Siemon Allen's "Labels" curtain at the Slave Lodge (2013)

If you are traveling to Cape Town do check out my Labels curtain on view at the Slave Lodge until July 31, 2013. The artwork chronologically documents 110 years of South African music and audio history through images of record labels from the flatinternational archive.

Many thanks to Paul Tichmann (Curator of Social History at Iziko Museums), Lalou Meltzer (Director of Social History Collections at Iziko), Glen Fouten, Kenni Molopyane, Kendall Buster, Tony East, Claire van Blerk and Goodman Gallery for making the project possible.

Below is more information about the project:

SIEMON ALLEN’S LABELS (2011) at the IZIKO SLAVE LODGE MUSEUM
12 January – 31 July, 2013

The Slave Lodge, part of the Iziko Museums of South Africa, presents Siemon Allen’s Labels, a large-scale architectural installation. Displayed in the museum’s Music Room, the work features 5000 photographs of record labels inserted into a suspended clear plastic curtain. The installation has been configured to converse with part of the museum’s collection of historical artifacts, in this case two vintage grand pianos, two clocks and an antique gramophone.

Completed in 1679, the Slave Lodge is one of the oldest buildings in South Africa. Originally constructed to house the slaves of the Dutch East India Company (VOC), the building and its function have gone through many transformations over the centuries to its current form as a museum of social and cultural history. The museum presents exhibitions that trace the long history of slavery in South Africa, as well as wide range of displays showcasing rare cultural artifacts.

When invited to present his Labels curtain in the museum Allen in collaboration with the museum curators chose to present the work in the museum’s music room. The intervention not only framed and therefore provided a new context for the artifacts in the room but also reexamined the nature of museum display.

For the past twelve years Allen has been exploring the image of South Africa through a series of collection projects. His studio practice has evolved out of an interest in how mass-produced items—newspapers, stamps, magazines, records—function as carriers of information and operate in the construction of national identity.

Records, Allen’s most recent collection project, is rooted in his extensive archive of South African audio consisting of over 2500 items including 650 rare shellac discs. The project has generated a series of varied works sourced from this ongoing audio collection including a number of site responsive installation works, a series of large-scale digital prints, and a searchable web-based database that can be viewed at www.flatinternational.org.

Labels functions as an historical record, a chronological discography of select labels from Allen’s archive. It is also a kind of visual memorial to South Africa’s rich musical past in that each label represents an individual recording, paying homage to that past visually by naming every artist in the archive. Some names and recordings are well known, but many more are now forgotten.

In time, as the collection grows, names and labels will be added to the curtain, but like an asymptote that never reaches its axis, the collection can never be complete. In as much as the archive can never contain all recordings, the curtain cannot represent all artists. The project is but a fragment of history and the curtain is an impossible attempt to capture that history. The curtain functions as both a tribute to decades of South African music and a memorial to those individuals named. Though Allen’s curtain is more celebratory than somber, like Maya Lin’s Vietnam Veterans Memorial in Washington, D.C., the sheer accumulation of ‘the individual’ transforms the collective into the monumental.

Labels is a site-responsive installation that meanders through the space amongst the musical instruments and clocks, to form a number of intimate accessible enclosures. With this piece Allen revisits a theme that has been dominant in his work for many years: the idea of a “space within a space”. The exterior surface of the curtain wall reads as a clean, almost minimalist abstract grid, while the interior becomes a colorful complex pattern of disc shapes with text and markings. Up close one is able to digest the details on each individual label. From afar the textual information begins to go out of focus and recede, only to be replaced by a tapestry-like colour-field pattern

The labels are arranged chronologically with the earliest dating from 1901 at the opening. As one enters the structure and proceeds through the interior space the chronology moves forward in time to recent CD recordings. The visual effect produces in the viewer the experience of being completely enveloped by the labels.

Labels has is roots in two installations first shown at Bank Gallery in Durban in 2009. There Allen exhibited a large grid of digital prints sourced from labels of recordings by Miriam Makeba; and a transparent curtain wall displaying record covers inserted to show both front image and rear liner notes. For the South African Pavilion at the recent 54th Venice Biennale, Allen constructed a 14 metre tall curtain wall with 2500 labels, in response to the architectural particulars of the Torre di Porta Nuova. Displayed vertically in a space of enormous height with a vaulted ceiling and backlit by an arched window, Labels resembled a stained-glass window. This current version with the labels displayed in a horizontal format and configured to create an accessible interior space was first shown at Goodman Cape in 2011. The Goodman Gallery has kindly loaned this work to the Slave Lodge for this exhibition.

Kendall Buster, Kenni Molopyane and Glen Fouten all helped install the work

Siemon Allen and Paul Tichmann, Curator of Social History at Iziko Museums

Mabel Mafuya - Discography

In the mid 1950s, Mabel Mafuya was one of South Africa’s top-selling jive vocalists. At Troubadour, she was only second to Dorothy Masuka, and during that period the company dominated the African market with at times up to 75% of sales. Remarkably very little material by this legendary artist has been available. To my knowledge, only one track — Nomathemba — has been reissued on CD. Moreover after searching the web, it appears that only two other tracks come up: one in the SAMAP archive, and the other, a late-career track at Soul Safari.

While Mafuya was still a student at Orlando High School around late 1955 or early 1956 Cuthbert Matumba, producer and talent scout for Troubadour Records invited her to make some recordings at their studios. There she would soon rub shoulders with one of her idols, Dorothy Masuka, who would also became a mentor to her in those early days.

At Troubadour, Mafuya became one of the regular artists brought in to record not only her own compositions but also as a group and/or backing vocalist with a number of other artists including Dorothy Masuka, Dixie Kwankwa, Doris and Ruth Molifi, and Mary Thobei. The company had a roster of artists who rotated and recorded under a number of different pseudonyms and the groups Mafuya performed with included the Girl Friends, the Satchmo Serenaders, Starlight Serenaders, Starlight Boogies, the Starlight Singers, etc.

Mafuya's career really took off with the hits Nomathemba and Hula Hoop recorded with her group the Green Lanterns in 1956. Rob Allingham describes Nomathemba as her masterpiece in that the “song’s narrative of broken ties […] encapsulated the dislocating experience of rural-to-urban migrancy for many township residents.” (CD liner notes, History of Township Music)

The social references in Mafuya’s Nomathemba were typical of a number of her songs from this period. In fact, where other record companies shied away from political or social content, Troubadour openly embraced it. Matumba often encouraged critical or topical commentary in the recordings during this period, and despite visits by the Police "Special Branch," remarkably the owners of Troubadour did not temper the activity.

Troubadour was initially founded in 1951 by three and then later two Jewish businessmen, Morris Fagan and Israel Katz. Their approach was to focus on material that appealed to working class urban blacks, a market that was going through quite a renaissance in the 1950s. Still, the political environment in South Africa at this time was particularly turbulent. Sophiatown, one of the key centers of cultural production for a multi-racial community, had just been dismantled in February 1955 by the apartheid government, making way for a new white area soon to be called Triopf. The Treason Trial had begun after 156 people including Nelson Mandela were arrested in December of 1956. Nevertheless, music that carried a political message was able to get through to the public, either by record sales or less frequently by way of the rediffusion service, a cable based radio system available to blacks in some townships. This of course was the case until the Sharpeville massacre of March 1960, which resulted in a severe increase in censorship and self-censorship of political content.

Regina Brooks by Bob Gasani

Mafuya's 1956 tune Regina is a homage dedicated to Regina Brooks, a white woman who had been arrested under the immorality act for having a child with a black policeman. In 1955 Brooks became controversial after she asked to be re-classified as coloured (or mixed-race) in order that she could live in Orlando, Soweto (some sources have it as Dube) with her husband, Sergeant Richard Kumalo, and child. Drum photographer, Bob Gasani captures Brooks and her child, Thandi, in this 1955 image sourced from the Bailey Archives. Read more about the story at IOL.

Mafuya’s homage to individual heroes was also not unique in the case of Regina Brooks. After the suicide of Ezekiel ‘King Kong’ Dlamini on April 3rd, 1957, Mafuya and her Troubadour colleague Mary Thobei immortalised the boxing legend in their song King Kong Oshwile Ma. Unfortunately friends and family of the boxer interpreted the song as a mockery and subsequently both Thobei and Mafuya were badly beaten by his supporters one day at the Jeppe Railway Station — an assault severe enough to land Mafuya in Johannesburg General Hospital. (Molefe, Coplan) Before his suicide, Dlamini had been sentenced to prison for murdering his girlfriend and later became the subject of the famed musical King Kong in 1959.

