During the 2020 pandemic, a couple of musicians reflecting on their musical direction decided to record as a duo, accompanied by consummate musicians on percussion, concertina, flute and violin. The duo had been presenting concert collaborations for about a decade before recording this album.  Singer Lorraine Klaasen and guitarist Mongezi Ntaka tap the South African songbook for some of the most memorable songs in the Township music genre. The 13 tracks on Ukubonga (Gratitude) also include works from some of the inspirational women that Klassen respects and adores.

South African’s complex musical history alludes to its profusion of styles and intensely developed recording industry. Although there are many regional stylistic variations, Township music is vocal-based and shows the influence of Europe and America. Opening with an energetic call to rise up singing, “Sekusile (Kikirikiki)” pays tribute to Rupert Bopape and Zeph Nkabinde, who were very instrumental during the 1950s and early 1960s in building up the African Jazz catalogue with their production and songwriting for the very successful all-male Black Mambazo band. Bopape also wrote “Insizwa,” a charismatic and radiant folk song that draws you right into the groove. The Black Mambazo’s all-female counterpart band was The Dark City Sisters, probably the single most popular South African vocal group during the early 1960s that usually featured the sweet lead voice of Joyce Mogatusi. Lorraine Klassen clearly was inspired by them during her own musical development.       

Identified as a traditional piece and from trumpeter Hugh Masekela, “Fiela” has a folksy guitar and concertina introduction that evolves with its story and catchy, repetitive chorus that could’ve been embellished with some harmony vocals. Later in the set, Masekela’s “Meet Me at the River” is sung in English.  A jazzy original by Klassen and Ntaka, “La Reine” features a unique rhythm embellished with call-and-response vocals, flute and percussion. The duo wisely cover two songs, “Thanayi” and “Amampondo,” that come from the pen of Miriam Makeba, a singing star and perhaps the most significant of South Africa’s jazz era. Her presentation of township life electrified audiences, and she was a staunch spokeswoman in the battle against apartheid.

Covering Dorothy Masuka’s “Unamanga” recognizes the impact of the “mama” of African jazz (from Bulawayo, Zimbabwe), her forty year musical career, and her marabi style that drew on many South African musical influences from swing to local melodies. The album closes with another soulful song sung in English, “Can’t Cross Over,” that will help Klassen and Ntaka’s music reach a far-reaching worldwide audience.        

Ukubonga (Gratitude) is certainly an expressive album full of appreciation, pleasure and delight. The two musicians convey glamourous personality with their songs by using dramatic rhythms and powerful voice. Their Township vibe has one foot planted in South African jazz and another in more traditional beats. With great respect, their view of music seems almost sacred. Their gratitude may best be captured by what Dorothy Masuka once said, “Music has to be respected. There’s no other thing in the world like music. There’s no king above music. The only thing above music is God himself. When you finish performing, the King will clap his hands.” (Joe Ross, Roots Music Report)