Best of Taarab updated

I am still looking for a way to get some kind of logging of the changes and updates to earlier posts. In the meantime this update seems worth a separate post.

Posts which have been updated in 2016:

- Diabate (Abdoulaye Diabaté & Le Kéné Star)
- Staying O.K. (three O.K. Jazz singles)
- Succes Zaïrois (two compilations of 1960s Congolese hits)

The update to Best of taarab was sent to me by Pauly Becquart, residing in Tanzania.
He writes: "The cassette contains tracks from 4 volumes of "Best of Taarab" published earlier by Melodica, Nairobi.
Song B6 is named "Walimwengu wanaina" and song B7 is "Khiyana"; both are from Vol. 3 (see cover).

The infos I got at Melodica while buying these cassettes more than 20 years ago is that at the base the band is Black Star Musical Club with Kibwana Saidi and Sharmila at vocals.

Black Star Musical Club is a band originating from Tanga, Tanzania. At the time of these songs it was very difficult for Tanzanian band to travel for political reasons. Many bands recording in Kenya didn't want their name published as they didn't want to get into trouble in Tanzania. For this reason many records are published under wacky names (e.g. 'Ewe Mola' and 'Karibu ramadhani' published by Melodica on 7'' single on label Halal QM 001A under the name Yahoos Band & Hafusa Abbasi and also on the Vol. 4 of Best of Taarab under 'no name' ...)
(Tanzania never got any vinyl production up to now, perhaps this last couple of years because of the uprising of music production in Tz, but I don't think so, never had heard while still in contact with Tz musicians; turntable is a very very rare tool in Tz).

Anyway all tracks on these cassette are from Tanga's original Musical Clubs who had their own taarab style.
Band members recording are rarely the original members. To credit theses cassettes to Black Star Musical Club is not an error nor a big sin."

A flac version of this great cassette can be found here, but only until June 1, 2017: CS KSS 117. The updated mp3 version can be found with the original post.

Mbaraka's twist

As a counterweight to any kind of cynicism I would like to suggest an artist whom I least suspect of possessing this state of mind: Tanzanian superstar Mbaraka Mwinshehe Mwaruka. He is - to me at least - a shining example of a joyful mix of naivety, amateurism and innocence. And he manages to combine this with a positive attitude, a potent dose of originality and fine sense for good music.
He is one of the many artists whom I wish I would have had the chance to meet, if only to confirm what I hear in his music.

In certain aspects he reminds me of the late Remmy Ongala, whom I did have the fortune to meet (several times even), and who convinced me of his sincerity when he claimed he was singing for the poor people. The vigour with which he claimed this, the body language, the open attitude: the cynic in me was unable to resist this. It was hard not to like the man.

Mbaraka died at a time when my African music collection consisted of no more than a dozen cassettes. I first heard his music in the mid-1980s when through the contacts with the Dutch management of Polygram (then still owned by Philips) a local record store started importing albums directly from Kenya. I was sold to Mbaraka's disarming sound right from the start. The start being the confusingly named "Ukumbusho Volume Pesa No. 1".
My curiosity aroused, supply through the local store could not keep up with my demand. So I persuaded a friend, who was working in Kenya at the time, to bring me back all he could find of this series commemorating Mbaraka's greatness. I recently discovered that I still haven't collected all of these*....

This volume contains songs of Mbaraka Mwinshehe with his orchestra Super Volcano. The orchestra is not credited on the sleeve, but Mbaraka himself cites the name of the orchestra in the songs.
This lack of info on the sleeve in itself is not unusual, given the state of literacy of the target audience. But it does suggest that the marketing department never imagined a European listener would ever be interested in this product of 'native culture'.

Most of the songs are in the typical Mbaraka style, with the usual references to Congolese sources of inspiration, such as Franco and Docteur Nico. But there is always an authentic twist. While Franco would go full-blast after a carefully constructed build-up like the one in the first track, "Bibi Wa Watu", Mbaraka instead (after 3'34) opts for a subtle, understated and very elegant 'mipanza' (see this post). I love it.
Every song comes with such a 'twist'.
In "Dina Uliapa" he clearly uses Nico's style, but ends with a typical Mbaraka touch, with the solo guitar strumming and the rhythm guitar moving to the forefront.
I realise this may be a bit of paradigm shift for some of the readers, but the first song on the B-side seems inspired by Tabu Ley's Afrisa of the early 1970s. If you imagine Rochereau singing instead of Mbaraka, I am sure you'll hear it. Of course, Mbaraka lacks the pretence and the intellectual air, and this is not only reflected in the singing, but also in the down-to-earth sax.