Thobei in 1993 by Mike Mzileni

At Troubadour, topical issues of the day were reported upon, sang about, recorded and out in the public often within 24 hours of an event. The company had a pressing plant in the same building as their recording studio and this along with some key marketing skills by Matumba (for example he used a mobile-unit to test new recordings at railway stations and other public venues), made turnover rapid and the company unrivalled by its competitors. In many ways Troubadour operated like a news service or as Mary Thobei refers to it: “We had our own ‘Special Branch,’ a sort of bush telegraph, and as a result we knew in advance what would happen in our communities, be it social or political.” (Molefe) This is also most apparent at the beginning of some records, which open with the announcement: “News in Record…” or “This is the Troubadour Daily News…”

Azikhwelwa (We will not ride), a kwela tune by the Alexandra Casbahs, is attributed to Mafuya and Thobei and operates as a form of news item alerting people to the bus boycott of 1957 in Alexandra. Thobei opens the tune saying: “Yes, ladies and gentlemen, it was on Monday morning, the 7th of January, 1957 when everybody was shouting Azikhwelwa…” The bus boycott had been implemented by residents of Alexandra against the Public Utility Transport Corporation (more commonly known as PUTCO) over a rate hike of 4 to 5 pence. This spontaneous action lead to the formation of the Alexandra People’s Transport Action Committee (APTAC). Of course, during apartheid in South Africa, blacks were segregated into townships that were some distance from city centers and places of work and thus bus and train were, for many, primary modes of transport. Rate hikes would deeply affect every household’s bottom-line. With the boycott, residents chose other forms of transport to get to and from work, but most walked the 30km roundtrip journey. At its peak, 70,000 residents refused to ride the local buses and the action also spread to other townships including Newclaire and Mamelodi. The boycott lasted for at least three months and was only finally resolved on April 1st, 1957, when the 4 pence rate was restored. The protest drew the daily attention of the South African press and is generally recognized as one of the few successful political campaigns of the apartheid era. Read more about the campaign at Dan Mokoyane’s Blog here and more here.

Likewise the track Asikhathali (We never get tired) by Ruth Molifi and the Starlight Singers opens with this annoucement: “This is the Troubadour Daily News! Many People are going to meetings everyday in Sophiatown and Alexandra. Some shout Azikhwelwa and some shout Ziyakhwelwa. It would be too cold to walk in winter. This is the song the people sing when they go to meetings… Asikhathali…” As Rob Allingham reveals, the tune features sisters Ruth and Doris Molifi, Mabel Mafuya and Mary Thobei on vocals with Cuthbert Matumba as ‘groaner.’ Thobei has an additional monologue where she states: “We don’t care if we are arrested. But we want our freedom. So pray people of Africa. We want our freedom.” Marks Mvimbe while coughing in the tune also moans “We are suffering going to meetings.” (Allingham)

Asikhathali is a classic of the struggle and this 1957 track probably marks the first time that it was recorded. Do a search for the term on YouTube and you will find many later renditions of the song, some professional, some really informal. Notable versions can be viewed here and here.

Other political classics by Mafuya include the tracks Cato Manor and Beer Halls, probably both recorded late in 1959 or very early in 1960. Cato Manor opens with a whistle that emulates the opening pitch of a radio broadcast and Mafuya announces “Zulu… Zulu… This is Durban Calling… This is Durban Calling…” (Similar to the opening broadcast of the day on radio.) “Women are fighting in Durban. They don’t want their men to drink in Beer Halls…” On the surface the song appears as a feminist critique, but rather it is a call to action against the government.

Cato Manor was the official name of an area that become home to a vibrant, informal settlement just outside Durban. To the local resident Cato Manor was known as Mkhumbane. Read more about the place and Todd Matshikiza’s 1960 musical of the same name here at Electric Jive.

The Durban City Council had long established a revenue system of selling alcohol to the black population exclusively through a series of beerhalls. The acquiring of alcohol from sources other than these official beerhalls was declared illegal for black South Africans and the residents of Cato Manor resented such control over what had been regarded as a tradition. Illegal brewing developed as a result, and in response the South African authorities regularly raided what were considered to be illicit businesses and made numerous arrests. Protests at such police action resulted and often led to violent clashes.

A nervous Durban City Council issued a proclamation in June 1958 to relocate inhabitants from Cato Manor to the more distant regions of Umlazi, Chatsworth and the newly developed township of Kwa Mashu. In 1959 the City Council declared Cato Manor a white zone under the Group Areas Act and in June began the process of forcibly moving residents.

At this time a response to the increased liquor raids in Cato Manor put into play a series of actions that soon spiraled into significant violence. It began on July 17, 1959 when a group of women gathered at the Cato Manor beerhall, threatening the men drinking there with sticks. This same group of women then proceeded to attack the central beerhall in Durban and a boycott of the beerhalls began. On July 18th, the following day, 3000 women gathered around the Cato Manor beerhall, and while clashing with police, set it on fire. It is significant to point out that these grievances were not over moral issues around the use of liquor, but rather the control of its production and sale. After more raids on January 23rd (some have it in early February) of 1960, an angry mob killed nine policemen at the Cato Manor Police Station.

In the song Beer Halls Mafuya announces in English: “They say do not buy potatoes! Do not eat fish and chips!” probably referring to the boycott of food items that were sold at beerhalls.

Although Troubadour was bringing in significant sales, Allingham points out, that the technical quality of the actual product was quite poor when compared to the other major competitors. Still the studio was able to maintain an edge by using some unorthodox policies. For example it was well known that musicians under contract with rival companies were welcome to record, under-the-table, with pseudonyms if they needed cash. Many took advantage of this grey approach including Kippie Moeketsi, Ntemi Piliso and others. Sadly, none of the recording ledgers have survived and very few songs can be accurately dated with the full personal. (Allingham) The company’s fall was as dramatic as its rise. After Matumba died in a car accident in May 1965, Troubadour began a rapid decline and by 1969 they were completely consumed by Gallo and ceased to exist.

Mafuya’s own singing career was severely affected after a botched thyroid operation in 1957. But still she was able to perform and towards the end of the decade formed a group with Thobei and Thandeka Mpambane known as the Chord Sisters. In 1958 the group was encouraged to join the King Kong crew and Mafuya played a small acting role in the classic 1959 play. After that success she was invited to travel with the cast to London and stayed there for a year. Mafuya eventually returned to South Africa and continued with her acting career. She would later perform in the hit TV sitcom Velaphi.

While her singing career turned out to be quite short, Mafuya was nevertheless prolific and the tracks listed below reveal just a small part of her excellent output during a turbulent but also dynamic time. Visit Electric Jive to listen to some of these tunes.

DISCOGRAPHY

MABEL MAFUYA AND ...
78 rpm
(tracks with no other information other than title)
• Troubadour, RSA
1) Hula Hoop
2) Phithi Phithi
3) Udomo Lwamaphoyisa (A Strong Police Force)

MABEL MAFUYA AND ...
78 rpm (1956)
(reviewed by Todd Matshikiza in Drum, February 1956)
• Troubadour, AFC 353, RSA
1) ...
2) ...

MABEL MAFUYA AND THE GREEN LANTERNS
78 rpm (1956)
Mabel Mafuya (lead vocal), Zachariah Moloi, Edwin Jerry, Sipho (backing vocals), Michael Xaba (tenor sax), Alpheus Hlongwane, Pertos Majozi (guitars), Charlie Mafunda (bass), Wally Petsane (drums)
• Troubadour, AFC 354, RSA
• CD, Gallo African Classics, RSA (track 1 reissued on comp. From Marabi to Disco, 1994)
• CD, Wrasse, WRASS 029, UK (track 1 reissued on comp. History of Township Music, 2001)
• CD, Rhino (track 1 reissued on comp. From Marabi to Disco, 2010)
1) Nomathemba (Zachariah Moloi)
2) ...

MABEL MAFUYA AND HER GIRLFRIENDS
78 rpm (1956)
(Regina pays homage to Regina Brooks, a white woman who married a black policeman)
• Troubadour, AFC 364, MATA 1697/1700, RSA
1) Regina (Matumba)
2) Baba (Matumba)

MABEL MAFUYA AND THE SATCHMO SERENADERS
78 rpm (1956)
• Troubadour, AFC 387, MATA 1749/50, RSA
1) Tsili (Monamoeli, arr. Mafuya)
2) Satchmo Special (Monamoeli, arr. Mafuya)







DOROTHY MASUKA
78 rpm (1956)
Dorothy Masuka (lead vocal), Mabel Mafuya, Doris Molifi, Ruth Molifi, Mary Thobei (backing vocals), Alpheus Hlongwane, Petros Majozi, Jerry Mlotshwa (guitars), Charlie Mafunda (bass), Wally Petsane (drums)
• Troubadour, AFC 388, RSA
• CD, Gallo African Classics, RSA (track 1 reissued on comp. From Marabi to Disco, 1994)

• CD, Wrasse, WRASS 029, UK (track 1 reissued on comp. History of Township Music, 2001)

• CD, Rhino (track 1 reissued on comp. From Marabi to Disco, 2010)

1) Ufikizolo (Dorothy Masuka)
2) ...

