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Topic: Mbaqanga

	Mbaqanga - Wikipedia, the free encyclopedia
		Mbaqanga is a style of South African music with rural Zulu roots that continues to influence musicians worldwide today.
		One of the earliest innovators of mbaqanga was the Makhona Tsohle Band, a group comprising domestic workers from Pretoria.
		Mbaqanga, Zulu for steamed cornbread, fused marabi and kwela influences.
	en.wikipedia.org /wiki/Mbaqanga (479 words)

	South African Legends
		The word "mbaqanga" means "dumpling" in Zulu, a colloquialism for "homemade" that was originally intended as an aspersion since the music was considered basic and simplistic.
		Originally an instrumental music, mbaqanga soon incorporated vocals thanks to the influence of South African vocal groups like the Manhattan Brothers and the Skylarks, who in turn were inspired by African-American jazz.
		He was a pioneer in the development of mbaqanga, the harder-driving, sax-led version of jive that was popular into the 1970s.
	members.tripod.com /cosealtromondo/mo_vida2.htm (3494 words)

	MBAQANGA : MusicWeb Encyclopaedia of Popular Music (Site not responding. Last check: 2007-10-22)
		Mbaqanga drew on all of these, and when the record companies recorded the bands and gave them airplay, the music grew rapidly in popularity.
		The term itself is derived from the word for a quickly made steamed mealie bread, and was apparently first used in connection with music by Mike Xaba to mean quick money; it is also used today to mean something like 'jive' for all the township musics.
		Mbaqanga bands today usually have a modern electric lineup with drums, bass, vocals, guitars, perhaps brass; they are characterized by guitars, vocals and brass entering at different points, providing a unique dance rhythm.
	www.musicweb.uk.net /encyclopaedia/m/M157.HTM (264 words)

	mbaqanga: Afropop Style -- South Africa, Southern Africa
		Mbaqanga grew out of earlier styles--pennywhistle kwela, township sax jive, gospel-inspired African choral music, and marabi, the lifeblood of South Africa's illegal township shebeens and dancehalls in the first half of the century.
		The name mbaqanga gets various translations--porridge stirred up hot in a hurry, or fried dumplings heavy as the music's beat.
		Mbaqanga was an important turning point in the development of South African urban music.
	www.afropop.org /explore/style_info/ID/20/Mbaqanga (338 words)

	World on the ARTISTdirect Network - Free World Downloads, World Videos, and CDs (Site not responding. Last check: 2007-10-22)
		Mbaqanga was one of South Africa's most popular native musical styles, originating in the fl townships in the late '50s and early '60s.
		At first, mbaqanga was an instrumental music, an urban outgrowth of the pennywhistle jive music (or kwela) that groups of fl street musicians had imported from rural areas.
		Mbaqanga was born when the saxophone replaced the pennywhistle as lead instrument on Spokes Mashiyane's 1958 single "Big Joe Special." The music wasn't nearly as complex as jazz, since most mbaqanga musicians learned to play through feel, not by reading music; it was built mostly around simple melodies and rhythms that could be easily repeated.
	www.artistdirect.com /music/genre/sub/0,,572,00.html (389 words)

	Gwigwi Mrwebi \| Mbaqanga Songs
		Recorded in 1967, during the bloody heyday of apartheid South Africa, the joyful, defiant, easy-swinging jazz-jive heard on Mbaqanga Songs was then the recreational soundtrack of the country's fl and coloured urban poor.
		Mbaqanga was considered too taxing a word for native British record buyers to master, so kwela—which, strictly speaking, applies to the pennywhistle jive of the 1950s—was used instead.
		Mbaqanga saxophone jive is essentially group music—one band under a groove, never deviating far from the beat or the topline.
	www.allaboutjazz.com /php/article.php?id=23589 (492 words)

	Green Left - South African musos emerge from apartheid's pall
		At the heart of contemporary South African pop music is mbaqanga or ``township jive'', and as musicians have set out on their innovative excursions through reggae, soul and jazz, the pounding dance beat of mbaqanga is never far from the surface.
		Mbaqanga evolved in the '40s and '50s as unskilled workers, new to South Africa's swelling cities, turned to music to make ends meet.
		The rhythm's of Nigeria and Zaire, mbaqanga, calypso and rumba are all present.
	www.greenleft.org.au /1992/83/1924 (1173 words)

