1

Program Notes

2009-2010

For more than forty years, Ladysmith Black Mambazo has married the intricate rhythms and harmonies of their native South African musical traditions to the sounds and sentiments of Christian gospel music. The result is a musical and spiritual alchemy that has touched a worldwide audience representing every corner of the religious, cultural and ethnic landscape. Their musical efforts over the past four decades have garnered praise and accolades within the recording industry, but also solidified their identity as a cultural force to be reckoned with. Assembled in the early 1960s, in South Africa, by Joseph Shabalala – then a young farmboy turned factory worker – the group took the name Ladysmith Black Mambazo – Ladysmith being the name of Shabalala’s rural hometown; Black being a reference to oxen, the strongest of all farm animals; and Mambazo being the Zulu word for axe, a symbol of the group’s vocal ability to “chop down” all things in their path. Their collective voices were so tight and their harmonies so polished that they were eventually banned from competitions – although they were welcome to participate strictly as entertainers. Shabalala says his conversion to Christianity, in the ‘60s, helped define the group’s musical identity. The path that the axe was chopping suddenly had a direction: “To bring this gospel of loving one another all over the world,” he says. However, he’s quick to point out that the message is not specific to any one religious orientation. “Without hearing the lyrics, this music gets into the blood, because it comes from the blood,” he says. “It evokes enthusiasm and excitement, regardless of what you follow spiritually.” A radio broadcast in 1970 opened the door to their first record contract – the beginning of an ambitious discography that currently includes more than forty recordings, garnering two Grammy Awards and fifteen nominations, including one for their most recent recording “Ilembe: Honoring Shaka Zulu”. Their philosophy in the studio was – and continues to be – just as much about preservation of musical heritage as it is about entertainment. The group borrows heavily from a traditional music called isicathamiya (is-cot-a-ME-Ya), which developed in the mines of South Africa, where black workers were taken by rail to

2

work far away from their homes and their families. Poorly housed and paid worse, the mine workers would entertain themselves after a six-day week by singing songs into the wee hours on Sunday morning. When the miners returned to the homelands, this musical tradition returned with them. In the mid-1980s, Paul Simon visited South Africa and incorporated Black Mambazo’s rich tenor/alto/bass harmonies into his Graceland album – a landmark 1986 recording that won the Grammy Award for Best Album and is considered seminal in introducing world music to mainstream audiences. In addition to their work with Paul Simon, Ladysmith Black Mambazo have recorded with numerous artists from around the world, including Stevie Wonder, Josh Groban, Dolly Parton, Sarah McLaughlin, Emmylou Harris, Natalie Merchant, Mavis Staples, Ry Cooder and Ben Harper. Their film work includes a featured appearance in Michael Jackson’s Moonwalker video and Spike Lee’s Do It A Cappella. Black Mambazo provided soundtrack material for Disney’s The Lion King, Part II as well as Eddie Murphy’s Coming To America, Marlon Brando’s A Dry White Season, Sean Connery’s The League of Extraordinary Gentlemen, and James Earl Jones’ Cry The Beloved Country. A recent film documentary titled On Tip Toe: Gentle Steps to Freedom, the story of Ladysmith Black Mambazo, was even nominated for an Academy Award for Best Documentary. The group is well known for its Life Savers candy commercials. Their performance with Paul Simon on Sesame Street is legendary and is one of the top three requested Sesame Street segments in history. Black Mambazo has been invited to perform at many special events including events for the Queen of England and the Royal Family, two Nobel Peace Prize Ceremonies, a concert for Pope John Paul II in Rome, the South African Presidential inaugurations and many other special events.

www.mambazo.com www.imnworld.com/ladysmithblackmambazo

3

SET LIST Songs announced from stage

LINE UP

SINGERS

JOSEPH SHABALALA MSIZI SHABALALA RUSSEL MTHEMBU ALBERT MAZIBUKO

THULANI SHABALALA THAMSANQA SHABALALA SIBONGISENI SHABALALA

ABEDNEGO MAZIBUKO NGANE DLAMINI

CREW ADAM HUNT

JON PICCIANO

MANAGEMENT Mitch Goldstein

RECORD LABEL

23309 Commerce Park Rd. Cleveland, Ohio 44122 (P) 216.765.7381 (F) 216.464.6037

The Daily Californian OnlineLadysmith Black Mambazo Bring Zest to Zellerbach Hall

By Bryan GerhartContributing WriterMonday, March 16, 2009Category: Arts & Entertainment > Music > Concerts

A great live performance is the well-known "secret ingredient" in the recipe for an outstanding music group. Itlogically follows that strong "stage presence" is the key to said performance. Now, I'm no cook, and I'mcertainly not a mathematician, but what this adds up to is simple: Ladysmith Black Mambazo arephenomenal.

Now, this pseudo-scientific trail of reasoning might seem as laughably obvious as Zoolander's "moisture is theessence of wetness" observation, but it's necessary. Believe it or not, Lady what? Black who? aren't ahousehold name for everyone.

Treating the group like that obscure new band your buddy keeps telling you to listen to would be going aboutthings all wrong. After all, this is a group with 13 Grammy nominations, 48 active years and a starring role ona little album called Graceland under its belt.

