Legendary singer Dorothy Masuka dies at 83

Dorothy Masuka at 60

Dorothy Masuka was one of the great South African jazz singers of the 1950s. Together with Dolly Rathebe and Miriam Makeba she became an iconic singer and writer of memorable tunes like Pata Pata, Kwawuleza and Into Yam. Many of her songs were recorded by artists like Makeba.

“ Her music was the soundtrack of some our most joyful moments, the light of or souls during our darkest hours” said Nathi Mthethwa, South Africa’s Arts & Culture minister following her death.

Masuka had been suffering from complications related to hypertension, after having a mild stroke in 2018. One of her last stage performances was at Winnie Mandela’s funeral in that same year.

Go Go Suffering

Dorothy Masuka was born in 1935 in Bulawayo, Zimbabwe. Her parents migrated to South Africa when she was 12 years old. Despite her parents’ disapproval, Masuka dropped out of school at 16 to pursue her dream of becoming a professional singer.

She signed a deal to record with Troubadour Records and after a spell with the African Ink Spots she left for Zimbabwe to join The Golden Rhythm Crooners. But she was soon on her way back to Johannesburg and in the train she penned ‘Hamba Hamba Nontsokolo’ loosely translated as ‘go, go suffering’.

The song became her biggest hit and one of the most popular songs of the 1950s. It is regarded as an African classic and remains her signature tune to this day. By 1953, when she was 18, Masuka was already a fully fledged professional musician and, along with Makeba and Hugh Masekela, she toured with Alf Herbert’s African Jazz & Variety Show and with the musical King Kong.

She also performed with the Harlem Swingsters in the mid-1950s and endeared herself to a wide audience with her provocative compositions that riled the apartheid regime. In 1961, the Special Branch seized the master recordings of her composition ‘Lumumba’ which paid tribute to Patrice Lumumba, the first prime minister of the Congo. She also dared to write a political song about the then Prime Minister Dr Malan and was exiled for over 30 years. In Malawi, Tanzania, Zambia and the UK Masuka campaigned for the liberation of SA through her music.

After many years working as a flight attendant for Zambian Airways, she returned to South Africa at the beginning of the 1990’s. A few years later she was a recipient of the Order of Ikhamanga Silver from the SA government. Dorothy Masuka was also inducted into the Hall of Fame in the US in 2002.

source; The Sowetan/The Herald -Kyle Zeeman

see also

Dorothy Masuka -60 years and counting

South African Soul Divas pt 2 Dorothy Masuka, Mahotella Queens, Irene & The Sweet Melodians

South African Soul Divas pt 3 Dolly Rathebe, Mabel Mafuya, Nancy Jacobs, Eva Madison

African Jazz & Variety -Alfred Herbert 1952

GROUNDBREAKING SOUTH AFRICAN MUSICAL ‘KING KONG’ TO DEBUT ON CD

King Kong -London UK 1961 theater programme -cover

GROUNDBREAKING SOUTH AFRICAN MUSICAL ‘KING KONG’ TO DEBUT ON CD‘King Kong’ – Original London Cast Recording to be released on September 28th 2018

Stage Door Records is pleased to announce the debut CD release of ‘King Kong’, the groundbreaking South African Jazz Musical. The Original 1961 London Cast Album of ‘King Kong’ will be released on September 28^th 2018.

see also King Kong -Original London Stage Cast 1961

‘King Kong’ was a pioneering South African musical which portrayed the life and times of the heavyweight boxer, Ezekiel Dlamini, known as “King Kong”. Born in 1921, after a meteoric boxing rise, his life degenerated into drunkenness and gang violence. He knifed his girlfriend, asked for the death sentence during his trial and instead was sentenced to 14 years hard labour. He was found drowned in 1957 and it was believed his death was suicide. He was 36. Billed as a ‘Jazz-Opera’, ‘King Kong’ featured music by Todd Matshikiza and lyrics by Pat Williams. The production was first staged at Johannesburg’s Witwatersrand University Great Hall, opening on February 2nd 1959 and went on to take South Africa by storm.Nelson Mandela attended the opening night and is on record as highlighting the show as his favourite musical. The original South African production starred Nathan Mdledle, Ruth Nkonyane, Dan Poho and Miriam Makeba, helping launch Makeba’s international singing career.

