Yaseen & Party 60’s taarab compilation from Yaseen Mohamed Afro7

‘Harambe’ by Mac & Party was one of the most interesting recent rediscoveries of Kenyan taarab from the past decades. An English language taarab song with the prominent presence of an early synthesizer, it sounded unlike any other Kenyan music that came out during the 1960s and ‘70s. Initially, when trying to license the track for reissue in 2016 (Soundway’s ‘Kenya Special volume 2’ and the 45 RPM reissue on Afro7), we didn’t have much luck in finding out who had recorded and composed the song, or even when exactly it had come out. Comparing discographies of the original label, and listening to other songs that were close enough by catalogue numbers, it appeared to be the work of the late singer/composer Yaseen Mohamed. His sons were able to confirm that it was their father singing on those singles, that Mac & Party and Yaseen & Party were most likely the same band, and that the recordings were done in the early ‘60s.

A closer look at Yaseen Mohamed’s legacy reveals that he was an important figure in Kenya’s taarab music of the 20th century. Between his first 78 RPM record, which came out around 1947, and the last single released in the mid-sixties, his discography spans nearly 50 confirmed releases, and possibly many more collaborations that he was not credited for.
Yaseen was born in Mombasa in the 1920s. His parents were of Omani heritage. Growing up he joined the British colonial army, which allowed him to travel around the region and soak up a wide variety of cultural influences. During Yaseen’s youth, recorded taarab music had become popular across the region, pioneered by a group of musicians from Zanzibar whose musical output from the late ’20s and early ’30s set a trend.

Socio-economic changes in the colony during the 20th century, which transformed Mombasa from a Swahili town of less than 30,000 people, reigned by the sultan of Zanzibar, into a metropole in the newly independent country of Kenya, had a major impact on music culture. These changes were mirrored in the evolution of taarab between the 1920s and ‘60s. Yaseen’s early work is a patchwork of stylistic influences from Indian and Egyptian film melodies, Cuban son, and trendy dance styles such as the twist, mambo and samba, all thrown in the mix with a traditional taarab combo line-up of vocals, ud and percussion. He would later be quoted as saying that “there is no certain thing which is taarab. Even rock is taarab if people just sit and listen”.

By the early ‘50s, Yaseen had joined Assanand & Sons (Mombasa) Ltd., a shop selling musical instruments and 78 RPM records, which was quickly being developed into Mombasa’s most popular music studio. Yaseen was an all-round member on the team, recording his own music, performing as a session musician, acting as a studio technician, and scouting new talent for Mzuri, the in-house label. Apart from singing and composing he became a master of the taishokoto, a musical instrument of Japanese origin which was introduced in Kenya in the 1940s. During this time he started recording with his wife Saada (credited on releases as ‘Mimi’), who joined him on the stage during live single mic set up in the storage room at the back of the Assanand shop.

Yaseen, Mimi and their band were at the forefront of innovation in Mombasa taarab; their small-band approach with newly introduced instruments such as the (amplified) taishokoto, accordion, and the Clavioline, a predecessor of the synthesizer, sounded quite different from the big-band taarab approach of orchestras that were around during the 1940s and ‘50s. Their short songs (limited to 3 minutes per side for 78 RPM releases, and a bit longer when Mzuri started pressing on 45 RPM singles) appeared easy on the ear, but the lyrics were rooted in the intricate Swahili poetry that had been popular among the East African coast for centuries.

In 1962, Yaseen and Mimi got their first child, a milestone described in ‘Nimepata mwana’. From then on, Yaseen focused on working regular jobs, while music remained a hobby. They struggled to make ends meet though, living with their four children in a single-room apartment in Mombasa’s inner city. While Yaseen was of Omani heritage, Mimi’s parents were Digo, a people from coastal Kenya who were discriminated against during the colonial era. Yaseen’s close family didn’t accept Mimi and her kids into the family. In 1972, Yaseen left Mimi and the children to take up work in Oman, which had just started a transition from one of the middle east’s most traditional societies into a modern Arab oil-fuelled economy. Yaseen’s professional skills as an electrician and a mechanic were welcomed as he joined thousands from the Omani diaspora in East Africa in occupying the work force. Despite continuing to make music in his pastime, performing on national television and radio with his taishokoto, and composing a song for sultan Qaboos, he didn’t record any more music. Yaseen returned to Mombasa to visit his wife and sons every few years, and he intended to retire bring the family over to Oman, but he passed away in 1985. By that time, the Mzuri label and Assanand shop were long gone, and the production of taarab in Kenya had started a decline that has nearly decimated the Mombasa scene by 2019. A few of Yaseen’s songs were featured on foreign compilations, some of his recordings can be found on bootleg CDs in Mombasa, but only some of the older generation in Kenya are aware of the remarkable legacy and the impact that Yaseen and his wife have had on Kenya’s coastal music.

