Hello electricjive readers – warm greetings from a Glaswegian
music nut!
Firstly, I must thank Chris, Nick, Matt and Siemon not only for
their wonderful posts over the years - but for allowing me in as a hijacker!
I’ve been a keen follower of the blog for some years - a veritable
tour-de-force in the promotion of Africa’s rich musical heritage, and surely
world leading when it comes to the priceless preservation of South African
treasure in particular?
You’re probably wondering how it comes to be that we Westerners
come to be so heavily into African music. For me personally, and, I suspect,
for many others, it’s all down to my musical hero – the great BBC DJ, John Peel.
I listened to his nightly shows regularly from 1983 until his
untimely death from a heart-attack on 25th October 2004, taping highlights
and following them up wherever possible.
During the course of his shows, John Peel brought the Planet closer
together, with a weird and wonderful mix of all that was musically interesting
– there were no borderlines in his musical world.
Even since before my time, Peel was playing Osibisa, Sipho Bhengu
and Fela Kuti way before they were “trendy”.
Over the 21 year course of my listening timespan, I was thrilled
by the rush of the Congolese sebene, exhilarated by the dance rhythms of the
Zimbabweans, and captivated by the exotic chanters, percussionists and
instrumentalists from all over the continent. The nuances of chimurenga,
mbaqanga, highlife or soukous were all on the agenda!
I would make up mix-tapes packed with gems from the Soul Brothers,
Papa Wemba, the Harare Mambos, Diblo Dibala, Shalawambe, Pépé Kallé,
Mahlathini, John Chibadura, Thomas Mapfumo and countless others – it was a
pleasure and an education, and it fuelled a lifelong passion.
At the tenth anniversary of the passing of the great man I feel
the time is right to acknowledge the huge influence made by John Peel – his
support may not have suddenly turned any of those African musicians into
mega-millionaires (alas, the world’s tastes are not so well developed) but at
least it opened eyes and ears. Thanks to John Peel (and of course his
wonderfully entertaining friend and DJ colleague, Andy Kershaw), doors were
suddenly open to possibilities - tours were well attended, and thousands of new
fans were made where none previously existed. Kershaw continues to be the BBC’s
African specialist ‘til this day.
The tunes on this compile were mostly featured in the John Peel
show at some stage, although I have allowed myself to include tracks
which were discovered by my own adventures. After all, my explorations were
as a result of my musical education via the “wingding”, as we John Peel fans
liked to refer to his show.
To ensure that my tribute does not demonstrate bias towards my
favoured hotspots of Kinshasa, Harare and Johannesburg, I have laid down a
simple criterion for the selections – no country can repeat. Apart from the
special "bonus track" end selection ;-)
For John Peel and for the love of Africa, I hope you will join me
in my celebration!
Peace out,
The Jukebox Rebel
1. Hiran'ny Tanoran'ny Ntao Lo - Oay Lahy E (Traditional)
Recorded in Paris in the 1930s and originally issued on 78.
Remastered on the album “The Music of Madagascar: Classic Traditional
Recordings of the 1930s” (Yazoo 7003, 1995).
Translates as “Oh Dear Friend”. Recorded evidence of Africa's
musical power and beauty has available for well over a hundred years – our fine
opener, several decades old, originates from one of the remotest parts of the
continent, and serves as an exhibit for the case. Whilst the exact recording /
release date for this piece is not known, an enthusiastic collector who goes by
the name of jw (Jonathan Ward) (at excavatedshellac.com) provides a lot of great information.
Although recordings were being made in Madagascar from 1929, this particular
piece was recorded in Paris, and is believed to have been primarily marketed to
the French, in the slipstream, no doubt, of the Colonial Exposition of 1931.
You're hearing the unforgettable sound of the valiha, the traditional Malagasy
plucked tube zither, pronounced vahLEE, together with a leading lady singer,
and her small, but perfectly formed, vocal backing cast. Stylistically, this
music is called “kalon’ny fahiny”, or “songs of the past” – with a song type
deriving from theatrical Malagasy operetta.
jw notes: “Malagasy music varies
across the island nation, and has been influenced from so many sources – East
Africa, Europe, Indonesia, and even Yemen. Compared to other traditional music
from Africa, it is often described as more melodic, or “lyrical,” because of
some of these influences. Kalon’ny fahiny songs certainly fit that description.