The song which stands out on this lp is, however, very much an original. "Masika Mtindo Mpya" is one of those songs that will force its way into your long-term memory. Despite the rather monotonous rhythm, that trumpet (!), Mbaraka's guitar: who can forget this song?

Polydor POLP 550

There is more.
As a bonus I would like to share with you these five alternative takes, which were sent to me by Mr. Msomali, who you may remember (from this earlier post) suggested there must be televised recordings of Mbaraka. We are, by the way, still looking - and I hope you are too!
He sent me these five songs, recorded at Radio Tanzania Dar Es Salaam (RTD), adding: "These 5 songs are authentic/original songs Mbaraka recorded at RTD,and please listen at the way he plays the guitar from minute 4'05 in "Waache Waseme", and that is vintage Mbaraka."

Of these five tracks three (tracks 2, 3 and 4) have been included in Ukumbusho Vol. 3 (POLP 542), one (track 1) in Vol. 7 (POLP 566) and one (track 5) in POLP 502. Most names you'll recognise, and "Suniasa unipoze moyo" is called "Nirudie Mama" on Vol. 3.

I subsequently asked him how these songs compare to the versions released by Polydor (Polygram). His answer typifies the attitude of the African listener: lyrics first, melody later.

"The lyrics of the the five songs are almost the same, with only some words here and there being different. For example in the first song, "Watalii" (tourist), he is asking/telling prospective tourist that by visiting Tanzania they will be visiting majestic/magnificent game parks like Ngorongoro Crater, Serengeti, Manyara (the only place in the world where you can see lions climb trees) and Mikumi park (please note that he forgot Selous game reserve, one of the biggest and most beautiful game reserves). He also mentions Kilimanjaro,the highest mountain in Africa,and also says the country has beautiful almost untouched beaches.
The only difference between the Polydor/RTD versions is the animals he mentions in the song.
In this original RTD version he mentions only 4 animals: elephants, lions (climbing trees), giraffes and zebras. Whereas in the latter Polydor version he mentions 5: elephants, lions, giraffes, does not mentions zebras but then mentions 2 new ones, buffalo and leopards (if singing the song today he could be asked to drop the poor giraffe and put rhino instead, thus mentioning the so-called Big five).
And the other difference of course being the quality of the music, being much better in the RTD original."

Morogoro Jazz Band

"Your favorite, "Vijana sikilizeni"(Teenagers/students listen [to my advice]), is a song with a timely and important message to students (mostly those attending boarding secondary schools) not to engage in and waste their time into forming boyfriend/girlfriend relationship, instead of studying hard to better their future, reminding them that their parents spend a lot of their hard earned money to send them to those expensive boarding schools, only for their offspring to risk being expelled from their studies for engaging into those illicit love affairs. He warns them that they risk losing both their studies and also their so-called lovers, as when they are expelled they will both normally returns to their parents`s homes, which usually are in different regions. Lastly, he sings of the pain these youngsters inflict on their parents, who not only lose all the money they had invested into their children`s education, but also see their kids throw away the chance to get proper education and have a chance of a better life in their future.
It was a meaningful song that was really warmly welcomed by parents and all governments in the region, as it had a very important message for the young people in education.
It did not hurt also as it really was as you say a very good song musically, and especially this original RTD song."

Mr. Msomali estimates the songs were recorded in either 1970 or 1971.

So with a very warm thank you to Mr. Msomali: 5 songs recorded at RTD


* Going by the volumes - up to 13 (!) - on offer on various websites, including i-Tunes (a site which I simply refuse to visit..).

Union

In the aftermath of the death of Margaret Thatcher I have missed a documentary analysing the relation between Thatcherism and the present economic crisis. Perhaps it was broadcast and I just did not see it, or perhaps this is being prepared.
Or maybe the absence of such an analysis is an indirect result of the deceased's policies. Certainly in the Netherlands the media have fallen victim to the "free-market economy". The dramatic effects of this can be observed daily. A movement towards (very) 'light entertainment for the masses' which started in the 1960s with the then new broadcasting corporation TROS was rocket-fuelled by Thatcherism. What was seen in the late 1960s and early 1970s as mindless drivel and the lowest of the low has now - through a process that can only be described as 'incestuous' - achieved the status of 'high culture'. Products of this free-market culture have been exported all over the world. And I am not only referring to Endemol produce such as Big Brother and similar blockbusters, but also to the Tiëstos and Armin van Buurens and other - in my opinion disturbing - phenomena. Mindlessness as a major export.

