John Chibadura's sons fail to keep dad's legacy alive

John Chibadura - his legacy is dying

Most children of musicians who are not doing well never had the opportunity of playing alongside their fathers or even knew in detail how good their parents were. John Chibadura’s sons Knowledge (29), Simba (27) and Richard (34) fit into this category.

One Monday morning in 2006, John Chibadura’s sons -Knowledge (29) and Simba (27) - came to meet me.

They parked their bartered pick-up truck along Second Street close to the Africa Unity Square water fountain opposite Herald House.

I had only heard about them and their efforts of reclaiming their father’s legacy. They looked of the same age.

Everything about them was rustic. They were dusty and unkempt. 

When they sat before me, I did not smell any success although they were upbeat about reviving their father’s music career and take it even further.

I could not tell which one was Knowledge or which one was Simba as they took turns to convince me that they, indeed, were out for good.

They were holding shows especially in Domboshawa, both chorused. And, they both added, had two shows during the weekend.

I asked them about instruments and transport because I knew that their father had lost everything before his death and that he would spend days sitting at Zimbabwe Music Corporation (ZMC) in Masasa waiting for the company to feel sorry for him.

It was then that one of them stood up, walked over to the window (my desk overlooked Africa Unity Square and Second Street) and showed me the pick-up truck that was overladen with musical equipment.

It was an old dusty truck that had seen some days by look of it. I could see from the third floor window the people packed at the back like sardines. I also saw three other people sitting at the driver’s side.

My heart sank. I knew they were hopefuls but very few promoters care about musicians like John Chibadura. 

Without any funding, there was no way these kids could make it. Worse, they had grown up when their father had long been popular. They real never had a chance like Suluman Chimbetu, to learn the ropes under their father’s guidance.

They also never took the opportunity to learn from the only other man, Roderick Chomudhara, who played with and for their father and led the Tembo Brothers when Chibadura passed away in 1999. 

When their father died and lost his Chitungwiza house, the children — Richard, Knowledge, Simba, John Jnr, Munyaradzi and Melissa — went to stay with their mother in Domboshawa.

Chomudhara says he owed his music achievements to Chibadura and he admitted it saying: “Chibadura showed me direction and I learnt a lot about music from him because of his vast experience. 

“He was one of the best musicians that Zimbabwe has ever had and naturally one wanted to follow in his footsteps.” 

Chomudhara was lured by Chibadura to join the Tembo Brothers from Dombo Stars.

“I had my own group, Dombo Stars, in Domboshawa, which I fronted from 1989 to 1992 before Chibadura spotted me and asked me to join his group, the Tembo Brothers, in 1994.

“I played the bass guitar on albums like Vengai Zvenyu, Mutumwa, Zuva Guru, Kukura Kurerwa, Nguva Yakaoma and Pfuma Yenhaka. 

“I also understand that the Zimbabwe Music Corporation were supposed to release another album in 1997 but I don’t know what happened to it because it has never seen the light of day since then,” Chomudhara said.

The brothers have released three albums with ZMC but all did not make any visible dents. They have blamed ZMC for poor marketing. 

In 2007, the three of them with Richard (34), said they had recorded a DVD featuring six of their father’s songs as well as their three songs with ZMC.

In August 2011, a gig was held in honour of their father but to help the sons off their feet.

In March 2012, the brother left ZMC and below is the story that appeared in Newsday.

Chibadura brothers ditch ZMC

Chibadura Brothers, a group that comprises of sons of the late popular musician John Chibadura, have parted ways with Zimbabwe Music Corporation (ZMC) after their latest album titled Inguva got deleted from the stable’s computer systems.

Sometime in February last year, the brothers under the leadership of Simba and Knowledge were told their album had disappeared and the only solution was to rerecord. But the brothers never got the chance to return to the studio as it was said to be “too busy”.

This didn’t go down well with the brothers currently hunting for a recording studio where they are set to rerecord the six-track album.

Since the death of their father John Nyamukoko (Chibadura) in 1999, the brothers have released three albums, the last in 2005.

The last two albums had little impact on the market despite the brothers keeping to their father’s music, still popular in the country, and this had forced their departure from ZMC.

They returned to the studio in February last year and were dismayed when they received news their album, almost complete, had been deleted from the computer. Simba Chibadura confirmed the group was seeking a new recording stable.

“It was last year when we were told by the producer Dumisani Sibanda our music had disappeared from the computer,” said Simba.

