It has been some time now since Oliver Mtukudzi, Zimbabwe’s much adored musical son, has needed an introduction. With this album he has almost reached his 50^th recording, and he shows little sign of letting up. Translating to a Shona hunter’s bag, the title suggests that the record contains sustenance of some sort. As indeed it does: there are many words of wisdom dressed in song here, and there is little doubt that Nhavawill address the relentless desire of Zimbabweans all over the world for their regular fix of Tuku’s spell.

Some of Tuku’s recent release have veered towards a South African jazz affection, not least of all due to his close working relationship with Steve Dyer, with whom he has joined forces on many projects. And from an initial listening to the opening track here, one could be forgiven for assuming that Nhava was taking a similar route. Despite the definitively Shona-esque hosho inclusion, the piano musings and solo female vocal section all allude to South Africa. This reference is short-lived however, and we are firmly in Zimbabwe for the reminder of the album.

Standout aspects are plentiful. Never has Mtukudzi been in finer form than on “Hazvireve.” The following “Hope” provides more of what we know and love of Tuku. A hypnotic guitar loop interacts with a gentle but committed percussion line, the two bound together by a quietly meandering piano and lead guitar parts. The vocal harmonies here are quintessentially of the Tuku variety, and are beautiful. “Handiro Dambudziko” continues in a dance vein, being very light in texture, but all the more catchy in direction.

There are too many notables at this point to begin to identify just one or two classic Oliver Mtukudzi albums. It remains to be seen which will stand the test of time. Could Nhava be a contender?

-JB