The latest exponent of this trend is now almost literally forced down the throats of an entire nation. Apparently it is not enough to infect the brains of the defenseless with retarded programming mixed with and/or incorporating matching adverts, with the "King's song" (see this article in The Guardian) an element of coercion is added. We, as a nation, are expected to sing along with this sub-Eurovision (and that's as low as it gets) standard sh*t, in celebration of the new king. This may be the start of the new Middle Ages.....

Perhaps stubbornly, I am still hoping it is not too late. Although on a local level all seems lost, globally there may be sufficient individuals ready to combat the regression into cultural barbarism. By joining forces we can avoid slipping into the abyss. The motto "l'union fait la force" ("Unity makes strength") was - according to this wikipedia page - first used in these low countries in the 16th century. And that's where we will have to look.

As it happens, this unity, this joining of forces, was the main target of the policies of the late Mrs. T. and her sad & misguided successors. The vigour with which she attacked any form of grouping of workers to defend their rights against the forces of the free-market economy - and specifically the trade unions - can only be described as manic. So it stands to reason that we turn to these very unions in our attempt to turn the tide.

And that's where we arrive at the subject of this post: the orchestra of the National Union of Tanzania, the NUTA Jazz Band (see also this earlier post). A great example of strength in unity, and of the high cultural level that can be the result. A unity that is demonstrated in strong vocal harmonies, in a solid wall of horns, and in some great interaction between musicians. And although I have no information about their salaries, I am convinced they can not be labelled as 'overpaid' (like many of the exponents of the present-day 'free-market culture').

This cassette, released by FLATIM Records (see also here), was probably recorded sometime in the mid-1970s. It is a collection of brilliant and very Tanzanian songs, but there is certainly an influence of the then dominant Zairean (Congolese) music. Particularly the influence of the (by that time) Tout Puissant O.K. Jazz is more than obvious. And, as you may have noticed, this will give a band a serious advantage in my rating.
One song stands out in this respect: "Mwana Iddi". In every aspect this is a superb tribute to Franco, but especially in the execution of the sebène. After 1'40 the build-up starts, an ascent in stages which reaches its culmination after 3'19 with one of the very best Franco-esque solos I have ever heard. The band clearly has listened carefully to the grand maître, for they also have grasped the added value of the shouts (with the O.K. Jazz often by singers like Chécain and Boyibanda).

But let me stress that NUTA Jazz is nevertheless very much original, very much Tanzanian - and very much authentic NUTA Jazz.

AHD(MC)032

Pamba moto

Among my resolutions for this new year is one which may prove to be somewhat challenging: for I intend to post more music from East Africa.
The challenge lies not so much in the music, but in 'peripheral' matters.

This post is a good example of this. For although I had copied the music, I had done so in a time when even a copy-shop (or any other facility where one could turn to to produce a photocopy) was a veritable rarity. In fact, it must have been around the time when this record was released. Luckily I recently received digital copies of the sleeve, so I can now share the record with you.

This post is also intended as an encouragement for the Tanzania Heritage Project (see their website), a project which aims to restore and preserve the archives at Radio Tanzania.
This video from their website gives a short introduction:

Compared to a similar project which involves the conservation of (a large part of) the archives of the RTG in Conakry, Guinea, and which is carried out by just one (1) person, i.e. my good friend Graeme Counsel, I am impressed by the size of the team. I hope this will be reflected in the results of the project, - which for now seem to focus largely on the project itself. But I remain optimistic......

In all the discussions about rights and 'infringements' an aspect seems to have been overlooked. When dealing with African music issues of rights (which in any case are mostly the rights of - often dubious - producers) are insignificant compared to the far, far larger issue of the irretrievable and absolute loss of enormous quantities of unique and irreproducable musical recordings.
You may have read my earlier posts where I 'moan' about the 'limitations' in the (digital) reproduction of Franco's impressive oeuvre. To be honest I have to add that these limitations are almost trivial compared to the reproduction of the works by others, like for example the Vijana Jazz Orchestra.
And I hasten to add that Stern's have just over a year ago released a very recommendable CD, which you can still obtain from their site.
Music by Vijana Jazz has also appeared on a few compilations, but I think we are still a long way from a structured and integral disclosure of their musical legacy.

When it comes to biographical information I was surprised to find there is even an entry in the wikipedia dedicated to this illustrious Tanzanian formation, which like others (see here and here) has its origins in a public (i.e. linked to the state) organisation.

I suppose this album can be seen as the peak of the career of the late singer Hemedi Maneti with two of his greatest hits: "Mary Maria" and "Tambiko la Pamba Moto". I love the wonderfully intrusive guitar (and matching bass!) and the great vocals, both the lead and the chorus.
If you ask me, both of these tracks don't only deserve a place in the Heritage of Tanzania, but should also at least be nominated for a place in the World Heritage List (and especially if you see what is actually on this list...).