As the eight members of the group hopped and waved their way onto the Zellerbach Hall stage Thursdaynight, unanimous smiles stretched across the faces of the audience members. Without saying a word, the meneach took a spot behind the row of seven microphone stands lined up on the bare stage. Leaving room for thegroup's leader, Joseph Shabalala, in front, they began to sing. When they left the stage two hours later, thesmiles still hadn't faded.

The group's enthusiasm was contagious. There wasn't a doubt in anyone's minds that these men love whatthey do. Without the aid of instrumentation, their voices sculpted soundscapes that floated and bounced withthe singers themselves.

And boy did Ladysmith bounce.

With moves that would make Jagger jealous and high kicks that would give the Rockettes a run for theirmoney, the group is equally athletic as they are musically talented. At times they channeled the likes of Elvisand Chuck Berry; at other times it was as if the Temptations had dropped out of the music business andjoined their church choir. Near the end of the show they even invited audience members on stage to join themin dancing, and despite the volunteers' enthusiastic attempts, it was clear that Ladysmith Black Mambazo hadthe superior skills.

Accompanied by only tongue clicks, snaps and hand whistles, they sang a few of the songs in English, but thevast majority were in the group's native language. Maybe I should've dusted off my Zulu-to-Englishdictionary, but the message of the group was so universal that the language didn't create the barrier one mightexpect. "Our mission," Shabalala stated after their opening song, "is to spread our culture. To spread love,peace and harmony."

The Daily Californian http://www.dailycal.org/printable.php?id=104874

1 of 2 3/17/2009 11:23 AM

The vocation might seem like a grand undertaking for a music group, but considering that they come from acountry that legalized their third-class citizenship up until no more than 15 years ago, they might be just thegroup to do it. The group had a fun, carefree, almost comedic nature about them. At one point all of thesingers but Shabalala left the stage as he jokingly remembered that he had forgotten to pay them and that theywere on strike. However, many of the songs seemed-again, my Zulu is a little rusty-to have politicalundertones. Considering two-thirds of the South African band's career was under apartheid, this would,understandably, be a hard topic to ignore.

While incredibly unique, the music was entirely accessible, and it's hard to imagine someone leaving the showwith a bad taste in his or her mouth. What stood out about Ladysmith Black Mambazo more than anythingwas their honesty. Their sincerity in all aspects of the performance was evident, from their clear joy of beingable to perform for such an appreciative group to their pride in representing their country so far from home.They made the audience feel welcomed, rather than maintaining a separation between artist and listener.

The show was a family affair, in the audience-where ages ranged from diapers to walkers-and especiallyonstage. Shabalala introduced his four sons in the group and announced that he was "planting seeds oftradition," implying that Ladysmith's future would extend far beyond his. Here's to 48 years more.

Tags: Zellerbach Hall, ladysmith black mambazo, Cal Performances

Article Link: http://www.dailycal.org/article/104874

The Daily Californian http://www.dailycal.org/printable.php?id=104874

2 of 2 3/17/2009 11:23 AM

Ladysmith Black Mambazo's music, choreographyprovides intoxicating mix at DeVos PerformanceHallPosted by Jeffrey Kaczmarzyk | The Grand Rapids Press March 01, 2009 02:53AM

Joseph Shabalala rose above the hardships of life in South Africa under apartheid in the 1960s to create musicof unmistakable joy with his musical group, Ladysmith Black Mambazo. The vocal ensemble was in DeVosPerformance Hall on Saturday for the Grand Rapids Symphony's annual "Symphony with Soul" concert.

Created in 2002 to build bridges and forge connections between the orchestra and the wider community, itssuccess is undeniable. With 2,050 in the hall for the first half, it was the Grand Rapids Symphony's biggestaudience of the season in DeVos Performance Hall.

3.5 OUT OF 4 STARS

What: "Symphony with Soul"Guest Artist: Ladysmith Black MambazoConductors: David Lockington and Duane DavisTime on stage: 125 minute, not counting intermission

Plenty more came in after intermission to see Ladysmith Black Mambazo, which won its fourth GrammyAward earlier in February.

The group's soft, repetitively mesmerizing singing style was introduced to American audiences bysinger/songwriter Paul Simon and his 1985 album, "Graceland."

It's intoxicating to listen to the supple, fluid way they swoop in and out of phrases on songs such as "LongWalk to Freedom." Others, such as "Homeless," from "Graceland," was richly layered with ambient sounds ofnature accompanying the music, all created by the voices of the eight-man ensemble.

But Ladysmith Black Mambazo is far more entertaining when you can see them in action. Though they singprimarily in Zulu, the choreography usually makes it clear whether they're singing about hardship orcourtship.

With "Vela Nsizwa," which translates as "Show Yourself, Young Man," a song about a man proving his worthto a woman, most took a solo turn to show off his high-kicking moves.

Several members of the Grand Rapids Community Gospel Chorus came on stage to try some moves alongwith Ladysmith Black Mambazo. As an encore, the entire chorus joined the group for a captivating version of"Amazing Grace."

Ladysmith Black Mambazo's music, choreography provides intoxicating m... http://blog.mlive.com/grpress/entertainment_impact/2009/03/ladysmith_b...

1 of 2 3/2/2009 10:50 AM

The eclectic first half featured the Grand Rapids Symphony under music director David Lockington with theCommunity Gospel Chorus under its director, Duane Davis.

