Thursday, 12 December 2013

Moonbeats over 2013 mixtape

So here we go with some of the favourites from 2013 that got stuck in my head over the past 12 months....enjoy!

Zephyr - Rodion G.A.
Adjinon We - Danialou Sagbohan
Safar - Hassan Shamaizadeh
Piya Tu Ab To Aaja - Kumar Sanu
Malam Joget - Orkes Melayu Bulan Purnama
WÅ„Åòrewan Am_ÉŒÅÇulle - Elias Tebabel
Hayeelin - Dur-Dur Band
Sina Raha - Hafusa Abasi & Slim Ali with The Yahoos Band
Ne me fatigue pas - Bassekou Kouyate & Ngoni ba
Onsta La Yerbita - Los Destellos
w.e.l.f.a.r.e. - antonio castro
Moonbeams - Brenda Ray
Come Holy Spirit - God's Band
Ah, Music - Vinny Roma

Get it here: RS / ZS 

Sunday, 8 December 2013

Hamba Kahle Tata Mandela


We grieve, we cry, we look for comfort, we give thanks - may Nelson Mandela's inspiring life make us all more resolute in pursuing his example of leadership, compassion and humanity. Hamba Kahle Tata.

In 1986 Johnny Clegg penned this beautiful protest anthem: Asimbonanga:

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)

Oh the sea is cold and the sky is grey
Look across the Island into the Bay
We are all islands till comes the day
We cross the burning water

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)

A seagull wings across the sea
Broken silence is what I dream
Who has the words to close the distance
Between you and me

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)

Steve Biko

Asimbonanga (We have not seen him)
Asimbonang 'umfowethu thina (we have not seen our brother)
Laph'ekhona (In the place where he is)
Laph'wafela khona (In the place where he died)

Victoria Mxenge

Asimbonanga (We have not seen him)
Asimbonang 'umfowethu thina (we have not seen our brother)
Laph'ekhona (In the place where he is)
Laph'wafela khona (In the place where he died)

Neil Aggett

Hey wena (Hey you!)
Hey wena nawe (Hey you and you as well)
Siyofika nini la' siyakhona (When will we arrive at our destination)

Asimbonanga (We have not seen him)
Asimbonang 'umfowethu thina (we have not seen our brother)
Laph'ekhona (In the place where he is)
Laph'wafela khona (In the place where he died)


(The picture featured is of the striking Nelson Mandela sculpture created by Marco Cianfanelli at the site where Mandela was captured by the South African Police near Howick in 1962.)

The great man makes an appearance in this video of the song. The original recording of the track can be downloaded below.


RS here
MF here

Friday, 6 December 2013

We Miss You Mandela!


What can be said? We all knew this day would come. Tonight marks the passing of Nelson Mandela! Many in South Africa will waken shortly to this sad news. I know Chris has prepared a special post for this occasion, but in the wee hours of this morning and until that time enjoy this masked tribute to the iconic leader. Recorded by Sello "Chicco" Twala in 1987 this hit dance song escaped the apartheid censors by referring to a fictional character "Manelow" but it was fully understood who the subject of the song was. As you listen it is hard not to hear the words: "We Miss You Mandela, Where Are You?"

CHICCO
We Miss You Manelo
(1987)
RBM 068
Promotional 12" copy







Also check out Chicco's youTube video:


Monday, 2 December 2013

Rock Jive - Volume 1 (1952-1968)


December brings our now annual tradition of featuring end-of-year compilations appropriate for the holiday season. I'll open with a first volume of South African jive tracks loosely themed around rock n' roll. All tracks are digitized from 78 rpms sourced from the Flat International archive.

While jazz and swing were the dominant styles influencing South African music of the 1950s and 60s, the impact of rock music was inescapable. Rock was marginally adopted by some black South African musicians in the late 1950s, and yet the principle focus still remained with jazz, jive and kwela. Reasons for this are well outlined in Charles Hamm's essay "Rock 'n Roll in a Very Strange Society" in his book Putting Popular Music in its Place. For more on this subject also see our earlier post on the Bogard Brothers.

