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Black Music Research Newsletter, Fall 1985

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Black Music Research Newsletter, Fall 1985 Columbia College Chicago Digital Commons @ Columbia College Chicago Center for Black Music Research: Black Music Research Newsletter Publications Fall 9-1-1985 Black Music Research Newsletter, Fall 1985 Samuel Floyd Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cbmrnews Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Floyd, Samuel, "Black Music Research Newsletter, Fall 1985" (1985). Center for Black Music Research: Black Music Research Newsletter. 21. https://digitalcommons.colum.edu/cbmrnews/21 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH NEWSLETTER COLUMBIA COLLEGE CHICAGO Vol. 8, No. 1 ISSN Number 0271-3799 Fall 1985 l A Brief Introduction to the Zulu Choirs i l by Doug Sero{{, Greenbrier, Tennessee i Black American four-part vocal har­ represented on South African conglomerate of traditional Zulu and mony has roots which predate the Civil phonograph records. Literally hun­ Western elements. Recordings made by 1 War. Although African traditional dreds of vocal groups have been com· numerous male, a cappella vocal g roups d uring the 1930s and 1940s ' music is rich in polyphonic singing and mercially recorded there since about i its own peculiar harmonies, the simple 1930. The earliest recordings yet un­ (quartets to choruses all categorized as triad is praclically never found. The covered come from a Columbia Record "choirs") feature strong bass singing I triad is a fundamental substructure of Company session by the Wilberforce and full, deep-pitched, close harmony. l We~tern quartet harmony, and Institute Singers of South Africa under The character and quality of the har­ perhaps for this reason it has been the direction of Dr. Herman Gow. a mony heard on these recordings has black American educator living in much in common w ith American li mistakenly assumed that there are no strong African quartet-singing tradi­ Africa. His group recorded American community-based quartets recorded l tions. In fact, an expansive parallel spirituals in English. sung in the during the immediate "pre-gospel" j hcril·agc of lour-part vocal music exists "straight spiritual" style of contem­ period (1926-1931) . in South Africa, its origins dating back poraneous American university Around 1940 Solomon Linda's Even­ 1 to the nineteenth century. quartets. ing Birds, the greatest ingoma ebusuku ,l Missionaries and white troupes were In 1930 HMV Record Company choir of its day, recorded the song no doubt the first to introduce four­ brought to London the Zulu musician "Mbube" (translatiorn: "Lion"). The 'J part vocal harmony on the African and composer Reuben T. Caluza and song was successfully adapted by the continent. During the 1890s, an il­ his double quartet, consisting of four Weavers as "Wimoweh" and later by lustrious black musical company, Or­ men and four women. One hundred the Tokens as 'The Lion Sleeps i pheus M, McAdoo·s Virginia Jubilee and fifty si:kctions were recorded, Tonight." Linda's song was so popular Singers, spent a great deal of time per­ featuring a fine mixed chorus with in South Africa that the ingoma forming in the country of South piano accompaniment and Zulu fo lk ebusuku style became commonly Africa. They sang not only for the songs rendered by an excellent a cap­ known as "mbube," a term still in white colonists but also for the in­ pella male quartet. In 1931 Caluza usage today. digenous black population, touching traveled to Virginia to attend Hampton Extensive interaction between in­ off an outbreak of chorus and quartet Institute. While .a student there, he goma ebusuku choirs and hot jazz in· groups among black South Africans. formed a quartet of West Africans and strumcntalists from the working class At the same time. male quartets were taught them Zulu songs. This troupe nightclubs took place in the recordings being trained to sing American toured the eastern United States with of _Mseleku's Merrymakers, M . spirituals, in English, in missio n t~e Hampton Institute Quartette. Masoleng & Company, and others. schools and black universities. The The popularity and prestige of By the 1940s phonograph records same precepts of good harmony sing­ mission-school trained quartets in­ from America had become an over­ ing practiced at American universities, spired a similar movement among the whelming influence on black South the same refinement of four even, black laboring class. "lngoma ebusuku African music. Harmony groups pat­ balanced. and blended voices were be­ c hoirs," li ke community-based terned after the Ink Spots and other ing taught to educated Zulus and other quartets in A labama and Virginia, first American rhythm &: blues pioneers South African peoples. appeared amon,g Zulu industrial became popular. They sang '40s jive An i:npressive variety of vocal har­ workers at the close of