Lockington conducted the orchestra in two movements from William Grant Still's "Afro-American"Symphony No. 1. Composed in 1930, it calls to mind the music and rhythms of Gershwin. Conductingpassionately, Lockington led a buoyant, performance of strong emotions.

Davis led the 115-voice chorus in a joyous, uplifting performance of "Ise Oluwa," a Nigerian folk song, and apowerful version of Bobby McFerrin's "The Passage, Grace and Hope," which Davis arranged for orchestraand chorus.

Debra Perry's "The Prayer," with Perry at the piano, ended their set with a mighty shout of contemporarygospel sounds.

Earlier in the evening, the fourth annual "Celebration of Soul" dinner was held in the Amway Grand PlazaHotel. Nearly 250 people were there for the event honoring Duane and Kaye Davis, Bing Goei, and Rev.Clifton Rhodes Jr. with the 2009 Legacy Award.

Next year's "Symphony with Soul" concert will features a contemporary version of Handel's "Messiah." Davisand the chorus gave the audience a sneak peak with one chorus, "And He Will Purify," from the show titled"Too Hot to Handel."

There's every indication that it'll live up to its name.

E-mail Jeff Kaczmarczyk: jkaczmarczyk@grpress.com

© 2009 Michigan Live. All Rights Reserved.

Ladysmith Black Mambazo's music, choreography provides intoxicating m... http://blog.mlive.com/grpress/entertainment_impact/2009/03/ladysmith_b...

2 of 2 3/2/2009 10:50 AM

Ladysmith Black Mambazo - Music - Review - New York Times http://www.nytimes.com/2006/10/19/arts/music/19lady.html?ex=11619...

1 of 3 10/19/2006 9:25 AM

MUSIC REVIEW | LADYSMITH BLACK MAMBAZO

Giving Pop a Little Kick With Zulu Melodies

Jack Vartoogian/FrontRowPhotos

Natalie Merchant with Ladysmith Black Mambazo, led by Joseph Shabalala, left and pointing, at Carnegie Hall.

By JON PARELESPublished: October 19, 2006

Long before Ladysmith Black Mambazo brought South African Zulu

vocals to Paul Simon’s “Graceland” album, another Zulu sound was

heard worldwide: “Mbube,” a major hit across Africa that was recorded

in 1939 by Solomon Linda. Americans remade it as the Weavers’

“Wimoweh” (a mishearing of “mbube” by Pete Seeger of the Weavers)

and then as the Tokens’ hit “The Lion Sleeps Tonight”; Mr. Linda died

impoverished, and his heirs had to sue to get long-delayed royalties.

When Ladysmith Black Mambazo performed on Tuesday night at Carnegie Hall, Mr.

Seeger was among its guests, and he took time to credit Mr. Linda before leading a

singalong of “Mbube” (with the correct pronunciation: EEM-boo-bay) alongside

Ladysmith Black Mambazo. It was, implicitly, an apology for exploitation.

Next Article in A

MOST POPULAR

Geriatrics1.

Op-Ed CoShiite?

2.

Preschool3.

Preschool4.

RotherhaSchoolchi

5.

Good Girl6.

Fire Still B7.

Ales of Th8.

ArtsnmlkjiMusicWORLD U.S. N.Y. / REGION BUSINESS TECHNOLOGY SCIENCE HEALTH SPORTS OPINION ARTS STYLE

ART & DESIGN BOOKS DANCE MOVIES MUSIC TELEVISION THEATER

SIGN IN TO E-MAILTHIS

PRINT

SAVE BLOE-MAILED

HOME PAGE MY TIMES TODAY'S PAPER VIDEO MOST POPULAR TIMES TOPICS

Sign up to find outevery weekday.

See Sample | Pr

Get Urbanite by E-

Ladysmith Black Mambazo - Music - Review - New York Times http://www.nytimes.com/2006/10/19/arts/music/19lady.html?ex=11619...

2 of 3 10/19/2006 9:25 AM

Next Article in Arts (8 of 8) »

Ladysmith Black Mambazo won’t have to worry about belated recognition. That group, led

by Joseph Shabalala, has an international following and enough fans among musicians to

fill its latest album, “Long Walk to Freedom” (Heads Up), with guests. The Carnegie Hall

concert featured fellow South Africans — the songwriter Vusi Mahlasela and the vocal trio

the Mahotella Queens — along with North Americans who appear on the album, Sarah

McLachlan and Natalie Merchant.

The guests provided some of the concert’s peaks. Mr. Mahlasela, a political voice during

apartheid who now counsels forgiveness, played solo, picking an acoustic guitar. His voice

leaped up to a falsetto croon, turned into a rasp or accelerated toward quickly articulated

syllables that created spectacular momentum with minimal means. The Mahotella

Queens’ sassy voices harmonized as brightly as trumpets, and they had some

bump-and-grind dance moves. Ms. Merchant sang Mr. Shabalala’s “Rain Rain Beautiful

Rain” and her own “Kind and Generous” with her voice poised above Ladysmith’s

harmonies. And Ms. McLachlan joined the South Africans for “Homeless,” written by Mr.

Simon and Mr. Shabalala, with her voice bringing out the melancholy of lines like,

“Somebody cry, why why why?”