DOROTHY MASUKA
78 rpm (1956)
Dorothy Masuka (lead vocals), Harriet Oliphant, Mabel Mafuya (vocals), Harriet Oliphant (spoken intro), Michael Xaba (alto sax), Aaron Lebono (piano), Alpheus Hlongwane, Petros Majozi (guitars), Marks Mvimbe (bass), Gabriel Motsepe (drums)
(recorded on September 3rd, 1956, it is likely that these two tracks are paired on the same disc)
• Troubadour, AFC ..., RSA
• CD, Gallo GMP, CDZAC 60, RSA (tracks reissued on Dorothy Masuka compilation CD)
1) Five Bells (Dorothy Masuka)
2) Baye Goli (Dorothy Masuka)

NICE TIME CROONERS
78 rpm (c1957)
Mabel Mafuya, Mary Thobei, Champ Maloi (vocals)
• Troubadour, AFC 412, RSA
1) Umajola (Ruth Molifi)
2) Thula

MABEL MAFUYA AND THE SATCHMO SERENADERS
78 rpm (1957)
• Troubadour, AFC 416, MATA 1777, RSA
1) Khumbula (Mafuya)
2) Woza Skanda Mayeza (Mafuya)

MABEL MAFUYA
78 rpm (1957)
• Troubadour, AFC 417, MATA 1779/80, RSA
1) Bumba Lo Ntsimbi (Mafuya)
2) Ungibalele (Mafuya)

MABEL MAFUYA AND THE STARLIGHT BOOGIES
78 rpm (1957)
• Troubadour, AFC 427, MATA 1829/30, RSA
1) Heyta! (Mafuya)
2) Kehlela (Mafuya)

ALEXANDRA CASBAHS
78 rpm (1957)
(recorded after the bus strike of January 7th, 1957)
• Troubadour, AFC 429, MATA 1835/6, RSA
1) Azikhwelwa (Mafuya, Thobei)
2) Alexandra Special (Mafuya, Thobei)

MABEL MAFUYA AND THE STARLIGHT SERENADERS
78 rpm (1957)
• Troubadour, AFC 434, MATA 1831/2, RSA
1) Charlie (Mafuya)
2) Chomie (Mafuya)

RUTH MOLIFI AND THE STARLIGHT SINGERS
78 rpm (1957)
Ruth Molifi, Doris Molifi, Mabel Mafuya, Mary Thobei (vocals), Cuthbert Matumba ('groaning'), Marks Mvimbe (coughing)
• Troubadour, AFC 440, MATA 1853/4, RSA
1) Asikhathali (Molifi)
2) Mfana (Mafuya)

MABEL MAFUYA
78 rpm (1957)
• Troubadour, AFC 465, MATA 1883?, RSA
1) Tumbi (Ruth Molifi)
2) Moshanyana







MABEL MAFUYA AND MARY THOBEI...
78 rpm (1957)
Mabel Mafuya, Mary Thobei (vocals)
(recorded after boxer, Ezekiel 'King Kong' Dlamini death on April 3rd, 1957)
• Troubadour, AFC ..., RSA
1) King Kong Oshwile, Ma
2) ...

BON ACCORD HITTERS
78 rpm (c1957)
(Mafuya does a spoken introduction with Cuthbert Matumba in tsotsitaal on track 2)
• HIT, HIT 38, NL 171/2, RSA
1) Pretoria Special
2) American Moguws





DOROTHY MASUKA
78 rpm (1957)
Dorothy Masuka, Mabel Mafuya, Mary Thobei (vocals), Alpheus Hlongwane, Petros Majozi (guitars), Charlie Mafunda (bass), Wally Petsane (drums)
(it is likely that these two tracks are paired on the same disc)
• Troubadour, AFC ..., RSA
• CD, Gallo GMP, CDZAC 60, RSA (tracks reissued on Dorothy Masuka compilation CD)
1) Mama La Wena
2) Ndi Yagula

MABEL MAFUYA
78 rpm (c)
• Troubadour, AFC 497, MATA 1956, RSA
1) Pasi (Mafuya, Ongango)
2) ...







DOROTHY MASUKA
78 rpm (1958)
Dorothy Masuka, Lindi Khumalo, Dixie Kwankwa, Mabel Mafuya, Orienta Mnkahla (vocals), Jerry Mlotshwa (lead guitar), Petros Majozi (rhythm guitar), Ntemi Piliso (bass), Wally Petsane (drums)
(recorder cNovember 1958)
• Troubadour, AFC ..., MATA 2125/6, RSA
• CD, Gallo GMP, CDZAC 60, RSA (tracks reissued on Dorothy Masuka compilation CD)
1) Mali E Shebeen
2) Ei Yow (Phata Phata)

DIXIE KWANKWA
78 rpm (c1959)
(Mafuya does opening speech on track 1, and possibly backing vocals on both)
• Troubadour, AFC 514, RSA
1) Kudala
2) Wangishiya

MABEL MAFUYA
78 rpm (1959)
• Troubadour, AFC 534, MATA 2035/6, RSA
1) Silindele Christmas (Ngubane)
2) Sisaphila (Ngubane)

KING KONG CAST
King Kong (1959)
(Mafuya performs with Mary Thobei and Thandeka Mpambane as the Chord Sisters)
• LP, Gallotone, GALP 1040, RSA
• CD, Gallo African Classics, CDZAC 51, RSA (reissued 1996)

MABEL MAFUYA
78 rpm (1960)
• Troubadour, AFC 567, MATA 2111/2, RSA
1) Cato Manor (Ngubane)
2) Beer Halls (Ngubane)

MABEL MAFUYA
78 rpm (1960)
• Troubadour, AFC 579, MATA 2114, RSA
1) Sibarie (Ngubane)
2) Umtata (Ngubane)

MABEL MAFUYA
78 rpm (1960)
• Troubadour, AFC 584, MATA 2131/2, RSA
1) Happy Xmas - Happy New Year (Ngubane)
2) Jabulani Xmas (Ngubane)

MABEL MAFUYA
78 rpm (c1960)
• Troubadour, AFC 608, MATA 2153/4, RSA
1) Ngi Yeka (Ngubane)
2) Itlalo Ya Lizwe (Ngubane)

MABEL MAFUYA
78 rpm (1962)
• Troubadour, AFC 722, matrix 62170, RSA
1) Use Mcane (Mafuya)
2) Ngubo Ye Silika







MABEL MAFUYA / MAPHELA
78 rpm (1962)
• Troubadour, AFC 733, matrix 62199/200, RSA
1) Udali (Mafuya)
2) Sabela (Maphela)
* sourced from SAMAP

MABEL MAFUYA & THE STAR QUEENS
45 rpm (1968)
• Envee, NV 3535, matrix 16853, RSA
1) iMini (Mafuya)
2) ...
* sourced from Soul Safari

Spokes Mashiyane - Discography

Next week marks 40 years since the untimely death of Spokes Mashiyane at the age of 39. The South African legend died of cirrhosis of the liver on February 9th, 1972 at Baragwanath Hospital in Soweto. Significantly last week marked the 79th anniversary of his birth. An extensive discography for Spokes Mashiyane has been compiled to mark this occasion. Many thanks to the team at Electric Jive, and Laurent Dalmasso for help with this. Also the Ballantine Collection and ILAM both hosted at SAMAP have been invaluable resources.

Willard Cele introduced pennywhistle jive or what would later become known as kwela to South African audiences in the classic 1951 film The Magic Garden. Remarkably the commercial potential of this music was not evident and thus was not exploited by the record companies at the time. Subsequently no other recordings of this music were made until three years later with a track by the Orlando Tin Whistlers. (Rob Allingham in Lara Allen, Circuits of Recognition…)

But it was Johannes 'Spokes' Mashiyane — more than any other — who would popularise this style of music and transform it into a household name starting with four tracks recorded for Trutone on October 8, 1954. One of those, Ace Blues, became a hit, and by 1955 was receiving favorable reviews in the black press. Soon every record company in South Africa was looking to capitalize on an instrument that had been regarded as a mere toy relegated to the rural life of young herd boys.