“The album was almost ready and only vocals were due for recording, but we suffered a setback. Even up to now it’s still unbelievable.

“We were told to rerecord, but since last year nothing has happened. And this is the reason why we are leaving ZMC.

“We are just waiting for the transfer letter from ZMC.” Concerning their last three albums, Simba said ZMC failed to market and distribute them.

“All the albums we recorded with ZMC were never found in retail shops and again the studio still prefers cassettes in this era instead of CDs.”

Efforts to get a comment from the producer were fruitless as his mobile phone was not reachable.

In an interview, Emmanuel Vori, ZMC managing director, dismissed all claims: “I don’t know anything about that. Chibadura brothers never recorded here last year. Why don’t you bring the guys here and ask them in my presence?

“I am tired of you people from the Press. You always want stories to sell your papers!” 

This is not the first time musicians have dumped ZMC. Recently, Leonard Zhakata cancelled his contract with the recording studio after the later failed to release his album on time.

Currently, sungura musician Taruvinga Manjokoto, popularly known in music circles as Sugar Sugar, is reportedly at loggerheads with the recording stable for taking long to release his latest album. 

In August last year, Dendera maestro Tryson Chimbetu blasted the recording company and threatened to dump it, accusing it of not marketing his two albums, Marxist Revival and Bvamrod.

Selmor's talents overshadowed by dad's success

With  her father still on the scene, Selmor Mtukudzi's music career appears to be hidden in her dad's fame and popularity. Although she has released her own albums, Selmor cannot be counted as one of Zim's shining examples. This does not mean that she can't sing well but that with such a dad, breaking in is not easy.   

In 2004, I followed Selmor Mtukudzi to a golf-course in Hatfield. At the time, she was backed by Phillip Svosve’s Jabavu Drive. It was long before she met, fell in love and married Zexie Manatsa’s son, Tendai. 

At the time, Selmour was a tall, dark, thin girl unlike today when she has blossomed into a real African woman. She is a mother to three children.

Apart from being a grown woman, Selmor now sings together with her husband, Tendai and they have released solo and duets among them Kudzoka KwaBaba and Shungu.

Below is my 2004 interview at Hatfield golf course club which ran in the Southern Times

Mtukudzi’s daughter storms the music scene

She is tall, slim, dark in complexion and boasts of a voice that go far just like her father’s. 

Her stage act is not exactly like her father’s because she does jazz while the father is into a distinct Zimbabwean beat known as katekwe.

This is Oliver Mtukudzi’s 21-year-old daughter, Selmor who fronts for the Zimbabwean Jazz outfit, Jabavu Drive.

Ironically, Selmor is the daughter whose father never thought would grow up to take after him but not exactly like him.

 “Dad used to think and say that Samson would grow up to be a musician. He never real thought that I would be a musician,” said Selmour when I caught up with her during one of her performance at an up-market golf club in Harare recently.

 “Maybe, I showed interest in music at a late stage,” she said.

Selmor, who was born in Harare, attended primary schools in Highfield before going to do her secondary education at Sandringham School in Mashonaland Central, Zimbabwe.

Selmor is the third born while Samson is Mtukudzi’s only son who attends Prince Edward School in Harare where he is a guitarist with the school’s popular jazz band. 

The Prince Edward Band has so far shared the stage with popular South African music stars such as the regal eagle Jabu Khanyile, Judith Sephuma among others.

The other two daughters, Sandra and Samantha have not yet taken their singing talents into full bloom. 

In Selmour case, whether she showed her interest in music late, the reality is that she has a very promising career in music for she is determined to go all the way.

 “Music is my full time job. Whenever it calls, I will answer,” she said, her eyes focused in the future.

 “I have enough songs to compile my own album. In fact, I had hoped to record my first album end of this year but I guess I am not ready yet and would like to explore a bit more before I do so,” she revealed.

Because of her busy schedule, Selmor has moved from the family Norton home to Harare in order to meet the demands of practicing and fulfill the schedules that sometimes sees them performing five shows a week.

But if her schedule seems to be overladen today, her childhood was not any better.

Selmor’s mother, Melody Murape separated from Oliver when she was a small girl. As a result, she found herself moving back and forth so that she could live with both parents.

She spent much of her childhood with her father in Harare before moving to Banket (a small farming town in the north west of Harare) to stay with her mother while doing Grade six and seven.

Some time before moving to Banket, she landed an acting role in a Zimbabwean feature film, I am the Future that dealt with the plight of street kids. In the film, Selmour was the leader of the street kids.

