Published by the government of Zimbabwe
29 September 2007
interview
Harare — THE history of Zimbabwean music will not be complete without mention of Dr Thomas Mapfumo, Oliver Mtukudzi, the late Leonard Dembo and Simon Chimbetu, and Alick Macheso, says township jazz musician Tanga wekwa Sando.
Tanga believes these music icons have contributed immeasurably to Zimbabwe's music "well", along with the late James Chimombe, Safirio Madzikatire, Marshall Munhumumwe and Biggie Tembo.
However, Tanga, who rose to fame with the hit song "Mahobho", which takes a light-hearted dig at security guards, did not spare his rod on copycats when he answered questions posed by city.com readers this week.
"Copycats suffer the embarrassment of their acts for the rest of their lives and unless they do something to clear that they will be forever tainted," said Tanga.
Question: Who is Tanga? What is your real name, date of birth and brief biography?
Answer: My name is Ernest Tanga Kambadzo wekwa Sando. I was born on August 1, 1954 at Harare Hospital (Pagomo) and grew up in Highfield although I occasionally stayed with relatives in Mbare and other suburbs in Harare.
I attended Tsungayi Primary School, Highfield Secondary School and Louisiana University (in the United States).
My varied musical experiences and history, among other things, involve the following, Tsungayi School Choir, the Salvation Army Brass Band (Mabhosvo) and the Songsters of Highfield Corps, Rhodesia School of Music, Harare Mambo Band, Sasu Octane, The Tanga Band in New York City, Harare Giraffe and Tanga wekwa Sando.
Question: Are you married and how many children do you have? (Walter, Harare)
Answer: I am married and have nice, wonderful kids.
Question: You became popular during the time of "Mahobho" and then went silent afterwards before you re-emerged with a new beat in "Wake". What was happening between the two songs? -- Lovemore Kashawo.
Answer: When I go silent, I am always writing and striving not to keep in one place and I am grateful to the Zimbabweans for accepting me as a multi-faceted and dynamic composer and producer.
During the time in question I also involved myself in civic duties and worked with a Japanese economic organisation for eight years in addition to running other interests.
In terms of music, I believe I have always written with the same style whether for Giraffe or Tanga wekwa Sando.
Question: What is your position with copycats? Have you had anyone trying to copy your music?
Answer: We all know what happens to people who copy others in the classroom.
They suffer the embarrassment of being called copycats for the rest of their lives until they can prove otherwise regardless of their success.
At the same time, in music creation and execution, it might be very difficult to distinguish between being influenced and copying, especially if there are a number of artistes in a particular genre who are influenced by one performer.
As for me, I am not worried unless it's blatant.
Question: Why did you ditch jiti?
Answer: I have never abandoned jiti. Actually jiti is the basis of my brand of township music.
All the other styles, genres or influences end up being infused in this wonderful Zimbabwean jive jiti.
Unfortunately, I just never felt like filling a whole album with one style and sound, but you can rest assured that my next project will take this issue into account.
Question: Do you look at yourself as moving forward as a musician? Because I feel you are struggling to get to the levels you reached with the album "Wake".
Answer: Luckily and fortunately for me, I really feel that creatively I have surpassed the levels of Wake in that God has blessed me with more products, and continues to do so much that my work in progress at the moment runs into several albums yet to be recorded and released.
Analytically, I would say "Wake" was the first real township album to break into the mainstream market, which had been dominated by sungura since independence.
Between "Mahobho" and the present album "Mweya Wangu", I have written and produced 11 albums, which works out to an average of one album per year with notable hits such as "Chikombingo", "Mbambamba", "Paidamoyo", among others.
But I agree that in terms of marketing and taking the music and live performances to the townships where the music originates from, we have not done a good job and we are currently in the process of rectifying that anomaly.
And hopefully, soon we will talk of a different Tanga wekwa Sando era.
Question: Which is your best album so far and why?
Answer: Every song you write, every album you produce you put in the same kind of passion and hard work.
The success of any particular album or song depends on a variety of factors especially from a commercial viewpoint.
I meet different people all with their different best songs from my albums.
I never include a song that qualitatively does not make the grade or standards that I have set and so in the end the public, the radio stations and the press determine what is best.