Of course the instrument’s history is more complex and elements of its 20th century use can be traced back to Scottish marching bands of the 1920s. Lara Allen’s excellent article Circuits of Recognition… elaborates on this subject in great detail and is well worth the read.

Spokes Mashiyane was born in Vlakfontein near Pretoria on January 20th 1933. According to the liner notes of his first Trutone EP, Mashiyane taught himself to play on a reed flute while tending his father’s cattle. Albert Ralulimi in an interview with Lara Allen reveals that Spokes first played on a plastic toy penny whistle before moving on to a metal one. When he was eighteen, Mashiyane moved to Johannesburg where he met Frans Pilane with whom he formed a duo. Together the two busked with flute and guitar on street corners and in parks. Ralulimi goes on to say that Mashiyane's style at the time improvised on grassroots tunes played by "anybody" - the community in general, kids on street corners, and those at shebeens and stokvel gatherings.

It was on one such occasion at Zoo Lake Park (Yvonne Huskisson has it at Phomolong Train Station) that the duo was spotted by Trutone producer and talent scout Strike Vilakazi. According to Rob Allingham, Vilakazi cut at least four tracks with them in 1954: Ace Blues (4080) Kwela Spokes (4081), Skokiaan (4082) and Meva (4083). Huskisson, on the other hand, does suggest that Mashiyane’s first recordings were made in 1949. He would have been sixteen at the time and given that Allen’s account has him moving to Johannesburg when he was eighteen, the earlier recordings may be unlikely.

While penny whistle recordings were popular amongst black consumers in South Africa between 1954 and 1958, two events in 1958 helped propel this style of music onto the international stage and subsequently elevated its stature with white consumers, as Lara Allen points out. One was the UK television show, The Killing Stones, which featured as its theme Elias Lerole’s Tom Hark (Columbia YE 164); and the other was the recording of Spokes Mashiyane and touring American bop pianist Claude Williamson.

In April 1958, Trutone arranged for a collaborative recording with Mashiyane and the Claude Williamson Trio who were touring the country with Bud Shank as the “Jazz West Coast No. 3” at the time. The concert took place at the Bantu Men’s Social Centre (BMSC) and the live recording produced at least two tracks with Mashiyane, Kwela Claude and Sheshisa!

While EMI did well marketing Tom Hark, Trutone did a better job of further branding Mashiyane by exploiting the American connection with the Claude Williamson Trio and transforming him into an “instant celebrity”.

Allen goes on to say: “Trutone's aggressive marketing included billing Mashiyane as 'King Kwela', and printing his picture on record labels; it was the first time a South African record company had lavished such extensive publicity on a black musician. Although it was unprecedented to print comments on record labels of 78s aimed at black consumers, the "Kwela Claude" label declares: "The famous American pianist CLAUDE WILLIAMSON, says: "The Kwela Rhythm, born in the craddle of jazz, is unlike any other I have played. It could well take its place alongside Calypso and the Samba.""" (Allen)

Such successful marketing certainly helped raise the prestige of kwela and Mashiyane at the time. Trutone issued copies of Kwela Claude not only on its Quality label but also on its Rave label. This is significant in South Africa in that Quality records were typically marketed to black consumers while Rave records were marketed to white consumers. The EP Kwela Claude (Rave, REP 4) is the first to feature a black artist in such a significant profile on a Rave release.

Likewise Mashiyane’s first full-length album, King Kwela (Rave, RMG 1107), issued around 1958 or 1959, became the first long-playing record to feature exclusively a single black artist. Most recordings by black musicians until that point were issued on 78 rpm. If black music appeared on compilation LPs, it was usually marketed to white consumers or intended for international export. Issued on the Trutone’s Rave label, it is likely that King Kwela was also being marketed in this way. Though a full length LP, King Kwela is still a compilation of previously issued 78 rpm tracks.

1958 also marked another watershed moment in Mashiyane’s brilliant career. Trutone producer Strike Vilakazi persuaded Mashiyane to take up the saxophone and apply his penny whistle techniques to the instrument. Big Joe Special (Quality, TJ 500) recorded that year, was one of the early results of the saxophone experiment. As with his earlier Ace Blues, Big Joe Special was a sales phenomenon. The record became the trendsetting hit of that year and would inspire a whole new style of music. Sax jive — latter called mbaqanga — would dominate South African urban music for the next twenty years. In many ways this track marks the beginning of the eventual decline of not only the majuba big band jazz era (see Majuba Jazz on Electric Jive) but also penny whistle kwela itself. Younger consumers were looking for faster, heavier sounds and mbaqanga would soon satisfy those desires.

Trutone’s success with Mashiyane was extremely lucrative for the company, yet they continued to pay Mashiyane a flat fee for his recordings ranging from seven to fifty dollars per record. David Coplan mentions that after Mashiyane pressed the company on royalties he was assaulted by thugs. It is no surprise then that the musician was subsequently lured away by Gallo Records in 1958. Under a deal brokered by Union Artists with Gallo, Mashiyane became the first black musician in South Africa to receive royalties from his recordings.

Gallo picked up where Trutone left off and continued the extensive marketing of Mashiyane. Gallo’s New Sound label, with whom Mashiyane was recording, donned their all-to-familiar record sleeves with his image and a listing advertising his other recordings. View Chris Albertyn's two posts on some of the New Sound 78 rpm recordings here and here at Electric Jive.

In 1959 another full-length album Spokes of Africa was issued. Mashiyane's second, this LP to my knowledge was also the second for any black artist. Gallo’s New Sound label then launched an excellent series of LP records around late 1959 or early 1960. The first being New Sounds of Africa (NSL 1001) a compilation LP with Mashiyane, Miriam Makeba and the Skylarks but almost exclusively featured tracks by Mashiyane. This series would go on to included the classic 1962 Castle lager Jazz Festival (NSL 1010) and the highly acclaimed and collectable Chris McGregor and his Castle Lager Big Band (NSL 1011). Of the eight LPs that I am familiar with from this series, Mashiyane appears on four. View some of these at flatinternational.

Mashiyane continued recording with Gallo throughout the early to mid 1960s. In July of 1965 he was invited to appear at the Newport Folk Festival in the United States where he “stole the show” according to the sleeve notes of his US issued LP, (King Kwela) (London, TW 91408). An August 7, 1965 article in Billboard Magazine remarks that "Spokes Mashiyane, from Johannesburg, South Africa, was an unscheduled treat. His swingy beat and flute captured the audience. He was the unexpected highlight of the Saturday night concert."

Murray Lerner’s film Festival documents the concert and includes footage of Mashiyane's performance. Watch a clip here. Note that Mashiyane is not the first performer but comes in towards the end of this clip at around 7 mins and 40 secs.

A number of Mashiyane recordings post-Newport reference his US visit, for example the tracks 5th Avenue and New York City (New Sound, GB 3617) not to mention New Port and America on his final LP.

Though Mashiyane is present at the birth of Gallo’s Mavuthela, his recordings for Gallo appear to taper off towards the later half of the 1960s. It is not clear to me why, but I suspect that the success of the hard-mbaqanga sound produced by Mavuthela during this period might have contributed to what appears to be a waning interest in Mashiyane.

Interestingly a 1969 compilation LP, the Golden City Album does include a mbaqanga styled sax jive by Mashyiane. The track is noticeable for two reasons: one, the title “The Return of Spokes” suggests an absence, and two the record is issued by Trutone not Gallo. Perhaps the “Return of Spokes” has a double meaning here, and could be interpreted in one of two ways: he is returning to recording or he is returning to Trutone. A recording with Trutone does suggest a break with Gallo. Moreover his next LP King of the Penny Whistle was produced by David Thekwane and issued by Teal Records.

Released on Teal’s Star Black label (SKL 3000) (their first I believe) in 1969, Mashiyane here returns to the penny whistle, which for that time seems particularly unusual. The popularity of kwela had been waning since the late 1950s and with the rise of mbaqanga in the 1960s, it seemed that the style of music had all but been abandoned. Mashiyane here revisits in name at least some of his big hits like Ace Blues and TJ 500, the catalogue number for his first sax hit Big Joe Special. Surprisingly, he is backed by a band boasting a full elastic mbaqanga sound. My guess is that this is Mashiyane’s last album.