	Sebai Bai
		Bouncingly cheerful and political through and through, Sebai Bai, the "comeback" album from the South African townships' best-loved group of female vocalists, is a breath of fresh air.
		The group's name once indicated a bigger number of performers: "Mahotella Queens" was the generic name for many of the backing singers who cut discs in the mbaqanga style.
		"Mbaqanga" means "dumpling" in Zulu, indicating "home-made" but the sax-jive for which it became the generic term involves very intricate patterns of call-and-response, blending Zulu and Xhosa styles with rhythm and blues and at times coming very close to reggae.
	www.gatewayofafrica.com /albums/781.html (161 words)

	Smoky Mountain News \| Arts + Events (Site not responding. Last check: 2007-10-22)
		Mbaqanga took pennywhistle jive — a rural form that had migrated to the South African cities — and added saxophone, bass, electric guitar, percussion, and finally vocals, arriving at a sound that was infectious, harmonic, and immensely danceable.
		Among the music’s pioneers were Mahlathini and the Mahotella Queens, who rose to international prominence on the heels of the 1986 release The Indestructible Beat of Soweto.
		Mahlathini has passed on, but the Mahotella Queens are back on tour, and mbaqanga fans can expect a shot of groove-happy jubilance when they take the stage at this fall’s LEAF festival.
	www.smokymountainnews.com /issues/10_03/10_15_03/art_gordos.html (842 words)

	[No title]
		After singing in school and church choirs, he began his professional music career in 1979 performing "mbaqanga" which he calls "Zulu soul music." He was very successful in the popular style and had a number of gold records, but it was with reggae that he made his mark and found an international audience.
		The mbaqanga stuff I was doing was very very popular, so they were saying, "What's he doing now?" I was going to a totally different thing that was only known to be Jamaican.
		I was touring with my mbaqanga stuff and in the middle I would throw in maybe one or two reggae songs.
	niceup.com /interviews/lucky_dube (776 words)

	Welcome to South Africa (Site not responding. Last check: 2007-10-22)
		By the middle of the 1950s, the various strains of South African music were pouring themselves into an exciting melting pot of ideas and forms, propelled in part by the hunger of the vast urban proletariat for entertainment.
		In part because of its ambiguous legal status as a "freehold" area, and its proximity to the urban centre of Johannesburg, Sophiatown attracted the most adventurous performers of the new musical forms, and became a hotbed of the rapidly developing fl musical culture.
		The old strains of marabi and kwela had begun to coalesce into what is broadly thought of as mbaqanga, the mode of African-inflected jazz that had many and various practitioners, with a large number of bands competing for attention and income.
	www.southafrica.net /index.cfm?SitePageID=300 (317 words)

	Green Left - The monarchs of mbaqanga
		South African township jive -- mbaqanga -- has become popular throughout the world largely because of the phenomenal talents and energies of Mahlathini and the Mahotella Queens and their often overlooked but equally influential backing band, the Makgona Tsohle Band.
		“Mbaqanga is a Zulu name for a kind of homemade bread that they used to make in olden days...
		We explained that we took it from different rhythms -- in those days there was kwela, marabi, township jazz -- and we took a little bit of everything and we added them together and out came this kind of music.
	www.greenleft.org.au /1993/89/4556 (891 words)

	Jazz \| All About Jazz
		Jive is/was an immensely popular dance music, closely related to mbaqanga, with an insistent pulse and regular embellishments on guitar and bass.
		West Nkosi (previously a pennywhistle player; now on saxophone) infused kwela and mbaqanga roots into a string of sax jive hits in the late '60s and early '70s.
		Mbaqanga remains a dominant force in the music of South Africa today, incorporated into both jazz forms and popular music.
	www.allaboutjazz.com /southafrica/glossary.htm (1185 words)

	allAfrica.com: Zimbabwe: What Does Jeys Call His Music? (Page 1 of 1) (Site not responding. Last check: 2007-10-22)
		When the saxophone and piano were added to the pennywhistle, kwela took on a different form and became known as majuba after Ntemi Piliso who lived in Alexandra had recorded a song of the same name.
		But then because of its fast pace the music was renamed mbaqanga, which means porridge, cooked in a hurry.
		It was from mbaqanga that most South African music genres -- township soul, jive, house, disco, hip-hop and kwaito -- evolved.
	allafrica.com /stories/200612070327.html (880 words)

