Colonial Dance Bands
1950 & 1952, recordings by Hugh Tracey
This album presents a variety of African bands playing dance music during the colonial period. Recorded in the British colonies of Kenya, Tanganyika and Northern Rhodesia, Portuguese East Africa, and Belgian Congo. Some bands were professional outfits playing to Europeans, mostly in hotels, others were enthusiastic amateurs. Each and every one was a pioneer in their way, and deserve tremendous respect for that alone. Total time: 69'53". 20 page booklet. 20 page booklet.
Tracklist: 1. Nani Aliemtia Bure, by Shabani Abdullah & the Dar-es-Salaam Jazz Band, 2. Nimepata Mpenzi Mtoto, by Shabani Abdullah & the Dar-es-Salaam Jazz Band, 3. Chaupele Mpenzi, by Ally K. Sykes & the Dar-es-Salaam Swingers, 4. Baadina, by the Egyptian Musical Club, 5. Doa Jeupe, by the East Coast Orchestra, 6. Wapenzi Kuwaona, by the East Coast Orchestra, 7. Maashuki, by the Jauharah Orchestra, 8. Mimi, by the Jauharah Orchestra, 9. Damu Imenikauka, by the Jauharah Orchestra, 10. Wangu Ukutina, by the Jauharah Orchestra, 11. Mapenzi Ya Kwetu Sisi, by the Rhythm Experts Band, 12. Nali Kisafiri, by the Coast Social Orchestra, 13. Sini Kere Kere Omama, by the Coast Social Orchestra, 14. Ngamririkanya, by the Coast Social Orchestra, 15. Gild A Heri, by the Lake Victoria Band, 16. Miséria Da Vida, by the Grupo Manjacaziana, 17. Meu Amor Era Aviador, by the Grupo Manjacaziana, 18. Malandro, by the Grupo Manjacaziana, 19. Cachopa, by the Grupo Manjacaziana, 20. Love Is A Merry-go-round, by Chippy’s Dance Band, 21. Ndinokuziwa, by Chippy’s Dance Band, 22. Chemutengure, by Chippy’s Dance Band, 23. Elisa Mwasi Kitoko, by the Orchestre Opéra, 24. Beni, by Henri Bembele & the Orchestre Tinapa.
The Daily Telegraph 2006 (GB): "If you’re looking for that proverbial ‘perfect summer record’, you could do a lot worse than these sunny recordings from the very dawn of African pop. And there’s an ‘outdoorness’ to the sound, a sense that the music’s intended audience is already standing around grooving in time, that makes an excellent antidote to the airlessness of most modern recordings."
Financieel Dagblad 2006 (NL): "Door Baird’s reddingswerk wordt duidelijk hoe visionair Tracey was. Hij realiseerde zich de waarde van de muziek die onder invloed van westerse invloeden en urbanisatie op het punt stond uit te sterven. Zijn archief vormt het muzikale geheugen van een half continent." "Through Baird’s salvage work, it becomes clear how visionary Tracey was. He recognised the value of the music that was about to die out due to western influences and urbanisation. His archive constitutes the musical memory of half a continent."