Question: You seem to be changing the female members of your group every now and then. Does this have anything to do with relationships, performance, or something else? The likes of Chibhodhoro have stayed much longer.
Answer: Except for the Harare Mambos, I grew up playing in all-male bands, so I don't even understand how I ended up with female members. I suppose I like the (female) voices.
However, I have always worked with male backing vocalists and of late upon advice we have resorted to having male backing vocalists and it's not unimaginable that that you will see Tanga with an all-male cast.
I will from time to time engage female members, some have moved on successfully to further their own careers while others who were "big- headed" vanished into obscurity.
People are always free to move on when they feel it is time to do so and we always wish them well.
Question: How do you handle temptations considering that you work with beautiful female vocalists?
Answer: First, I pray to God as we have always been told to do.
Secondly, we have a strict code of conduct that bars band members from engaging in relationships that compromise the band's existence and/or prosperity.
Question: Do you look at yourself as a role model? What can your fans learn from you away from the stage?
Answer: My philosophies in life are that love conquers all, respect is the anchor of all relationships while peace is paramount to good living.
Hate, jealousy and envy use up a lot of unnecessary energy, but above all that each one of us has a purpose on this earth and it's up to us to achieve our life purposes.
While I cannot claim to be pious or have any moral authority I encourage others to religiously aspire to live a life that appeals to God.
As an artist I believe that I am only a spiritual messenger, so don't shoot the messenger (mutumwa haana mbonje).
To the youths I say, through education and experience this gives you the ultimate and necessary power to achieve your life purpose and contribute to the ongoing emancipation and renaissance of Africa and its people.
Question: Looking at Zimbabwean music, who do you rate as the best since independence and why?
Answer: A lot of artistes have contributed to the "musical well" that every other present musician inspirationally drinks from today.
Dr Thomas Mapfumo and Oliver Mtukudzi are Zimbabwe's music ambassadors to the world.
Simon Chimbetu infused a unique blend of regional music.
Leonard Dembo has been a legend of incredible lyrics and accompanying guitar licks and riffs adding a whole new dimension to sungura music.
Safirio Madzikatire, James Chimombe, Biggie Tembo, Marshall Munhumumwe and presently Alick Macheso with his use of the bass guitar as a lead and melody instrument coupled with sungura-enhancing performance dances has been great.
Question: Who is your inspiration as a musician?
Answer: My life history, events and people who have shaped the world, especially Africa, inspire me.
My aspirations are for Africa to use love as a unifying factor for the progress of human kind.
Question: Have you been affected in any way by piracy and what do you think should be done in the wake of the growing number of people promoting piracy in the country?
Answer: Every artiste is a victim of piracy and the law should take its course.
There is also need to have more outreach programmes that teach and make people realise that when they pirate other people's music they are, in fact, stealing.
Because intellectual property being an intangible product, a lot of people are not aware of the damage they are doing to the artistes.
Question: Are you a full-time musician or you are making a living from other endeavours?
Answer: Yes, I am. But that does not stop me from realising my life through other interests.
Not only does this make economic sense (music is not always commercially gratifying), it is also healthy for the mind.
Experts point out that most people use only 5 percent of their capacity during their lifetime.
I would like my mind to work more, if only for my satisfaction.
Question: Where is your former music partner Bothwell Nyamhondera with whom you performed as Giraffe some time back and are there any plans to re-unite and recordanother jiti song?
Answer: My association with Bothwell Nyamhondera dates back to the late 70s when we formed a band called Octane which also included Louis Mhlanga.
Mhlanga was also present when I formed Giraffe and his guitar still features on many of my recordings.
I believe Nyamhondera is one of the best producers in Zimbabwe to date and is still actively involved in producing some prominent musicians.
I only dream and hope that some day soon we can work together on a new project.
We always had fun in the studio.
Question: In your song "Wake", what were you referring to when you sang "ane nhingiriki panhingiriki"?
Answer: What I meant was that it takes someone very close to you to know what is unique about you, whether it is physical or psychological.
Question: Are you proud that your song "Mahobho" was to become a new name for security guards?
Answer: I am glad that Mahobho no longer carries the initial negative connotations associated with security guards. Now, it is just a word. There is need for Africans to respect each other in our relationships and in our daily lives.
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