Not all the tracks in this compilation are strictly rock — many include elements of swing, ska, kwela, goema and majuba (or African Jazz). Simply, I built the comp from tracks that either included the word "rock" in the title or band name or where a name or title was similarly suggestive such as Slim Guitar and his Band or the Hot lips Band. Some gems include the Bank Robber's Rock by Kippie Moeketsi and his Hot Rocks and Zulu Rock by the African Symphonics featuring Ntemi and Shadrack Piliso.

I think you will find the compilation suitable for dancing.


ROCK JIVE - VOLUME 1
(Flat International / Electric Jive, FXEJ 13)

01) Cowboy Superman - Madlaka Dlaka (1952, Bantu Batho, BB 113)
02) African Symphonics - Zulu Rock (1957, Troubadour, AFC 491)
03) Benoni Rocket - I'm Gonna Rock (1961, New Sound,  GB 3278)
04) SDV Swing Band - Riverside Blues (c1966, Winner, OK 267)
05) Slim Guitar and his Band - Mapapi Busuku (1960, Zonk, TV 155)
06) Soweto Stokvel Septette - Eddie's Ska (1966, Stokvel, ST 002)
07) Black Notes - Funky Papa (c1965, Tempo, KT 567)
08) Billie the Kid and his Zombies - Magidasibekane (1959, Zonk, TV 134)
09) Joe's Jazz Band - Fly-By-Night (c1955, Philips, P30803H)
10) Hot Lips Band - Julia (c1953, Bantu Batho, BB 162)
11) Fanani Sibanda - Abanga Bani (c1953, Troubadour, AFC 151)
12) Kippie Moeketsi and his Hot Rocks - Bank Robber's Rock (1957, Troubadour, AFC 472)
13) Telegram Specials - Imfene (c1962, Goli Rand, RA 154)
14) Sophiatown Gaities - Mosadi Ola (c1956, Philips, SB 55)
15) Simon Hlatshwayo Crazy Crackers - Ama Crazy Crackers (c1956, Philips, SB 52)
16) Black Notes - Madison Time (c1965, Tempo, KT 567)
17) Slim Guitar and his Band - Ndlela Mbi (1960, Zonk, TV 155)
18) Benoni Rocket - Khumbula Leyomini (1961, New Sound, GB 3278)
19) Billie the Kid - Xmas Night Jump (c1960, Winner, OK 105)
20) Samuel Levuno - Vereeniging Jive (1968, Stokvel, ST 050)
21) Swingather's Band - Emazini (c1956, Bantu Batho, BB 1026)
22) Telegram Specials - Insizwa (c1962, Goli Rand, RA 154)

Monday, 25 November 2013

Amagugu: Ubhek'uZulu (1974)


"Africa's Greatest Vocal Group": goes the front cover marketing hyperbole from 1974. Amagugu were certainly vocally very strong though - sultry, velvet harmonies. Add legendary lead guitarist and arranger Hansford Mthembu to the girl group and groaner mix, and you have a very strong mbaqanga album.

I turned to Electric Jive's walking mbaqanga encyclopedia, Nick Lotay, to see if he could tell me more than the little that is available on the record and cover. This is what he had to say:

"The regular members of Amagugu during this time included Sannah Mnguni (lead vocals), her sister Francina 'Thopi' Mnguni, Thoko Khumalo, Liliah Vilakazi and Thandi Kheswa (who was a Mahotella Queens member from around 1969 to 1974). The lady photographed on the front cover isn't Sannah - it looks like it could be Thandi Kheswa, but I'm not sure. The male groaner is Harry Nhlapo who later joined Abafana Baseqhudeni at Mavuthela, and at one point sang with the Queens.

"The lead guitarist on this LP is Thopi's husband Hansford Mthembu, one of the legendary mbaqanga players of all time and one of the crafters of Amagugu's sound. Kali Monare is the drummer. Titus Masikane, credited with writing two of these songs, was the group's producer and manager.

"I don't know who or what the "Umqangabodwe" credited as having written four songs was, but producers of the time would habitually invent random names to replace the name of the real composer, possibly to collect the ensuing royalty fee for themselves."