Yet for all the years that Ladysmith Black Mambazo has performed alongside pop

songwriters, Mr. Shabalala’s own songs are still resolutely South African. Ladysmith’s

unaccompanied vocal style, isicathamiya, has been translated as “on tiptoes” or “stalking”

because it originated in mineworkers’ dormitories with dance steps done lightly enough

not to alarm security guards. At Carnegie Hall, the songs were built on dignified

call-and-response leading into rolling, repeating three-chord vamps rather than the hooks

and contrasts of Western pop.

The vamps were carried by Ladysmith’s seven bass singers, whose voices blended like

organ pipes for deep harmonies. Eventually, as the harmonies continued, the songs led

into dance routines with synchronized moves as well as head-high kicks that are a Zulu

tradition; the singers wore white shoes to show them off.

Mr. Shabalala, singing above the basses, has a sweet, hushed tenor that whispers and

swoops and quivers, gentle yet fervent. In the formality of Carnegie Hall, the songs came

across not as jovial workers’ entertainment, but as something more somber: music that

had survived sorrows to find benedictions in the aftermath.

Need to know more? 50% off home delivery of The Times.

Brooklyn9.

Dinner, W10.

Go to Complete

ADVERTISEM

Free Trial - prinExact replica o

Arts & more.50% off Times d

http://www.berkshireeagle.com/fdcp?1201542768926

1 of 2 1/28/2008 12:52 PM

Advertisement

Wednesday, January 16

The Colonial Theatre

fulfilled A youth's destiny

Mambazo is the realization of a dream For Albert Mazibuko, Ladysmith Black

By Dave Madeloni, Special to The Eagle

Article Last Updated: 01/16/2008 09:50:40 AM EST

events that would eventually lead to the formation of named Joseph Shabalala set in motion a chain of old when a fortuitous encounter with a singer PITTSFIELD — Albert Mazibuko was 9 years

Theatre. will be performing tonight at 8 at The Colonial acappella group Ladysmith Black Mambazo, which the world renowned, Grammy-award winning

come true. own young band and the beginning of a dream For young Albert, it turned out to be the end of his

am going to join him." now I was going to leave them and when I grow up I time. They sang so beautifully. I told my group that he came with his group because it was Christmas in Concord, N. H. "I saw Joseph in 1960 when recalled Mazibuko in a phone interview from a hotel "I had formed my own singing group,"

there would be a serendipitous meeting between the search of Shabalala, but could not find him. But Four years later Mazibuko traveled to Durban in

two five years later.

what you wanted to achieve.'the people who are going to help you to achieve brother and explained to Joseph, 'These are grandfather's sister. She sent him to me and my "His grandmother happens to be my "He came to me," Mazibuko explained.

my dream came true!"he came to me and my brother I was so happy. Wow, group, that had been formed back in 1960. So when "For a time he had a group, but he left that

musical sensation.Black Mamabazo has grown into a word-wide decades later after that fateful meeting, Ladysmith how wide and far the dream would grow. Nearly four Back then, Mazibuko could never have imagined

Serendipitous moment

" released just yesterday.recordings, including their latest, "Ilembe,discography that today includes more than 40 first record contract, which opened the door to a A radio broadcast in 1970 opened the door to their

Parton, Sarah McLachlan, Taj Mahal, Melissa stars, including the likes of Stevie Wonder, Dolly and has worked with a wildly eclectic group of pop group has scored eight more Grammy nominations 1988 for Best Traditional Folk Album. Since then, the "Shaka Zulu," which won a Grammy in Simon produced the group's first U.S. release, seminal "Graceland" album. A year later, gorgeous harmonies which he incorporated into his which led him to Ladysmith Black Mambazo's in the hope of collaborating with black musicians, mid-'80s when Paul Simon visited South Africa Another serendipitous moment occurred in the

http://www.berkshireeagle.com/fdcp?1201542768926

2 of 2 1/28/2008 12:52 PM

Advertisement

Corrs, and Ben Harper. Etheridge, Emmylou Harris, George Clinton, The

the legendary African warrior Shaka Zulu. The group's new record revisits the legacy of

perfection. have both parents in his life. He believed in grandmother. He never complained that he did not in his life that he was raised by a single parent, his " said Mazibuko. "He never had an excuse "My father used to tell me about him a lot,

and be the best in whatever we do." can achieve everything if we believe in ourselves has to have an excuse about achieving anything. We naming this album, we attribute to him that no one "What we do, we have to do it better. By

he had as a child to sing with Joseph Shabalala. reality has long since surpassed the simple dream That theme surely hits home for Mazibuko, whose

dreaming. So amazing. It amazes me every day." am going to wake up and say that I have been now every time when I think about it, it feels like I "It is like a dream," he said. "And

Bringing out the best

according to Mazibuko. strives to bring out the best in its audience, spiritually uplifting live performances, the group In Ladysmith Black Mambazo's stirring and

themselves. inner essence, because everyone has some good in Mazibuko said. "Maybe we can touch some things everyone has inside with our music," "We are trying to provoke whatever good

"When we are performing in concert we involve

get from our music."the beauty we have in our music, the inspiration we sing with the audience, because we want to share the audience so much. We even have a song that we

In concertWho: Ladysmith Black Mambazo

When: Tonight 8

Where:Pittsfield

The Colonial Theatre, 111 South St.,

Tickets: $35, $22

How: (413) 997-4444 ; www.thecolonialtheatre.orgat the theater box office

Out of Africa, songs of peace -- OrlandoSentinel.com http://www.orlandosentinel.com/entertainment/orl-rec0408jan04,0,4633...

