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South African ensembles excel
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Chicago Tribune, South African ensembles excel >>
Joseph Shabalala is an international recording star now, but the leader of South African vocal group Ladysmith Black Mambazo recalls the 1960s, when the only way he could hear records was through the few radios that his friends could share. One day they were shocked at a strange, yet familiar sound coming over the airwaves. It was The Impressions' "Amen."
"We were all asking one another, `What's going on here?'" Shabalala says. "What is that sound?"
When Shabalala found out he determined that "American gospel--these people are from Africa. Their dreams are from Africa. They have that energy that is in South Africa."
South Africans are bringing that energy back to the Chicago area. Ladysmith has three concerts scheduled, including March 18 in Grayslake (the other two are sold out). The newer Soweto Gospel Choir will perform Tuesday at Christ Universal Church on the South Side.
While these groups represent different generations, they share perspectives on their music's history and the challenges they have faced.
As Shabalala says, many of American gospel's originators had African ancestry. But church singers from the United States and musicians from his country have been collaborating since the late 19th Century. Anthropologist Veit Erlmann describes this history in his book, "African Stars" (University of Chicago Press).
Erlmann mentions one such group, the Virginia Jubilee Singers, whose leader, Orpheus McAdoo, was the son of North Carolina slaves. McAdoo took the choir on a tour of South Africa in the 1890s. About 40 years later, South African composer R.T. Caluza toured the U.S. with his combination of American spirituals and Zulu folk songs.
Initially, Shabalala did not follow in these musicians' footsteps. In 1960 he formed Ladysmith, which became known for a cappella harmonies called isicathamiya.
"Lots of people told me, `Forget about gospel,'" Shabalala remembers. "But then when people bought more [Ladysmith] records, they said, `Carry on.'"
The churches also provided some space for Shabalala and others like him to freely express themselves during South Africa's apartheid era. While Ladysmith was touring the world with Paul Simon in the 1980s, he says government officials harassed him because they alleged that he was involved in militant or criminal activities. For Shabalala and Soweto Gospel Choir assistant director Lucas Deon Bok, the parallel to the American civil rights movement was clear.
"In the time of struggle, the church was where people could get together on a Sunday where the police would not come in to see what was happening," Bok says. "And the African-Americans were also singing songs of triumph and that's why there's such a connection through gospel, because it's something that people could turn to."
As with American gospel, in South Africa today there is a chasm between traditionalists and singers who want to bring more pop into the church. Bok says his group is trying to bridge the divide as the choir includes some kwaito, which is a South African variation of hip-hop.
"Sometimes, if you just keep it mainstream gospel, you only get certain kinds of people to come to your show," Bok says, "so you miss the point of trying to reach everybody. Kwaito is for the youth, or young at heart. But the older folks come and feel good because we remind younger people where they're from and not to lose their roots."
At 27, Bok sounds confident and somewhat awestruck as he leads his choir through the United States for the first time. As he spoke from Providence, R.I., at the beginning of a 35-date tour, Bok says the warm American response has been encouraging. But the experience is also placing new demands on his ensemble.
"A lot of American choirs are musically educated and sophisticated," Bok says. "Most of us haven't been to school for music; we just do it from natural talent. For us to upgrade, we have to go to school and see what we can come up with."
But Shabalala feels that young South African groups, like the Soweto Gospel Choir, have already made a big impact, especially back home.
"That is wonderful to see, that these young people remember that they have a talent," Shabalala says. "Because for so long their talent was rejected. Nowadays, the people know that they can do something from their dreams."
Here are some suggested recordings to get you in the South African gospel spirit:
Ladysmith Black Mambazo, "Raise Your Spirit Higher" (Heads Up). This recent, Grammy-clinching disc shows that South Africa's premier a capella group remains at the top of its game.
Ladysmith Black Mambazo, "Live at the Royal Albert Hall" (Shanachie). Critics who complain about many African recordings' overproduction have nothing to gripe about with this stripped-down performance.
The Soweto Gospel Choir, "Voices From Heaven" (Shanachie). The fresh-sounding young group mixes hymns, intertribal songs and Jimmy Cliff's "Many Rivers to Cross."
"The Rough Guide To South African Gospel" (World Music Network). These 22 songs comprise the best introduction to the genre through an impressive range of styles, and the liner notes are excellent.
--Aaron Cohen
03/04/05 >> go there
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