AHDLP 6004


OFF-TOPIC: I have started a page on Facebook, where I will occasionally post links to 'matters of interest'. Don't expect any profundity though....

Mbaraka on TV

I have to confess it is at times hard to keep up with all the comments that are sent to me both on posts on this weblog and on videos uploaded to Youtube. Although I don't always have the time to react to all of these I can assure you I do read them and do appreciate all the comments* you send in.

The other day a comment was sent to me by a Mr. Msomali, who is - I deduce from his writings - a Tanzanian living in the UK. He wrote about a subject which is also very close to my heart and very high on my (unfortunately extensive) wishlist:
"I want to start the discussion of where the videos of Mbaraka Mwinshehe can be found. I am sure it is in Kenya and Japan.

I will explain why.
Mbaraka took his Morogoro Jazz Band as part of a large group of cultural ensembles/artists representing Tanzania in the EXPO 70 exhibition that took place in Japan in 1970. Being good in technology as they are, I am certain the Japanese recorded every event that went on in each pavilion.

As to Kenya: a lady asks her husband to take her to a Super Volcano show (when the Band was visiting the couple's town) as she says she listens to their songs almost every single day on the Radio, and she also watches them often on the Television. All this is in Mbaraka's song called 'Nipeleke Nikashudie' (which roughly translate as "Take me, so that I can see them perfom live"). By TV here she means VOK Tv (Voice of Kenya Tv).

I believe both VOK (now called KBC Tv) and NHK Tv (Japan's National Tv) have Mbaraka's videos in their archives.

I also believe that both these institutions have a public duty to release these videos of one of the truly gifted musicians to come out of East Africa.
His country was/still is too poor to have have had Television in his lifetime, but he served Kenyans and entertained them in equal measure, and has everyone listened to his song EXPO 70, celebrating his participation there?
Mbaraka belonged to all of us, so the least these two institutions can do to world music heritage is to release his videos into the public domain.

Any ideas on how we can go about asking them to do this service to world music, anyone?

Regards
Mr. Msomali"

What can I say? I support this appeal wholeheartedly. I can't wait to see a video of this giant of Tanzanian music.

If there is anyone out there who has links with either Kenyan or Japanese television, please help us out!

And should you need any encouragement I advise you to listen to this brilliant sample of the great man's repertoire, which as it happens contains both the song "Nipeleke Nikashudie" and two songs dedicated to the EXPO in Japan (including that killer "Expo No.2"!!!!). And the five other songs are all equally disarming in their unpretentious and truely authentic brilliance.

POLP 566 (or POLP 566) (December 21, 2016: update the first link to 320 kbps)

* I would like to make an exception to those sad idiots (and I am holding back here...) who try and slip a commercial link into their so-called comments.

Thumb piano

One of my resolutions for the new year is to post more traditional music. I am well aware that the distinction between modern and so-called 'traditional' music is at times not as clear as it may seem. A lot of modern music is at the very least inspired by themes, topic and tunes handed over from one generation to another, - or in other words by tradition.

So to start off the year I would like to share with you this cassette which I bought years and years ago in the early 1980s, - and long before these historic recordings made by Hugh Tracey between 1948 and 1963 were remastered and digitised. Although some, most, or possibly all (sorting this out is complicated by the fact that some of the titles have been changed - see my first attempt here*) of these recordings are probably available on cd, I still feel there is a case for posting this cassette. For I would like to put it to you that the sound of this cassette is in most cases better, or preferable if you like, to that of the cd's. Listen and compare...

The production of this cassette betrayes the pure amateur love for the music by the people at Folktracks (who don't seem in any way related to Folkways), with pre-computer printing and tightly folded, but extensive sleeve notes. From the archives of the International Library of African Music (ILAM) they have compiled 20 songs featuring the mbira, or sanza, or likembe, or thumb piano. The artists in these recordings have been fully credited. And there are some legends among these. Like Zimbabwean mbira legend Simon Mashoko ("Saimoni Mashoko" in the notes - photo on left). For others these recordings are possibly the only ones that were ever made of them.

I particularly like the tracks by Ngaina Lolo (A2 - love the resonance), the one by Simon Sitale (A8 - the mbira like a blanket for cold ears), the storybook-like "Kemai" by Kayoka Ladislas & Beya Marcel (A10), the very Zimbabwean sounding track by Baranganani Mudzanani from South Africa (B3) and the soulful song for the chief by Chabarwa Musanda Mayo Sinyoro** (B4).

Folktracks AFR-45-802 (new link May 3, 2012)

* And please feel free to suggest additions.
** one person or two?