1. Ubhek'uZulu - (H. Nhllapho)
2. Imvula (Umqnagabhodwe)
3. Ulwandle (Umqnagabhodwe)
4. Inyoni Emhlophe (Umqnagabhodwe)
5. Instsholontsholo (Umqnagabhodwe)
6. Chuchu Makgala (Thandi Kheswa)
7. Mesong (K. Monare)
8. Samelu (Sannah Mnguni)
9. Emakhabaleni (T. Masikane)
10. Mngane Wami (T. Masikane)
11. King of My Heart (H. Mthembu)
12. Salani Kahle (H. Methembu)


AMAGUGU
UBHEK'UZULU
Producer: Titus Masikane
Skyline Jazz: SK80162

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Monday, 18 November 2013

Classic mbaqanga: Indoda Mahlathini (1969)

Today, Electric Jive is proud to present another compilation of hit singles from the days when mbaqanga was the sound of the townships - Indoda Mahlathini, released in 1969 on the Motella label, is a twelve-song LP that features some of the best-selling Mavuthela material of the past year. As is normally the case with this kind of record, the listener will find that they simply must get up and start grooving to the great vocal jive sounds offered here.

Although this LP bears his identity, it is rather interesting that Simon ‘Mahlathini’ Nkabinde appears only on four of the twelve songs! This particular time period was the absolute peak of Mahlathini’s popularity. The rightful king of all the groaners, this crowd-puller was the only singing star who attracted fans from right across the board – kids as young as ten would attend his shows, as well as elderly people who scrambled to the halls in their walking frames. It is obvious that the compilers of this album wanted to capitalise on Mahlathini’s enormous success by using his renowned moniker as the title of this record. The King’s bellowing groans can be heard on his solo numbers “Imbodlomane” and “Gabi Gabi”, as well as “Sengibuya Emarabini” which is recorded with the Mahotella Queens and “Akashaywa Umfazi” by the Sweet Home Dames.

From Mavuthela’s start back in 1964, the same team of ten (or so) female singers had recorded under the various group names dreamed up by Rupert Bopape. Following the recruitment of more singers during 1965, Bopape took one of the names and built it up into a regular recording and touring line-up: the Mthunzini Girls (Julia Yende, Windy Sibeko, Teddy Nkutha and Virginia Teffo) were the junior group of singers. The Girls also recorded under a second name, Izingane Zo Mgqashiyo. The senior female group at Mavuthela performed and recorded as the Mahotella Queens, but also cut records under various other (non-touring) names including Izintombi Zo Mgqashiyo, Marula Boom Stars, Soweto Stars and Sweet Home Dames. Some of these names were interchangeable, and it is not unusual to listen to a record credited to the Sweet Home Dames but featuring the voices of the Mthunzini Girls (or vice versa).

“Jive Didiza” was one of the Mthunzini Girls’ biggest-selling hits of the late 1960s. Possibly recorded as Mavuthela’s answer to the rival Izintombi Zesi Manje Manje’s celebrated 1967 top seller “Isidudla sika Joseph”, this number features the robust lead vocals of Yende who sings “siyatshitshizela, isidudla sikaMahlathini” (we’re moving like young girls, Mahlathini’s big women)! “Tete Muka No. 2” is a song that has an amazingly crazy guitar intro and a fast-paced beat that just won’t quit – and that’s definitely not a bad thing. The group’s other track on this LP is the wonderfully rumba-tastic “Sangena, Sangena”, a driving and dynamic number that happens to be my favourite one. The late Windy Sibeko’s distinctive alto voice can be clearly heard on these two classics.

The senior Mavuthela female group appears on four tracks on Indoda Mahlathini. One of them, “Sengibuya Emarabini”, uses the familiar and famous Mahotella Queens name. The usual rhythmic mgqashiyo beat works its magic in this lovely number composed by Rupert Bopape and Marks Mankwane. The other three numbers are credited to the Sweet Home Dames and feature the normal Mahotella line-up of the day, including Mildred Mangxola (who recently retired from the current line-up of the group in 2013), Juliet Mazamisa, Ethel Mngomezulu, Thoko Nontsontwa and Nobesuthu Shawe. Mangxola’s two compositions, “Yeka Amanga” and “Akashaywa Umfazi”, are yet another couple of examples of solid girl group harmony. Another gem is Shawe’s composition “Dumazile”, the complicated tale of a couple of lovers.

