Morogoro

This second volume in the Dizim Asili series is, if anything, even better than the first. It spans the years 1969 to 1972, a period in which Morogoro were one of the biggest bands in Tanzania, and listening to this music, it’s easy to understand why. The material is very strong, the arrangements are tight (credit here to sax player and arranger Kulwa Salum) and the playing excellent, but the really outstanding qualities lie with guitarist and lead vocalist Mbaraka Mwinshehe. According to the Stern’s Guide to Contemporary African Music, he was known as the Franco of East Africa, and while you can tell that - like so many others - he was influenced by the Congolese guitarists, and no doubt Franco in particular, that is by no means the whole story. Mwinshehe was a sensational player - you feel that he could do the Congolese bit almost as second nature (see, for example, “Ewe Mwana”), but it is his sheer scope on the instrument that is so impressive. Sometimes, he’s providing a brilliant background texture for the other instruments, but sparks really fly when he takes a solo. He can play like a rock guitarist (the solo on “Mapenzi Shuleni”); he can trill like a mandolinist (like towards the end of “Matusi ya Nimi”); and best of all he can suddenly transform his guitar into a traditional thumb piano, as he does on “Dr.Kleruu”. The effect of this is quite spectacular, and you can imagine the impact it might have had on his audience back in Morogoro’s heyday.

Mwinshehe was also the lead vocalist, and I think he was probably influenced by Salum Abdallah (see review of Vol.1), as he has a similar nasal quality to his voice. The overall effect takes us a major step closer to a distinctively Tanzanian sound. It’s also interesting to note that one track “Wacheni Waseme” features a similar European-sounding 1-2 beat as appears in a couple of Cuban Marimba tunes.

Like Volume 1, this again comes with a handsome booklet containing good, informative notes and several excellent photographs, including a couple showing the band in action on stage. It's an exemplary release, and we can look forward to Volume 3, which is to showcase Mwinshehe’s later work with Orchestra Super Volcano.

R.T.


Mbaraka Mwinshehe & the Morogoro Jazz Band: Masimango - Dizim 4702-2 This second volume in the Dizim Asili series is, if anything, even better than the first. It spans the years 1969 to 1972, a period in which Morogoro were one of the biggest bands in Tanzania, and listening to this music, it’s easy to understand why. The material is very strong, the arrangements are tight (credit here to sax player and arranger Kulwa Salum) and the playing excellent, but the really outstanding qualities lie with guitarist and lead vocalist Mbaraka Mwinshehe. According to the Stern’s Guide to Contemporary African Music, he was known as the Franco of East Africa, and while you can tell that - like so many others - he was influenced by the Congolese guitarists, and no doubt Franco in particular, that is by no means the whole story. Mwinshehe was a sensational player - you feel that he could do the Congolese bit almost as second nature (see, for example, “Ewe Mwana”), but it is his sheer scope on the instrument that is so impressive. Sometimes, he’s providing a brilliant background texture for the other instruments, but sparks really fly when he takes a solo. He can play like a rock guitarist (the solo on “Mapenzi Shuleni”); he can trill like a mandolinist (like towards the end of “Matusi ya Nimi”); and best of all he can suddenly transform his guitar into a traditional thumb piano, as he does on “Dr.Kleruu”. The effect of this is quite spectacular, and you can imagine the impact it might have had on his audience back in Morogoro’s heyday. Mwinshehe was also the lead vocalist, and I think he was probably influenced by Salum Abdallah (see review of Vol.1), as he has a similar nasal quality to his voice. The overall effect takes us a major step closer to a distinctively Tanzanian sound. It’s also interesting to note that one track “Wacheni Waseme” features a similar European-sounding 1-2 beat as appears in a couple of Cuban Marimba tunes. Like Volume 1, this again comes with a handsome booklet containing good, informative notes and several excellent photographs, including a couple showing the band in action on stage. It's an exemplary release, and we can look forward to Volume 3, which is to showcase Mwinshehe’s later work with Orchestra Super Volcano. R.T.


back to reviews index