	Mahotella Queens (The Leopard Man's African Music Guide)
		The Queen's singing style is called mbaqanga and is a mixture of traditional Zulu music, gospel, and modern electrified rhythm with a sprinkling of American soul.
		Both the music - and social life - has gone through massive changes since Mahotella Queens formed, but the group have managed to maintain their power and vitality and have reinvented themselves without losing contact with their roots.
		The disk starts freshly with the traditional mbaqanga song, "Kumnaya Endlini", followed by ditto "Sebai Bai" that speaks about how irresponsible men treat their ladies.
	www.leopardmannen.no /m/mahotella.queens.asp?lang=gb (386 words)

	Robert Christgau: CG: Artist 867
		Recorded in the late '70s, with tough mgqashiyo mbaqanga out of favor among cultural as well as assimilationist fls, this proves Mahlathini's staunch loyalty to the style he originated, his total lack of alternatives, or both.
		The notes say its "refusal to compromise" delivers "Mahlathini at his very peak"; I say that without Makgona Tsohle and the Mahotella Queens it sounds almost as generic as late Toots, even though (and probably because) the man carries the lion's share of the music himself.
		A city "where women have got no mothers," a challenge to witch doctors, and a greeting to the spirit of his own youth all seem to transgress ever so slightly against the traditionalism that is mbaqanga's chief strength and most daunting limitation.
	www.robertchristgau.com /get_artist2.php?id=867 (540 words)

	Archives - December 2003
		Mbaqanga is one of the traditional African music styles, a type of Zulu soul music, heavy on the percussion with intertwining melodious rhythms.
		Staying with this type of music, Lucky Dube released his debut solo album three years later, which was eventually certified gold and won him numerous national awards for his efforts, as did his following musical endeavors.
		Sadly though, Lucky’s more recent material is diluted with softer sounding melodies slipping back to his familiar African rhythms, including the Mbaqanga and Soukous (South African soca) and sometimes sounds so mellow that the U.K.’s commercial reggae band UB40, spring to mind.
	www.reggaereview.com /archives/1203feature.htm (1338 words)

	Welcome to the Best of New Orleans! Cover Story 04 20 04
		Dismantled in 1994, apartheid not only was unable to prevent cultural expression and social commentary, but it unwittingly nurtured a blending of cultures in the mines and townships that resulted in a stronger African identity.
		Newly forged township styles such as mbaqanga, kwela and isicathamiya were strictly South African expressions that reflected a complex interplay of tribal traditions with rural American gospel, Christian hymn singing and American jazz.
		The free-flowing jazz of Hugh Masekela is often propelled by the idiosyncrasies of mbaqanga, as is the more technical jazz approach of electric guitarist/composer Selaelo Selota.
	www.bestofneworleans.com /dispatch/2004-04-20/cover_story3.html (837 words)

	Rhythmic Resistance :: The Memphis Flyer :: the mid-south's news weekly :: Music Features :: Music
		The South African genre "mbaqanga" was introduced to the U.S. mainstream in 1986 with Paul Simon's Graceland, which appropriated the sound and many of the key musicians from the scene.
		The mbaqanga that Indestructible captured has a lot of sonic connections to American RandB and rock, but it is also distinctly African.
		A snapshot of mbaqanga from 1981 to 1984, the record is heavy on the sources of the "indestructible beat" --Mahlathini, the Mahotella Queens, and the Makgona Tsohle Band.
	www.memphisflyer.com /memphis/Content?oid=oid:5262 (1131 words)