Later into the 1960s, with more young female vocalists joining the roster, Bopape took another of the pseudonyms used by the senior group and built up a third unit of junior singers. The Dima Sisters, who appear on three songs, included Sheba Malgas, Mavis Maseko, Nancy Ngema and Julia Ngubane. Various Mavuthela staff including Shadrack Piliso, Ellison Themba and the two Lerole brothers contributed to the group’s material. Following the departures of several vocalists in the early 1970s after a salary disagreement, the most talented singers in the lower-ranking Mavuthela groups were promoted into the senior Mahotella Queens line-up. Several Izintombi Zomoya members joined the frontline of the Queens, with two of the Dima Sisters also coming on board – Nancy Ngema and Sheba Malgas.

While you’re waiting for this LP to download, you’d best get your dancing shoes ready and get ready to do some heavy jive mgqashiyo until you drop. Enjoy!


VARIOUS
INDODA MAHLATHINI
produced by Rupert Bopape
Motella LMO 110
1969
Vocal Jive

RS / MF

Thursday, 14 November 2013

Hidden South African Jazz archive comes to life

Tonight at a public lecture in the City of York there will be a live performance of four South African jazz compositions found in the Ian Bruce Huntley archive. The "original" Ian Huntley recordings are shared here today in celebration of the great work that Jonathan Eato and students at the Department of Music at the University of York are doing in bringing Ian's archive alive in a most positive manner. Jazz legend Louis Moholo-Moholo will be there tonight, participating in the celebration.

Jonathan is talking to an interested audience about the Ian Bruce Huntley archive, showing some of the pictures, and to illustrate some of the material found in the audio archive, he
Ronnie Beer: Pic © Ian Huntley
has taken the trouble to transcribe the music and give "the dots" as he calls the sheet music, to four students who will be performing compositions by Tete Mbambisa (Leads Dwana); Ronnie Beer (Immediately); Ebrahim Kalil Shihab aka Chris Schilder (Look Up ) and Winston Mankunku Ngozi (Ekhaya).


In writing to me about the planned event tonight, and the process leading up to it, Jonathan had the following to say:

"Obviously this couldn't have happened without Ian's recordings. They (the students) will play them as part of the Merchant Adventurer talk .... And what's great is that Mpumi Moholo and Louis Moholo-Moholo will be there (although this is making the drummer both very nervous and very excited). I wonder if these compositions have ever been played outside South Africa?

"When they're tidied up I'll send the dots through for Ian (if that's of interest to him...). In listening to this music in detail so I could transcribe it for the students the interesting thing to me is that although improvisation over blues sequences are ubiquitous in jam sessions and gigs with impromptu bands, 'Immediately', 'Leads Dwana' and 'Look Up' all do this in unusual ways. Probing and exploring the form in one way or another.

"The head for 'Look Up' is thirteen bars (the usual 12 with a sort of one bar hiatus added to the end), whereas 'Immediately' has an extra two beats added to bars 4 and 12 - which also gives a total length of 13 bars but with the elongations split up and spread throughout the head, if that makes sense. 'Leads Dwana' is really doing my head in - it's heavily modal but I think I'm going to have to do more work on trying to understand how it works (or perhaps hope that Tete will explain it to me - assuming we can find a language that makes sense to both of us). Anyways it's a 32 bar modal head which covers the main harmonic centres of a typical jazz blues without using the form, or the bebop language prevalent in modern jazz blues.

"Of course these musicians were aware of Miles Davis' work etc. (hence 'Milestones' etc featuring so often in the IBH recordings) - and even though Davis recorded that in 1958, Herbie Hancock's 'Maiden Voyage' (the other great landmark of modal jazz) wasn't recorded until a year *after* Barney Rachabane, Ronnie Beer, Dennis Mpale, Tete Mbambisa, Max Dayimani and Sammy Maritz recorded 'Leads Dwana' in the studios at Thibault Square."