The style is primarily from the high plains of the country, and the theatrical
tradition is still practiced today in major cities of Madagascar.”
2. Lourdes Van-Dúnem - Ngongo Ya Biluka (?)
Recorded in 1972. Original release unknown. Compiled on “Angola
70's: 1972-1973” (Buda Musique 82992-2, 1999).
This legendary songstress was born in Luanda, and rose to stardom
in the 1960s with the group Ngola Ritmos. She recorded her first album,
“Monami”, with this group. She toured several times in Portugal, Algeria, and
Brazil, in addition to performances in her homeland. After her first album,
most of her career was spent with the group Jovens do Prenda, and it’s they who
provide the backing on our featured track. Angola’s first recording studio only
opened in 1969 – what had we been missing out on ‘til then I wonder? Who can
resist this easy style of Semba? Samba without the sweat - yes please! There’s
a sense of hope within this tune but Angola, yet a colony, could not fully
settle during these troubled times. She died in 2006, aged 70, of typhoid
fever, just as some degree of stability was returning to the Republic. The President
of Angola, Jose Eduardo dos Santos, attended her funeral, recognising her
outstanding contribution as a cultural ambassador for Angola.
3. Jali Nyama Suso - Kedo (Traditional)
Field recording in February 1974 in Bakau Village, The Gambia.
First issued on the LP “African Journey, Vol. 1” (Sonet 666, 1975).
Samuel Charters was the compiler of the above mentioned western
release. On the original LP he notes: “These recordings were made during
extended journeys among the peoples of West Africa [namely The Gambia,
Senegal and Mali] whose lives and culture have become part of the Cultural
history of America.”
Mohamadu Lamin Suso (born circa 1925; died 1991) is heard here
singing and playing the kora, this being the ceremonial instrument of choice
for his folk – a 21-string bridge harp used by the Mandinka people of
north-western Africa. On this track, there’s an immediate intimacy between
listener and performer – a hypnotic warmth which is not easily generated by
just one man and his stringed instrument. There’s something about Jali – he’s a
soul stirrer.
His was an eventful life – he lost his leg at the age of just 16,
but did not allow this to prevent him from making the most of his time. By the
mid-1960s he had become an extremely popular figure on Radio Gambia. By the
time of recording his first album in 1971, he was teaching at the University of
Washington. In the 1980s he toured in England, France, Germany, and Sweden, as
well as working on TV soundtrack music. He was trusted to do an arrangement for
the Gambian national anthem; such was his level of respect. In 1991, he died of
tuberculosis after several years of illness.
4. Marijata - Mother Africa (Pat Thomas, Kofi Addison, Bob Fischian, Nat Osmanu)
From their LP “Pat Thomas Introduces Marijata” (Gapophone Records
GAPO LP-013, 1976).
Formed from the ashes of the Sweet Beans, this Ghanaian highlife
crew were smokin’ hot. Core members were Pat Thomas (vocals), Kofi ‘Electric’
Addison (Guitar), Bob Fischian (Organ) and Nat Osmanu (Guitar). I’ve long
regarded the JBs as the world leaders in the art of the hard and fast funk
trance-out but, as you can hear, Marijata run them all the way to the wire.
5. Boyoyo Boys - Son Op (Johnson Mkhalali)
B-side to “Lekker Krap” (Plastik PKB-1078, 1977).
Accordion jive of the highest order, completely exhilarating from
start to finish. It’s easy to hear why these boys topped 70s Township Jive
charts with gold records galore. On the worldwide stage they will, of course,
forever be renowned as the inspirational catalyst for Paul Simon’s excellent
“Graceland”. Hey, at least Paul Simon paid them their dues. Unlike that cad
Malcolm McLaren. Peel continued to play the new Boyoyo Boys material all the
way throughout the 1980s.
6. Kanda Bongo Man - Amina (Kanda Bongo Man)
From his debut LP “Iyole ● Mazina” (Afro-Rythmes AR 001-81, 1981).
After a somewhat innocuous beginning, this piece lifts at least
thrice, and, before you can say “Congo Bongo”, you’re embroiled in an
intoxicating swirl of head-spinning brilliance.