DISCOGRAPHY

78 RPM (1954)
Spokes Mashiyane and his Rhythm
Spokes Mashiyane (flute), prob. Frans Pilane (guitar), others unknown
(Recorded on October 8, 1954)
• Quality, TJ 21, matrix 4082/3, RSA
01) Skokiaan
02) Meva

78 RPM (1954)
Spokes Mashiyane and his Rhythm
Spokes Mashiyane (flute), prob. Frans Pilane (guitar), others unknown
(Recorded on October 8, 1954)
• Quality, TJ 24, matrix 4080/1, RSA
01) Ace Blues (Spokes Mashiyane)
02) Kwela Spokes (Spokes Mashiyane)

78 RPM (1954)
Spokes and William
Spokes Mashiyane (flute), others unknown
• Quality, TJ 31, matrix 4175/7, RSA
01) Ndinovalo (Eric Nomvete)
02) Daisy's Blues (Spokes Mashiyane)






78 RPM (c1955)
Spokes Mashiyane and His Hum-A-Zoo and Rhythm
Spokes Mashiyane (flute), others unknown
• Quality, TJ 54, matrix 4359/60, RSA
01) Mjiva Phambele (Spokes Mashiyane)
02) Thaba Zimbi (Spokes Mashiyane)
* source ILAM, SAMAP

78 RPM (1955)
Spokes Mashiyane and Frans Pilane
Spokes Mashiyane (flute), Frans Pilane (guitar), others unknown
• Quality, TJ 56, matrix 4503/4, RSA
01) Samson and Delilah (trad. arr. Strike Vilakazi)
02) Meadowlands Boogie (Spokes Mashiyane)





78 RPM (c1955)
Spokes Mashiyane and Ben Nkosi
Spokes Mashiyane (flute), Ben Nkosi (guitar), others unknown
• Quality, TJ 107, matrix 4904/5, RSA
01) Kumnandi (Spokes Mashiyane)
02) Al Die Clevers (Spokes Mashiyane)
* source ILAM, SAMAP

78 RPM (c1955)
Spokes Mashiyane and Ben Nkosi
Spokes Mashiyane (flute), Ben Nkosi (guitar), others unknown
• Quality, TJ 109, matrix 4906/7, RSA
01) A Man se Cherry (Spokes Mashiyane)
02) Kalla's Special (Spokes Mashiyane)
* source ILAM, SAMAP

PENNY WHISTLE JIVE (c1956)
Various Artists
Spokes Mashiyane (flute), Frans Pilane, Ben Nkosi (guitar), others unknown
(Compilation of tracks sourced from 78rpms recorded for Trutone. Though having an identical cover, this LP has different tracks from the UK Oriole and Australian Galaxy issues.)
• Trutone, 10" LP, TLP 1047, RSA
• Rave, RMG 1047, RSA
Spokes Mashiyane and France Pilane
02) Xmas Jump (Spokes Mashiyane)
Spokes Mashiyane and Ben Nkosi
05) Sondela Ntombi (Spokes Mashiyane)
Spokes Mashiyane and France Pilane
07) Samson and Delilah (trad. arr. Strike Vilakazi)

• Trutone, 10" LP, TLP 1047, RSA

JAZZ FROM THE TOWNSHIP (c1957)
Various Artists - Spokes Mashiyane
Spokes Mashiyane (flute), others unknown
(Compilation of tracks sourced from 78rpms recorded for Trutone.)
• Trutone, TLP 2000, RSA
• Rave, RMG 2000, RSA
01) Kala's Special (Spokes Mashiyane)

78 RPM (c1957)
Spokes Mashiyane and Frans Pilane
Spokes Mashiyane (flute), Frans Pilane (guitar), others unknown
• Quality, TJ 132, matrix 5313/6451, RSA
01) Basimane Ba Gauteng (Spokes Mashiyane)
02) Jika Spokes (Spokes Mashiyane)
* Thanks to Laurent Dalmasso for this images.

78 RPM (1957)
Spokes Mashiyane and Frans Pilane
Spokes Mashiyane (flute), others unknown
• Quality, TJ 149, matrix 6775/6, RSA
01) Odlha-dlha (Spokes Mashiyane)
02) Home Go (Spokes Mashiyane)

78 RPM (1957)
Spokes Mashiyane and his Rhythm
Spokes Mashiyane (flute), others unknown
(Track one recorded c1956, track two recorded 1957)
• Quality, TJ 172, matrix 5299/6930, RSA
01) Tsa Lefatshe Hadi Fele (Spokes Mashiyane)
02) Umpinda (Spokes Mashiyane)





78 RPM (c1958)

Spokes Mashiyane and His Magic Sax

Spokes Mashiyane (sax), others unknown

• Quality, TJ ?, matrix 7478/79, RSA

01) Zoo Lake Jive (Spokes Mashiyane)

02) D.O.C.C. (Spokes Mashiyane)

* source Ballantine Collection, SAMAP

78 RPM (c1958)
Spokes Mashiyane and Robert Cele
Spokes Mashiyane (flute), Robert Cele (violin), others unknown
• Quality, TJ 205, matrix 7481/3, RSA
01) 5.20 Special (Jill Desmond)
02) Ain't Got Blues (Jill Desmond)

78 RPM (c1958)
Spokes Mashiyane and Robert Cele
Spokes Mashiyane (flute), Robert Cele (violin), others unknown
• Quality, TJ 213, matrix 7480/2, RSA
01) Manotcha (Jill Desmond)
02) Simple Simon (Jill Desmond)





78 RPM (c1958)
Spokes Mashiyane and His Two Stooges
Spokes Mashiyane, others unknown
• TJ Quality, TJ ?, matrix 7485, RSA
01) King Kong Kwela (Mazembe Mpandlana)
02) Dambuza Jump (Mazembe Mpandlana)
* source Ballantine Collection, SAMAP

78 RPM (1958)
Spokes Mashiyane with the Claude Williamson Trio
Spokes Mashiyane (flute), Claude Williamson (piano), Don Prell (bass), Jimmy Pratt (drums)
(Recorded at BMSC, JHB in April 1958)
• Quality, TJ 222, matrix 7548/9, RSA
• Rave, R 28, matrix 7548/9, RSA
01) Kwela Claude (Spokes Mashiyane)
02) Sheshisa! (Spokes Mashiyane)
* Thanks to Laurent Dalmasso for the image.

KWELA CLAUDE (1958)
Spokes Mashiyane with the Claude Williamson Trio
Spokes Mashiyane (flute), Claude Williamson (piano), Don Prell (bass), Jimmy Pratt (drums)
(Recorded at BMSC, JHB in April 1958)
• Rave EP, REP 4, matrix 7548-50, RSA
01) Kwela Claude (Spokes Mashiyane)
02) Sheshisa! (Spokes Mashiyane)
03) Tenderly (Gross, Lawrence)

HIT PARADE 10 (1958)
Spokes Mashiyane with the Claude Williamson Trio
Spokes Mashiyane (flute), Claude Williamson (piano), Don Prell (bass), Jimmy Pratt (drums)
(Recorded at BMSC, JHB in April 1958)
• Rave EP, REP 6, matrix 7548, RSA
03) Kwela Claude (Spokes Mashiyane)

45 RPM (1958)
Spokes Mashiyane
Spokes Mashiyane (flute), Frans Pilane, Ben Nkosi (guitar), others unknown
• Oriole, 45-1441, UK
Spokes Mashiyane and Ben Nkosi
01) Jika Spokes (Spokes Mashiyane)
Spokes Mashiyane and France Pilane
02) The Boys of Jo'burg (Spokes Mashiyane)

PENNY WHISTLE JIVE (1958)
Various Artists
Spokes Mashiyane (flute), Frans Pilane, Ben Nkosi (guitar), others unknown
(Compilation of tracks sourced from 78rpms recorded for Trutone. Cover is identical to Trutone, TLP 1047, but tracks are mostly different.)
• Oriole 10" LP, MG 10022, UK
• Galaxy 10" LP, GL 002, AUS
Spokes Mashiyane and Ben Nkosi
01) Jika Spokes (Spokes Mashiyane)
Spokes Mashiyane and France Pilane
02) The Boys of Jo'burg (Spokes Mashiyane)

• Oriole 10" LP, MG 10022, UK

• Galaxy 10" LP, GL 002, AUS

KING KWELA (c1958)
Spokes Mashiyane
Spokes Mashiyane (flute), others unknown
(Compilation of tracks sourced from 78rpms recorded for Trutone between 1954 and 1958.)
• Rave , RMG 1107, RSA (orange + blue label)
• Rave , RMG 1107, RSA (black label)
• Trojan World, TWLP 001, UK (LP/CD reissue, 1990 as King of Kwela)
• Gallo - African Classics, CDZAC 50, RSA (CD reissue, 1991)
01) Meva (Spokes Mashiyane)
02) Kwela Spokes (Spokes Mashiyane)
03) Aces Blues (Spokes Mashiyane)
04) Chobolo (Spokes Mashiyane)
05) Kwela Claude (Spokes Mashiyane)
06) Chicago Blues (Spokes Mashiyane)
07) Dolos (Spokes Mashiyane)
08) Ndinovalo (Spokes Mashiyane)
09) Sheshisa (Spokes Mashiyane)
10) New Year Eve Blues (Spokes Mashiyane)
11) Jika Spokes (Spokes Mashiyane)
12) Sono Sam' (trad. arr. F. Pilane)

