Uvumbuzi.

The Boys Choir of Kenya; Joseph Mugale Inzai, conductor.
AGCD 2005.  63 minutes.  $15.

Muyale, J., arr.  Utianga, Idakho satire.
Mpapa leshumata, Maasai spiritual.
Kitikiti, Maasai chant.
Mogalo, Noah, arr. Auma, Luo love song.  Angudha Osogo, orutu.
Tonje, Tinkimale circumcision chant.
Zalo, David, arr.  Yesu anipenda, Swahili sacred work.
Keango, Edwin, trans.  Sidigisa, Kisii satire
Wabuya, Bukusu chant.
Muyale Inzai, Joseph, arr.  Musenangu, Giriama satire.
Sogo, Paul.  Gur Jesu, Luo Christian spiritual.  Anghuda Osogo.
Hofmeyr, Rheta, arr.  Tuli tuli, Nama play song.
Vulele, Kisoga folksong, from Uganda.
Ayodele, C., arr. by Fred Onovwersuoke.  Om'oba ni, Yoruba royal procession, from Nigeria.
Muyale, J.  Pitié, French/Ligala love song, from Congo.
Zalo, David, arr.  Roho biro, Luo/Luoya Christian spiritual. 

Choral music for Africa in English, such as hymns of the past, imposes rhythms distinctly non-African.  That is distinctly not the case here.  Rhythms in texted music come from the language, no matter what it is, and this most attractive CD liberates native tongues from the regular metered music that is common with most non-Slavic music from Europe.  One would be wrong to regard the music as syncopated, a mistake perpetuated by Scott Joplin, who allied his 3+3+2 right-hand patterns with the European concept of syncopation (such as found in abundance in the third Leonora overture of Beethoven), rather than relating his rhythms to the African concept of additive rhythm.

As Professor Jean Kidula (University of Georgia-Athens) indicates in his liner notes, the works do not fall into the European concept of folksongs, but also enjoy an African characterization that, at best, one might call art music.

This ensemble is predominately composed of baritones, with treble voices providing a contrast.  The singing is strong, well focused, and mature.  Texturally, there are instances of responsorial singing.  The orutu, a one-string fiddle, is called on in a few instances, and drums discretely offer a foundation (the mixing is the work of Dr. Fred Onouvwersuoke).

The chorus is not unknown in Germany or North America.  A tour of 2004 (15 years after being founded as the Aquinas Boys Choir), they gave concerts in Burligton, New York, Québec, Chicago, Kansas City, and Atlanta.  While their repertoire is pan-African, it also includes spirituals, music from Europe's classical masters, and the Caribbean.

Of those involved in this music, Rheta Hofmyer is known as a cultural figure in Namibia.  David Zalo's music appears also on Mateso!, a CD of the Muungano National Choir of Nairobi, conducted by Boniface Mganga.  Joseph Muyale Inzai, a protégé of David Zalo and Boniface Mganga (he is a former member of the Muungano National Choir), is conductor of Kenya's Hamjambo Afrika Choir.  As for Dr. Onouvwersuoke, those concerned with choral music and the contemporary African musical scene will already be familiar with the work of this Ghanian major talent, conductor of the African Chorus of St. Louis.

Certainly, this recording will be of great interest to all choral directors, but it should not be overlooked by those wishing yet another insight into the distinction of art-music production from contemporary Africa.  Additionally, teachers may use this recording with the study guide as an introduction to Kenyan history, dress, food, and Swahili.  Although issued in a limited edition, copies may be ordered online at www.africanchorus.org. 

Dominique-René de Lerma
Lawrence University