West End theatre impresario Jack Hylton was determined to bring the ground breaking South African musical to London, insisting that as many of the original cast members as possible transfer with the production. ‘King Kong’ subsequently opened at London’s Princes Theatre on February 23rd 1961 and ran for 201 performances. Critics praised ‘King Kong’ for its inventive staging, stand out performances and vibrant score.

In more recent times, ‘King Kong’ has been recognised for the pioneering role the production played in breaking down racial barriers, defying the colour bar and uniting black and white South Africans at the height of the apartheid era. In 2017 the musical was profiled by BBC Radio 3 and later revived in South Africa by the Fugard Theatre Company.

Stage Door Records are pleased to debut the Original London 1961 Cast recording of ‘King Kong’ on CD. The recording is complemented with selections from the Original 1959 South African Cast recording, including many songs that were subsequently cut from the London production. The CD concludes with a handful of bonus tracks including pop covers of ‘Back Of The Moon’ and ‘The Earth Turns Over’ by Elaine Delmar and a jazz instrumental of the show’s title song by Terry Lightfoot’s New Orleans Jazzmen.

see also King Kong -programme The New London Version 1961

King Kong -London UK 1961 theater programme -detail

 

‘KING KONG’ – ORIGINAL LONDON CAST RECORDING (STEREO)
1. SAD TIMES, BAD TIMES – Company
2. MARVELLOUS MUSCLES – Nathan Mdledle, Company
3. KING KONG – Nathan Mdledle, Company
4. KWELA KONG – Orchestra
5. BACK OF THE MOON – Peggy Phango
6. THE EARTH TURNS OVER – Sophie Mgcina
7. DAMN HIM! – Joseph Mogotsi
8. GUMBOOT DANCE – Company
9. KING KING – Company
10. BE SMART, BE WISE – Ben Masinga, Sophie Mgcina, Lemmy “Special” Mabaso
11. CRAZY KID – Lemmy “Special” Mabaso And The Alexander Junior Bright Boys
12. TSHOTSHOLOSA – ROAD SONG – Company
13. QUICKLY IN LOVE – Nathan Mdledle, Peggy Phango, Stephen Moloi, Ben Masinga, Patience Gcowabe
14. IN THE QUEUE – Company
15. IT’S A WEDDING – Company
16. WEDDING HYMN – Company
17. DEATH SONG – Nathan Mdledle
18. KING KING (Reprise) – Company
19. SAD TIMES, BAD TIMES (Finale) – Orchestra

‘KING KONG’ – ORIGINAL SOUTH AFRICAN CAST RECORDING
20. SAD TIMES, BAD TIMES – Company
21. MARVELLOUS MUSCLES – Nathan Mdledle, Company
22. KING KONG – Nathan Mdledle, Company
23. BACK OF THE MOON – Miriam Makeba
24. PETAL’S SONG (THE EARTH TURNS OVER) – Ruth Nkonyane
25. DAMN HIM! – Joseph Mogotsi
26. STRANGE THINGS HAPPEN – Ruth Nkonyane, Joseph Mogotsi
27. BETTER THAN NEW – Nathan Mdledle, Company
28. MAD – Dan Poho, Company
29. QUICKLY IN LOVE – Miriam Makeba
30. IT’S A WEDDING (Original South African Cast Recording) – Company
BONUS TRACKS
31. BACK OF THE MOON – Elaine Delmar
32. THE EARTH TURNS OVER – Elaine Delmar
33. KING KONG – Terry Lightfoot’s New Orleans Jazzmen

see also King Kong, the first All African Jazz Opera 1956

For more information visit:  http://www.stagedoorrecords.com/stage9057.html

King Kong -1959 South African 1st release

Nakhane Touré -raw as a fresh wound

 

  South African writer, actor and writer Nakhane Touré (31) will not be silenced. Resistance defies with a raised head, with a somewhat mocking look in  his beautiful androgynous face. His vulnerability is his strength, Nakhane is a queer artist on a mission.

