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Mashasha is best known in Zimbabwean music circles as a bass player and the 10-track CD is testimony to his guitar prowess.
Born Peter Mujuru in Old Highfield, Mashasha learnt music at a young age both in church and at his neighbour’s house, Oliver Mtukudzi, who spotted the bass player’s talent at a tender age.
His first professional gig was supported by Mtukudzi and then he played for some of Zimbabwe’s top musicians, including Chioniso Maraire, Busi Ncube, Any Brown and the Storm, Tanga Wekwa Sando, Rute Mbangwa, Comrade Fatso and Too Open.
Eugene Ulman who runs Elegwa said Mashasha’s skills as a songwriter, composer, guitarist and singer were almost completely unknown during his time in Zimbabwe.
It was in London that the talented performer begun building a following with his original sound.
“The new album ‘Mashasha’ is a unique work that falls outside any of the typical genres. Arguably the first truly original musical voice to emerge from the Zimbabwean diaspora, the album is deeply Zimbabwean in its feel, yet radically different from anything currently produced on the home front.
“The unusual arrangements include the instrumentation of guitars, keyboards and bass (with Mashasha playing multiple bass lines on several tracks), but are enriched with powerful brass section (dominated by trombones), the ethereal “ney” reed flute from Iran, some inventive percussion and Mashasha’s own rich, complex vocals,” said Eugene.
The lyrics are poetic and unpredictable, dealing with themes such as the pain of missing home and family, relationships between generations, the conflict between the powerful and the powerless as well as social issues.
Outstanding tracks include the sad and deeply-moving “Baba” in which a child cries out to a father that he does not know. The touching and very danceable “Teerera” about relationships between generations, the striking, rhythmically complex opening track “Emerita” which deals with the subject of guilt and confession.
The haunting “Mweya” which is about death and the spirit, and the epic “Mazvita” has the entire band intensify to the level of frenzy.
The gospel-tinged “Mambakwedza” is sure to be a favourite for those who love classic Zimbabwean sounds.
The final cut “Mangwanani”, on which the vocals are accompanied by acoustic guitar and calabash only, shows that Mashasha can take the simplest idea to a sublime level, even without a large band complex arrangements.
The album was co-produced by Mashasha and Eugene Ulman, who took the time to craft the album with great care and attention to detail, bringing together a remarkable all-star band.
The band included American jazz legend Ku-umba Frank Lacy (who has played with Abdullah Ibrahim, Art Blakey, Branford Marsalis, Mutabaruka, Black Uhuru, Erykah Badu and many more), Iranian flute master Davod Varzideh and virtuoso Zimbabwean drummer/percussionist (and a fellow ex-member of Too Open) Sam Chagumachinyi.
Sam plays on half of the songs on the album, while the other half features Australian experimental drummer and percussionist Robbie Avenaim, who has performed in Zimbabwe at the Harare International Festival of the Arts.
Senegalese electric guitar whiz Jeannot Mendy (lead guitarist for Vivianne N’Dour and Didier Awadi) appears on two tracks, and the keyboardist – the superb Danny G Felix, provides magic touches throughout the album.
“One of the most appealing aspects about Mashasha is his confidence that the music will speak for itself. This is an album for genuine music lovers – there are no marketing gimmicks here: no branding, no celebrity duets or guest rappers. This is not a typical afro-jazz album but one that takes Zimbabwean jazz to a new level. It is exciting, captivating music enjoyed even more with repeated listening,” said Eugene.