Having played together back home in Zaire with Bella Bella, it was
quite natural that Kanda Bongo Man should once again team up with his old
friend when, at the start of the 1980s, both ended up in Paris. The fact that
Diblo Dibala was probably the hottest Soukous lead guitarist on the planet was
an added bonus for Kanda. Not for nothing is “Diblo” the most famous
mid-recording shout-out in all of African music.
In 1992, John Peel and Andy Kershaw, on learning Diblo was making
an appearance at Stern's African Records, raced there to get his autograph.
Dibala repaid the compliment by giving name checks to both of them on
“Matchatcha Wetu”. This is why we love these DJ’s – zero pretence; they are
music fans first and foremost!
Speaking in regards to a live Diblo concert, Peel said “believe
me, to hear Diblo singing your name on stage is one of the greatest things
that's happened to me in my entire life… I know it's an amazingly stupid thing
to say that somebody is the best guitarist in the world, but if there is such a
person it could well be Diblo Dibala.”
In June 2003, the performance of Kanda Bongo Man at Glastonbury
Festival so enthused John Peel that he was to be heard waxing lyrical about it
on TV and Radio at every available opportunity in the days that followed. Not
that this was some idle, casual fling with the exotic. He had been doing the
same thing on his Radio Show for nigh on two decades.
7. Amayenge - Mao (2 X 2) (Traditional)
Recorded 1985. Original release unknown. Included on the v/a
compilation “Zambiance” (Globe Style ORB-037, 1989).
The name Amayenge is derived from a dance frequently performed by
the Lamba people in the Copperbelt region of Zambia. This dance is traditional
and involves vigorous hip movements in line with the drumming. It is always
performed by the Lamba people when they have something to be happy about it.
Not that this group are at all associated with any particular region of the
country – quite the opposite is true in fact. Whilst “Mao” is sung in the Tonga
tongue, I’m hugely impressed by the fact that they’d be just as likely to sing
in any one of Zambia’s mind boggling array of language variations - up to 78 of
them according to whose count you believe. Especially impressive is the fact
that they are well respected across all the tribes in this regard, and are
thought of as authentic all over the country. I am reliably informed (from
“Zambian Music Legends” by Leonard Koloko) that the celebratory tone of their
music often belies a tendency towards socially conscious lyrics, something
which further endears them to me.
In 2003, when the group’s leader, Chris Chali, passed away, a
glowing tribute was paid to him by Zambia’s ambassador to Japan, Godfrey
Simasiku. Part of it read:
“I wish to pay tribute to a fallen hero, our very own Chris
Chali of the Amayenge Cultural Ensemble. None other than Chris himself founded
Amayenge. The group became one of the best-known ambassadors of Zambia through
their vibrant, indigenous music. They took the U.S.A. by storm and mesmerised
the Russians not far from the Red Square in Moscow. Their kalindula music
vibrated, as many a patron gyrated in Zambia and beyond. Yes, the Amayenge
became a national cum regional household name.
Chris Chali motivated and inspired his recruits and initiates into
Amayenge Cultural Ensemble when the rewards in our own indigenous music were
peanuts. Yes, over the years a prophet has been recognised in his own land, so
was Chris. He composed music in all the Zambian languages and translated into
it vocal vibrations that few would fail to respond to. He took the Amayenge to
all corners of the country either through hundreds and thousands of live shows
or on cassette and compact disc. We remember “Be Helena”, “Ten Kwacha”, “Munise
Munise”, “Fili Uko Tuleya” and dozens of new compositions.
Chali was a gentleman, a diplomat, and a family man who interacted
with many kinds of people in his life. Chris earned the respect of everyone he
met in his various roles in society. He cut across tribal barriers with his
infectious smile and trademark chuckle or laugh.”
Good old determination and perseverance has held the band together
‘til this day under the stewardship of Chris’s wife, Alice Mwenge Chali, and
Fraser Chilembo.
8. The Four Brothers - Ngatipindukewo (Marshall Munhumumwe)
From their LP “Rudo Chete” (Kumusha/Gramma Records KSALP-124,
1988).
