Showing posts with label mbira. Show all posts
Showing posts with label mbira. Show all posts

February 21, 2015

Mumble

The record I would like to share with you in this post has been in my possession for quite a few decades. I can't even remember where and when I bought it. But listening to it again, years later, all of a sudden the penny dropped.
This happens occasionally, and it usually leaves me wondering why the penny was stuck in the first place. Maybe it has to do with maturity and the patience (never one of my key features..) that is said to come with it. Or maybe it has to do with the relative quality of the recording: the bigger the pile of disappointing (or downright crap) new releases, the better the chances for the former 'mediocre' recordings. In this case I suspect it may have to do with never getting beyond the first track, combined with my generic impatience.

A big mistake, I admit it.
For this is a special lp. The artists are probably from Bulawayo, Zimbabwe, and have - as far as I am aware - never gained any renown outside of their region. The Kwana-Moto Band is led by Alport Astazio, and the latter is also responsible as composer or arranger for the twelve songs on this album. The principal instrument of the group is - as the cover suggests - the marimba. The marimba skills of the group are particularly evident from the tracks "Odoli"(b2) and "Gweru" (b4), if you ask me.

The two final tracks of each side demonstrate that the repertoire of the group is somewhat wider. Both songs are of the kind that take some getting used to. "Intandane (Orphans)", clearly a sad theme, starts off with an acoustic guitar, a flute and a female singer, but when a man has repeated the lines of the woman a mbira joins in and the songs changes in character. Strangely it fades out when one would expect a lot more... The second non-marimba song, "Urombo (Poverty)", is a more typical instrumental mbira tune.

The songs which make this album really special are the songs with lyrics. These lyrics are mainly spoken and not sung, or perhaps I should say they are mumbled. Because they are drowned out by the instruments. In "Kwira Mungoro [Get Into The Cart]" the argument between the woman and the man is still audible, and in "Ranchera" the instruments quieten to allow the singing to be heard, but in "Lobengula" (my favourite song of the album) all that remains are the mutterings of a man about his experiences in the big city.

Please listen to the album a few times, it may grow on you.

Inter Africa Records 1ALP9

January 18, 2013

Chimurenga master

I have followed Thomas Mapfumo since the mid-1980s. If I am not mistaken he and his band, The Blacks Unlimited, first performed in this country in 1984. In 1986 I saw him - and talked to him extensively - both in Angoulême, where he was performing at the Festival de Jazz et Musiques Métisses, and in Amsterdam. I may post parts of the concert (part of Oko Drammeh's legendary African Feeling series) at the Paradiso, Amsterdam, at a later date. The meetings with Thomas on both occasions were very memorable, for different reasons. But, as I wrote, I may come to those in a future post.

This post is actually of a concert 4 years later. Thomas and the band had not toured Europe for a few years. There had been some changes, particularly in the musical direction of the band. Reggae had been replaced by roots, Zimbabwean roots. Chartwell Dutiro, for example, was playing mbira instead of sax. In 1989 Mapfumo had released songs in which he criticised Mugabe, who two years earlier had abolished the office of prime-minister to become president. A song "Corruption" was even banned in Zimbabwe, and both Mapfumo and his band were targeted by circles around the presidency. The harassments finally led to Mapfumo leaving the country at the end of the 1990s. He now lives in the US.

In my opinion 1989 and 1990 were musically two of the most interesting years in Mapfumo's career. In 1989 he released the album "Varombo Kuvarombo", the first second (1) on his own Chimurenga Music label (part of Gramma). This was reissued a year later by Mango Records as "Corruption", - and now with the (title) song which had been banned in Zimbabwe. Besides this it featured epic songs like "Moyo Wangu" (you may have seen the fantastic live version on YouTube).
The second third album, "Chamunorwa", was even more memorable, with six songs clearly inspired by Zimbabwean traditional mbira music.

These two albums formed the basis of the repertoire which Thomas used for his European tour of 1990. The songs I would like to share with you in this post are from his concert at the Melkweg in Amsterdam during the World Roots Festival (programme) on June 28. A few weeks later he performed at the African Music Festival in Delft, where I managed to talk to him for a short while in a very crowded dressing room. You can hear a short part of that interview after Aboubacar Siddikh's YouTube version of the Melkweg concert, - which by the way includes photos taken (by AS) during a concert a few years later.


