adminband that has been described as “ . . . quite simply the most impressive band Zimbabwe has produced in recent memory” by Banning Eyre of Afropop Worldwide USA, is inviting you to a concert together with Chikwata 263, Zimbabwe’s first punk rockers, on Saturday the 1st of September 2012 at the New Book Café in Harare!”
After reading this e-mail message, I decided to check this band out. I had seen them before at the Music Crossroads International Festival in 2008 and I remember them winning the contest; So off I went to check them out.
In an exhilarating, visually stimulating two live concert hours on Saturday September 1, the emotionally- charged sensory explosion of Mokoomba came alive at The Book Café in Harare.
Before they came onto the stage, we were treated to an opening act which called itself the “Vee Mukarati Project” which gave the audience an hour of mournful, solitary jazz fanfare with a full brass section led by Vee himself on saxophone and vocals.
We were told this was a farewell show for Vee Mukarati as he was going on a scholarship to Ireland where he will study music before going to Berkeley University College in the United States of America to further his studies. There was also a bit of drama after a few songs. But all is well that ended well.
Next came Mokoomba.
But who are these guys?
I agree with Banning Eyre of Afro Pop World, USA that Mokoomba is quite simply the most impressive band Zimbabwe has produced in recent years.
Surprisingly, its members do not hail from Harare, Mutare or Bulawayo, cities which traditionally have produced the finest artistes in Zimbabwe.
Rather, these seven musicians come from the northern parts of Zimbabwe near the border with Zambia. Mokoomba, formed in 2001, trumpet the energy and dynamism of their region’s best known geographic feature, the august Victoria Falls.
Lead singer Mathias Muzaza has been all over Southern Africa, absorbing music and culture.
He speaks six languages, and sings in Tonga, Nyanja, Lubale, Shona and Ndebele with a sharp, clear voice capable of gale force exertions we might expect to hear from a West African griot.
Muzaza and guitarist/singer Trustworth Samende wrote most of the songs they were churning out on this night with most of them coming from their CD, “Rising Tide”, songs which range from funky rap, to expert Congolese grooves, including quasi-reggae and even a Latin tune along the way.
The rest of the band members are Abundance Mutori on bass, Reason Muleya on percussion, Costa Ndaba Moyo on drums and Miti Mugande on keyboards. You won’t hear any of the sounds generally associated with Zimbabwe — no sungura, no museve, no dendera, no mbiras or marimbas.
Hit after hit, the songs came with a groove and lots of energy from “Mwile” to “Misozi”, from “Mabema”, “Mbimbe”, to “Africa”, “Mzumba”, “Messe Messe” and “Njoka”.
Mokoomba were not slow in letting the 200 plus audience up on their feet.
Song after song, the crowd at first showed anticipatory excitement, sometimes after the first note, and enthusiastic appreciation with clappings after every song. There was a weird balance between the urge to show how unbelievably stoked the band was and the desire to quietly and serenely take it all in.
Far from remaining stoic, at the beginning when Mathias Muzaza began singing with occasional bursts of colour in his stage moves, the motionless crowd hung on every note, with many faces blissed out in rapturous contemplation.
That didn’t stop a few hips from swaying during the jubilant “Njoka” or its follow-up tunes, “Weleye” and “Nimukonda”. In no time at all, everybody was on the dance floor but they did not sing along.
Most of the band’s songs are not easily understood by the average Shona or Ndebele as they are purely Tonga. However,the crowd did not care.
They just appreciated the good melodies and rhythm coming from the band. I could see that on this night Mokoomba was out to conquer.
Although Mokoomba exploit Tonga rhythms and melodies, they are out to create a global fusion, a music rooted in their home reality while still open to the sounds
of the world as evidenced by their latest CD “Rising Tide” which was selling at the door for US$10 a copy. After winning awards in Zimbabwe, recording a debut CD and touring Europe in 2009 and 2010, Mokoomba caught the ear of ace Cote d’Ivorian bass maestro and female producer Manu Gallo.
Gallo is a veteran of Kiyi M’Bock, Zap Mama, and has released a number of fantastic solo CDs in her own right. She produced Mokoomba’s “Rising Tide”, and her savvy judgment and familiarity with high-end afro-pop production help to make every track shimmer.
“Njoka,” the title track, is a brilliant mash-up of beat box vocals, warm guitar riffing, and punchy percussion and brass work, all backing Muzaza’s edgy lead vocal and rich layers of backing vocals from the rest of the group.
This band can sing, and they prove it on every track. “Mwile” is the Latin track, and Muzaza’s keening vocal works beautifully in this context.
“Misozi” explores the Congo connection, beginning with folksy acoustic guitar picking reminiscent of the old Copperbelt pickers (from the Zambia/Congo border). Later, the song revs into full Congo pop mode, with animated stop time riffs, sweetly soaring guitar leads, and great rhythm breakdowns. “Nimukonda” nods to melodious old-school reggae, and then rough-and-ready dancehall. The sheer density of ideas in this session is impressive, but it never feels like the musicians are merely checking off stylistic boxes.
Their commitment and verve enlivens every performance, right up to the clubby crescendo, “Weleye”, where Gallo’s suave production touch is once again a unmistakable and powerful asset.
This is an excellent international debut from a band nobody saw coming.
Reports are that they are even better on stage.
In all, Mokoomba, riding their own rising tide, are probably the best news in Zimbabwe at the moment. Mokoomba have travelled all over the world and wherever they performed, they left an indelible mark. That is impressive.
I can see a situation here where Mokoomba is going to be the next best thing internationally to come out of Zimbabwe after the Bhundu Boys.
At the height of their fame in the mid-1980s, the Bhundu Boys were signed to Warners (WEA).
They toured North America, Australia and Hong Kong, chauffeured to venues from luxury hotels.
They owned a large house in London. Gordon Muir, their manager, says the advances the five-band members received not including fees from their heavy tour
schedule — totalled around £120 000.
In 1987, the Bhundu Boys played at Wembley, United Kingdom, alongside Madonna.
John Peel (former BBC Radio DJ) famously described the Bhundu Boys as producing “the most naturally flowing music he’d ever heard in his life”. Andy Kershaw was best man at Biggie Tembo’s marriage in Zimbabwe where Zimbabwean artistes, Oliver Mtukudzi and Newman Chipeni performed.
It is a matter of time before we all celebrate Mokoomba’s international success, that is if the boys stick together and there is discipline in the band.
Marcus Gora, do not despair. You are onto a winner here! Respect!
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