Music And Arts Scene
The Mapfumo oldies
African Records Review
By Kwabena Asamoah
THOMAS MAPFUMO: Chimurenga Singles 1976-1980' (EARTHWORKS ELP 2004) 'Chauya indeed. Chirizevha Tozvireva Kupiko Pfuumvu Pa Ruzevha Kwaedza Mu Zimbabwe' Africa'/'Nyarai' Chipatapata "Butsu Mulandarika' Munhu Mutema Ndiyani Achatipa Runyararo
This album - in fact a compilation of old singles and a follow-up to last year's hit album ("Ndangariro") displays a strong guitar style which defies any categorisation. Right from the opening 'Chauya Chirizevha' (rural life is back) the listener is comfortably thrown into an uptempo consistently built upon a rhythmic and stylish guitar and drums. The melodious echoes provided by the horns section encircle Mapfumo's voice to provide a pleasant entertainment for the listener.Mapfumo is, of course, a war hero with his mature music as far back as the days of Rhodesian wars towards independence. Thank God Rhodesia (now Zimbabwe) is independent. In Tozvireva Kupiko' (who shall we share our frustration with?) Mapfumo rhythmically explores and expresses himself in his usual mature style. In a country where everybody appeared to have been resigned to his fate the trend was to share one's frustration with the 'Bantwanyana'. Lord. This is the theme of this track which reveals the wisdom and the intel- lectual strength of Mapfumo's lyrics.
In terms of rhythm 'Pfumvu Pa Ruzevha (hardship in the rural areas) approaches 'Tozvireva Kupiko' though less vibrant. Mapfumo however, carefully selects apt lyrics to draw a dichotomy between rural and urban life.
Kwaedza Mu Zimbabwe' (It has dawned in Zimbabwe) is a track which you may definitely wish to dance to due to the musical invitation in the use of instruments especially the guitar, horns and the strong bass line. Mapfumo hails the African leaders and all and sundry who helped achieve the Zimbabwean independence. This theme is re-echoed in "Nyarai' (be ashamed) which is a fitting tempo to celebrate with..
'Africa' is done in a significantly different style and mood, confirming the versatility of the group. The electric guitar riffs delineate a beautiful pattern consistent throughout the album. The B side has other attractions. Chipatapata (confusion) done in the Pa vein attains a 'The different dimension with the ins and outs of trumpet - a pleasant rendition
The musical drive present in 'Butsu Mutandarika' (long outsized shoe) and 'Munhu Mutema' (black people) is overwhelming and excessively rhythmic. Just like in every track Mapfumo has a message for black people: he harangues his people to make a fresh start in spite of effluxion of time.
When Mapfumo closes his album it is with a grand and sentimental style in 'Ndiyani Achatipa Runyarraro' (who will give us peace). The lyrics are extremely moving and the music attractive.
Listening to the album it would not take you too long to be convinced that Mapfumo and his group display intel- lectual power, rhythm and lyrical style. I wonder why Earthworks apologise at the back of the sleeve because the album is more than acceptable.
MAHOTELLA QUEENS, MAHLATHINI & OTHERS: 'Phezulu Eqhudeni' (EARTHWORKS ERT 1002) Umthakathi' 'Uyagiyaum-ahlathini' 'Umoya' Imbodlomane' 'Izulungelami' 'Duduzile'/'Sithunyiwe' 'Ukhohliwe' 'Dolly Swidilami' 'Thina Siyakhanyisa' 'Gabi Gabi'
Compiled music is usually done mainly because a particular music form is not just available on the market but only quality warranted the re-release of this series of classic South African jive Mgqashiyo.Mahotella Queens and Mahlathini who generally fill the grooves of this album with intriguing music are already well known as far back as the mid-sixties and their reputation and popularity have not diminished even in this era of keen competition. Of course, some of their music emanates from the pen of the prestigious Robert Bopape who had also written for the indomitable Dark City Sisters.
The strong distinctive guitars and the magnificent female vocal harmony give this rhythmic jive a special appeal and touch, making the music on the album an extraordinary compilation.
Listening to the groaning voice in 'Umoya' (sound) one feels a certain aura of closeness to the music of which the guitar work through smacking of African jazz is too poignant to miss. The lyrical expression in 'Izulungelami' (I'm supreme) is particularly delightful to a point that leads itself to an intense musical appreciation.
Mahotella Queens give out some of their vocal secrets in 'Sithunyiwe' (we have been sent) and 'Bantwanyana' (small children) whose musical content is high. In 'Bantwanyana' the guitar riffs, making incursions from time to time on the scene to match favourably with the sweet voices, turn anything into harmonious music.
This album relaunches the listener into the good old days when South African jive was at its peak. Come back to it now. HAPPENINGS. 1984 IS CERTAINLY the African year of music and the Venue in Victoria, London is definitely going to be a scene of action for the next two months. The line is as follows:
Thursday, 5th May - Kanda Bongo Man (Zaire). Thursday, 24th May - Quatre Etoiles (Four Stars) (Zaire/Congo). Thursday, 31st May Toure Kunda (Senegal). Thursday, 7th June Pierre Akendengue (Africa's answer to Stevie Wonder) (Gabon).
Plans are also afoot to feature les Amazones de Guinée (all-female group from the Republic of Guinea) and Sam Mangwana (Zaire) between 10th and 17th May. For further information contact Sterns African Records Centre, 116 Whitfield Street, London W1
Tuesday May 1: "The African influence abroad" a book exhibition on the influence of African Culture in Europe, the Americas and the Caribbean, opens from May 1-21, 1984. A variety of subjects including social, political movements, religion, music, language, literature, folklore and the visual and performing arts on show at Commonwealth Institute's Exhibition Galleries. It should be an experience worth of interest to the literary minded.
Wednesday/Thursday May 2/3: Two plays from South Africa by Matsemela Manaka, winners of a fringe "first" award at the 1983 Edinburgh Festival, featuring Darnie Moitse, David Sega and Makarious Sebe and Ronnie Mkwanazi come on at Soyikwa African Theatre. "Paula and Imbumba". Sunday May 6: "Remembering Kass inga", programme includes extracts from "Somewhere on the Border" by Anthony Akerman, a play about conscripts in the South African Defence Forces and "Separation" a play about apartheid, war and the breakup of family life in Namibia.
Oil painting by Ablade Glover
Dr Ablade Glover, currently Senior Lecturer and Head of the Department of Art Education at the University of Science and Technology, Kumasi, Ghana, is not new to the London and international art exhibition scene. A review in London Arts Review by Mel Gooding last year said: "This is the first one-man show here of a rare phenomenon - a European/American trained artist working and teaching in his own country, who is whole-heartedly absorbed by the potentialities of easel painting."Glover insists that oil painting has its place in the new arts of Africa, as a means of individual expression and as a potent medium in which to record and celebrate the visual richness of the continent: his own work is an impressive affirmation of that view. Time will tell its ultimate validity."
The current exhibition opens (May 2 - June 1984) at the October Gallery, 24 Gloucester Street, London WC1.