• Rave , RMG 1107, RSA (orange + blue label)

• Rave , RMG 1107, RSA (black label)

KWELA SPOKES! (c1958)
Spokes Mashiyane and his Penny Whistle
Spokes Mashiyane (flute), other unnkown
(Tracks recorded between 1957 and 1958)
• Rave EP, REP 7, matrix 7250, 7484/5, 7606 RSA
01) Love Me Baby (Spokes Mashiyane)
02) Cookie's Kwela (H. Makhaya)
03) Stooge Blues (H. Makhaya)
04) Zoo Lake Kwela (Spokes Mashiyane)

45 RPM (1958)
Spokes Mashiyane with his Flipple Flute
Spokes Mashiyane (flute), other unknown
• Dot, NFS promo, 45-15778, USA
01) French Fried (Spokes Mashiyane)
02) Jika (Spokes Mashiyane)

45/78 RPM (1958)
Spokes Mashiyane and his Magic Sax
Spokes Mashiyane (sax), other unknown
• Quality, TJ 500, matrix 7607/8, RSA
• Quality, 45TJ 500, matrix 7607/8, RSA
01) Sweet Sax (Spokes Mashiyane)
02) Big Joe Special (Spokes Mashiyane)

78 RPM (1958)
"King Kwela" Spokes Mashiyane
Spokes Mashiyane (flute), others unknown
(Track one recorded 1957, track two recorded 1958)
• Rave, R 31, matrix 6451/7609, RSA
01) Jika Spokes (Spokes Mashiyane)
02) Dolos (Throwing the Bones) (Spokes Mashiyane)

78 RPM (1958)
Spokes Mashiyane and his Magic Sax
Spokes Mashiyane (sax), other unknown
• Rave, R 42, matrix 7479/7608, RSA
01) Kwela Sax (Spokes Mashiyane)
02) Big Joe Special (Spokes Mashiyane)






78 RPM
Spokes Mashiyane and His Magic Sax
Spokes Mashiyane (sax), other unknown
• TJ Quality, TJ ?, matrix 7808/10, RSA
01) Midnight Party Jive (Spokes Mashiyane)
02) Jealous Down (Spokes Mashiyane)
* source Ballantine Collection, SAMAP

78 RPM (1958)
Spokes Mashiyane
Spokes Mashiyane (flute), Frans Pilane (guitar), Lemmy Special (flute), others unknown
• New Sound, GB 2856, ABC 17170/4, RSA
01) Thaba Bosiu (Frans Pilane, Spokes Mashiyane)
Spokes Mashiyane and Lemmy Special
02) Manyatela (Spokes Mashiyane, Lemmy Mabaso)

78 RPM (1958)
Spokes Mashiyane
Spokes Mashiyane (flute), Frans Pilane (guitar), others unknown
• New Sound, GB 2857, ABC 17169/73, RSA
01) Mapula (Frans Pilane, Spokes Mashiyane)
02) Mambo Spokes (Spokes Mashiyane)





78 RPM (c1958)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 2870, ABC 17312/3, RSA
01) Monate
02) City Hall Special

78 RPM (c1958)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 2871, RSA
01) Umzimkulu
02) Vela Bahleke

KWELA-KWELA (c1959)
Various Artists
Spokes Mashiyane (flute, sax), Frans Pilane, others unknown
(Compilation of tracks sourced from 78rpms recorded for Trutone between 1954 and 1958.)
• Rave, RMG 1129, RSA
Spokes Mashiyane and his Magic Sax
08) Sweet Sax
09) Zoo Lake Jive
Spokes Mashiyane and Frans Pilane
11) Basimane
Spokes Mashiyane and his Rhythm
12) Kwela Time


78 RPM (c1959)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 2906, ABC 17464/73, RSA
01) Kwela Kong
02) Little Kong

78 RPM (c1959)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 2907, RSA
01) Hae Phokeng
02) Mosupa Tsela

78 RPM (c1959)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 2908, RSA
01) Banana Ba Rustenburg
02) Jika Dinto

78 RPM (1959)
Miriam Makeba and the Skylarks with Spokes Mashiyane
Spokes Mashiyane (flute), Miriam Makeba (vocal), Abigail Kubeka, Mummy Girl Nketle, Mary Rabotapi, Reggie Msomi (guitar), Johannes 'Chooks' Tshukudu (bass), Louis Molubi (drums)
(Recorded cMarch 1959)
• New Sound, GB 2909, ABC 17494/5, RSA
01) Ekoneni (Gibson Kente)
02) Inkomo Zodwa (Gibson Kente)

PENNY WHISTLE JIVE (THE "KWELA") (1959)
Various Artists
Spokes Mashiyane (flute), Frans Pilane, Ben Nkosi (guitar), others unknown
• Arlequin, 1009, Spain
Por Spokes Mashiyane y Ben Nkosi
01) Jika Spokes (Spokes Mashiyane)
Por Spokes Mashiyane y France Pilane
02) Los Muchachos de Johannesburgo (Spokes Mashiyane)

45/78 RPM (1959)
The Skylarks with Miriam Makeba and Spokes Mashiyane
Spokes Mashiyane (sax), Miriam Makeba (vocal), Mary Rabotapi (vocal), Abigail Kubeka (vocal), Sam Ngakane (vocal), Mummy Girl Nketle (vocal), Dan Hill (organ), Reggie Msomi (guitar), Johannes 'Chooks' Tshukudu (bass), Louis Molubi (drums), others unknown
(Recorded cMarch 1959.)
• New Sound 78, GB 2910, ABC 17496/7, RSA
• New Sound 45, GB 2910, ABC 17496/7, RSA
1) Ishayisa Mfana (Reggie Msomi)
2) Umtha Kathi (Miriam Makeba)

SPOKES OF AFRICA (1959)
Spokes Mashiyane
Spokes Mashiyane (flute, sax), others unknown
• Gallotone, GALP 1049, ABC 17506/7, RSA
• New Sound, NSL/GALP 1049, RSA (reissued, c1962)
01) Mambo Spokes (Spokes Mashiyane)
02) City Hall Special (Spokes Mashiyane)
03) Thaba Bosiu (F. Pilane, Spokes Mashiyane)
04) Mosupa Tsela (Spokes Mashiyane)
05) Kwela Kong (Todd Matshikiza)
06) Monate (Spokes Mashiyane)
07) Manyatela (Spokes Mashiyane, Lemmy Mabaso)
08) Banana Ba Rustenburg (Spokes Mashiyane)
09) Hae Phokeng (Spokes Mashiyane)
10) Little Kong Kwela (Todd Matshikiza)
11) Vela Bahleke (Spokes Mashiyane)
12) Jika Dinto (Spokes Mashiyane)

• Gallotone, GALP 1049, ABC 17506/7, RSA

• New Sound, NSL/GALP 1049, RSA

78 RPM (1959)
Spokes Mashiyane and his All Stars
Spokes Mashiyane, others unknown
• New Sound, GB 2975, ABC 17576/7, RSA
01) Habo Phati
02) Mekoalaba
* Thanks to Laurent Dalmasso for this image.

45/78 RPM (1959)
Spokes Mashiyane and his All Star Flutes
Spokes Mashiyane (flute), others unknown
• New Sound 78, GB 2939, ABC 17634/5, RSA
• New Sound 45, GB 2939, ABC 17634/5, RSA
01) July Handicap (Reggie Msomi)
02) Kwela 3 (Reggie Msomi)

78 RPM (c1959)
Spokes Mashiyane and his All Stars
Spokes Mashiyane (flute), others unknown
• New Sound, GB 2941, ABC 17578/9, RSA
01) Bo Joang Joala
02) Qo Petsa
* Thanks to Laurent Dalmasso for this image.

