Less American syncopation? It’s new old Bongo Flava now

DAR ES SALAAM: MARIJAN Rajab, and his Dar International Orchestra, whose works have won many admirers in the Bongo Flava genre, are back the scene now dictating terms in both, sampled and re-mastered works.

Zuwena by Mr Paul, Siwema by Lady J Dee, and even the latest one, Zuwena by Diamond Platnumz, has certain colours of Marijani Rajab’s influence.

Worth considering in the many hits of Dar International Orchestra is their adherence to the Afro-Cuban influence in their horn section and that are paraded by trumpeters Ismail Issa, Evaristo Mivuba and Morgan Machege.

But its rhythm section, as noted in hits like Baba Anna, Emmy, Usia wa Baba and Mtoto Unapotea borrowed heavily from Tabora Jazz favourite dance, Segere Matata or Seguasegua (sometimes called Kabango) whose chief players were Ramadhani Rashid Mtani, Mashaka Shaaban and Mohamed Tungwa.

Allegiance to the root anthem also can be seen in Walewale crafted by Zuchu and her Wasafi group. The hit has been among the top trends for several weeks.

With over 7 million viewers, Walewale is among the songs that try to shrug off allegiance with American-influenced syncopation which, for many years, has been the pillarhead of the Bongo Flava genre.

Zuchu, in Walewale, seems to have returned to Segere, a music genre that is most often written in the key of C Mixolydian, and that can be seen in a lowered 7th note (B♭).

Though it doesn’t seem to hypnotize lovers of the new generation of music, Huyu Hapa by Mbosso, is among the unheralded artistic innovation that also won a good number of viewers.

Mbosso, whose birth name is Mbwana Rajab Kilungi, is among the chief practitioners of Bongo Flava fully involved in rejuvenating Tanzania music that today enjoys a huge global market.

Fusing popular western Tanzanian folk beat with certain elements of East African coastline, Huyu Hapa is as well, supported by a call-and-response choral chant.

Comments of some Tanzanian YouTube viewers see Huyu Hapa as just one good artistic work that needs some improvement in its video production; its artistic innovation doesn’t get its due attention.

Tanzanian Frank Cosmas advised Mbosso and other artists to improve their creativity in both audio and video production as he doesn’t see any change in terms of creativity.

But to his fans north, west, and south of Tanzania and, as far away as the Caribbean and Latin world, Huyu Hapa received a heartfelt appreciation.

From Haiti, @DONSILYO2GA commented:” Love from Haiti viva Africa viva Haiti while South African Bongiwe Shabalala said:”I don’t understand the language,I’m zulu from South Africa but i love this song.”

From Gambia, Musa Kuyateh comments:” My best star in Tanzania I love you from the Gambia.”

From Cameroon, Forchin Thierry calls the hit a Nigerian High Life style:”Highlife in Swahili. Where my Igbo people. Much love from Cameroon.”

ALSO READ: Hi Mr Blue! Bongo Flava legend rocks Dar

From Eastern Congo where Manyema people originate, Alvine-Day added this:”Je pense je suis le premier à visualiser cette vidéo, je suis Alvine depuis la République Démocratique du Congo, courage mon artiste, je suis un grand fan à toi hiyi ni kazi kubwa.

Huyu Hapa brings to the new generation what was seen clearly in Tabora Jazz, Dar International Orchestra, and Kilimanjaro Sound(Wana Njenje) whose hit Gere performed by Nyota Kinguti, seems to share the same sentiment with Huyu Hapa.

If Tabora Jazz singer and guitarist, Shem Karenga were alive and happened to attend Huyu Hapa’s recording session, he would add Balume Bikushibabo Babobhe, a popular animation he used in Tabora Jazz songs whose dance style SDegere Matata as per Karenga himself, fused Nyamwezi’s Hiari ya Moyo dance and Kisonge style from Manyema folk music.

A similar beat and vocal style answering Huyu Hapa’s

Version are marijan Rajab’s Usia wa Baba, Mtoto Unapotea, and Baba Anna, all three he recorded with Dar International Orchestra in the late 1970s.

Huyu Hapa rhythm could be among the style to be considered in the country’s endeavour to have a national-level rhythm and beats that will market well Tanzanian music globally.

While keenly watching Huyu Hapa, a youthful bodaboda rider disrupted the quiet evening with Sensema, a newly released hit by Rayvanny featuring Harmonize.

Sensema also fits this setup as it fuses the Bongo Flava idiom in Nyamwezi traditional songs.

In it, you can hear as well, the influences of Nyakyusa and Makonde dances being supported by Nyamwezi foot-work dance.

Rayvanny sings ” …..Hakuna Mwaisa Mshamba…’ while Harmonize responds with….. Hakuna Mmakonde Mshamba as they both shake their feet in a Nyamwezi style.

With this artistic innovation, it is crystal clear that the government’s bid to have the national rhythms has already started to take shape sooner than expected.

The national rhythm initiative was launched by the then Minister for Culture, Arts, and Sports, Mohamed Mchengerwa, who tasked a 13-member committee to design and create the musical rhythm that would represent well the country globally.

Walewale, Huyu Hapa, and Sensema came timely as all three borrow heavily from tribes of the Swahili Coastline and western regions of Tanzania.

But Mbosso’s Huyu Hapa goes deeper than Sensema for it strongly corresponds with Tabora Jazz creativity that fused Kisonge of Manyema and Nyamwezi’s Hiari ya Moyo dances in their music and that was highly noticeable in Mapenzi Hayana Mganga and the much vibrant Dada Remmy.

Nyota Waziri’s Gere also did a commendable job displaying the best of the Manyema traditional dance in terms of rhythm, vocal style, and animation, and the hit is hot even today over two decades since it was recorded.

Mbosso, as a member of the defunct Yamoto band, he and his three mates, added Lizombe beat in Niseme and Nitakupwelepweta while Harmonize, Diamond, Rayavanny, and Mbosso preferred Coastline-type of Segere dance and that can be heard in Aiyola, Wacha Waoane, Happy Birthday and Nasema Nawe being the most notable.