Last weekend he was a defining artist at the Rotterdam music festival ‘Motel Mozaïque’ where he performed to promote his new album ‘You Will Not Die’. An emotionally charged, loneliness-drenched collection of his own written songs in the soul and electro styles, in which he sings about his homosexuality and how he crawled under the yoke of a homophobic South African church community.

But not only as a musician does Nakhane attract attention, also as an actor. With his leading role in the controversial film of the South African director John Trengrove ‘The Wound’ (2017), he explained the taboo of being a young gay man in the Xhosa community. Xhosa is one of the largest ethnic populations within the Rainbow Nation.

The film caused a lot of commotion in South Africa when it appeared, although there was an Oscar nomination for best foreign film. After intense protests, the film was banned from the South African cinemas early this year. Nakhane felt broken as he mentioned on  Twitter; ‘raw as a fresh wound’.

Broken but not defeated, his music frees his soul he says. On his album ‘You Will Not Die’ Nakhane  raises all the heavy subjects and  taboos in his Xhosa community while coming out as a gay man; self-acceptance, finding an identity, anonymous sex, confusion, leaving his church and religion and finding his own spirituality.

source: NRC Handelsblad 19th April 2018- Amanda Kuyper

Keep On Bumping-South African Disco & Boogie – Part 2

 

This slideshow requires JavaScript.

see also Keep on Bumping in 2017 -South African Disco & Boogie Part 1

here is the second part of  the story of South African Disco & Boogie, published in the 3rd volume of “Hot Stuff” the online magazine focusing mainly on Disco & Boogie. See pages 19 through 25 for the full spread….

SOUL GEMS, BOOGIE BOMBS, DISCO DYNAMITE and ULTRA-RARE HOLYGRAILS !!!

BOOGIE WONDERLAND

      In the first South African disco movie “Botsotso” (1979), the recurring plot is a fairy tale similar to the story of Cinderella. The hero is a dustman who wants to go to the ball, but like Cinderella, he does not have the approriate clothes. Miraculously, he gets the clothes, wins the princess and the respect of his peers. By the end of the film his brother is no longer ashamed of him, and in the followup Botsotso 2 (1983), leading man Luki starts as a cook, but ends up owning the disco.

The suggestion is that class mobility can be effected by changing one’s clothes and learning to dance. Of course that idea is a wellknown theme that was first glorified in the classic disco movie ‘Saturday Night Fever’, starring John Travolta as Tony Manero, a troubled youth from Brooklyn who found glory on the dance floor.

The success of disco music was soon spreading over South Africa as wildfire. Many youth from the townships were trekking to the big cities to find fame and glory under the mirror ball. Simultaneously eager producers from local record companies, always keen on easy sales, flocked to the dancefloors to watch the action. Some great talent escaped the poverty and grim life of the townships and made it big. But most of these young hopefuls ended up as one-hit wonders or simply took the bus back to their homelands on a one-way ticket.

             One of the biggest names to dominate the booming disco scene of the 1970s was Harari, even being invited to perform in the US with jazz trumpeter Hugh Masekela in 1978. During this tour, the band’s leader Selby Ntuli died, leaving Sipho ‘Hotstix’ Mabuse as the new leader. This eclectic ensemble was impossible to categorise; mixing funk and disco with jazz, while also using traditional African instruments to create a completely unique sound that many tried, but failed to imitate. They were the ultimate party band, yet boasted some of the best musicians around at the time, such as Alec ‘Om’ Khaoli and Lionel Petersen. The single ‘Party’ from the album ‘Heatwave’ (Gallo 1980) even entered the American Disco Charts giving the group worldwide exposure and making a superstar of Sipho ‘Hotstix’ Mabuse. Harari will forever hold legendary status, even after their split in 1982.

