Twist

"Danser le twist"(1965) © Malick Sidibé

Although still at a 'tender age' I have consciously lived through the era of the twist. I have vivid memories of aunts making a total fool of themselves. And of us - the children - giggling, and subsequently being sent out of the room. I even remember cautious efforts at executing the dance (and 'executing' is a good description..) in an early attempt to show that I was "with it".

I have to admit I was puzzled (to say the least) when I found out - a few decades later - that this dance had been copied in several African countries (see also this post). A dance which conjures up images of awkward, even embarrassing body contortions by oversized humans, being performed in countries where dance and rhythm was an integral part of life? Why?

A key to an answer was given by Franco. In an interview in 1987 he pointed out that Africans have no problem in integrating influences from other continents. He himself was a great fan of 'musique slow', by which he meant a large repertoire varying from soul ballads to entertainment music from films and such. The fact that Africans took aboard influences was not a problem, according to Franco. The real problem was that the broad public in the US and Europe make no attempt to get to know the music from Africa.
Unfortunately, little has changed in the 26 years that have passed...

This brings me to the subject of this post. But with a twist....
For in looking for a digital version of the sleeve* of this lp (which I copied to cassette sometime in the 1980s) I was struck by the constant references to the fact that a group from the UK had covered a song by this artist. One could easily get the impression that Daudi Kabaka's only contribution to the welfare of mankind has been that "his song "Helule Helule" was covered by The Tremeloes and () became a hit in United Kingdom" (wikipedia).

Luckily there are others who manage to stay away from justifying the mention of an African artist by how he or she can be linked to the western world. I particularly like the article by Douglas Paterson, which highlights Kabaka's career from an African perspective.
If you ask me Daudi Kabaka has done more by singing songs like the delightful "Kiliyo Kwelu" and the slightly hyper "Jela Kubwa Na Viboko" than by allowing an english band to copy bits from a somewhat boring "Helule Helule".

POLP 531


*If anyone has it, please share it with us...

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?