Assagai - 1971 - Zimbabwe

Assagai

1971

Zimbabwe

01. Barazinbar

02. Wanga

03. La La

04. Dalani

05. Bayeza

06. Sanga

07. Come Along

08. Kinzambi

Backing Band – Jade Warrior

Congas – Terri Quaye

Congas, Percussion – Smiley De Jonnes

Drums – Louis Moholo

Tenor Saxophone – Bizo Mngqikana

Tenor Saxophone, Baritone Saxophone – Fred Fredericks

Trumpet – Mongezi Feza

Vocals – Martha Mdenge

Alto Saxophone, Piano – Dudu Pukwana

From the back cover: “In recording this second album its been a pleasure once again with such rated musicians as Louis Moholo (drums) Dudu Pukwana (Alto/Piano) Mongezi Feza (Trumpet) Terri Quaye (Congas) and Bizo Mngikana (tenor). New members to the band are Smiley de Jonnes (congas/percussion) and Fred Fredericks (tenor/baritone) and Martha Mdenge who writes and sings some nice African folk songs. Thanks to fellow Vertigo artists Jade Warrior for strumming, picking, banging and blowing along, not to mention writing and arranging a few steamers. Recorded at Nova Sound Studios and Engineered by Richard Dodds. Produced by Dave Watson for Normal Associates. Sleeve Designed and drawn by Roger Dean."

Assagai was an Afro-rock band from South Africa, active in the early 1970s in London. It consisted of five members: drummer Louis Moholo, trumpeter/flautist Mongezi Feza, tenor saxophonist Bizo Muggikana, guitarist Fred Cocker, and alto saxophonist Dudu Pukwana. They recorded for the British label Vertigo Records. Assagai's self-titled debut album was released in 1971. It was reissued on CD by Repertoire Records in 1994. Their second and final album, Zimbabwe, was released later in 1971. The album was re-released as LP by Music for Pleasure label, but under a different title, AfroRock. Both their albums featured songs written by members of Jade Warrior and also included guest appearances from them as well. In the 1960s, Pukwana, Feza and Moholo were also members of the jazz band The Blue Notes alongside Chris McGregor.

Although Assagai's Zimbabwe is so unnervingly eclectic that some might find it a somewhat uneven listening experience, it's a very interesting fusion of funk, rock, and African influences that's quite forward-looking for the early '70s, with just a bit of psychedelia thrown in. When they're playing in a relatively straightforward Afro-funk vein, they're pretty hot, mixing grinding, groovy riffs with some African beats, wailing melancholy horns, and obviously James Brown-influenced rhythm guitar. That blend is prevalent on the opening six-minute instrumental "Barazinbar," and vocals get thrown into a similar approach on "Bayeza." But others cuts vary the arrangements enough to steer the album well clear of formulas. "Kinzambi," another instrumental, gets into some intense interplay between jazzy brass and hand-held percussion, and the beats and brass on "Sanga" might slightly remind some listeners of Manu Dibango's work. "Wanga" and "Come Along" have a bubbly lilt more identified with the sweeter aspects of the Afro-Pop popularized around the world from the '80s onward, though "Come Along" has the kind of romantically shivering vocal associated with some pre-1970 African popular music. "Dalani" is another highlight, kicked off by a compelling, tinkling keyboard riff and gliding into a first-class jubilant funk instrumental. Making the group harder to pigeonhole, however, are "La La," which sounds almost like a dreamy psychedelic singer/songwriter ballad (albeit not sung in the English language) with piano and entrancingly folky guitar. Not well-known even among collectors looking for early fusions of African music and funk, Zimbabwe's an interesting, energizing record whose innovations and creativity are worthy of more recognition.