Another star of that same era is Blondie Chaplin, a former member of Durban’s soul & rock band The Flames who made it quite big on his own, while scoring his biggest hits with Pappa Makhene.

A select Blondie discography on 45 rpm

Blondie And Pappa ‎– Don’t Burn Your Bridges / Boogie On Up -Bullet ‎– B150 (1978)

Blondie And Pappa -I Can’t Get Along Without You / I’m Here, You’re There –CCP Records –CCP1 (1980)

Blondie And Pappa -Going Home To My Mama / I Like It –CCP Records –CCP7 (1980)

Blondie And Pappa -Never Gonna Let You Go / Cape To Nassau –CCP Records –CCP17 (1981)

Spankk featuring Blondie –The Air That I Breathe (Love Of My Life) / Hallelujah (Praise His Name) -Family ‎– FLY 507 (1983)

Blondie ‎– Communicate / Sugar I Like It   -Family ‎– FLY 517 (1984)

Blondie ‎– Overtime/D Good Day   -Family ‎– FLY 528 (1985)

TEEN IDOLS & THE FOUNDATION OF ZOMBA/JIVE RECORDS

Another dance success story in the mid 70s came from Cape Town with The Rockets, a band and dance group fronted by singer Ronnie Joyce who would later go solo to become South Africa’s youngest child star at 13. He was discovered by the popular soul crooner Richard Jon Smith, who introduced his protegee to producer Cliver Calder . This ex-South African correspondent for Billboard magazine would relocate to the UK in 1974 where he would form Zomba Records with his partner Ralph Simon.

Ronnie Joyce’s biggest inspiration of course was young Michael Jackson, whom he resembled with his afro hairdo and funky dance moves. The band had a number of hits like ‘Surrender’, ‘Situations’, ‘Ooh La La’ and ‘Gimme A Break (Dance). Ronnie Joyce embarked on a solo career and released hits like ‘Working On A Good Thing’ and ‘What Went Wrong With Us?’. The young singer teamed up on TV shows and radio programs with another child star; Jonathan Butler.

Best known nowadays as a respected and well known jazz artist in the Cape Jazz genre Jonathan Butler started his career as a teen idol in the same vein as Justin Bieber. The album ‘Spotlight on Jonathan Butler’ contains a selection of uptempo soul & boogie tunes and some classic soul ballads, produced by Peter Vee for Clive Calder Productions.

BREAK DANCE PARTY

Breakdancing, another street craze that started in the New York slums of Bronx and Harlem in the US took the South African youth by storm in 1984, especially in the urban areas. Hot US albums by Break Machine ‘Break Dance Party’, produced by Jacques Morali and Henri Belolo, fueled the popularity of dance styles like the head spin, moonwalking, electric boogie, spider and glide in South Africa where local acts became known nationwide. The Ghetto Slickers, a high energy breakdance trio from the house of popular singer, dancer, actor and disc jockey Cocky ‘Two Bull’ Tlhotlhalemajoe became the most popular dance act.

The Black Consciousness movement of the seventies promoted locally by activists like Steve Bantu Biko as well as African American artists like James Brown, saw individuals and organisations contribute towards building the self-esteem of the oppressed masses of South Africa. ‘Say It Loud, I’m Black and I’m Proud’ became the slogan for black South Africa.

In 1985 the Black Glamour Exhibition in Johannesburg showcased progressive young blacks and their culture. Amongst the musicians who participated in this massive show of self-pride were Ebony, Stimela, Street Kids, Pappa & Blondie a.o.

THE BIG BANG

But nobody was prepared for the tsunami that in 1986 would sweep the country when came Paul Simon released his ‘Graceland’ album. The release of this worldwide hit record created an enormous international interest in South African musicians and their music. Simon faced controversy for seemingly breaking the cultural boycott imposed by the rest of the world against South Africa because of its policy of apartheid. In addition, some black critics viewed Graceland as an exploitive appropriation of their culture.

