Masimba

a day in the life of Mr. Mapfumo


Thomas Mapfumo with  Wadada Leo Smith on trumpet 
Masimba
the power to overcome 

Tshona!

...And now in Johannesburg and armed with “tunes from God" he started attending jam sessions at Dorkay House where he jammed with the likes of Chris McGregor and others who later left for exile. It was in fact McGregor who, during these jam sessions, came to Pat and pointed out to him the singularity of his style on piano. McGregor told Pat that there was a man who wants him to come and play at his place. A baffled Pat then enquired from Chris how possible that was, seeing that he (McGregor) was a pianist himself “No" McGregor answered immediately, “the guy says he wants you. He wants you alone. He likes your style."

If there is ever any proof that Pat Matshikiza had carved for himself a distinct sound on the piano, this is it. And long after the Jazz Dazzlers had disbanded, and Chris McGregor and others had left for exile, Matshikiza stayed on playing almost all over the country for almost every and anybody. He entered jazz competitions and won prizes that sometimes lured him overseas but he miraculously refused to leave and preferred to play in South Africa. Like Winston ‘Mankunku' Ngozi he formed a bridge between time and space by keeping the home fires burning, but sadly he never had the fortune to exhibit in a very significant way the majesty of the sound that he so obviously possesses. He ended up playing in hotels and such places and gigs that hardly denote the maestro in him. At best he became an evasive legend whose musical voice spoke louder than his persona in the annals of the South African jazz discography....

Pat Matshikiza

&Kippie Moketsi

but when  giants met:

Pat Matshikiza -piano
Kippie Moketsi -Alto Saxophone

Basil ‘Mannenberg’ Coetzee -Tenor Saxophone
Sipho Mabuse -Drums
Alec Khaoli -Bass
Dennis Phillips -Alto Sax on Tshona

Rashid Vally produced in 1975

Get on to it or in xhosa :
Tshona!

Sogo Bo

Puppet masquerade originated in the precolonial
era and remains a vital performance tradition today. It
draws together a rich body of visual, musical and dance
arts in a dynamic event that the community defines as
both entertainment and play.
But the theater also has a
serious side, and people talk about its capacity to reunify
the community, to create a context within which traditional
social values can be taught, and to provide a time
to give thanksgiving for the rains and for the harvest.
The puppets are played by five ethnic groups:
the Bamana, Maninka, Maraka, Boso and Somono who
live along the Niger River and its tributaries from the
Segou region in Mali, south into northern Guinea. The
first three of these groups are farmers and traders, while
the Boso and Somono are fishermen.
Sogo Bo is also unique among the
other masquerade genres in this region in the variety of

characters that are performed. These include wild animals
from the bush and river such as the elephant, lion,
hippo and crocodile; mythological and fantastic creatures
including a whole variety of bush and water genies; conventional
human types representing occupations like
farming, fishing, and the musical arts, as well as more
contemporary characters like policemen, government
officials,etc
The puppets are voiceless and do not perform
narrative skits, but their performance is accompanied by
a chorus of female singers.
Each major character has a
signature song, and these songs allude to the qualities of
the charcter, the social values of the group or to historical
events. The songs are drawn from a rich repertoire
of fables, legends, epics and proverbs.
People prepare for
months for the event, and for months afterwards they
talk about the performances.
Equally as important as the puppet masquerades’
entertainment value is the fact that these performances
remain important occasions for the exploration of beliefs
and values. Older animal characters, like the lion
and the elephant, continue to be played today, and people
relate the majesty of the lion and the size and steadfastness
of the elephant as important qualities for leaders in
the community.
The community has always embraced
new characters and a few that have been created in recent
years speak to people’s growing concerns about divorce,
poverty, and good governance Like folktales and
other theatrical forms, puppet masquerade

performances throw community values and everyday social relationships
into high relief, and these performances open them
up for public scrutiny and discussion.


from Playing with Time-
Art and Performance in Central Mali
Mary Jo Arnoldi.

&

listen to

Sogodounou

from beloved Nahawa Doumbia

Imaran -Ihendja

 from the Djanet-Tassili 
region in Southern Algeria and  rich reservoir of Tuareg Culture
 a  fantastic recording from 
Imaran -the companions-the group of Ahmed Chakali since 1988

Oud and Voice:Ahmed Chakali
Chorus:Dassine & Tin Hinan
Percussion:Ahmed & Salah.

