBIZA

produced by C. B. Matiwane/Wilson Ndlovu

Music for Pleasure MFP PP 80200

1978

Zulu Vocal

RS / MF

South African Jazz Cultures Indaba - 20th April

A heads-up for jazz-loving UK-based visitors to Electric Jive, here is a chance to spend a day listening to and participating in discussions focussed on South African jazz cultures.

 

Taking place at the University of York on 20th April, the South African Jazz Cultures indaba / discussion day is an interdisciplinary forum structured around five presentations and a round table. Contributions from academics (Eato, Pyper), filmmakers (Kaganof), heritage practitioners (Temple, Huntley), musicians (Abdul-Rahim, Brubeck, Moholo-Moholo), and Hazel Miller of Ogun Records will invite discussion on a range of issues broadly framed by the idea of South African jazz cultures. The day will bring together thinking on a range of topics including, but not limited to:

• Artistic heritage in post-authoritarian, post-censorship societies
• The artist in exile
• Vernacular intellectuals
• Informal / underground knowledge transfer structures
• Artistic modes of resistance

Attendance is free - follow the link here to find out more, and to register.