Back in 1972, after breaking up his career with Simon & Garfunkel, he had already succesfully engaged Jamaican artists to bring the reggae effect into his music. In 1985 Simon engaged South African musicians like Ray Phiri, Isaac Mtshali, Bakithi Khumalo and Ladysmith Black Mambazo in the recording of the ‘Graceland’ album in New York. The rest is history.

Earlier in 1985 Stevie Wonder demonstrated outside the South African Embassy in Washington and released an album ‘In Square Circle’ that same year. On a protest track ‘It’s Wrong (Apartheid) exiled South African musicians Tshepo Mokone, Thandeka Ngono, Linda Tshabalala and Fana Kekana were featured as backing vocalists. In 1987 Michael Jackson asked Letta Mbulu for the song “Liberian Girl” that was part of his groundbreaking album ‘Bad’.

Local record companies responded to this with a non-stop flow of dance records that initially broke first on the radio, followed by success on dancefloors.

The radio broadcast industry, which had earlier seen the end of the SABC’s monopoly with the launch of Radio SR in 1977 with black deejays broadcasting in English, was more diversified then most radio stations. When Radio SR introduced South Africans to smooth talking jocks like Cocky ‘Two Bull’ Tlhotlhalemajoe, Meshack Mapetla or Danisile Lavisa, many young black boys and girls started gearing themselves to a wider and freer broadcasting industry. The radio landscape would never be the same.

Suddenly there was airtime and a healthy market for locally produced black dance music that came from within the community itself, not being imported from US or UK. Labels like On Records, formed by Ronnie Robot, Sound of Soweto and Flash dominated the local markets.

Here is a personal and select discography of my favourite South African SOUL GEMS, BOOGIE BOMBS, DISCO DYNAMITE and ULTRA-RARE HOLYGRAILS !!!

Not many of these releases ever made it further then the borders of South Africa, but they are not forgotten! Just like Cinderella, these records are waiting to be rediscovered after a period of obscurity and neglect.

By no means do I claim that this list is complete….still adding!

Letta Mbulu -I’ll Never Be The Same LP -Tamla Motown ‎– TMC 5242 (1973)–rare LP by a South African legend, one of the holy grails

Little Ronnie Joyce –Give A Little Love / Working On A Good Thing –Bullet Records (B14) (1974)

Jonathan Butler -‘Spotlight on Jonathan Butler’ -MFP 54748 (1975)

Lionel Petersen –I’ll Take You Where The Music’s Playing -Plum Records (PLC 5019) (1975)

Rene Richie and her Cosmic Band –Love In Space -Gallo Records ML 4181 (1978) –Italo Disco from South Africa

Qondile Nxumalo –Mad World / Uthando Olungaka -Soul Brother (PB 75) 1978

Malcolm Soul –Mr. Cool / I’m Gonna Give In CTV Disco -CTS 715 (year of release unknown)

Botsotso –original soundtrack –Buffalo Records (BFL 1005) (1979)

Thandeka Ngono –s/t –Atlantic (ATC 8004) (1979)

Alec ‘Om’ Khaoli –Magic Touch / Be My Wife Gallo Records –PD2007 (1981)

Masike “Funky” Mohapi -Hamba Sibali Wami (pts 1 & 2) –Raintree Records (RAB 311) (1982)

Caiphus Semenya ‎– Listen To The Wind Moonshine 2002 (1982)

Dudu Mazibuku & The Paper Dolls –Disco Beat / Botsoso Girl -Zasha Records (AAB3) (1983)

Piliso –Thumela –Peach River Records (BBSLP 02) (1983)

Brenda & The Big Dudes ‎– Weekend Special Family Records ‎– FLY(V) 4 (1983)

Brenda & The Big Dudes ‎– Let’s Stick Together Family Records ‎– FLY(V) 8 (1984)

Street Kids –Try Me (Game Nr. 2) Right Track PRO RTS 35 (1984)

Ebony – I Need Somebody / You Are The One–Right Track Records (RTS 619) (1985)

Tata –It’s A Mess / Afro Breakdance -Hot Stuff (HST (C) 1507 (1985)

Eric D -Slow Down / Nothing For Nothing -Sounds of Soweto (SOS 2) (1988)

Travolta –Leb 3 (Amarovers) Bubblee Records (Buble 5) (1988)

remember District 6?