The doctor is dead

June 29, 1989 (photo: Ton Verhees)

According to this report Remmy Ongala has died on Monday morning December 13, 2010 in Dar-Es-Salaam, Tanzania. Born in 1947 in the Kivu province of eastern Congo, Remmy played with several bands in Congo before moving to Tanzania. He himself in an interview in 1989 (audio 1) mentioned Orch.Grand's Mike Jazz, based in Bukavu, where he played with Rachid King, who he called "his brother in Washington". When King was invited to the US in 1978, Remmy was contacted in Bukavu by Mzee Makassy (audio 2). He played with Orchestra Makassy until Makassy himself left for the UK in 1980, selling his instruments as he was going to buy new ones in Europe. When ex-O.K. Jazz guitarist Mose 'Fanfan' Sesengo didn't feel like waiting for Makassy and decided to start his own orchestra called "Matimila", he invited Remmy to join him. Remmy agreed but with the intention to go back to Makassy as soon as he had returned. But when Makassy returned he refused to take back the defectors. After about a year and a half Fanfan announced he would move on, and left Remmy in charge of Matimila.

Remmy Ongala was known among his fans as the 'witchdoctor', a nickname which amused him, as he confessed in 1989 (audio 3). Maybe he also liked the implied reference to "le Sorcier de la guitare", Franco, who was certainly Remmy's main musical hero and a major influence on his music (audio 4).

I have met Remmy several times in the late 1980s and early 1990s, and he struck me as a very passionate and sincere musician, whose main ambitions were with his public. "Singing for the poor" (see my earlier post) with Remmy Ongala was no cliché.

As a tribute to this great man and true African I would like to share with you this cassette which was released in 1989. It is a good example of Ongala in his purest form.

May he rest in peace.

AHD[MC] 6009

PS: the four fragments of the 1989 interview can also be downloaded as one file here.

Morogoro marvels

If you ask me, this is an album which should be put on the World Heritage List. All human beings should at least be made aware of the existence of this music by the immortal Mbaraka Mwinshehe and the Morogoro Jazz.

This is certainly one of my very favourite albums by Mbaraka. When it comes to Mbaraka at his Mbaraka-st, you can hardly get any better than this. From the slightly out of tune horns in the opening track "Mapenzi Ya Nitesa" to the master's pizzicato plucking in the last track "Dr. Klerruu", there is no hint of pretentiousness, no trace of conceit. I almost feel like I shouldn't be listening to it: this music wasn't made so some idiot Dutchman would listen to it. The musicians can't possibly have been thinking that they would at one point be heard by a world-wide audience.

I don't think it would be wise to write about the individual songs. I won't write about how I love the breaks in "Matusi Ya Nini?" and "Pesa No.1", or the brilliant guitar explosions in "Mitindo Yetu", the classic "Dr. Klerruu", the Franco-esque climax of "Matusi Ya Nini", the amazing.....

Words won't do justice to the extasy this music can bring. I'll leave you to listen - probably in awe - to these Morogoro marvels.....

Polydor POLP 544 or POLP 544

The very last recordings

I am sure you won't mind if I keep this very short.

POLP 517

EDIT December 21, 2016: extra link, this time @ 320 kbps

Best of taarab

I am venturing into unknown territory in this post. I have to admit that normally I am not a great fan of taarab music. I suspect this may be because most of the recordings I have heard are too sedate, too polite. I have - with a, over time, growing reluctancy - heard quite a number of taarab recordings, and have come to the conclusion that "let's go crazy" hardly seems to apply to the taarab music I have heard. The more modern recordings even appear to have suppressed the passion and spiritual energy which can be detected in older recordings like those of the classic "Songs The Swahili Sing" collection.

The cassette I would like to share with you in this post carries the title of "Best of Taarab Songs Vol.1". And this may sound pretentious, but I prefer to see it as a challenge: if you have better taarab songs, please share them with us!!
The cassette was bought by a friend in Nairobi in 1988. Apart from the titles the cassette contains no information about artists, so there is another challenge in this: can anyone help us out with the artist(s)?
I wouldn't be surprised, by the way, if the whole cassette was by the same group.

Among the songs that stand out amidst this wealth of quality taarab songs are a speedy "Mbona Mwatufuja", a piercing "Mapenzi Yaku Nichumu", a spine tingling "Zuhura" (a reference to the singer?) and a strangely haunting "Roho Yangu".

Please don't hesitate to point us in the direction of even more remarkable taarab artists.....