Any track. Any album. The Four Brothers never let you down. This
one features the “classic” line up of Marshall Munhumumwe (drums, lead vocals),
Never Mutare (bass, vocals), Aleck Chipaika (guitar, vocals) and Frank Sibanda
(guitar). It seemed like John Peel played every track on “Makorokoto” when he
got his hands on it, and the band were perennial favourites for as long as I
can remember. I rate “Rudo Chete” as one of the ten greatest albums in my own
collection – and this is no mean feat as, in doing so, it beats off competition
from nearly ten thousand others!
Peel famously rated the track “Pasi Pano Pane Zviedzo” as his
second favourite of all-time, in conversation on “Desert Island Discs”,
broadcast on Radio 4 in January, 1990. Later, in the Guardian newspaper in
1997, he included “Makorokoto” in his all-time Top 20 album list. On more than
one occasion he has been quoted as describing The Four Brothers as “the best
live band in the world”. Yes, it’s fair to say this was real old-fashioned
doe-eyed fan-worship – and who could blame him?
Quite often, John Peel’s home in Suffolk would become a bit of an
unlicensed social club – there’d be much pouring of wine, inevitably centred
around a musical happening of some sort, often with hilarious results broadcast
on his Radio 1 show. Magically, late in the summer of 1989, The Four Brothers
made it all the way from Harare to Great Finborough or, to be more precise,
“Peel Acres”, to indulge in one such party.
Writing in “Margrave of The Marshes” (the half-finished
autobiography which she bravely finished after her husbands’ premature death),
Sheila Ravenscroft offered some lovely insight into the couples’ fondness for
Africa, and for Zimbabwe in particular:
“Our most memorable and enlightening trips were those
promotional jaunts organised by the BBC to promote the World Service. These
were wonderful times, and often dramatically illuminating, such as our visit to
Sierra Leone, which Dave Tate from the World Service arranged in conjunction
with the British Council. John visited the university, and did a
question-and-answer session with the students, who were all very charming and
shy.
The British Council did some splendid work in the country, and
John enjoyed engaging with the people there, despite his own shyness. But it
was quite an upsetting trip; we witnessed a level of poverty that left us
feeling physically shaken. After a while, we realised that we hadn’t seen any
elderly people on our travels. That’s when our guide explained that few people
lived beyond forty.
Our favourite trip had been another joint venture between the
British Council and the World service, this time to Zimbabwe in 1988. John’s
role on this occasion was to open a pop-music exhibition in Harare, though he
was careful to remind himself that he had only been asked after Dave Lee Travis
had turned it down. “I’m only here because Dave Lee Travis couldn’t be” –
that’s the kind of thing that will always keep a man from getting ideas above
his station.
Dave didn’t know what he was missing. The trip was a complete joy
from the moment we touched down in Zimbabwe; by the time we left, John was
seriously considering moving there. We spent a lot of time travelling into the
townships to sample the local music scene. There was dancing everywhere. In one
bar that we visited just outside Harare, an elderly man approached John and
asked why he wasn't dancing. John replied, “I don't like to”, to which the man
responded by proffering the bottle of beer he was clutching. “Have this and
you’ll feel like dancing”, he beamed.
Another night, we went with Biggie Tembo to see a local band, the
Four Brothers, who were performing at the Saratoga Club. John first met Biggie
when Andy Kershaw took him to see “New” Biggie’s band, the Bhundu Boys, in
London. Halfway through the gig, Andy turned to John and realised that he had
plump tears cascading down his cheeks, so uplifted was he by the music. Much
the same can be said for the Four Brothers. John and I felt so exhilarated by
their songs; they could lift you up on the darkest days. I danced with Biggie
during three numbers, and when we left the dance floor there was enthusiastic
applause; John said afterwards that he felt rather proud.
When the Four Brothers had finished, John said wistfully that he
wished they could play at his birthday party. And they did. I arranged for them
to perform in our garden, and even as John was entering the marquee on his
fiftieth birthday, he had no idea which band he was going to find there. It had
been quite an effort keeping it a secret. John and I had been at the Reading
Festival a few days before his birthday, where the Bhundu Boys were playing -
and where Biggie babysat for Thomas, who insisted on pronouncing his name as
Big Ears - and friends kept approaching me and asking me about the party. But
when John set eyes on the Four Brothers in the marquee, he was completely
surprised, as well as speechless.
