Words by John Armstrong

MOZAMBIQUE IN THE HOUSE - FROM POP TO HOP TO JAZZ AND BEYOND…

Being a smallish country squeezed onto the coast and having contiguities with South Africa, Tanzania, Zambia Malawi and Zimbabwe certainly has its advantages musically, and Mozambique’s wide and diverse musical talent never lets those opportunities go to waste.

First off, Moz music is very different from West Africa’s lusophone music: Angola, Guinee- Bissau, Cabo Verde and Sao Tome and Principe all draw strongly upon Soukouss - and Zouk-style production techniques (Cabo Verdean keyboardist Manu Lima can safely be said to be one of the most significant innovators in Cabo Love, Zouk Love and modern dance floor Coladeira, as well as Semba and Kizomba studio production technique in Paris, Lisbon and Luanda).

Mozambique’s best-known musical export is undoubtedly Marrabenta, dance music that grew from the decolonization struggles of the 70s and early 80s, but that was just the public face of a much deeper and more varied music scene in Maputo and elsewhere.

Mozambique’s musical history has always been closely influenced and inspired by the many diverse peoples of the area. To take just one example, the Shangaan people, whose home is on the borders of Zimbabwe and South Africa as well as Mozambique, virtually re-wrote the history of Southern African pop and disco in the 80s with the pan -Mzansi hits of solo artists such as Paul Ndlovu and Peta Teanet, as well as the more traditional ‘groaner/female chorus’ village acts such as Obedi Ngobeni and The Kurhula Sisters (shameless self-promotion time: classic rarities from Paul Ndlovu and Obed Ngobeni are featured on ‘Yebo!’, my forthcoming BBE Records compilation of 80s Mzansi boogie, disco and bubblegum hits).

With the advent of the 2000s, the ‘big noise’ was Pandza; think ragga-meets-reggaeton with an infusion of Brazilian samba-funk pioneered by artists such as Ziqo, M.C.Roger, Lizha James and others. Out of Pandza developed Moz hip hop, with massively popular rappers such as Laylizzy and the late Azagaia, whose criticisms in song of the Mozambican government led to countrywide marches right across the country honouring his passing this year.

On the popular song side today are some truly beautiful gospel- tinged artists: Marlenn, Liloca, Killua Rafael, Eva RapDiva, among many others, Marlenn even extending the Mozambique Gospel style into South African Amapiano territory in the last year or so.

Recorded partly in South Africa and partly in Maputo, I’d be very surprised (but delighted) if there’s a better Southern African jazz set in 2023 (it was released in November 2022 but it’s taken us a bit of time!). Saxophonist/pianist/composer/arranger Moreira has put together a 13-tracker that has it all: touches of Cape Jazz, trad Shangaan, Makonde influences from the north and the Tanzanian border, Chuwabu airs and melodies from the central coastal region. The mighty Onesia Muholove, Preza Uofino and Moreira’s daughter Kinaya and several others share vocals throughout. There are post-bop modal vibes rubbing shoulders with Gauteng-esque township riffing, a Kitsonga Hosi stomp-dance cut made for the dancefloor - ‘Hosi / King’ and even a quiet nod toward Afro-Cuban jazz-funk - ‘Songo’.

And - DJs and radio producers please note - the production sound ROCKS throughout!

Moreira’s Morejazz Series festival has been an ongoing annual success since 2012, and if you’re lucky enough to be around Nantes, France on May 12th, Chonguica’s band will be providing the musical element in the Decolonial Expressions festival..

BUY HERE! https://moreirachonguica.bandcamp.com/album/sounds-of-peace-new-album-just-released