World War I. mony styles are reasonably well Their music was a distinctive hybrid, a Continued on page 2 2 tunes in Zulu and English. The most a new plateau in mbube singing. Olukoya, Daniel. Berkshire, England widely recorded of these groups was Ladysmith Black Mambazo has ap­ and Lagos, Nigeria, November 23, the Manhattan Brothers. peared in documentary films and twice 1983 to October 25, 1984. The profoundly "Zulu" elements in performed in Germany to enthusi<;1stic ·· Tracey, Andrew. Rhodes University, ingoma ebusuku singing cannot be audiences. Only one of their albums; Grahamstown, South 'Africa. overlooked. To begin with, these "lnduku Zethu" (Earthworks 2006), January 17, 1985. groups sing primarily in the Zulu has been released. in the West; and it is, Webb, Vaughan. Blue Ridge Institute, language. Many of the background unfortunately, among the least satisfy­ Ferrum College, f,errum, Virginia. chants used are dearly non-Western. ing of their recordings. May 14, 1984. Percussive "clicks," glides, trills When heard at its best, despite the executed with the tongue, slide whistle strangeness of the language, all the imitations, and other unexpected pleasures of the classic American har­ Selected Discography delights are strictly African in origin. mony masters are present in the music In a deeper sense, after nearly one hun­ of Ladysmith Black Mambazo; the LP Records (/11 -Print) dred years of intermixture, it is im­ fascinating, complex song arrange­ possible to separate the Western and ments; the expressive lead vocals of Baseqhudeni, Abafana (The Cockerel Zulu elements in this conglomerate Joseph Shabalala; the booming, reso­ Boys). From Soweto: Mbube jive music form. nant bass; and the rich, enveloping & soul. L & R 44.009 (West "Gospel quartet" was one movement quality of distinct, yet thoroughly Germany). that did not happen among the Zulu blended voices in. velvet harmony. Jazz and /rot dance in Soutlr choirs. One does not hear the "pump­ As distinctive black quartet har­ Africa, 1946-1959. 1985. Harlequin ing bass," the "switch lead," and other mony approaches the point of extinc­ HQ 2020 (England). characteristics of the gospel quartet tion here in the United States, it is com­ Ladysmith Black Mambazo. Ezinku/11. style. Because the Zulu choirs did not forting to find the form alive and thriv­ Ezombadu BL 186 (South Africa). take the gospel path, the older spiritual ing among the black South African Ladysmith Black Mambazo. 1984. harmony influence remained pro­ people. lblrayiblre/i Liyindela. Ezombadu nounced. The influence is preserved BL 472 (South Africa). in the music of the present day Ladysmith Black Mambazo. lnduku descendants of the ingoma ebusuku References Zetlru. Earthworks 2006. and mbube choirs, known as Ladysmith Black Mambazo. Umthom­ "isicathamiya" groups. The repertoire bo Wamanzi. Ezomdabu BL 353 of these groups is rather evenly divided Books and Articles (South Africa). between sacred and secular songs. Music of black South Africa. 1978. Singing contests have always been an Virgin Records (England). important aspect of this tradition and a Austin, Chris, and Jeremy Marre. common element of life in black South 1978. Record album liner notes to African townships and labor hostels. Music of black Soutlr Africa. Vintage Recordings (78 rpm) Synchronized dance steps are a promi­ Virgin Records. nent adjunct to the vocal perfor­ Coplan, David. 1980. The urbaniza­ Caluza's Double Quartette. mances, and uniform dress is another tion of African, performing arts in lmbaba/a/ Lits/1e Ii Ka Ntunja111bili. item of critical importance, just as it South Africa. Ph.D. diss., Indiana Zonophone 4281. has always been among American University. Caluza's Double Quartette. Kwela gospel quartets. Indigenous musics. Sou/Ir African Wetu! Umgobo U Selrawini. HMV lsicathamiya singing is presently Music En cyclopedia. Cape Town: GU 70. flourishing in South Africa, inspired by Oxford University Press, 1979-. Manhattan Brothers. Hey ba-ba-re­ the unprecedented success of the Maile, Sam R. 1973. Record album bob/ Patience a11d fortitute. Singer greatest of all Zulu choirs, the incom­ liner notes to Amabutlro. Motella GE 947. parable Ladysmith Black Mambazo, Records. Manhattan Brothers. Wami Wa111il originally of Ladysmith, South Africa. Sumner, Dwight. 1931. African Amazw'a11111a11di. Gallotone GB The group is among the most popular quartette on school campaign. 1277. groups on the African continent. Hampton Script September 30. Motsieloa Masoleng & Company. Organized in the late 1960s by their Serontabule/ Selina. Singer GE 150. brilliant lead singer/ song writer/ar­ Personal Correspondence Mseleuku & His Merrymakers. ranger Joseph Shabalala, the group Amabadil lsiklronyani. HMV SP began recording in 1973 for Motella, 17. one of the Gallo group of South Allingham, Rob. Yeoville, South Solomon Linda's Original Evening African labels. To date they have Africa.
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