That trip to Zimbabwe was also important because we got to visit
Victoria Falls, which John had always wanted to see ever since he saw a
photograph of it as a child. There were four places, in fact, on this wish list
that he had compiled in his youth. As well as Victoria Falls, he got to see the
Taj Mahal, and he also visited the Pyramids, where he had his photograph taken
riding a camel - a pose that he'd wanted to replicate since seeing a picture of
his father doing the same. The fourth place on John’s list was Machu Picchu.
Our excursion to Victoria Falls was memorable for more than just
the grandeur of the location. Once we were there, we hired bicycles and rode by
The Falls; the spray was momentarily cool and refreshing on our faces, but it
dried in an instant in the thick heat. We cycled on to what was formerly the
Zambian border with the intention of crossing to see The Falls from the other
side. The border guards didn’t seem too keen to let us pass until John
commented that he was hoping to go into Livingstone to buy some records. One of
the guards wanted to know which records, and when John mentioned a few names,
he seemed suddenly interested. “Do you know “Samora Michel” by Shalawambe?” he
asked. “Of course!” replied John. And after he'd duetted with the border guard
on a few verses of the song, we had our passports stamped and were waved
cheerfully through.”
9. Orchestra Marrabenta Star de Moçambique - Tsiketa Kuni Barassara (Conjunto Boa Vontade)
From their LP “Independence” (Piranha pir-12, 1988).
Two things struck me when I first heard this – i) there is utter
joy within these souls and ii) what tempo is THAT? Of course, these immediate
feelings are all very well to the uninitiated. Beyond that, why was this
recorded in Harare? Why did they call their album “Independance”, 13 years
after the event? Like so many other African nations, the joy of independence
was short-lived in Mozambique, as unrest and civil war ravaged the hopes and
dreams of the people in the following decades. The back cover of their CD
quotes from “Nhimba Ya ‘Dota”, a song written by the groups’ leader Wazimbo,
who lays down his thoughts thus: “Is it natural that the rich people with
big stomachs own and decide everything? Is it natural that it was decided that
Africa is the poorest of all continents? With the great World Wars the other
continents took the chance to grow and rule the world. And we Africans, we live
at their back and pass the years lamenting.”
Which just goes to show – never judge a record solely by its
cover. No fewer than fifteen of them, dressed for carnival, looking bright eyed
and funky. Whatever they’re all about, there’s no denying this brilliant music.
Lively percussion and horns, unusual rhythms and great vocalists, with Wazimbo
(m), Mingas (f) and Dulce (f) rotating lead duties. In the case of this chosen
track, it’s Dulce who takes centre stage to charming effect.
10. Les Têtes Brulées - Za Ayi Neyi (Jean-Marie Ahanda, Martin Maah,
André Afata, Théodore Epeme, Roger Bekongo)
From their album “Ma Musique a Moi” (Bleu Caraïbes 82803, 1990).
Les Têtes Brulées (The Hot Heads) were founded in ’86 by music
critic Jean-Marie Ahanda as a counter-reaction to the flashy, gold-studded
style pervasive throughout the dominant zouk dance music scene. Unlike the
extravagant Cameroonian stars that preceded them, Les Têtes preferred a
stripped-down, rough edged sound. Their rapid-fire performances at the time
were based upon the rural traditional music known as Bikutsi, an ancient rhythm
from the rainforest region of western Cameroon. Bikutsi is the music of the
Beti tribe, traditionally played on a balafon (African marimba) and danced by
the clan’s women in a jerky, hypnotic fashion.
Their take was fresh – and their image was striking. Whilst many
zouk and makossa artists went for costumes and a very Western look, Les Têtes
Brulées sported shaved heads and tribal body paint, with the intent of evoking
traditional Beti scarification. Their songs contained lyrics which addressed
social issues – but they didn’t forget to have fun. Virtually every live
concert would involve a football being kicked or thrown all around the venue
between group and audience. This feel-good tomfoolery was recognised by “The
Lions” and Les Têtes Brulées were invited along to the World Cups of 1990
(Italy) and 1994 (the USA), their riotous nature being seen as a key ingredient
in keeping spirits high within the camp. It worked too – who could ever forget
the exploits of Roger Milla leading Cameroon to within tantalising distance of
the World Cup Semi-Finals? In his mind, he was dancing to Les Têtes Brulées at
the corner flag! Pam Pam Cameroon!