Jackie, Philly and Chris Schilder
Pic © Ian Huntley
 
I hope the musically technical stuff made sense to some of you, I just nod my head and happily accept that I can still love and appreciate the music without really understanding the intricacies of how it is constructed.
 
Ian's recordings are believed to be the first or earliest recordings of all of these compositions - and as Jonathan wonders aloud, have they even been played outside of South Africa - before tonight? By my amateur reckoning, I do believe, Ronnie Beer's "Immediately" has the greatest chance of having been  performed in Europe while Beer was there playing with Chris McGregor and the Blue Notes. 

In addition to the two versions of "Immediately" already shared on this blog (The Thibault Square recording at 7:55) here and (Room At the Top) a 15 min 46sec take here  - we are sharing two more versions. A 9:52 take, from another fine performance by Mpale, Rachabane, Mbambisa, Beer, Mgijima and Dayimani at the Room at the Top - at the end of which you can hear one of the band members commenting about Max Dayimani "hitting the drums". The second take is a 13min 55sec version, also performed by the same members at the Room At The Top in 1964.
 
"Look Up" features on the 1968 vinyl holy grail - Chris Schilder Quintet's "Spring". The 3:35 version also features on Volume 3 of the great Strut Next Stop Soweto Compilation issued in 2010. The 1966 version of Spring recorded by Ian in District Six, Cape Town stretches to close on eight minutes performed by a Schilder family trio.

Tete Mbambisa's  Leads Dwana also deserves to be heard internationally, and perhaps it has been already. Who knows? Here, the Jazz Disciples - with Sammy Maritz on bass - provide a swinging eight-minute rendition.

The recording of Ekhaya is unlikely to have been performed and is not widely known. The recording shared here today was not a public performance and is not of the best sound quality, but those who recognize its importance will forgive that.

The musicians playing the four compositions at the live gig tonight are: Will Edwards (drums), Twm Dylan (bass), Joe McGrail (piano), Ben Turner (alto saxophone).


In his talk, Jonathan will be outlining the thesis he puts forward in his essay contained in the book "Keeping Time". Thank you to all of you who have pre-ordered the book - and for your kind and encouraging words. For those of you who have not yet reserved your copy - it might be a good idea. Click on the picture of the book on the side-bar - it will give you an e-mail address. Send me an e-mail requesting a copy, and I will send you further details.
 
 
1. Look Up  (7:59) (Chris Schilder): Chris Schilder (piano), Philly Schilder (bass), Jackie Schilder (drums) - recorded at the Moses House, Smart Street, District Six ~1966.
 
2. Ekhaya (7:35) (Winston Mankunku Ngozi) Winston Mankunku Ngozi (tenor), Ebrahim Kalil Shihab (Chris Schilder) (Piano), Midge Pike (Bass), Selwyn Lissack (Drums). Recorded at a practice session at Selwyn Lissack's Bantry Bay garage studio - 1966.
 
3. Immediately (Ronnie Beer) ver a (9:52) Dennis Mpale (trumpet), Barney Rachabane (alto), Ronnie Beer (tenor), Tete Mbambisa (piano), Martin Mgijima (bass), Max Dayimani (drums). Performed at the Room at the Top, Strand Street, Cape Town 1964.
 
4. Immediately (Ronnie Beer) ver b (13:55) Dennis Mpale (trumpet), Barney Rachabane (alto), Ronnie Beer (tenor), Tete Mbambisa (piano), Martin Mgijima (bass), Max Dayimani (drums). Performed at the Room at the Top, Strand Street, Cape Town 1964.
 
5. Leads Dwana  (11:32) (Tete Mbambisa) Dennis Mpale (trumpet), Barney Rachabane (alto), Ronnie Beer (tenor), Tete Mbambisa (piano), Martin Mgijima (bass), Max Dayimani (drums). Performed at the Room at the Top, Strand Street, Cape Town 1964.
 
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