Running small convenience stores in townships is a dangerous business for foreigners. Often serving their customers through locked gates, they are accused of spreading disease, stealing jobs and sponging off basic government services like electricity, running water and healthcare.

But as violence against them continues, the South African government insists that criminality is behind it, not xenophobia

Remember District 6?

In 1986, District Six – The Musical- by David Kramer and Taliep Petersen told the story of District Six in a popular musical which also toured internationally.

By the turn of the century District Six, originally known as the Sixth Municipal District of Cape Town, was already a lively community made up of former slaves, artisans, merchants and other immigrants, as well as many Malay people brought to South Africa by the Dutch East India Company during its administration of the Cape Colony.

After World War II, during the earlier part of the apartheid era, District Six was relatively cosmopolitan. Situated within sight of the docks, it was made up largely of coloured residents which included a substantial number of coloured Muslims, called Cape Malays. There were also a number of black Xhosa residents and a smaller numbers of Afrikaans, whites, and Indians.

Government officials gave four primary reasons for the removals. In accordance with apartheid philosophy, it stated that interracial interaction bred conflict, necessitating the separation of the races. They deemed District Six a slum, fit only for clearance, not rehabilitation. They also portrayed the area as crime-ridden and dangerous; they claimed that the district was a vice den, full of immoral activities like gambling, drinking, and prostitution. Though these were the official reasons, most residents believed that the government sought the land because of its proximity to the city centre, Table Mountain, and the harbour.

On 11 February 1966, the government declared District Six a whites-only area under the Group Areas Act, with removals starting in 1968. By 1982, more than 60,000 people had been relocated to the sandy, bleak Cape Flats township complex some 25 kilometres away. The old houses were bulldozed. The only buildings left standing were places of worship. International and local pressure made redevelopment difficult for the government, however. The Cape Technikon (now Cape Peninsula University of Technology) was built on a portion of District Six which the government renamed Zonnebloem. Apart from this and some police housing units, the area was left undeveloped.

Since the fall of apartheid in 1994, the South African government has recognised the older claims of former residents to the area, and pledged to support rebuilding.

District Six also contributed mightily to the distinguished history of South African jazz.

Basil Coetzee, known for his song “District Six”, was born there and lived there until its destruction. Before leaving South Africa in the 1960s, pianist Abdullah Ibrahim lived nearby and was a frequent visitor to the area, as were many other cape jazz musicians. Ibrahim described the area to The Guardian as a “fantastic city within a city..In the late 50s and 60s, when the regime clamped down, it was still a place where people could mix freely. It attracted musicians, writers, politicians at the forefront of the struggle as the school Western province Prep were a huge help in the struggle, but the head boy at the time and an exciptionaly great help was . We played and everybody would be there.”

 

And the story continues with ‘District 9’, probably the most stunning sci-fi movie I have ever seen.

Released in 2009, directed by Neill Blomkamp, written by Blomkamp and Terri Tatchell, and produced by Peter Jackson and Carolynne Cunningham.

The film won the 2010 Saturn Award for Best International Film presented by the Academy of Science Fiction, Fantasy & Horror Films, and was nominated for four Academy Awards in 2009:

The story, adapted from ‘Alive in Joburg’, a 2005 short film directed by Blomkamp and produced by Sharlto Copley and Simon Hansen, depicts humanity, xenophobia, and social segregation. The title and premise of District 9 were inspired by events in District Six, Cape Town during the apartheid era. The film was shot on location in Chiawelo, Soweto, presenting fictional interviews, news footage, and video from surveillance cameras in a found footage format.