78 RPM (1959)
Spokes Mashiyane and his Golden Saxophone
Spokes Mashiyane (sax), others unknown
• New Sound, GB 2950, ABC 17655/6, RSA
01) Kwela Zulu (Reggie Msomi)
02) Phatha Phatha (Reggie Msomi)

78 RPM (c1959)
Spokes Mashiyane
Spokes Mashiyane (sax), others unknown
• New Sound, GB 2962, RSA
01) Emafini
02) Pretoria
* Thanks to Chris Albertyn at Electric Jive

78 RPM (c1959)
Spokes Mashiyane and his All Star Flutes
Spokes Mashiyane (flute), others unknown
• New Sound, GB 2964, RSA
01) The Last Sixpence
02) Banjo Special
* Thanks to Chris Albertyn at Electric Jive

78 RPM (c1959)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 2975, RSA
01) Emakhaya
02) Shisa Phatha Phatha
* Thanks to Laurent Dalmasso for this image.

78 RPM (1959)
Spokes Mashiyane and his All Star Flutes
Spokes Mashiyane, others unknown
• New Sound, GB 3000, ABC 17845/6, RSA
01) Thata Thata (H. Tau)
02) Durban Line (D. Petersen)






78 RPM (1959)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 3002, RSA
01) Harare Special
02) Mapetla

78 RPM (1959)
Spokes Mashiyane and his Big Five
Spokes Mashiyane (sax), others unknown
• New Sound, GB 3003, ABC 18121/2, RSA
01) 77 Phatha (J. Monahen)
02) Mahlalela (P. Rametsi)

45/78 RPM (1959)
Spokes Mashiyane and Lemmy Special
Spokes Mashiyane, Lemmy 'Special' Mabaso (flute), others unknown
• New Sound 78, GB 3045, ABC 18215/6, RSA
• New Sound 45, GB 3045, ABC 18215/6, RSA
1) Matsetse (Frans Pilane)
2) Copper Avenue (J. Monaheng)

78 RPM (1959)
Spokes Mashiyane and his Golden Saxophone
Spokes Mashiyane (sax), others unknown
• New Sound, GB 3086, ABC 18065/6, RSA
01) Phata Phata No. 2 (H. Mathaba)
02) Mojira Special (S. Manikela)

78 RPM (1959)
Spokes Mashiyane and Lemmy Special
Spokes Mashiyane (flute), Lemmy Special (flute), others unknown
• New Sound, GB 3187, ABC 18217, RSA
01) Jericho (J. Monaheng)
02) Shukuma

78 RPM (1960)
Spokes Mashiyane, Lemmy Special and his Big Five
Spokes Mashiyane (flute), Lemmy Mabaso (flute), Reggie Msomi (guitar), Stanford Tsiu (guitar), Chooks Tshukudu (bass, Louis Molubi (drums)
• New Sound, GB 3125, ABC 18857, RSA
01) Dube Village (J. Monaheng)
02) Spokes - Lemmy

78 RPM (c1960)
Spokes Mashiyane and his Golden Saxophone
Spokes Mashiyane (sax), others unknown
• New Sound, GB 3128, ABC 18864, RSA
01) Phuza Spokes
02) Phakamisa Spokes
* Thanks to Laurent Dalmasso for this image.

NEW SOUNDS OF AFRICA VOL. 1 (1960)
Various Artists
Spokes Mashiyane (sax), Miriam Makeba (vocal), Mary Rabotapi (vocal), Abigail Kubeka (vocal), Mummy Girl Nketle (vocal), Reggie Msomi (guitar), Johannes 'Chooks' Tshukudu (bass), Louis Molubi (drums), Leo De Lyon (vocal), others unknown
(Compilation of tracks sourced from 78rpms recorded for Gallo. Although billed as a Various Artists LP, every track includes Spokes.)
• New Sound, NSL 1001, ABC 18959/60, RSA
• Fiesta, FLP 1358, USA
Spokes Mashiyane and Leo De Lyon
01) Kwela Dudu (J. Monheng)
Spokes Mashiyane and his Golden Sax
02) Phata Phata (Reggie Msomi)
Miriam Makeba and the Skylarks with Spokes Mashiyane
03) Uile Ngoan'a Batho (Mary Rabotapi)
Spokes Mashiyane and his Big Five
04) Mafeteng (arr. H. Mathabe)
Spokes Mashiyane and the Melody Sisters
05) Lenyalo Le Thata (J. Phalatsi)
Spokes Mashiyane and his Golden Saxophone
06) Phata Phata No.2 (H. Mathabe)
Spokes Mashiyane and Leo De Lyon
07) Six and Six (J. Monaheng)
Spokes Mashiyane and his Big Five
08) Big Five (T. Madi)
Spokes Mashiyane and the Melody Sisters
09) Hula Mahula (Frans Pilane)
Spokes Mashiyane and his Golden Saxophone
10) Mojira Special (S. Manikela)
11) Kwela Zulu (Reggie Msomi)
Spokes Mashiyane, Miriam Makeba and the Skylarks
11) Ndidliwe Zintaba (Gibson Kente)

• New Sound, NSL 1001, ABC 18959/60, RSA

• Fiesta, FLP 1358, USA

NEW SOUNDS OF AFRICA VOL. 2 (1960)
Various Artists
Spokes Mashiyane (sax, flute), Miriam Makeba (vocal), Mary Rabotapi (vocal), Abigail Kubeka (vocal), Sam Ngakane (vocal), Mummy Girl Nketle (vocal), Lemmy 'Special' Mabaso (flute), Dan Hill (organ), Reggie Msomi (guitar), Johannes 'Chooks' Tshukudu (bass), Louis Molubi (drums), Leo De Lyon (vocal), others unknown
(Compilation of tracks sourced from 78rpms recorded for Gallo. Although billed as a Various Artists LP, almost every track includes Spokes.)
• New Sound, NSL 1002, ABC 18961/62, RSA
Spokes Mashiyane and Leo De Lyon
01) Reggie Special (Reggie Msomi)
The Skylarks
02) Hush (trad.)
Spokes Mashiyane and Lemmy Special
03) Baile Batho (H. Mathabe)
Spokes Mashiyane, Miriam Makeba and the Skylarks
04) Miriam and Spokes Phata Phata (Miriam Makeba)
Spokes Mashiyane and his Big Five
05) 77 Phata (J. Monaheng)
Spokes Mashiyane and his Golden Saxophone
06) Monate (Spokes Mashiyane)
Spokes and Leo De Lyon
07) Dilika (Reggie Msomi)
The Skylarks with Miriam Makeba and Spokes Mashiyane
08) Ishayisa Mfana (Reggie Msomi)
Spokes Mashiyane and his Big Five
09) Mahlalela (P. Rametshi)
Spokes Mashiyane and his All Star Flutes
10) Banjo Special (Reggie Msomi)
Spokes Mashiyane and Lemmy Special
11) Ilali Mothoana (H. Mathabe)
The Skylarks, with Miriam Makeba
12) Miriam's Goodbye to Africa (Msomi, Makeba)

• New Sound, NSL 1002, ABC 18961/62, RSA

SPOKES MASHIYANE (1960)
Spokes Mashiyane and his BIG FIVE
Spokes Mashiyane (sax), others unknown
• New Sound EP, XEP 7027, ABC 19314/5, RSA
1) Isi Shimiyane (Rametsi)
2) Ngenaye (Christopher Songxaka)






78 RPM (c1960)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 3205, RSA
01) Tap-Tap No. 1
02) Tap-Tap No. 2

78 RPM (c1960)
Spokes Mashiyane
Spokes Mashiyane (flute), others unknown
• New Sound, GB 3222, ABC 19574/5, RSA
01) Bechuanaland (P. Mokonotela)
02) Basutoland (P. Mokonotela)






78 RPM (c1960)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 3232, RSA
01) Jump to Tap
02) New Jive Blues

78 RPM (1961)
Spokes Mashiyane and his Golden Saxophone
Spokes Mashiyane, prob. Reggie Msomi (guitar), Lucky Monama (banjo), Chooks Tshukudu (bass), Louis Molubi (drums)
• New Sound, GB 3233, ABC 19896, RSA
01) Se Hong-Hong
02) Moreneng Matsieng




78 RPM (c1961)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 3249, RSA
01) Moreletsane
02) Uthomile

78 RPM (c1961)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound, GB 3333, RSA
01) Spokes Twist
02) Shova Spokes

TOP HITS OF THE BIG THREE - NEW SOUND VOL. 4 (1961)
Reggie Msomi, Lemmy Mabaso, Spokes Mashiyane
Spokes Mashiyane (sax), Reggie Msomi (sax), Lemmy Mabaso (flute), others unknown
(Compilation of tracks sourced from 78rpms recorded for Gallo. Ten of the twelve tracks feature Mashiyane.)
• New Sound, NSL 1006, ABC 21462/3, RSA
Mashiyane and Msomi Double Five
01) Zulu Khayalami (arr. Msomi, Mathaba)
02) Durban Express (Mathaba)
03) Dumazile (Mathaba)
04) One More (Mathaba)
Spokes and his Golden Sax
05) Kwela Zulu (Reggie Msomi)
06) Phata Phata (Reggie Msomi)
Spokes and his Big Band
07) Taps Phata (Sonto Madi)
08) Tau (Tshukudu)
09) Phuza Tywala (Mosela Rametsi
10) Siyahamba (Mosela Rametsi)
Lemmy Special
11) Casanova (Lemmy Mabaso)
12) Mohlakaso (Lemmy Mabaso)

• New Sound, NSL 1006, ABC 21462/3, RSA

78 RPM (1962)
Spokes Mashiyane
Spokes Mashiyane (sax), others unknown
• New Sound, GB 3400, ABC 22374, RSA
01) Lehalima
02) Labenya
* Thanks to Laurent Dalmasso for this image.