The group burnt out though and Jean-Marie Ahanda would later
lament: “We've never been able to make a living from our music. We had great
highs when we were out on tour, but the rest of the time we found ourselves
battling against this impossible contradiction - there we were, the most famous
group in Cameroon, but we didn't have any work and we were basically 'persona
non grata' wherever we went! The bikutsi system totally rejected us. I
eventually decided to call it quits, but other members of the group insisted on
going on, looking for venues where they could play and express themselves no
matter what. That only seemed to do more damage in the end because a series of
bad experiences eventually tore apart the remaining core.”
11. Alan Namoko and Chimvu Jazz - A Namoko Akulira (Alan Namoko)
From their album “Ana Osiidwa” (Pamtondo PAM-004, 1992).
Who can resist this raggle-taggle pounding? Not me, that’s for
sure. There’s something about this humble ensemble that gets you – something
magical which transcends language.
Alan Namoko was a thoroughly inspirational character. Blind from
birth, he was an underdog from the very start. He literally developed his own
unconventional style and was the world leading authority on his own home made
banjo cum guitar, of which he was complete master. Picks, rhythms, sub rhythms,
bass lines, you name it, he could produce from it, song by song, in any which
way that took his fancy. And what a wailer - the blues from his moans were
tangibly loaded with soul, and his lyrics, delivered in a well themed Chewa and
Nyanja inclined vocabulary, tore out the hearts of many.
On our chosen song his wails translate: “Namoko is in mourning
for his grandmother, she is gone to the graveyard on one of those one-way journeys,
dear brother, Namoko is in mourning, his grandmother has deserted him, she has
gone on a one-way trip to the grave.”
The rootsy, lo-fi ensemble was complete with tea chest percussion
from his brother Laisani and cousin Rabson Matiya, the trio usually dubbed Alan
Namoko and Chimvu River Jazz Band, a name borrowed from the river a couple of
kilometres from the Namoko’s home.
Alan was only 7 when Malawi gained her independence in 1964. For
the vast majority of his life he knew only one system – and Banda’s
authoritarian single party state in Malawi meant that a lot of musicians could
not fully express themselves. Lyrics of a political, controversial, or sexual
nature in a largely conservative country would almost certainly result in a
jail term.
The recording industry in the country was low key to the point of
being almost inconsequential – his only route to eking an existence of any sort
was to play at the road sides and rely on the kindness of strangers.
Soon, they came to realise that perhaps there was another way –
perhaps if they could gain support and recognition from the Malawi Broadcasting
Corporation (MBC) they could receive regular royalty cheques if they could
impress enough to gain sufficient airplay?
Namoko and his band got wind that the Malawi Broadcasting
Corporation in Blantyre, the only radio station in the country, had arranged
for recording sessions with acoustic artists at the then Kudya Entertainment
Centre.
On one of the recording days, Namoko and his companions set out
from their Thyolo homes and headed for Kudya, over 30 kilometres away. Upon
their mistimed arrival, the sessions were about to wind up - but Namoko was not
ready to let his opportunity pass so easily!
After his insistence and pleas for a chance, the recording team
Davies Mussa and the late Merkas Munthali and the late Lawson Chaluluka gave
him a try and the rest is history.
“He did pieces like “A Unyolo” and “Che Phuwela” and the place
went wild” recalled Mussa who worked with MBC for a time long enough to
know how to separate wheat from the chaff.
They had secured a future of sorts – they could now queue
regularly at the radio stations’ royalties issuing window and gauge how popular
their latest tunes had been with the selectors / public via the size of their
pay cheque.
It’s commonly told that they were the Number One act in the 1970s
and 1980s – yet still the royalty payments were barely enough to get bye.
In 1990, Namoko and company flew to Europe for a whistle-stop
three-week tour of the mainland. It was reported that, in one Finnish venue,
they sold more tickets than The Beatles who had played their nearly 30 years
earlier!