The full album LP with 4-page fold-out insert with extended liner notes and the single can be bought seperate through our music shop, with reasonable worldwide shipping prices, use this link to buy directly from us, we also have other Afro7 releases available.

Afro7LINK TO SONG SNIPPETS from Yaseen & Party Compilation LP
LINK TO SONG SNIPPETS from the Single Mac & Party Zandale and Kiss to Kiss single

Mombasa ‘Vikings Kibe Kibe/Mama Matotoya’ Afro7

Located on Nyali Beach, south of Mombasa city lies Mombasa Reef Hotel, maybe the grandest of all the classic Kenyan hotels, run and managed by the same family since the mid-seventies. Catering westerners to safaris and snorkelling, and providing local acts of art-acts and music, including the hotel’s then house band the Mombasa Vikings. A band name undoubtedly suited for the many Nordic tourist that frequently visited. If you wanted to bring back some of the magic, musical souvenirs was offered for sale after the nightly musical show and another way for the band to make some extra needed pesa.

Fast forward somewhat 35 year the original Beach Rhythm’s Mombasa Roots seven-inch vinyl single with these two tracks finds Sweden’s own Rickard Masip in some now defunct Stocholm shop, he was mindblown over the music of the b-side track Mama Matotoya, it’s not exactly afro-beat more of a hybrid, heavy percussive with a a tip of chakacha rhythm pattern, a flute solo ooozing with jazz sensibility.

The Ensemble consisted of Tony Rusteau on Reeds. Abdalla ‘Dala’ Hamisi on Percussions and vocals, the late Ahmed ‘Emil’ Juma on lead guitar (…of later Mombasa Roots fame) Keneth Lucas on bass, Clement Fernandes on acoustic guitar, Bernard Pu Cheok Chuen on drums and Bruno Da Silva (who still works at the hotel to this day) and Richard Rusteau on perucssion and effects. The band was a fine example of how good it gets with a daily playing schedule and excited crowds.

We’ve been a fan of this 45 for a long time and the original still is extremely rare (only two copies known to have been found in Sweden!) We had to make a replica and with the help of Carvery’s Frank Merritt and Racuba’s Adam Isbell it’s finally available again sounding fresh and better than it ever did. 100% officially lisensed from the original band members!

Mombasa Vikings Ensemble

Afro7A) Mombasa Vikings ‘Kibe Kibe’
B) Mombasa Vikings ‘Mama Matotoya’

Shiraz with the Sunny ‘Karibu Karim’ Alka

agakhan2Hazar Imam or Prince Shah Karim Al Hussaini Aga Khan is a British Shia Muslim imam and business magnate. His following in Eastern Africa extends to great recognition for his religious role and aid work. Given the fact that there are several development aid institutions, including health and education services with his name on it. In occasion of his 1981 visit to Kenya this single was issued by Ismailia Women’s association. Sung in Swahili ‘Karibu Karim’ delivers classical Indian instrumentation spiced with a cool 80s synth, catchy chorus in a trad meets modern package. Notice the slight taarab feel over the arrangements. Sadru & Zeenat Kassam on vocals. Music by Shiraz. Lyrics by Mansoor. Enjoy!

Ken-TanzaA) Shiraz with the Sunny ‘Karibu Karim’
B) Shiraz with the Sunny ‘Believe me, Na Badlenge Hum’

Kenya Super Rumba ‘Mpende Mwenzio’ Ken-Tanza

cheetaWe’ve been digging through the Ken-Tanza label, check the new stock! One of favorite outputs is this monster modern RUMBA take, and a fine example of how a tune can sound totally different from part 1 to part 2. No info on the band on the net whatsoever. Credited to Solomon M. Kombo. I suspect it might be a offshoot group. Tune delivers tempo, and a superb-guitar drive, drum laden breakdown. “Hay-Hay” Cosmic!