“I do not know why but dad had me on the film,” said Selmor. “I had just returned home from school when I was told that dad was coming to take me to town.

“When he came, we went to the studio where backtracks were being played. I was asked if I could put words to the instrumentation. I said that I could and I did.”

Although the film, I am the Future, directed by Godwin Mawuru who is the executive director of Zimbabwe’s first soap Studio 263, was not a box office hit, it opened a bright horizon for young Selmor who was to find another role in a television drama as a friend to an ill-treated orphaned girl.

 When she enrolled at Sandringham, a distant away from Harare, Selmor took a break from active acting.

She came back in 2002 and landed at Zimbabwe’s premier jazz club, Jazz 105.

 “One of Tanga wekwa Sando’s backing vocalists had left and I was called up to replace her. I had only one day to practice with the band before appearing on stage at Jazz 105 the next day,” said Selmor who added that she never had stage frights.

Tanga wekwa Sando is one of Zimbabwe’s great township musicians.

But it was to be a short stint.

 “One day I heard that Jabavu Drive was looking for a vocalist. I applied for the job and went for auditions. And here I am today,” she shrugged her shoulders.

Today, she has taken Jabavu Drive an extra mile since the group plays at functions and reputable hotels such as Cresta Msasa and Sheraton Hotel in Harare where they play for diners.

Her sister Sandra who is now in South Africa was once Jabavu Drive’s promotions manageress.

While she said that her father had much to do with what she is today, she also attributes part of it to nature.

“I liked jazz naturally. My favourite artists are Miriam Makeba, Judith Sephuma, and Dorothy Masuka among others. My mother used to play Makeba and Masuka’s songs when I was a child. Somehow, I grew to like jazz music,” she revealed.

During her shows, Selmor plays copyright staff originally done by the Hurricanes too.

“My mother liked the Hurricane very much,” she recalled.

But what about her father’s music?

“Oh, that. I listen to his music. In fact, we used to sing with him at home. He inspires me in a big way.”

And his success, how does she take it?

 “Well, my father is a personal friend of mine. He is now a very successful man but to us he is just a father, an ordinary man in the home. He lectures to me about the dangers of being a woman in music. He tells me to be careful with whatever I do,” said Selmor.

“Of course, I am very proud of him.”

Then where to from Jabavu Drive?

"I hope to compose more songs, record them and maybe have my own group,” she said her eyes gleaming with determination.

Interview with Tendai on zimbojam.com

One of Zimbabwe’s hottest celeb couples, Tendai Manatsa and Selmor Mtukudzi, is currently working on a duet album as the two lovebirds strive to break the ice, and make it on the local and international music scenes.

In an interview with ZimboJam, Manatsa expressed optimism that the album will be a hit.

“We have started working on our second album which will consist of duets done by me and my wife, Selmor.”

“We keep moving on because of dreams. My story and Selmor’s are almost the same. We were brought up in musical families in which our fathers- Zexie Manatsa and Oliver Mtukudzi became big names in the industry. 

"We are always being compared to them. We just want to make it on our own,” said Manatsa.

The two singers launched their debut albums early this year. They have been holding shows around the country but mainly in Harare.

Videos of their title songs- Kudzoka Kwababa and Shungu were also released in April this year, but have not yet received airplay on TV.

“We decided to work together on a duet album because we all play with one band and back each other when performing. This somehow affected our music to be sort of the same.”

“We love music and have a lot of support that keeps us going. My music has been influenced by my father and Selmor’s by her father too.”

“We now have more experience, and that is a very good development. I hope it will have a positive effect on the album to come,” said Manatsa
“Airplay for our first albums is good though album sales are not that impressive. I think people have no money.”

“However, we can’t complain. People love our music. We have been enjoying every moment. I hope sooner or later, things will shape up,” he said.

Manatsa added they usually perform once a week as they are in the process of building a fan base and need to maintain consistency in public appearances.

On how it was working with his wife in such a fast paced industry he said: “As a couple in music, we are working fine and it seems we work well together because we understand each other best.”

Selmor Mtukudzi, Manatsa launches a 14 track album

Posted on June 24, 2011 by Admin1 Source:

Tendai Manatsa and Selmor Mtukudzi have launched their joint project, an album titled “Live”. 

The couple also unveiled the accompanying DVD to the album.

“Live” is a 14-track album which carries renditions of a few all-time classics by the two musicians’ fathers, Oliver Mtukudzi and Zexie Manatsa, which the couple remixed in their own unique way.