These highs always seemed temporary – and never lucrative for Alan
or his group.
According to his relatives, it was on November 20, 1995 that
Namoko passed on after a failed battle with tuberculosis, still a pauper.
As fate decided it, Namoko died a man laden with poverty and want.
It would take a dozen long years before his grave could be acknowledged with a
tombstone.
Amid pressing poverty after the demise of their bread winner,
there was very little that his family could do to honour a fallen soul; they
had to struggle to smooth the way of the souls still living.
In 2007, Zodiak Broadcasting Station (ZBS) came to their rescue
and took care of Namoko’s grave, as well as the graves of Laisani (who died in
1994) and Rabson (who died in 2001): “The reason why we are building this
tombstone, which we are calling the Allan Namoko Memorial Tower, is because at
ZBS, we believe that as much as Namoko came from an ordinary background, he was
not an ordinary man. It was within our belief that there are so many people out
there that have achieved big things but have not been recognised, one of whom
is Allan Namoko” Zodiak’s managing director Gospel Kazako told Society.
“We strongly believe that Allan Namoko can still be honoured
because our culture tells us that we can still respect the dead. In our view,
Allan Namoko does not deserve to sleep in a leaking house, or in no house at
all as was the case” he said.
Kazako remarked that the gesture reflects Zodiak’s desire to
respect art and talent in Malawi.
“For us, it only makes sense for a pure Malawian radio station
to put up a memorial tower for a true Malawian legend. We wish we had all the
money so that we could have done memorial towers for Daniel Kachamba, Robert
Fumulani, Maikolo Yekha or Black Paseli” he said.
Note: I’m indebted to an internet article entitled “Pain of
Namoko's penniless legacy” by Herbert Chandilanga (2007), for the source of
most of this information.
12. Le Zagazougou - Allah Ma Diana (Korotoum Kamara)
Recorded in Abidjan, April 1992, included on their self-titled
debut album (ACSB-001, 1992), a local cassette-only release.
Cote d’Ivoire? Halfway to Colombia by the sounds of it! If there’s
one thing I’ve learned on my African adventures it’s that all pre-conceived
notions about the region’s music do a great dis-service to the creative talents
that are lurking within every corner of the continent. For every Womad-led
snooze-fest with jaded session musos, there’s a fresh, sparkling ensemble just
around the corner, waiting to be discovered. Of Le Zagazougou, All Music Guide
have this to say: “Formed in Abidjan, Cote d’Ivoire in 1990 by the sons and
nephews of Mamadou Ouattara (who, having been given an accordion by a
missionary, had introduced the instrument into the traditional music of Cote
d’Ivoire), Le Zagazougou continued to develop the role of the accordion within
the music of their country. They created a brand of fast-paced, acoustic roots
pop which also featured vocals and massed percussion. Led by Ouattara’s son
Bakary, a.k.a. Abou Ouatt, and featuring up to 15 instrumentalists and singers,
they soon became the most popular roots-based group in Abidjan.
Their debut
cassette for the local market outsold more commercial African and
Anglo-American releases on its release in 1992 to become the Cote d’Ivoire’s
bestseller of that year. This was something of a coup for traditional-based
music, hence the title of their debut international release “Zagazougou Coup”,
which featured tracks from that initial release alongside material recorded in
Abidjan a year later.”
13. Magic Black Men - Can 2002 (?)
From their album “Lume” (Invasion Records, 2002).
An inventive trio who answer to the names Don Mizero (Hamidou
Cissé), Philosophy (Attino Doumbiaand) and Titi (who has managed to retain
anonymity). Their originality is widely applauded by the Malian public. They
all speak the dialects of Mali as well as several foreign languages – you will
get an immediate sense of this on our selected track, which was played by both
John Peel and Andy Kershaw. They somehow manage to stylistically bridge their
sound to incorporate Rap, Ragga, Soul, Zouk, Salsa, the traditional, and even a
little bit of Rock n Roll. Now that’s magic ;-)
14. Béla Fleck and Ateso Jazz Band - Jesus Is The Only Answer (Traditional)
From his album “Tales From The Acoustic Planet, Vol. 3: Africa
Sessions” (Rounder 0634, 2009).
