Origins of Guitar

Hugh Tracey’s African field recordings might appear to be out of the general scope of this website, concerned as it is primarily with the output of commercial recording companies. But the wider world first became aware of Tracey’s work through a series of 10-inch LPs that were released by Decca in the UK, and London in the USA, in the 1950s. These subsequently became highly collectable. Perhaps the most accessible of the the LPs to the general listener, was Volume 5 “Guitars of Africa” (Decca LF1170), which offered eight examples of acoustic guitar music from various countries. Inevitably, this became one of the most sought-after, and so most elusive, of the series. This new entry in SWP’s CD series of Tracey’s recordings might be considered as a digital equivalent, although in fact it includes only two tracks from the old 10-incher. But who’s complaining? This magnificent disc has 24 tracks and over 72 minutes of playing time, and it features some of the finest African guitar music I’ve ever heard.

It’s divided into two main sections, the first of recordings made in 1957 and 1958 in the Congo (4 tracks), Zambia (10) and Malawi (2), and the second of recordings made in 1950-1952 in Zimbabwe (3 tracks) and the Congo (5). The styles are varied, from those that seem to be based on traditional idioms, to ones clearly influenced by external styles such as American country music or South African jive and jazz. In the traditional idioms (and maybe sometimes in the others as well) the guitar playing is evidently influenced by traditional instrumental styles. The kalimba (a form of thumb piano) is mentioned particularly in the notes. The booklet notes, by Michael Baird of SWP Records, analyse the styles and the influences on them in some detail and make fascinating reading.

One of the two tracks here from the old LP is “Mama Na Mwana” by Mwenda Jean Bosco, who later went on to some international recognition, and a few of these guitarists gained some local fame (if not fortune). Most of them, though, are now obscure figures, and yet several were clearly musicians of great skill and creative imagination - for just one example, the opening track, “Mama Josefina”, by Ilunga Patrice and Misomba Victor is a stunning tour de force, rhythmically complex, brilliantly played and beautifully sung.

For this reviewer, everything heard so far in this series has been wonderful, but realistically, most of the volumes are likely to appeal primarily to enthusiasts (as well as to create some new ones). “Origins of Guitar Music”, though, should be enjoyed by just about anybody.

R.T.


Various: Origins of Guitar Music - SWP 015/HT 09 Hugh Tracey’s African field recordings might appear to be out of the general scope of this website, concerned as it is primarily with the output of commercial recording companies. But the wider world first became aware of Tracey’s work through a series of 10-inch LPs that were released by Decca in the UK, and London in the USA, in the 1950s. These subsequently became highly collectable. Perhaps the most accessible of the the LPs to the general listener, was Volume 5 “Guitars of Africa” (Decca LF1170), which offered eight examples of acoustic guitar music from various countries. Inevitably, this became one of the most sought-after, and so most elusive, of the series. This new entry in SWP’s CD series of Tracey’s recordings might be considered as a digital equivalent, although in fact it includes only two tracks from the old 10-incher. But who’s complaining? This magnificent disc has 24 tracks and over 72 minutes of playing time, and it features some of the finest African guitar music I’ve ever heard. It’s divided into two main sections, the first of recordings made in 1957 and 1958 in the Congo (4 tracks), Zambia (10) and Malawi (2), and the second of recordings made in 1950-1952 in Zimbabwe (3 tracks) and the Congo (5). The styles are varied, from those that seem to be based on traditional idioms, to ones clearly influenced by external styles such as American country music or South African jive and jazz. In the traditional idioms (and maybe sometimes in the others as well) the guitar playing is evidently influenced by traditional instrumental styles. The kalimba (a form of thumb piano) is mentioned particularly in the notes. The booklet notes, by Michael Baird of SWP Records, analyse the styles and the influences on them in some detail and make fascinating reading. One of the two tracks here from the old LP is “Mama Na Mwana” by Mwenda Jean Bosco, who later went on to some international recognition, and a few of these guitarists gained some local fame (if not fortune). Most of them, though, are now obscure figures, and yet several were clearly musicians of great skill and creative imagination - for just one example, the opening track, “Mama Josefina”, by Ilunga Patrice and Misomba Victor is a stunning tour de force, rhythmically complex, brilliantly played and beautifully sung. For this reviewer, everything heard so far in this series has been wonderful, but realistically, most of the volumes are likely to appeal primarily to enthusiasts (as well as to create some new ones). “Origins of Guitar Music”, though, should be enjoyed by just about anybody. R.T.

	Origins of Guitar Music in southern Congo and northern Zambia 1950, ‘51, ‘52, 57, 58 Historical recordings by Hugh Tracey - SWP 015/HT 09


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