BIG FIVE TWIST (1962)
Spokes Mashiyane
Spokes Mashiyane (sax), others unknown
• All Star 45, AD 7-8722, ABC 22434, RSA
01) Three Moves Twist (Spokes Mashiyane)
02) Big Five Twist (Moncho)
* Thanks to Laurent Dalmasso for this image.

SPOKES HIT PARADE NO. 1 (1962)
Spokes Mashiyane
Spokes Mashiyane (sax, flute), others unknown
• New Sound, NSL 1009, ABC 22569/70, RSA
01) Fire Up (Spokes Mashiyane)
02) Pas op My Kind (Nkosi)
03) Shukuma Spokes (Spokes Mashiyane)
04) Sipho (Spokes Mashiyane)
05) Imenduka Twist (Spokes Mashiyane)
06) Memela Special (Memela)
07) Hit and Run (Nkosi)
08) Theo's Blues (Spokes Mashiyane)
09) Quasha (Spokes Mashiyane)
10) Hlotse (Spokes Mashiyane)
11) Phehello (Spokes Mashiyane)
12) F.M. Special (Spokes Mashiyane)

• New Sound, NSL 1009, ABC 22569/70, RSA

KWELA SPOKES! VOL. 2 (c1962)
Spokes Mashiyane and his Penny Whistle
Spokes Mashiyane (flute), other unnkown
(Compilation of tracks recorded for Trutone between 1954 and 1958. Kwela Cactus is likely to be Meva retitled.)
• Rave EP, REP 27, matrix 4083, 4080, ?, ?, RSA
01) Kwela Cactus (Spokes Mashiyane)
02) Ace Blues (H. Makhaya)
03) Jumping Bean (H. Makhaya)
04) Pretoria Rocket (Spokes Mashiyane)

SWEET FLUTE - SWEET SAX (c1962)
Spokes Mashiyane
Spokes Mashiyane (flute, sax), others unknown
(Compilation of tracks sourced from 78rpms recorded for Trutone between 1954 and 1958. Back cover advertises Gideon Nxumalo's Jazz Fantasia which was recorded in 1962.)
• Quality, LTJ 201, RSA
01) Sweet Sax (Spokes Mashiyane)
02) Midnight Party Jive (Spokes Mashiyane)
03) Don't Be Mad (Spokes Mashiyane)
04) Girls, What about Jerry (Spokes Mashiyane)
05) Jealous Down Twist (Spokes Mashiyane)
06) Big Joe Special (Spokes Mashiyane)
07) Sheshisa Twist (Spokes Mashiyane)
08) Bennie's 2nd Avenue Special (Spokes Mashiyane)
09) Emily Ngoma (Spokes Mashiyane)
10) Double Up (Spokes Mashiyane)
11) Daisy's Blues (Spokes Mashiyane)
12) Mamlambo (Spokes Mashiyane)

• Quality, LTJ 201, RSA

SPOKES' BIG FOUR (1963)
Spokes Mashiyane
Spokes Mashiyane, others unknown
• New Sound EP, XEP 7122, ABC 23667/8, RSA
01) Phata Phata (Reggie Msomi)
02) Kwela Zulu (Reggie Msomi)
03) Mojira Special (S. Manikela)
04) Phata Phata No.2 (H. Mathaba)

NEW SOUNDS OF AFRICA VOL. 2 (c1963)
Spokes Mashiyane with Miriam Makeba and the Skylarks
Spokes Mashiyane (sax), Miriam Makeba (vocal), Mary Rabotapi (vocal), Abigail Kubeka (vocal), Sam Ngakane (vocal), Mummy Girl Nketle (vocal), Dan Hill (organ), Reggie Msomi (guitar), Johannes 'Chooks' Tshukudu (bass), Louis Molubi (drums), others unknown
• New Sound EP, ESL 7141, ABC 23849/50, RSA
01) Ishayisa Mfana (Reggie Msomi)
02) Miriam and Spokes Phata Phata (Miriam Makeba)

78 RPM (1965)
Spokes Mashiyane
Spokes Mashiyane (sax), Makgone Tsohle Band
• New Sound, GB 3617, ABC 30354/5, RSA
01) New York City (Spokes Mashiyane)
02) Fifth Avenue (Spokes Mashiyane)

(KING KWELA) (c1965)
Spokes Mashiyane
Spokes Mashiyane (flute, sax), others unknown
(Compilation of tracks sourced from 78rpms recorded for Gallo between 1958 and 1965. LP issued in the USA after Mashiyane's appearance at the Newport Folk Festival in July, 1965.)
• London International, TW 91408, USA
01) July Handicap (Reggie Msomi)
02) Kwela 3 (Reggie Msomi)
03) The Last Sixpence (Reggie Msomi)
04) Banjo Special (Reggie Msomi)
05) Thata Thata (H. Tau)
06) Durban Line (D. Petersen)
07) Woza Woza (H. Tau)
08) Phesheya (H. Tau)
09) Bechuanaland (P. Mokonetela)
10) Basutoland (P. Makonetela)
11) Spokes Twist (Moncho)
12) Shova Spokes (Moncho)

• London International, TW 91408, USA

78 RPM (1966)
Spokes and his Golden Sax
Spokes Mashiyane (sax), Makghona Tsohle Band
• New Sound, GB 3663, RSA
01) Sediba (Spokes Mashiyane)
02) Le Gotla

45 RPM (1967)
Spokes and his Golden Sax
Spokes Mashiyane (sax), Makghona Tsohle Band
• Gallotone, GB 7-3666, ABC 30747, RSA
01) Amabhodo (Rupert Bopape, Shadrack Piliso)
02) Kgwale (Rupert Bopape, Shadrack Piliso)
* Thanks to Nick Lotay for this image.

THE GOLDEN CITY ALBUM (1969)
Various Artists - Spokes Mashiyane
Spokes Mashiyane, others unknown
(Compilation LP issued by Trutone)
• Trutone, TBL 1, RSA
06) The Return of Spokes (Spokes Mashiyane)

KING OF THE PENNY WHISTLE (1969)
Spokes Mashiyane
Spokes Mashiyane (flute), others unknown, produced by David Thekwane, arranged by L. Botha
(LP issued by Teal)
• Star Black, SKL 3000, RSA
01) Kroonstad (Spokes Mashiyane)
02) Kwela Spokes (Spokes Mashiyane)
03) America (Spokes Mashiyane)
04) Newport (Spokes Mashiyane)
05) Come Back (Spokes Mashiyane)
06) Phomolong (Spokes Mashiyane)
07) T.J 500 (Spokes Mashiyane)
08) Mafeking (Spokes Mashiyane)
09) Maqwaza (Spokes Mashiyane)
10) Ace Blues (Spokes Mashiyane)
11) Amavovo (Spokes Mashiyane)
12) Enanyeni (Spokes Mashiyane)

• Star Black, SKL 3000, RSA

MUSIC SOUNDS OF AFRICA
Various Artists - Spokes Mashiyane
Spokes Mashiyane (flute), other unkown
(Track originally recorded in c1959 for Gallo, GALP 1049.)
• Gallo, SGALP 1578, RSA
16) Kwela Kong (Williams, Matshikiza)

JAZZ AND HOT DANCE IN SOUTH AFRICA 1946 - 1959
Various Artists - Spokes Mashiyane and Frans Pilane
Spokes Mashiyane (flute), Frans Pilane (guitar), other unkown
(Track originally recorded in 1955 for Trutone's Quality label, TJ 56.)
• Harlequin, HQ 2020, UK
16) Meadowlands Boogie (Spokes Mashiyane)




Tracks by Spokes Mashiyane have been featured on a number of compilation CDs and these will be listed in the near future.