The concert featured some remarkable versions of songs which had been recently released on lp. The concert started with fantastic instrumental versions of the - now - classic "Chitima Nditakure" and "Hwahwa".
You may recognise the guitarist as Ashton "Sugar" Chiweshe, who is the star of those videos on Youtube I mentioned above. I particularly like his version of "Nyoka Musango"; his guitar adds a unique twist to this version. "Moyo Wangu" however falls short of the video version.
Remarkable too is the vocal version of "Chitima Nditakure", which unfortunately breaks off. I don't remember if Thomas saved the lyrics for a later part of the song which was not recorded. In any case, the result is certainly a strange version of the song, almost 'dub' like...

The next song (the first on the B-side of the cassette) is again an instrumental; this time a version of "Chamunorwa". This is followed by a song which I have so far been unable to trace. I have gone through my whole collection of Mukanya masterpieces, but have not been able to find another version of this song. An astonishing minimalistic, purely traditional song, - with Thomas dancing and digging deep to evoke the spirits.... I advise you to listen to this a few times; it will grow on you.

The following "Handina Munyama" (from "Varombo Kuvarombo"/"Corruption") was obviously meant to balance the mood. It does so and levels things out for two new songs, which were - certainly in the Netherlands - only available on record the next year. Both "Dangu-Rangu" and "Svere-Ngoma" were released on Mapfumo's third album on Chimurenga Music: "Chimurenga Master Piece" (TML 103). The songs are based on traditionals, but - as Thomas would stress during the interview in August - with the modern mixed in.
Unfortunately of the last song only the first few seconds have been recorded.

Thomas Mapfumo and The Blacks Unlimited at the World Roots Festival (Melkweg, Amsterdam / June 28, 1990)

As a bonus I am adding this energetic video (clip) of the song "Vanhu Vatema" (1993), recorded from Zimbabwean television a year later. The images are clearly taken from the videos I posted earlier, but the editing of this clip is quite good.



EDIT January 19, 2013: The mystery track (track 9) has been identified as "Shanje". No wonder I couldn't find it, as it has only been released on one of the few albums I do not have ("Chimurenga Varieties" - TML 106), - and 4 years after this concert.
Furthermore track 8 is an instrumental version of "Muchadura", which also was released on "Varombo Kuvarombo"/"Corruption". Both Aboubacar Siddikh and myself were torn between "Chamunorwa" and "Muchadura"; and all things considered it could have been either.....
I have corrected this and have re-uploaded the songs.

(1): correction: the first was "Zimbabwe-Mozambique" (TML 100) in 1988.

March 29, 2009

Mbira singles

Although I like all kinds of music from Zimbabwe, the Zimbabwean music that - to me - really reaches the parts other can't is mostly traditional. I have a soft spot for the mbira.
This soft spot has only increased in size since seeing Hakurotwe Mude and his Mhuri Yekwa Rwizi ensemble perform (in 1994). I had been a fan of his since I had heard him on Shona Mbira Music and The Soul of Mbira (this album, originally released in 1973, is a must for any serious music lover), but live he was even more impressive and profound. Unfortunately most of the later records don't succeed in conveying the essence of this spirit music. This is understandable. The ancestors are not likely to communicate in the profane surroundings of a studio.

That's why I was surprised when I heard this cassette entitled "Mbira Singles Collection". It is a very nice collection of 16 tracks by 7 (or 8*) younger mbira groups. Most only use traditional instruments (mbira and hosho), but one (Nyadzonya Mbira Sounds) allows itself the use of a drumkit. There are versions of traditionals like "Nyamaropa", "Pidigori" (made famous by Thomas Mapfumo), and of "Hwahwa" (called "Ngoto Yakaipa" on this collection).

Over the (ten) years that I've had this cassette favourites have varied. That's usually a sign of a very durable collection...

MJCHZ 827 or (MF) here

* track A8 appears to be by two groups.

October 21, 2008

Chimurenga

This is the first of a series of posts about a partnership that played a critical role in the development of African music, and more particularly Zimbabwean music: Jonah Sithole and Thomas Mapfumo.

In this first part the focus is on Jonah Sithole, the man who 'invented' the mbira style guitar playing.
Here are excerpts of an interview with Jonah, recorded March 16, 1996 in Amsterdam. Jonah passed away in Zimbabwe a year later. The other musician present is the -unfortunately also late- Alan Mwale. Between the excerpts are 'related' tracks.

A zip combining the 8 tracks cab be found here.

By the way: here you can find another version of "Moyo Wangu", with an explanation by Mukanya himself.
And here is an interview by Banning Eyre with Jonah Sithole.

PS: The links have been renewed on August 18, 2012.