1 of 2 1/28/2008 1:17 PM

orlandosentinel.com/entertainment/orl-rec0408jan04,0,7340029.story

OrlandoSentinel.comOut of Africa, songs of peace

Jim Abbott

Sentinel Pop Music Critic

January 4, 2008

Translated, the title of Ladysmith Black Mambazo's tribute to the iconic African leader Shaka Zulu means "the greatest warrior," but there's an undeniably peaceful vibe to these dozen songs.

Yes, there's a language barrier, too. Fortunately, the gentle beauty of songs such as "Kuyafundw' Osizini (Ilembe)" and "Vela Nsizwa" transcend the vowel- and consonant-twisting appearance of the titles to Western eyes. Liner notes also include helpful explanations of the messages in the lyrics, such as this aside to "Kuyafundw' Osizini":

When someone ill treats you, don't worry, that person is enlightening you and training you, teaching you more about life.

Musically, the lilting melodies of that tune, and the others, convey the spiritual feeling without the necessity of words. Singer Joseph Shabalala and his ensemble haven't evolved much since the group's initial mainstream introduction on Paul Simon's Graceland more than 20 years ago.

That means that the Ilembe songs are flavored by an ancient style that is rarely embellished by a beat that might transform the material from hymns into something more infectious. Songs such as "Umon' Usuk' Esweni" and "Sizobalanda" benefit from the subtle nudges of guttural vocal punctuation. "Let's Do It," one of three songs with English titles, uses the voices to create a shuffling effect similar to brushes against a snare drum. Even the songs with the English titles -- "Let's Do It," "This is the Way We Do" and "Prince of Peace" -- often use a combination ofEnglish and Swahili.

When the singers utter the clipped words "pray, pray, pray" in the chant-like "Prince of Peace," those words sound like something in another language. Later, in the same song, when the voices rise into something that almost soundslike the fleeting whiffs of Southern gospel, it's a lovely earthy touch.

A few more of those recognizable references would make Ilembe more accessible to Western ears, but Mambazo's

Out of Africa, songs of peace -- OrlandoSentinel.com http://www.orlandosentinel.com/entertainment/orl-rec0408jan04,0,4633...

2 of 2 1/28/2008 1:17 PM

commitment to its spiritual ideals is palpable and powerful.

"Do unto others as you would like to be done unto you," the liner notes state at one point. Ladysmith Black Mambazo is still the sonic embodiment of that sentiment.

So even if the music threatens to cross the boundary from hypnotic to merely repetitive in some moments, the songsmore often unfold with a meditative style that's captivating, even if you can't dance to it.

Copyright © 2008, Orlando Sentinel

http://www.villagevoice.com/generic/show_print.php?id=78858&page=...

1 of 1 1/28/2008 1:18 PM

Music

Ladysmith Black Mambazo's Ilembe: Honoring Shaka ZuluMore deep spirituality from Paul Simon's favorite vocal groupby Ernest BarteldesJanuary 15th, 2008 3:40 PM

A brilliant South African warrior and king in the 18th century, the legendary Shaka Zulu was one of thegreat unifiers of his nation—on the other hand, he was also a strong-willed, vengeful man who wasultimately murdered by his own half-brothers, one of whom succeeded him to the throne. Now, in thistribute, Joseph Shabalala and his group present the all-original Ilembe. Don't expect Ladysmith BlackMambazo to make music that reaches beyond their fans' expectations— as you would predict, all thesetunes are sung with no instrumental backing, and all carry a deep spiritual message expressed inEnglish and their native Zulu. "Hlala Nami" stresses the importance of people coming together to dosomething positive for their communities, while the beautiful and spiritual "Let's Do It" illuminates thedangers of politics, urging us to live honestly "for the future generation." Also note theEnglish-language "Prince of Peace," which challenges listeners to go forth and simply pray and expresslove to God with "rhythm of harmony and balance." Newbies who first came in contact with the groupthrough Paul Simon's Graceland or The Lion King soundtrack will be delighted with Mambazo's incredible sonic and emotional range, though it's still best to take them in live, where their exuberant talents can be fully appreciated.

Ladysmith Black Mambazo play B.B. King's January 26, bbkingblues.com.

Albany, N.Y.: Timesunion.com - Print Story http://www.timesunion.com/AspStories/storyprint.asp?StoryID=657169

1 of 1 1/28/2008 1:01 PM

print story back

review

Ladysmith keeps the music real By DAVID MALACHOWSKI, Special to the Times Union First published: Tuesday, January 22, 2008

TROY -- Attention Britney Spears, the Simpson sisters and all other singing, dancing divas: Not only is it quite possible to sing anddance at the same time (without prerecorded electronic aid), it can actually be quite astounding and entertaining when it happens.In a magical, moving show at Troy Savings Bank Music Hall, it took a group from South Africa to remind us of that.

Founded in 1974, the nine-member a capella group Ladysmith Black Mambazo performs indigenous Zulu music with a twist or two.From the town of Ladysmith, Joseph Shabalala brought to his bandmates a style of harmony that came to him in a dream; combingtraditional Zulu sounds with the choral sensibilities of the Christian church. Quite renowned in their native area, they becameknown worldwide when Paul Simon used them on his groundbreaking "Graceland" album.