CS KSS 117 (new link - November 30, 2016)

The last recordings

Released in the year of his death these recordings were released as Mbaraka Mwinshehe's last recordings. Of course a few years later Polygram Kenya had to spoil it by releasing what they called "The Very Last Recordings".
I am guessing this is what we'll see in the next few years with 'the last recordings', 'the very last recordings' and 'recordings he made after his death' by Michael Jackson.

But the phenomenon itself should give you an idea of the importance and the standing of the man who was named 'Soloist National'. And the nation can be either Kenya, where he worked and recorded, or Tanzania, where he was born and raised and where he took his first steps on the road to musical fame.

The lp features some of Mbaraka's most famous hits: "Shida" and "Mtaa wa saba", of which the lyrics can be translated as follows:

"Mtaa wa saba" - The seventh street
"I moved today to the seventh street, from the house where I lived before. You could hardly call it a house.
I moved, I moved... when I saw it got too much for me. Always neighbours, children and animals annoying me. Always that terrible heat.
But now I am finally free of that wailing of cats that kept me awake at night. The children are no longer suffering.
Comrades, I don't have words for it. We are crazy with joy! ["wapangaji wa wanazo namii"???] I am no longer cheated by the landlord, thank God!
The heat was terrible beneath the palmleaf roof. It is almost a month ago, and meanwhile I have got a pay rise at work. My wife and children no longer have to suffer. All our troubles are over! "

(translation: Joris Oldewelt)

Not the kind of thing Michael Jackson would sing about, I suppose.

Polydor POLP 512 (1979) or alternative link

PS: please feel free to add the missing sentence in the translation...

EDIT September 13, 2015: the front sleeve of this album has been found (see below), and I have added this to the audio files (only the first link!!), which I have upgraded to 320kbps in the process.

Wana Msondo vol. 2

"Formed in 1964 the Nuta Jazz Band was one of the first to be formed under the new state-controlled regime. The acronym 'Nuta' actually stands for the band owners, National Union of Tanzania, head organization of the trade unions. The band was formed as their parent organization's entertainment wing, band members being regularly employed workers, paid monthly wages, housing, health care, etc. Nuta Jazz became the model for many bands to be formed in 1970s, the band itself went though different incarnations: Following name changes of their parent organization they became Juwata Jazz in 1978, and Ottu Jazz in the early 1990s. In recent years the band has become independent and is now lead by Muhiddin Maalim, one of the founder members. It is now just called Msondo Ngoma, after their mtindo (dance style) of many years. Among all the orchestras and musicians featured on this recording it is the sole surviving band, still active on the Dar es Salaam dance hall circuit in 2007."
Text and photo borrowed from "Zanzibara 3: Ujamaa" (highly recommended).

But the music is from a Polygram cassette...

Polygram CPOLP 621

P.S.: wikipedia!

Ambiyansey

Although I suspect the word was borrowed from Kabasélé's African Jazz, the roots of the orchestra using the word "Ambiyansey" go back even further than this legendary Congolese band. Because in the year African Jazz was founded Salum Abdallah renamed his orchestra "La Paloma", which he founded four years before in 1948, to Cuban Marimba.
If you are interested in music from this early period I advise you to look out for the "Ngoma Iko Huku" CD on the Dizim label (dizim 4701-2).

In this post I would like to share a cassette from a later period, but I can't tell you exactly when this music was recorded.

There is certainly an influence of Congolese music in Cuban Marimba's songs, but this is more noticeable in the details (the "Ambiyansey" I mentioned, the title "Maselina" and such) than in the music itself. The music has a very strong authenticity, a unique Tanzanian originality.
Listen to that break after 1'12 in "Wame Zoweya Kusema", or the one after 1'58 in "Cysilia", or to the hypertensed guitar playing in "Hayawi Hayawi", or to that 'free fall' (and no parachute!) rhythm in "Kilazi Munambie": it's all brilliantly uniquely Cuban Marimba!

Regretfully the quality of the cassette is rather poor. But who cares, with such a great ambiyanse!

C SABA 10

Morogoro

I have been busy digitising another batch. Unfortunately this resulted in another 'issue' which had to be resolved: lack of disc space. But after rearranging, moving and some good old throwing away, I managed to finish what I wanted to do. The fruits of these efforts I will share with you in this blog, albeit little by little.

But this is an lp which I had intended to post earlier, but for some reason I haven't gotten round to it. It is an older lp by one of my favourite artists from East Africa, Mbaraka Mwinshehe. An earlier post was dedicated to Mbaraka with the Super Volcano orchestra. But this is from before 1973, when he was still with the Morogoro Jazz, or the "K.Z. Morogoro Jazz Band" as they are called on this album. Most of these tracks have been reissued on the 'Ukumbusho' lp's, that brilliant series on Polygram's Polydor label.
But compared to those releases, I would say that the sound of this album is perhaps slightly more open, more translucent.