More then a great science fiction action thriller it’s a social commentary. Replace the word “alien” with any legal or illegal inhabitant of a township and the message the movie was conveying becomes clear. Not for the squeamish.

source; Wikipedia, YouTube, Aljazeera

King Kong -programme The New London Version 1961

The original South African stage production “King Kong, All African Jazz Opera“ went overseas to be premiered in London, UK  in 1961 after having taking South Africa by storm.  The cast and production numbers were altered for the London version of “King Kong, All African Jazz Opera”.  The London show was presented by Union Artists, also known as the Union of Southern African Artists. Founded in 1952 this organisation came into being with the dual function of promoting the talent that had already been shown to exist in the musical and dramatic  field and to act as an Artists’ Equity. The Union promoted Township Jazz concerts which were the first large scale African entertainment shows to be presented in Johannesburg, and arranged for non-European audiences to see and hear a wide range of entertainment like Dame Flora Robson and Rosalinde Fuller, among others.  It also provided rehearsal facilities, advice on a variety of topics, and opportunity of employment of its members.

Six years after the Union was formed ‘King Kong’ was presented. The musical was a spectacular success, over 100.000 people saw this South African production in the first months after its premiere. After ‘King Kong’ Union Artists went into the production of another all-black cast musical ‘Mhkumbane’,  written by Alan Paton with music by Todd Matshikiza.

 see also King Kong -Original London Stage Cast 1961

 

click on images to enlarge

 

This slideshow requires JavaScript.

Soul Safari ebay auction

Greetings fellow music lovers, Soul Safari’s eBay auction starts today with new additions weekly.

This slideshow requires JavaScript.

 

Throughout the entire month of May Soul Safari will be listing field recordings, folk, private pressings, township jive & kwela jazz, African jazz, soul & boogie, mbanqaga,and much much more with absolutely no reserves.

Records that have been presented on these pages over the last five years are now on auction. So here  is your change to grab some rare African vinyl  as I am cleaning out my shelves to make room for new music.

 

Soul Safari’s ebay auction

 

Soul Safari’s eBay auction

Some highlights; a collection of ultra rare and seldom heard field recordings from ILAM, recorded by Hugh Tracey. These records were purchased many years ago directly from ILAM in South Africa from what was left of their unsold stock. All records come in their original cover with the labels attached to the back cover and are unplayed, in brand new mint condition.

More  Soul Safari favs like great 45’s by jive kings The Soweto Boys, mbanqaga queens The Manzini Girls  are now on auction.

Soul Safari’s eBay auction

See Soul Safari’s eBay auction starting today.

Thanks  for your support and best of luck, happy bidding!

Barbara Thomas 1952 African jazz variety

 On Jan 23, 2014 reader Earle Thomas left this comment on my post about African Jazz & Variety -Alfred Herbert 1952

 “ She is my granny Barbara Thomas ! 1952 African jazz variety”

…and posted this rare pic from his family photo archive. Well appreciated and thanks for your comment.

Barbara Thomas on stage in 1952

latest record finds -October 2013 USA

my last safari through the concrete jungle of cities like New York City and Philadelphia generated a lot of great finds, not just African music but a few  interesting otherwordly records as well. What about The Afro-Latin Soultet ‘Wild!’, a truely rare jazz-soul gem rarely seen in the wild.

Best catch of this safari must be the American release of Spokes Mashiyane’s  LP ‘King Kwela’, recorded during his  first US live tour,  The Boyoyo Boys ‘Back In Town’, Josef Marais, and Dorothy Masuka ‘Pata Pata’ as runner up… maybe not the holy grails I was looking for in the first place but still a decent selection of music from the African diaspora that I like to share with you. More info and mp3 files in coming posts….and my experience of diggin’ in Philadelphia will be revealed shortly.

see also SA Jazz -Abdullah Ibrahim speaks! Staffrider interview with poet Hein Willemse NYC Dec 1986

see also David Thekwane & The Boyoyo Boys -Township Jive 1977

see also South African Soul Divas pt 2 Dorothy Masuka, Mahotella Queens, Irene & The Sweet Melodians

see also the Bleached Zulu

rare South African OST ‘Majuba’. I will review this LP shortly

ah…all the essential and most collectable Cape Jazz holy grails on a double album, released by Strut Records in 2010.