Rounder Records press release tells the background: “Throw Down
Your Heart chronicles banjo virtuoso and 9-time Grammy award winner Bela
Fleck’s musical journey to Africa to explore the little known African roots of
the banjo. Bela’s boundary-breaking musical adventure takes him to Uganda,
Tanzania, The Gambia, and Mali, and provides a glimpse of the beauty and
complexity of African music. Using his banjo, Bela transcends barriers of
language and culture, finding common ground and forging connections with
musicians from very different backgrounds.”
There are simple joys at every second turn of this set – a must
have for any collection. Who needs a £100,000 studio when the people’s park of
Jinja is available for free? What a charming adventure...
15. Soweto Gospel Choir - Asimbonanga [live dec. '13] (Johnny Clegg)
Field recording at Woolworths Parkview Store in Pretoria, Saturday
7th December 2013.
I finish off this mix-tape with a song which was originally
written and performed by Johnny Clegg and Savuka, away back in 1987. Johnny
Clegg was an artist given great support by Andy Kershaw and John Peel, since
way back in the 1970s, when he played with Juluka.
Peel’s politics were in line with Mandela – he too was a social
democrat. A firm supporter of the anti-apartheid movement, his shows were
suitably littered with words and music aligned with the cause for as long as I
can recall. His listeners voted “Free Nelson Mandela” as one of the best songs
of the year in 1984, with Peel wryly commenting afterwards, “Should have been
higher, brothers and sisters.” In June 1988, Peel attended the “Nelson Mandela
70th Birthday Tribute Concert” at Wembley Stadium, and followed up with
encouraging words on air aimed at solidifying the significance and meaning of
the event beyond pop music. From Zambia, Amayenge arrived in London the
following month to play in session, and included their own song, also titled
“Free Nelson Mandela” – the hour was nearing at last.
Mandela was “the one man on earth that I would really like to
meet” said Peel on air – a wish unfulfilled, although Andy Kershaw did get
to meet him briefly at the “46664” concert in London in 2008.
As for our chosen version of “Asimbonanga”, The Soweto Gospel
Choir had been singing this song in their repertoire for many years, usually
bridged wonderfully with “Biko”. The choir had been booked to appear at a Woolworths store on 7th December 2013, where, as part of the store’s “Operation Smile
Xmas campaign” they would perform James Brown’s “I Feel Good” and hand out
flowers to the customers. The idea was that they would be incognito, posing as
shop workers, and suddenly burst into song from out of nowhere, to the surprise
of passers-by and anyone else who happened to be in the store at the time. So
it came to be that in Woolworths Parkview Store in Pretoria, Saturday 7th December
2013, 10:15am, they duly performed – but with a late change to the planned
track selection! Rolihlahla Mandela had passed away the night before last and
an appropriate dedication was in order!
Asimbonanga (we have not seen him)
Asimbonang' uMandela thina (we have not seen Mandela)
Laph'ekhona (in the place where he is)
Laph'ehleli khona (in the place where he is kept)
Sithi: Hey, wena (We say: hey, you)
Hey, wena nawe (Hey, you and you)
Siyofika nini la' siyakhona (when will we arrive at our
destination)
I was very proud that my own hometown honoured Rolihlahla Mandela
with the Freedom of Glasgow in 1981. Prouder still when St George's Place in
our City Centre was renamed as Nelson Mandela Place in 1986. At Glasgow City
Council HQ in George Square we have a plaque bearing words from his infamous
speech / statement dating back to 20th April 1964:
“I have fought against white domination, and I have fought
against black domination. I have cherished the ideal of a democratic and free
society in which all persons will live together in harmony with equal
opportunities. It is an ideal which I hope to live for, and to see realised.
But my Lord, if needs be, it is an ideal for which I am prepared to die.”
These words from Mandela’s defence statement during the Rivonia
Trial in 1964 were repeated during the closing of his speech delivered
in Cape Town on the day he was released from prison, on 11 February 1990. He
was a brave, selfless and noble man who broke the supremacists through sheer
will and determination. He never changed for South Africa. South Africa changed
for him.
Rolihlahla Mandela, with my fist clenched and right arm aloft, I
salute you.