As always Mbaraka is without any presumptuousness or pretension. Horns blaring, guitars skuffling, the typical vocals: I just love this guy.

More to follow soon.

Polydor POLP 502 (December 21, 2016: upgrade to 320 kbps)

Talakaka

An artist who should have been doing well in these times of recession and impending poverty, is Remmy Ongala.
As he himself told me in an interview just over twenty years ago:
(loosely translated) "....Me, I sing for the poor, I don't sing for the rich. To the rich I say they shouldn't frustrate the poor, because they are poor. For before you were rich, your father was poor. Or your grandfather too was poor. Maybe there wasn't a school, - because now school has become essential in present-day life. To get a job you must be able to read. To work the land you must be able to read. But before it wasn't like this. It was by strength: if you were strong you could work the land and have food to eat. And nowadays, people see it as a matter of prestige, because (they say) he went to university and he knows how to read and all that. I always try to tell people that the poor are always numerous, and they are the ones that give courage to the rich, they are the ones that always work the land, they are the ones that build all the houses. The rich never do any building. My songs are like that. So when I compose a song I don't always write down the words. I always recount the truth, of what I encounter, of what I see; and in the evening during a concert I sing this..."

The lp I would like to share with you in this post, is one of his earlier releases (see discography). According to Remmy there is no real difference between Super Talakaka and Super Matimila. Furthermore, when I talked to him in 1989 he was not even aware of the existence of this album....

More biographic details can be found here, and more music and bits of interviews in a later post.

POLP 538

PS: the great photo was taken during the interview by the great Ton Verhees.

EDIT November 10, 2012: Renewed the links.

EDIT August 4, 2019: Once more the link to the album has been renewed!

Misfortune

Some artists just seems to be born for an unfair share of bad luck. Although I have no insight into his personal situation with regards to loves and winning the lottery, Tanzanian singer Issa Juma seems to have fallen in this category. And I am speaking of the past, because this voice among voices, this Star among East-African stars has died almost two decades ago. He hadn't been too fortunate before that, having been partially paralyzed after a stroke. This happened after he had stopped performing and withdrew from music after spending six months in jail for working without a permit. And this was just one in series of mishaps.

Going by this record from 1984 I am sharing with you in this post, I get the impression Issa himself was -consciously or subconsciously- aware of his destiny. Accompanied by Waanyika, one of the many aliases of a band that had split off from Les Wanyika (see the discography by John B.), his singing is brilliant, - but definitely filled with a deeply sensed sadness. The guitars certainly contribute to confirm this impression. In the track "Utalia Na Nani" sorrow even surfaces and crying is heard....

This said, I hasten to add that this is one of my favourite East African records in the swahili rumba genre, with four tracks of outstanding quality.

And a strange thing about this record: after listening to it I always feel a lot happier. It is like the misfortune of Issa Juma acts a counterbalance to any negative emotions I might have had.......

Nyika LP-02 OR: NYIKA LP-02

Maquis

This post contains not one, but two of my favourite albums from a Congolese group in East Africa.

Started in Kamina (Katanga province, Congo) in 1963 as Rocken Success, through Rocken Band (Lubumbashi, 1964), Super Gaby (Likasi, 1965- 1967), Super Theodore (back in Kamina, 1967) and a few more, the band members in February 1972 voted to become Chimbuiza Chinsense la Maquis du Zaire, which a few months later when they set off for what was supposed to be a tour of East Africa (but from which they never returned) was shortened to Maquis du Zaire.

You can read more about the band in Werner Graebner's notes of the "Muziki wa Dansi" CD. And if you want to read more about Congolese bands in East Africa or East African music in general the sites of Alastair Johnston (muzikifan) and Doug Patterson (eastafricanmusic) are essential.

To me it is one of the great mysteries of African music that these two albums from 1982 have never been re-released in digital form. These two lps are just bursting with energy and power!
Maquis has a turbo rhythm section, great horns and some of the very best Franco-like guitars, especially in "Masua", "Bondela Moninga", and in that killer track "Sérieux Ya Mukoko".
As far as I am concerned the two records don't have weaker tracks....

EOM 501
EOM 503

Unfortunately I don't have copies of the sleeves. So I am borrowing this picture of a single from the same "Edition Omaco" record label.

EDIT: Cheeku has provided us with a copy of the sleeve of one of the two lp's (originally from Matt at Matsuli's - who by the way has posted some great east african 45s).
Here is the front and here the back.
And thanks David from Ambiance Congo for a copy of the same sleeve!