	Record (Metro Times Detroit)
		While these men are irreplaceable, the three Mahotella Queens, Hilda Tloubatla, Mildred Mangxola and Nobesuthu Mbadu have stepped forward with a remarkable recording demonstrating their own, and mbaqanga’s vitality.
		Mbaqanga has its roots in shabeens (South African drinking halls of the 1940s and ’50s), where workers from many ethnic groups gathered and played music on whatever instruments were on hand, including pennywhistles, accordions, guitars, violins and drums.
		At first, mbaqanga without the ultrabass vocals of Mahalthini to alternate with the harmonies of the Mahotella Queens leaves that eerie feeling that there is just a little something missing.
	www.metrotimes.com /editorial/review.asp?id=53679 (543 words)

	Books at Duke University Press (Site not responding. Last check: 2007-10-22)
		Made popular internationally by Mahlathini and the Mahotella Queens, mbaqanga's distinctive style features a bass solo voice and soaring harmonies of a female frontline over electric guitar, bass, keyboard, and drumset.
		Focusing on the ways artists, producers, and sound engineers collaborate in the studio control room, Meintjes reveals not only how particular mbaqanga sounds are shaped technically, but also how egos and artistic sensibilities and race and ethnicity influence the mix.
		She analyzes how the turbulent identity politics surrounding Zulu ethnic nationalism impacted mbaqanga artists' decisions in and out of the studio.
	www.dukeupress.edu /books.php3?isbn=3014-8 (494 words)

	Book on South African Recording Studio Looks at Cultural Backdrop of Afro-pop Music
		When Duke ethnomusicologist Louise Meintjes began her research in a South African recording studio in 1991, the nation was wracked by political turmoil and violence as it moved from apartheid to democratic government.
		The band plays a kind of music called âmbaqanga,â which had its heyday in the 1970s and featured a South African sound heavily influenced by American soul and rhythm andamp; blues music.
		Mbaqanga is characterized by a female close-harmony, choreographed front line (a la the Supremes), a garage-band backup and bass solo voice pitted against them.
	www.dukenews.duke.edu /2003/03/soundofafrica0328.html (745 words)

	SOUTH AFRICAN MUSIC
		Their trip on a more progressive musical route served them well, but they have returned with an album that sees them once again, digging deep into their roots — the album in question is the brilliant, brand new Reign And Shine.
		Known in their native land for their distinctive ‘mbaqanga’ genre of music, the Queens firmly sealed their place in the legend of urban music in the early 60’s, whilst backing the ‘lion of Soweto’ Mahlathini in the formidable group Mahlathini and The Mahotella Queens.
		During the mid 70’s the group took a break due to marriages and childbirths, but rejoined in the early 80’s.
	www.music.org.za /artist.asp?id=211 (647 words)

	Juluka: Reviews, Discography, Audio Clips, and more \|\|\| Music.com
		Their particular take on mbaqanga -- the ubiquitous township jive -- has made them stars in their homeland, with more than 30 albums covering their time.
		Established in 1964 as a session harmony group, they came to prominence in the '70s with their tough vocal style and rock-solid mbaqanga backing band.
		He began to tour internationally with female singers the Mahotella Queens, although he has been playing and singing his brand of mbaqanga (Zulu pop music, heavily influenced by traditional singing styles) since the early '60s.
	www.music.com /group/juluka/1 (301 words)

	American Ethnologist - Online Book Reviews (Site not responding. Last check: 2007-10-22)
		It is about how Africa, being Zulu, sound, technology, making music during an especially tense moment of South African history—the transition from apartheid to the country’s first democratic elections in 1994—and writing about all these of things impinged on one another, how they “made” each other.
		In cut 2, the reader is taken into the secluded, magical sphere of the studio, which is described as both a source of creative symbolic power and the locus of a means of social control.
		In cuts 3—5 Meintjes discusses a variety of timbral and linguistic aspects of the album being produced to highlight the contested elaboration of mbaqanga’s presumed authenticity within parameters such as its “liveness,” Zuluness, and difference from “white” music.
	www.aaanet.org /aes/bkreviews/result_details.cfm?bk_id=2978 (901 words)

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