Selmor did her father’s two songs, “Svovi Yangu” and “Mutserendende”, dedicating the former to her husband Tendai, while the latter was revisited after the two realised that their fans liked the song whenever they performed.

Tendai, on the other hand, chose some of his father’s popular hits like “Chipo Chiroorwa” and “Chivaraidze” which he played with an uncanny resemblance to his father’s original versions. 

Fans will not help wondering whether it was not the older Manatsa singing judging by the way that Tendai’s voice sounds like his father’s.

The rest of the tracks are original compositions carried on the couple’s albums, “Chiro” by Selmor and “Kudzoka Kwababa” by Tendai.

The video includes one of Zexie Manatsa’s comic gems, “Tea Hobvu”, which features the old Manatsa together with his son Tendai and daughter-in-law Selmor.

“We decided to call the album and DVD ‘Live’ because we wanted to share our musical experiences with our fans since music in the studio sounds different from live performances,” Tendai said.

He said he decided to re-do his father’s songs on the album because these were some of the hits that endeared his father to his fans and wanted to revive those yesteryear memories at the same time giving the music a new and novel angle.

The Minister of Media, Information and Publicity, Cde Webster Shamu, who is also the patron of the Zimbabwe Union of Musicians, was the guest of honour at the launch which was graced the two musicians’ parents and various fellow artistes.

Party politics will be the ruin of Africa

Oliver Mtukudzi

I still don’t understand why our government has chosen to sacrifice so much to retain the reins of power. The lack of tolerance toward dissenting voices is a great disappointment to me. Party politics will be the ruin of Africa especially when there are so many serious issues facing the country right now, like famine and AIDS. Why we can’t just combine all our energies to deal with these real-life issues is a mystery to me - Tuku

 

Meron Tesfa Michael
April 4, 2003

Oliver Mtukudzi’s career as a musician kicked off in the late 1970s, when Zimbabwe was Rhodesia, Ian Smith was in power, and the country was united under Robert Mugabe in a fight for independence.

At that time, Mtukudzi earned his popularity by performing political songs that spoke of resistance and national pride; later, with his album Africa (1980) he became the voice of the newly independent Zimbabwe.

Two decades and 44 albums later, when Zimbabwe is once again being ravaged by horrendous political violence, economic disaster, famine, and AIDS, Mtukudzi’s musical mix of groove and message is there to guide its fans through bad times.

Mtukudzi’s style, known as Tuku music, is a unique combination of several elements: South Africa’s hard-driving mbaqanga rhythm, jit—a fast percussive Zimbabwean dance beat—and the gentler, repetitive mbira rhythms of Zimbabwe's Shona people.

 

In addition to creating a unique musical sound, he has won praise for his power as a lyricist.

 

His precisely worded narratives, with their sense of humor about daily life, stand as metaphors for the social and economic ills that bedevil his country.

Since 2000, when President Robert Mugabe's party was returned to power in a controversial election, Zimbabwe has been in the grip of a national crisis.

 

The government’s controversial land reform program has effectively seen the country's white farmers dispossessed, while members of the political opposition have been targeted for violent persecution.

 

With a food emergency that has more than 7 million people reliant on foreign aid and an estimated one in four people suffering from AIDS, conditions could hardly be worse.

Mtukudzi never openly refers to politics in his work, nor does he overtly criticize Zimbabwe's leadership. But his message is clear nevertheless, say his fans, who refer to him as “an iron fist in a velvet glove.”

 

In his 44th album, Vhunze Moto (Burning Embers)—its cover shows a map of Zimbabwe on fire—the track “Moto Moto” (Fire Is Fire) goes, “Even embers are fire, why wait until it's a huge flame to accept that it's fire?…You have made the fire, making it on your own, to prove that it is a fire.” The song was widely interpreted as a warning to Mugabe of looming catastrophe.

In another track, “Tapera” (We Have Been Decimated) Mtukudzi addresses the AIDS pandemic by advising men to adopt responsible sexual behavior. “A mature man, why behave like a child?” he sings.

 

“Don’t get carried away…” But by far Mtukudzi’s most controversial recent track is “Wasakara” (You Are Worn Out), from his 2000 album Bvuma (Tolerance). “Wasakara” says that old men should know when to step down and rest: “You are old, you are spent, it is time to accept you are old.”

 

Zimbabweans say this is a reference to the 79-year-old Mugabe, who has been in power since 1980 and shows no sign of stepping down. The opposition party, Movement for Democratic Change, now uses “Wasakara” as its unofficial anthem.