Ihendja

Nimba Jazz de N’Zerekore

Syliphone magic numbers.....this is 71

 from the  forested region and the city of  N’zékékoré 

 and named after the neighboring mount Nimba 

the regional orchestra of Nimba Jazz or  Nimba Jazz de N’Zerekore 

under the direction of  Samaké Namakan

Ce disque est une page d’ethnologie .
Il retrace des moments d’initiation. L’initiation dans la société traditionnelle le passage de l’enfance-adolescence à la maturité, à l’âge de la responsabilité.
"L’initiation est comprise comme un ensemble de pratiques visant à communiquer à l’individu des connaissances nécessaires à sa bonne intégration dans la société. C’est en somme tout le patrimoine moral du groupe qui est transmis à l’occasion de l’initiation "
"Gon Bia Bia ", le titre essentiel de ce disque , célèbre le départ pour le camp iniatique.
Le mérite des musiciens du Nimba de la ville de N’Zérékoré, est d’avoir su transporter avec fidélité les sonorités forestières : ces voix éraillées , ces rythmes téléphonés, ces trompes tiercées qui reproduisent une attachante ambiance forestière. A l’issue de l’écoute de ces chants , on ne peut plus douter des dires du chef d’orchestre du Nimba, Samaké Namakan :" les mystères de la forêt peuvent être maîtrisés en musique. ". 

Justin Morel Junior

Editions Syliphone Conakry 1980
Le Nimba De N'Zerekore-Gön Bia Bia
it's never late:
SLP 71


and some good news 

Haruna Ishola & his Apala Group-Late Oba Adeboye (The Orimolusi of Ije)

Until the arrival on the scene of Ayinla Omowura and perhaps the popularity in later years of Epe-born Ligali Mukaiba, Haruna Isola reigned supreme as the foremost Apala music exponent in Nigeria . And before he died, he added a feather to his cap by his unprecedented contribution to the development of the music industry in Africa .
With a gentle but compelling rhythm that is steeped in the style of Ajao Oru, leader of an Apala aggregation that first attracted attention in the early 50's to become perhaps the first recorded artist in this music idiom by Philips Recording Company, Haruna Isola truly made his mark and left a valuable legacy behind as the greatest, most popular Apala music exponent the industry ever produced.
His continued success depended on a number of star qualities. As a singer, he bad the ability to create thought-provoking lyrics about issues, places, real life situations and even the philosophy of life where. he was comfortably at home with the use of parables and anecdotes. He consistently projected the virtues of life and living through these channels without soaring to unnecessary praise singing and abuse which later became the order of the day.........>>>>

 & the  party continues with the Apala  messenger & king (both !) Haruna Ishola

Late Oba Adeboye


and fished this beauty from yt / enjoy 

Daniel Ponce-New York Now!

Somos los cubanos que venimos invadiendo,
Somos los cubanos que venimos a decirte a ti
que la timba es brava,
la timba no es como ayer

We are the Cuban invasion!

We are the Cubans who have arrived to tell you

that our timba (sound) is fierce,

our timba is not like yesterday’s.

(Daniel Ponce, New York Now! 1983)

................
Daniel Ponce, himself both a Marielito and a professional rumbero, 
composed and recorded “Invasión 80”(New York Now! 1983). Playing with the
stereotype of the Mariel migration as an “invasion,” this recording revealed 
the larger history of migration and labor of which the Marielitos and rumba were a part.
 “Invasión 80” was a very different rumba from the conga lines that people 
had heard and experienced in previous recordings and performances by Mr. “Conga-man” 
Desi Arnaz. “Invasión 80” was intended to challenge the Hollywood disseminated 
Ricky Ricardo stereotype of Cuban Americans as white and middle class.
 Ponce’s rumba also lent visibility to rumberos who had participated 
in the emergence of Latin jazz, like percussionist Chano Pozo, who collaborated
 with Dizzy Gillespie between 1946 and 1948, the year in which he was assassinated.
 Finally, Ponce’s “Invasión 80” also recalled another invasion,
 which took place in 1917 during the sugar harvest season in the rural areas
 of Matanzas province. According to numerous recollections,borders with his own cohort of Mariel rumberos.
 famous rumberos from all over the country traveled the island in search of seasonal farm  work, 
and after their arduous labor, they competed among themselves,
 elaborating complicated dance steps that demonstrated their ability as Columbia  dancers.
 In his album, Ponce paid tribute to these transregional and seasonal workers’ contests,
 reminding listeners that the circulation of workers now continued beyond Cuba’s borders.

from The Acoustic Body:
Rumba Guarapachanguera and Abakuá Sociality in Central Park by Berta Jottar

Daniel Ponce 
Paquito D'Rivera 

Jose "Chi Chi" Trapaga 

Joe de Jesus 

Orlando "Puntilla" Rios 

Alberto Morgan 

Olefumi Mitchell 

Michael Beinhorn 

Bill Laswell 

Alex Rodriguez 

Ignacio Berroa 

Oscar Gonzalez 

Regino Tellechea 

Nelson Rodriguez 

Francisco Rigores

N.Y. Now!

In memory of Daniel Ponce