In Troy, the stage was nearly naked as eight mike stands stood in a row, one planted center stage in front. Eight gentlemen -- infestive blue and yellow dashikis over black pants and impossibly spotless white sneakers -- stood in a long line. Shabalala stood outfront, ebullient voice guiding and steering the way.

The historic Hall was made for music like this, the perfect acoustics enhancing the impeccable blend of rich, textual voices. Earlyon, a constant, unfailing formula formed the foundation of all the songs. First, the choral singers would establish a two-measurerepeated phrase; Shabalala would then sing in the frequent rests, spaces, and that would be the verse. The call-and-responsepattern that emerges is Ladysmith's calling card. Slowly, in small increments, the songs would increase in intensity from a simmerto a near boil. Beyond words were grunts, groans and shushes used as percussion. As the music crescendoed, so would themembers' dance moves: swaying and grooving but eventually building to what became head-level high kicks.

Four of Shabalala's sons are group members, one offered the sparkling "This Is the Way We Do." There were songs celebratingSouth Africa's liberation from apartheid, there were songs to prepare for war. Most were sung in Zulu, some had English linesintermixed. All carried significant weight and were delivered in a serious manner. As Shabalala said "indigenous music is a mirror,"and this music revealed what these nine righteous gentlemen were about, and left us with a better understanding not only ofthemselves and but their culture.

It's amazing what real music can do.

David Malachowski is a local freelance writer from Woodstock and a regular contributor to the Times Union.

Music review

LADYSMITH BLACK MAMBAZO

When: 8 p.m. Saturday

Where: Troy Savings bank Music Hall, State Street, Troy

Length: Two 50-minute sets

Crowd: A packed house of Hall regulars with a healthy amount of student-age attendees as well.

Highlights: In the end, it seemed like one long, hypnotic drone.

All Times Union materials copyright 1996-2008, Capital Newspapers Division of The Hearst Corporation, Albany, N.Y.

HOME | CONTACT US | SUBSCRIBE TO NEWSPAPER | HOW TO ADVERTISE | PRIVACY RIGHTS | COPYRIGHT | CLASSROOM ENRICHMENT

Ladysmith to bring harmony to campus http://orient.bowdoin.edu/orient/printer.php?date=2006-02-03&section...

1 of 1 1/28/2008 1:07 PM

Ladysmith to bring harmony to campusFebruary 3, 2006

By Kelsey AbbruzzeseSTAFF WRITER

They are more than the voices chanting in "Diamonds on the Soles of Her Shoes" or "Homeless." They are more than Paul Simon's discovery and the backing vocals on his masterpiece, "Graceland." Though these songs and these connections are how many casual music listeners recognize members of Ladysmith Black Mambazo, Bowdoin students and the Brunswick community have a rare chance to witness their depth, musicality, and stage presence during a sold-out concert at Pickard on Friday at 7 p.m.

"I'm not really sure when I first heard about Ladysmith Black Mambazo," said Toby Crawford '07, co-chair of the Campus Activities Board (CAB) and co-chair of the committee that booked Ladysmith last year. "I'vealways loved Paul Simon's Graceland album and, at some point, made the connection that Ladysmith BlackMambazo accompanied him."

Ladysmith Black Mambazo's road to Bowdoin started last year, when a CAB committee co-chair recognized the group as one her father had played when she was a child, and she immediately began to look into bringing the group to campus. Committee co-chair Curtis Isacke '07 said, "They seem to have a special niche. Even Bates students have contacted me for tickets, and we had to limit sales to community members so students could get a chance."

Isacke's fellow co-chair, Sandip Patel '07, agreed with Isacke's statement about the group's popularity.

"A pretty wide variety of people are excited about the show, especially people who like a cappella or gospelmusic. Even if they haven't heard of the group, they want to see what the hype is about."

Much of the hype comes from Ladysmith's appearance on "Graceland," when Paul Simon introduced this South African group to the world. Joseph Shabalala, the founder and musical leader of the group, consistently makes references to Simon in the group's songs as a friend and someone who helped the group become known worldwide.

Since the group burst out of South Africa, Ladysmith Black Mambazo won a Grammy for its 1987 album, "Shaka Zula," and has performed with many other popular artists. Recently, they performed "Homeless" with Sarah McLachlan on "The Tonight Show With Jay Leno," and released "Long Walk to Freedom" at the end of January. This album includes such guest artists as McLachlan, Melissa Etheridge, Taj Mahal, and Natalie Merchant.

The Bowdoin community should expect a show as remarkable as Ladysmith's impressive guest artists and awards, as Isacke said that "people should be prepared for a visual spectacle also. There's a fair amount ofdancing and they wear vibrant costumes."

"They told us not to underestimate the sound system that they want," said Junior Assitant Researcher in Biology Braulio Peguero, who put much of his time and energy into this show, "because they want every audience member to have the same acoustic feeling."

Though students may not recognize the name at first, they will recognize the sound come Friday night.

"There tends to be a generation gap for people who listen to them. Most students are exposed by their parents or by living abroad," Peguero continued. "But when you tell people who they are, they start getting excited and want to find out more."

Simon wrote this particular line to describe Ladysmith Black Mambazo's music in his song about founder Shabalala, "Under African Skies": "These are the roots of rhythm, and the roots of rhythm remain."

