The Music of South Africa in the 1960s

During the 60s, a solid type of the mbube known as cothoza mfana was established; this was led by the King Star Brothers, who initiated isicathamiya pattern during the end of the year.

source of picture: www.npr.org

At the 60s, the saxophone was well-known in jive music, the act of which continuous to be limited to the cities. The genre was known as sax jive and later called mbaqanga. Mbaqanga literally refers to as dumping but it means home-made and it was originated by Michael Xaba, a jazz saxophonist who did not like the current pattern.

The early 1960s also saw artists such as bassist Joseph Makwela and guitarist Marks Mankwane which they add electric instruments and marabi and kwela effects to the mbaqanga pattern, dominating the funkier and more African beat.

Mbaqanga established the choral accords during the earliest 1960s when orchestra like The Skylarks and the Manthattan Brothers started imitating American choral ensembles, extremely doo wop. Rather than African American four part harmonies, though, South African ensembles utilized five parts. The Dark City Sisters were the very renowned choral orchestra during the early 60s, and they are known for their sweet pattern. Aaron Jack Lerole of Black Mambazo added groaning male choral to the female accords, which later being substituted by Simon Mahlathini Nkabinde, who has become possibly the very powerful and renowned South African groaner of the 20^th century.  Marks Mankwane and Joseph Makwela’s mbaqanga inventions changed into more danceable mgqashiyo beat when the two incorporated forced with Mahlathini and the current female orchestra Mahotella Queens, in Mankwane’s backing the group of Makhona Tsohle Ensemble (which also include Makwela along with saxophonist-turned-maker of West Nkosi beat guitarist known as Vivian Ngubane and also a drummer Lucky Monama). The Mahlathini and the Mahotella Queens and Makhona Tsohle setup recorded as a studio unit for Gallo Record Cooperation, to great national achievement, inventing mgqashiyo music throughout the country to equal achievement.

In the year 1967 saw the advent of Izitombi Zesi Manje Manje, an mgqashiyo female orchestras that provided strong contest for Mahotella Queens. Both of the orchestras were massive competitors in the jive line of work; however the Queens frequently came out on the peak.