Urafiki

According to local sources Mbaraka Mwinshehe was killed on January 12, 1979 when his car drove into a tree on the road from Mombasa to Nairobi. Years later taxidrivers could be seen pointing at various trees along the road where the fatal crash of the star of Mombasa's Bush Bar had occurred.

Although to those who don't speak or understand swahili (like me) Mbaraka may be known primarily for his unique guitar playing and singing style, in Kenya and in his native Tanzania he was -and still is- highly respected and loved for his lyrics. Mbaraka sings about the lives, loves and problems of the 'common man'.

I have already posted one of the Ukumbusho series released by Polygram Kenya in the 1980s (volume eight to be precise), and will -in the course of time- post all the others. To give you an idea of his lyrics, here is an example from Ukumbusho Volume Two "Urafiki mwisho wa mwezi".

Urafiki* mwisho wa mwezi
Friendship at the end of the month

You know I am having problems,
you've heard I am sick,
still you don't come and see me.
Is that what you call friendship?
It's more like animosity,
if we can't help each other.
When you hear I have money again,
you come running to see me.
Is that what you call friendship?
It's more like animosity,
if we can't help each other.
What kind of friendship is this at the end of the month?
When I am broke, you don't show up.
Even when I'm sick you don't want me.
When I'm sick you don't care about me.

In this volume Mbaraka is accompanied by his Super Volcano orchestra, which he founded in 1973 after leaving the Morogoro Jazz. The other songs are about similar 'challenges' of the ordinary Kenyan and Tanzanian (or, come to think of it, citizen of any country). "Mtaa wa saba" (the seventh street), about moving away from a poor neighbourhood, where the noise deprived him of his sleep, and the landlord of his money. "Pole dada" (poor girl), about a girl who was passed over by love. "Kibena" and "Jasinta", both about the bad influence of city life on these 'village' women.

In the spirit of the time (the 1970s) Mbaraka occasionally chose a more educational subject, like in "Vijana wa Afrika" (youth of Africa), in which he calls on the youth of Africa to defend 'the revolution in Africa' (no doubt referring to Nyerere's Ujamaa).

Timeless lyrics and a timeless music: Mbaraka Mwinshehe's recipe to overcome death.

POLP 537 (December 21, 2016: updated to 320 kbps).

*friendship (the lyrics were translated by Joris Oldewelt)

Fauvette

Listening to the music I just couldn't believe this was another of the many anonymous bands from Congo. The cassette sleeve offers very little information, other than that the cassette was made in Kericho, Kenya.

A further search revealed more information about Orchestre Fauvette. Apparently the orchestre is from the east of Congo and was founded in the 1960s. Prominent member of the orchestra was Ndala Kasheba, a singer/guitarist, who later moved on to lead the Safari Sound Orchestra. There is a promotional video (here) in which he talks briefly about his life and in which he is seen playing with singer King Kiki (both are in the photo on the right, 'borrowed' from this informative article by Banning Eyre). The latter also was a member of Fauvette.
Ndala Kasheba died of a heart attack in November 2004 (see this article).

When fighting broke out in Katanga in 1967 while Fauvette was touring the eastern provinces of Congo, they decided to continue their tour outside of Congo. First they went to Bujumbura (Burundi) and from there to Kigoma (Tanzania). In 1969 they moved to Dar Es Salaam, where they were welcomed by Western Jazz, a very popular band at the time. Fauvette soon set up a base there and recorded a few tracks at the studio of Radio Tanzania Dar Es Salaam. One of these is the track "Mama Nakupenda" ("Mama I love you"), which is on this cassette.

In 1970 King Kiki, who -like Ndala Kasheba- grew up in Likasi, joined the orchestra. Two years later the band left Dar Es Salaam and changed its name into Safari Nkoy. After a short period in Bujumbura they returned to (then) Zaïre, where in 1974 Kiki left the orchestra.

So I think it is safe to assume that these remarkable recordings, released on the rare Stranger of the 70s label, were made in Tanzania.

C STR 01

National Service

I can only guess about the origins and status of the National Service Band from Tanzania. I suspect that they were related in some way to the army, but there is no basis for the suspicion. Google only offers an article about Kassim Saidi Mapili, who claims to have been a member of this band (when?).

Listening to the music, there is an elementary influence of Congolese music, but the style has developed into a very original Tanzanian sound. The lead and rhythm (do listen to the rhythm guitar!) guitars are very pronounced and rip through most of the songs. Saxes -but no trumpet-, with traces of Verckys/Musekiwa.
I would guess that the music is from the early 1970s.

If there is anyone who can provide additional information about this (in my opinion) great orchestra, please comment on this post!

C SABA 14