‘The Magic Garden’ aka The Pennywhistle Blues (1951) –Willard Cele

a valuable link to some musical scenes from the movie ‘The Magic Garden’ has been added by our friends at The Kwela Project. Essential viewing. See also the comments on this post. Appreciated!

Willard Cele On His Flageolet With Rhythm Accompaniment

The Pennywhistle Blues  –The Pennywhistle Boogie (1951)

both sides recorded unaltered from the actual 78 rpm

In 1951 Willard Cele and his tin flute appeared in the landmark South African film, ‘The Magic Garden’ (a.k.a. ‘The Pennywhistle Blues’).

It greatly helped to popularize the instrument and inspired many to play, including Spokes Mashiyane, who would become a superstar of Kwela in the mid-1950’s and into the sixties.

Dolly Rathebe performing in the 50’s

This movie is one of the first to feature Kwela for a big audience and Dolly Rathebe, one of my favourite singers is starring in it as well.

The story tells a gentle, wistful tale of life in a black township, with the hero being a small-time thief who plays a penny whistle.

The cast are non-professionals, but the pacing and visuals are certainly of high quality. High point: When the local police lift a garbage can lid and see the thief inside, one looks at the other and says, “Man, the housing shortage is worse than I thought.” Dumb remark, but endearing. Especially since they carefully put the lid back on, and go on their way.

Much of its charm is to do with the age of the film and the success of the Cinematographer in actually teaching the actors to act as this was a first film for all the cast.

This film is used in USA universities as the first of its ilk from the early 1950s with an all-black cast. Fun. Nice countryside and scenery, giving the viewer a taste of South Africa before its troubles.

About Willard Cele

Willard Cele, a crippled South African flageolet player who is regarded as the pioneer of South African Kwela music, often credited as having been the first to bring the inherently upbeat sound of the Pennywhistle to the medium.

On both the South African and English record label he’s credited as playing the Flageolet, which is sort of the refined older cousin to the Tin Whistle or Pennywhistle.

‘The Magic Garden’ (1951)

Also Known As: La soupe à la citrouille

63 min – Comedy | Drama | Music – 5 March 1951 (South Africa)

Director: Donald Swanson

Writers: James H. Brown (story), C.M. Pennington-Richards,

Stars: Tommy Ramokgopa, Harriet Qubeka, Joseph Motuba |

Complete credited cast:

The Thief-Tommy Ramokgopa

Mrs. Shakabona -Harriet Qubeka 

Nicholas, store clerk -Joseph Motuba 

Lucas Ranku -David Mnkwanazi  

John, Lili’s beau-Victor Cwai

Lili Shabulala -Dolly Rathebe

Mr. Shabulala -Grinsell Nogauza

Isaac Wela -Lucas Khosa

Mrs. Wela-Linda Madikisa

Priest -Jonathan Mzamo

Mr. Letuli, the troubled parishioner -George Mabuza

A Constable -Cornelius Moghare

A Constable -Samuel Alcock …

Pennywhistle Player -Willard Cele

Mrs. Shakabona’s Neighbor -Stanley Khali

*

Country: South Africa

Language: English

Release Date: 5 March 1951 -South Africa

Filming Locations: Johannesburg, Gauteng, South Africa

Production Co: Swan Film Productions Ltd.

Technical Specs

Runtime: 63 min

Sound Mix: Mono

Color: Black and White

Made In South Africa (By Gallo Africa LTD)

see also 

something new from Africa -Kwela with Lemmy

Penny Whistle Kwela -Alexandra Shamber Boys, Benoni Flute Quintet

*

This post contains text from I’m Learning To Share!

Thanks to johnsonlj2003 from East Sussex