Ken-TanzaA) Kenya Super Rumba ‘Mpende Mwenzio Pt. 1
B) Kenya Super Rumba ‘Mpende Mwenzio Pt. 2

Sunbust ‘Black is Beautiful’ Moto Moto

kenyabooksMOTO MOTO, a subsidiary label of A.I.T records, a Kenyan distribution source for Tanzanian bands. Acts like Orchestra Dar International, Vijana Jazz, Jamhuri Jazz Band and Urafiki are frequently featured. Check out our sales selection for a roundup with audio snippets. If you have special interest check out the book  on the subject of Tanzanian popular music written by Alex Perullo. We feature a 45 that was dug up by extraordinaire French digger and DJ Grégoire de Villanova.  A great funky doublesider with kick ass guitar, heavy organ and drums in the mix. Some are put off by the slightly mannered vocals, but we think it rocks just as hard .. black black is beautiful indeed! Psst! If your destined to find the song on vinylt there is is also a slightly cheaper French RCA pressing.

Moto MotoA) Sunbust ‘Let’s Live Together’
B) Sunbust ‘Black is Beautiful’

Cobras ‘Wari-Wa pt 1&2’ Polydor

We keep the trend of posting dancefloor oriented material and this track is no exception. It’s a cover tune of a Loi Loki Tok song. And it’s a hard one;  heavvy driving  percussion with a neat chant, dirty wah-wah, fierce horns and a wicked synth riff. Released by Polydor East-Africa, judging from the Mijikenda tag on the label this is from the Coastal regent of Kenya, most possibly a Mombasa band. Major thanks to Rickard Masip of Tropical treats fame for this one.

PolydorA) Cobra ‘Wari Wa Pt. 1’

Green Rovers Band Utapendwa na nani/Masikini

The Green rovers, a band that released several 45’s with some of Kenyas biggest labels. One of their better tracks is this very righteous take with the AIT subsidiary label Moto Moto.  A cool baseline hook with a sweet vocal chorus and an underlying synth line. Even the drummer get’s his due in the cue!  ‘Dynamite’ indeed. Over to the translation section, Masikini means in Swahili “unfortunate”  The message of the song is be grateful for what you have, don’t try to get more on behalf of other people. Then you heart is black. And that message still packs a punch today, 33 years later. Enjoy!

Moto MotoA) Green Rovers Band ‘Masikini’

Orc. Bimalee – ‘Asia pt 1 & 2’ Umoja

The small Umoja label only released this and two other singles as documented on the great KenTanziaVinyl site. Dug up by Sweden’s own tropical master digger Rickard Masip. A cool synth line sets the pace with a nice vocal harmony effort. And wait until the horn section let’s loose. Great track. In Swahili Umoja means togetherness. And ironically the text of the songs is not about the continent, it’s about a guy who has lost his love. “Asia you’ve done bad things, you have scared me and given me sorrow. Why did you leave?”

A) Orch. Bimalee ‘Asia pt.1 ‘WRC

Hafusa Abasi & Slim Ali Sina Raha/Hayes Mawazo

We open this blog with a 45 I found in Linkoni outside Mombasa Kenya in 2007. It was stored by a woman who had a coastal distribution business of recorded music back in seventies and eighties. There was shitloads of 45’s there all stacked in three meter towers. I only had a few hours so I grabbed out about 10 singles and headed back on the ferry over to the mainland. Sorting out my find later that day I realized I had found something special. Since 2007 this track has been featured in several mixes so the cat is out of the bag so to speak. If you haven’t heard it yet it’s a quality double sider from the coastal province of Swahili land Kenya. Fused with Arabic elements and a genuine funk twist supplied by maestro Slim Ali himself. Check out the tracks. B) Hafusa Abasi & Slim Ali ‘Sina Raha’ and ‘Hayes Mawazo’ We also hope that you check out our blog in the future as there will be new Kenyan 45’s added every week!

A) Hafusa Abasi & Slim Ali ‘Hayesh Mawazo’
B) Hafusa Abasi & Slim Ali ‘Sina Raha’ WRC