A producer, arranger, and songwriter, Mtukudzi (known as “Tuku” to his fans) seems to have unflagging energy, releasing on average two albums a year for the last two decades.

 

Recently World Press Review’s Meron Tesfa Michael interviewed him about his career and his hopes for Zimbabwe.

 

What makes Tuku music different from other musical styles? How did you end up creating it?
My fans were the first to describe my music as Tuku music but it was only around the mid-'90s that I began to develop it as a brand name. My music doesn’t really qualify as one of the more classified styles of Zimbabwean music, like jit, sungura, chimurenga, or even traditional, so I suppose it has come about through having so many albums of music composed by me….44 albums to be precise.

Many influences have crept into my music over the years. For instance, I only introduced a full-time percussionist, female vocalists, and acoustic guitar into my live shows during the '90s….but I think even I can recognize a definitive style that has become my own!

Your albums are known for your lyrics that deal with social and economic issues in Zimbabwe. What are the problems that preoccupy you most, and your suggested remedies?
I was asked once why African composers don't write more love songs...that made me think, but I guess it’s because so many African countries are still immersed in wars and struggles against disease, poverty, and famine, that love songs seem almost trivial.

My lyrics have always been drawn from people and their day-to-day issues—not just their difficulties but also their humor, happiness, irony. I may reflect more on those issues that touch me in some way, but my lyrics tend to highlight people’s values and I guess I reinforce the more positive ones. I also like to challenge customs and behavior that encourage greed and selfishness, and I am very conscious of the disparities in our society, especially where women’s rights are concerned. As far as Zimbabwe is concerned, we are living in a very divisive society right now, so these days I sing about the need for peace, unity and tolerance.

If you had to distill all your work into just one song about Zimbabwe, to convey a message to the world, what would the message be?
For several years now, Zimbabwe has been a major focal point for the regional and international press. The message I would most like to convey to my listeners is that there are so many major catastrophes facing the African continent right now (like the AIDS pandemic, famine, etc.) that it is frustrating to witness governments that have been voted into power by the people spending so much time, energy, and often scarce resources on issues of conflict and power.

As a person who is recognized within my community, I feel a really strong sense of responsibility to be the kind of role model who promotes the right things. Peace and democracy are such critical factors in building a healthy society and yet our politicians seem obsessed with party politics, and corruption is eroding every sector of society.

What drives you?
That’s a difficult question, I’m not sure I know the answer but I love being on stage and writing songs; it’s one of my real pleasures in life. I also think I am very lucky to have been able to develop my hobby into my career. My personal mission is to achieve recognition for my work and enjoy the process —I’m slowly getting there but it has been a long and winding road.

Are you disappointed at the way things have turned out in Zimbabwe?
Of course I am—the dreams and the struggle for independence were shared by all. I still don’t understand why our government has chosen to sacrifice so much to retain the reins of power. The lack of tolerance toward dissenting voices is a great disappointment to me. Party politics will be the ruin of Africa especially when there are so many serious issues facing the country right now, like famine and AIDS. Why we can’t just combine all our energies to deal with these real-life issues is a mystery to me.

Your career launched in 1970s, at the time of the independence movement in Zimbabwe. What Zimbabweans’ spirit was like then compared to now?
The spirit of the Zimbabwean people felt indomitable when we were unified leading up to independence in 1980, despite the many personal tragedies that so many people experienced. Fragmented as we are now, and with so many forces waging a different kind of war against us, it is critical that we put our differences behind us and find that kind of human spirit again.

Recently Time magazine named you and [veteran Zimbabwean protest musician] Thomas Mapfumo as "heroic artists.” The magazine claimed that your music is “powerful as it rebukes and encourages the people of a broken nation to take up arms.” Is that your goal for your songs?
I don’t believe either of us is literally urging the people to take up arms. The minute you engage in violence to win any struggle, you lose so much. For many, the wounds from the war for independence can never heal—I have watched that period of our history and can only urge the people to have the courage to speak from their hearts and let their voices be heard….might is not right! The government has a responsibility to create the conditions that facilitate that kind of forum for the good of the whole.

Dialogue and instilling a discipline of nonviolence are the only way to remain victorious over the many challenges that are currently facing us as a nation. That is a message I would like to convey to all those who are perpetrating senseless acts of violence on fellow Zimbabweans, as they can never wash the blood off their hands.

What is the most consistent theme of your music?
Probably my most consistent theme is the strength of unity. Divided we fall.