This is mixed African music at its best. ‘Live at Grahamstown’ features a world-renowned South African duo of multi-instrumental specialist Pops Mohamed, and his faithful side-kick, Dave Reynolds on steel pan and acoustic guitar.
In this live performance at the 2015 Standard Bank Jazz Festival in Grahamstown, they are backed by another impressive array of world-class musicians: Capetown-born Tony Cedras adds rhythm and texture with his accordion, guitar, and trumpet; Mozambique-born Frank Paco is no stranger on the percussion and drum scene; and Congolese singer/songwriter Sylvain Baloubeta punctuates all songs with his electric bass and falsetto vocals. In fact, all musicians sing and harmonize on this exciting album which melds African indigenous sounds and rhythms with contemporary expressions and improvisation.
All musicians carry not only highly experienced musical weight but a faithfulness to fundamental African beats and bites that they have grown up with. The album moves from earthy messages to past and present blessings to the inevitable spiritual conclusions of life. How better to do this than with blended accordion-steelpan-kora sounds of the soul. Cudos go to Pops Mohamed who wrote the musical score for the South African-made film, The Whale Caller, which recently won an award for Best African Film at this month’s Johannesburg Film Festival.
‘Hands in the Sand’ starts the journey with lovely mellow harmonies from all musicians, almost like settling into their early mission to create harmony. To realize mission, one needs to dream so here enters a brief introduction of the kora, which swings handsomely into a South African swing in ‘Ons Gaan Huis Toe’. Cedras’s accordion presents that familiar morabi sound, steadied by Baloubeta’s electric bass. One feels the home-grown texture of this danceable song.
Throughout the album, Mohamed speaks poetry, both literally and musically. ‘Welcome to the Future’ starts with the soothing relief of the rain stick and his vocals, with earthy undertones held nicely by Reynolds’ equally calming steelpan. This is truly a peace song for the future, for unborn babies, referencing a list of sterling world leaders who have delivered. It’s a refreshing memorial to what can be, as it welcomes the next song on the album, ‘Spirit’. The band manages to engage the audience as they clap into the future, accompanied by a profoundly spiritual buzz from Cedras’s accordion which brings on more applause. More Khoisan vocals and poetry from Mohamed at the end adds further release of the spirit.
Now, we are only half way into the album, and already sniffing a touch of nirvana.
A ghoema swing takes off by Reynolds in ‘Malay Jam’ and awakens that dancing spirit. This moving piece reeks of Cape rhythms, as does ‘Breakfast Ghoema’ as the Reynolds and Cedras swing their way joyfully and energetically to start a new day. Have we entered nirvana yet?
The album ends with two songs, ‘‘Never Again’, with Mohamed’s African mbira with the Cedras accordion and vocal harmonies which spin the listener softly and delightfully onto another sonic plane. A soft duo of Kora and steelpan in ‘Song for Jos’ brings closure to this eclectic and ambitious album, transporting the listener to another part of Africa, with fond memories about what talents abound among touring South Africans and their pan-African bands.
This album is a winner! Don’t miss its launches this weekend:
Friday, 11 November – KMA Soiree, Hout Bay (021 790 4457 bookings)
Saturday, 12 November – Blue Bird Garage, Muizenberg (evening)
Sunday, 13 November – Guga S’thebe, Langa (afternoon)