Copyright © 2007, The Bowdoin Orient

Printed from wfaa.com http://www.wfaa.com/cgi-bin/bi/gold_print.cgi

1 of 2 1/28/2008 1:25 PM

COURTNEY PERRY/Special ContributorLadysmith Black Mambazo brought its signature sound to Southern Methodist University on Tuesday night.

Finely assembledMUSIC REVIEW: South Africa's Ladysmith Black Mambazo maintains its vocal polish

12:00 AM CDT on Thursday, April 13, 2006

By MATT WEITZ / Special Contributor to The Dallas Morning News

It's kind of odd when you think about the way in which things that were once unique now stand for a whole movement in taste and appreciation. Ladysmith Black Mambazo was once one of a few signature African pop groups, rubbing elbows with the likes of King Sunny Ade.

To Westerners it may have seemed as if there was little difference between these kinds of music, but the longevity of LBM makes the group a favorite.

Tuesday night at its TITAS performance at Southern Methodist University's McFarlin Auditorium, the eight-man a cappella group showed about 1,800 fans that it has lost little of its vocal chops.

"Awu Wemadoda," the first song of the evening, paid tribute not only to the traditional song structures of Zulu music but also to the expectations of an audience raised on the world-music accents made famous by artists like Peter Gabriel.

The breathy enunciation and sibilant harmonies showed that the men were utterly comfortable in their own skins, yet still foreign to the audience.

They proved this when they tried to get an audience member to sing with them and introduced him to the series of clicks that make up their native tongue.

Printed from wfaa.com http://www.wfaa.com/cgi-bin/bi/gold_print.cgi

2 of 2 1/28/2008 1:25 PM

The group's latest album, Long Walk to Freedom, was well-represented by the title track and another tune, "Hello My Baby."

Throughout the show, the message seemed to be the cleansing effect of political and artistic action.

The South African group was cool when Paul Simon turned us on to it via 1986's Graceland, and, with songs such as "Phalamende" and "Nginethemba," the singers proved that music doesn't necessarily need oppression to sound wonderful.

LBM has a rich, breathy sound that transmits struggle, fortitude and courage to listeners.

Tuesday night, the layered beauty of Ladysmith Black Mambazo's delivery transcended even the most pointed political concerns.

E-mail mweitz@dallasnews.com

Online at: http://www.wfaa.com/sharedcontent/dws/ent/stories/DN-ladysmithPU_0413gl.ART.State.Edition1.188560ed.html

Younger voices influence S. Africa's Mambazos By Kevin L. Carter Tue, Jan. 22, 2008 For The Inquirer Ladysmith Black Mambazo, the a cappella Zulu men's choir from South Africa, has been celebrating its nation's culture for almost 50 years, and Sunday night's Kimmel Center show - attended by dignitaries including the South African ambassador to the United States - was significant on many levels.

When the eight-man group sang "Long Walk to Freedom" on the day before Martin Luther King Jr.'s American holiday, leader Joseph Shabalala made it a point to congratulate his native land, and the two men, Nelson Mandela and F. W. de Klerk, who were responsible for its change from apartheid to democracy.

RAJESH JANTILAL After nearly 50 years celebrating its nation's culture, Ladysmith Black Mambazo is bringing in younger singers. Only two who accompanied the leader here Sunday were in the original a cappella group.

In its presentation the group has always been somewhat bilingual - even the most deeply African hymns often had snippets of English content. Subtly but definitely, though, the sound of the choir has changed over recent years. The Mambazos are markedly younger, with only a couple of the men accompanying Shabalala Sunday having been among his original members.

Now among the members are four of Joseph's sons, including Thamsanqa Shabalala, the youngest and tallest. He has inherited Joseph's soft vocal timbre and playful personality, and it seems as if the 66-year-old leader may have appointed the 30-year-old singer, who has led a "second-generation" Mambazo choir in his homeland, heir apparent.

"This Is the Way We Do," from the Mambazos' newest disc, Ilembe, which is being released today, shows some of the youngest Shabalala's influence. On Sunday night, the charismatic Thamsanqa took the lead mike, bringing a younger, hip-hop influence to the group's simple but spectacular boot-dance-based choreography.

Nevertheless, Ladysmith Black Mambazo is still quintessentially traditional and South African. The harmonies - a deep, broad base of basses, with a sprinkling of tenor and alto - continued to shine. Songs such as "Shosholoza" and "Hello My Baby" contained the same I-IV-V chord changes and traditional ululations that make the Mambazos so listenable.

It must be pointed out, however, that these same harmonies, which have been the Mambazos' calling card for almost five decades, sometimes failed the group Sunday. On several occasions, the two or three highest parts, which sometimes included Joseph Shabalala, were obviously flat; it was as if the group's pristine harmonies were, for the first time, showing flaws. It was a disappointing development, sure, but not one that killed the enjoyment of what the Mambazos did that night, or what they have done.

Rock Paper Scissors - Ladysmith Black Mambazo; Long Walk to Freed... http://www.rockpaperscissors.biz/index.cfm/fuseaction/current.articles_d...

1 of 2 1/28/2008 1:28 PM

Sample Track 1:"Homeless (with

Sarah McLachlan)" from

Long Walk to Freedom

Sample Track 2:"Diamonds On

The Soles Of Her Shoe (with Melissa Etheridge and Joe

McBride)" from Long Walk to

Freedom

Foreign song warms audience

Click Here to go back.

Duluth News Tribune, Foreign song warms audience >>

Ladysmith Black Mambazo

While slush was turning to ice outside Sunday night, Ladysmith Black Mambazo warmed up the packed Sacred Heart Music Center in Duluth with the soft, deep harmonies of traditional South African song.

The eight-member group, which started in South Africa 45 years ago and has since won two Grammy Awards, sold out two 428-seat performances at Sacred Heart, one on Sunday and another at 7:30 tonight.

The shows mark Ladysmith Black Mambazo's first visit to Duluth -- one that resulted in the fastest sale of tickets in recent memory for Sacred Heart, said spokeswoman Barbara Darland.

Tickets to tonight's show were gobbled up in a week, prompting the addition of the Sunday show, which sold out in four days, Darland said.

"We could do a third show, but it doesn't work with (Ladysmith Black Mambazo's) schedule," she said.

Aside from a billboard erected after tickets for the Monday show went on sale, the performances were not advertised, Darland said. Word-of-mouth carried the sales.

Ladysmith Black Mambazo caught America's attention in the mid-1980s when featured in folk singer Paul Simon's "Graceland" album. Darland speculated the crowd would be mostly middle-aged. It was, but younger audience members were not hard to find.

Erin Zoellick, 24, and Frank Maragi, 31, both from Duluth, bought tickets after Zoellick randomly visited Sacred Heart's Web site for the first time. She has listened to the South African group, which sings in its native tongue, for years.

"They bring so much energy, even without instruments," Zoellick said. "They're able to convey certain feelings even without us understanding

Rock Paper Scissors - Ladysmith Black Mambazo; Long Walk to Freed... http://www.rockpaperscissors.biz/index.cfm/fuseaction/current.articles_d...

2 of 2 1/28/2008 1:28 PM

Buy Recording:Long Walk to

Freedom

the language."

Rod and Lori Lubiani, 63 and 58, of Duluth arrived at Sacred Heart an hour and a half before the show to get front-row seats. The couple said they've followed Ladysmith Black Mambazo for about a decade. Rod Lubiani said he remembers the first time he saw the group -- on television.

"We fell in love with them right then and there," he said. "It was pure song, coming from their hearts. There was nothing phony about it."

The couple said watching the group allows the audience to experience South African culture and share a little of Duluth's.

Jean Perrault, orchestra director at the University of Minnesota Duluth, planned to see Mambazo tonight and encouraged his students to attend the Sunday show. Because he focuses on orchestra basics and laying a music foundation for his students, Perrault said they "get a pretty steady diet of western music."

Performances like Ladysmith Black Mambazo's allow them to take in music from cultures they might not be familiar with, he said.

"It's important to be exposed to different cultures, ways and music," Perrault said. "A lot of students have never heard music like this before."

Show-goers on Sunday were not surprised at the quick sale of tickets, noting that many Duluthians are culturally savvy. Adam Hunt, Ladysmith Black Mambazo's tour manager, said he heard the same thing in Iowa City, the group's previous stop.

"From what people in Iowa City tell me, (Duluth) is a pretty culturally hip place," Hunt said. "It turns out that they were very serious about it."

A shortened Ladysmith Black Mambazo performance can be seen free today at noon in the UMD Weber Auditorium. A show scheduled for Tuesday at 7:30 p.m. in the Reif Center in Grand Rapids has sold out.

03/06/06 >> go there

Click Here to go back.

Accentuating the positive - The Boston Globe http://www.boston.com/ae/music/cd_reviews/articles/2008/01/15/accentu...

1 of 1 1/28/2008 1:14 PM

THIS STORY HAS BEEN FORMATTED FOR EASY PRINTING

WORLD

Accentuating the positiveJanuary 15, 2008

Ladysmith Black Mambazo

Ilembe (Heads Up International)

Peace, unity, social harmony, and national pride make a good platform for a leader and an even better foundation for a nation. That's why the unshakeable message of South African icon Shaka Zulu, who united the Zulu tribes, still resonates two centuries after his death.

Ladysmith Black Mambazo, the a cappella Zulu choir whose reverberations also touch the spirit, pays tribute to the warrior leader on its new album, "Ilembe: Honoring Shaka Zulu," out next Tuesday. "Ilembe" means "greatest warrior," and Shaka Zulu had an unsavory side that was more sinner than saint. These 12 tracks honor his positive legacies of a creative spirit and proud heart with songs that are more warming aural baths of harmony than battle cries - sung inthe enveloping Ladysmith style that blends Christian chorale with Zulu chants and "isicathamiya" songs of South African mines.

Without getting too Pollyanna about it, the ability of leader Joseph Shabalala's eight-man choral army to move like one rich, deep voice is the perfect vehicle for themes of coming together for the greater good on "O Mmu Beno Mmu," overcoming obstacles on "Kuyafindw' Osizini," and staying on the right path in "Hlala Nami."

There's nothing terribly different here from the group's other 40-plus albums, but the sound is as caressing as it was when Paul Simon's "Graceland" gave the West its first dose of Ladysmith more than 20 years ago. [Tristram Lozaw]

ESSENTIAL "This Is the Way We Do"

Ladysmith Black Mambazo performs Friday at Sanders Theatre. Tickets are $28-$40 at worldmusic.org or 617-876-4275 .

© Copyright 2008 The New York Times Company