With Fred Zindi
From September 1 until today, the Zimbabwe Tourism Authority has been hosting the Harare International Carnival.
Carnival is a concept involving street festivities which take part in many countries. Originally it was held by Roman Catholics during Lent in Roman Catholic countries, but the concept has spread the world over to include other countries outside religious circles.
Two years ago, the street party (carnival) and parade occurred in Zimbabwe on Africa Day. The route of the parade was from Africa Unity Square, proceeding along Jason Moyo Avenue, turning left at Rotten Row Road, then right into Robert Mugabe Way, then straight into Glamis Arena at the Exhibition Park.
The route this year changed slightly as marching began from Simon Muzenda Street through Jason Moyo Avenue to the Civic Centre Grounds where South African and local musicians who included Jeys Marabini, Sandra Ndebele, Andy Muridzo, Soul Jah Love, Baba naMai Charamba and Sulumani Chimbetu gave thrilling performances.
It was a sight well-worth seeing with different bands wearing different costumes, armed with drums, vuvuzelas and a variety of other musical instruments.
However, there was one outstanding musician who kicked off the carnival last week. This was — yes, you have guessed right — Jah Prayzah (pictured right)!
At around 2pm on Saturday last week, at the opening of the Harare International Carnival, the blue-uniformed security guards were busy directing crowd traffic using their baton sticks. The crowd did not care as they scrambled to get near the stage after the Third Generation Band, all donned in elegant military regalia, raided the stage located at the Long Chen Plaza and had started strutting out their stuff.
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The crowd, which had enthusiastically followed the advertisements about the carnival, knew that Jah Prayzah would soon be on the same stage. Indeed, after two songs from the Third Generation Band, Jah Prayzah, decked out in an impeccable army outfit which was darker than that worn by the rest of the band, made an entrance to the stage and the crowd was ecstatic. Everyone ran even closer to the stage — children, parents and all. In their delight to see their star of the moment, they all started to scream.
The Third Generation Band began to lay out some sinister sounding hard-rocking instrumental before Jah Prayzah shouted, “Masoja muriko here uko?” “Mabhebhi muriko here uko?” “Ko Boys dzangu muriko here uko?” as the crowd responded with a frenetic “Eeheh!” Then he went on to pronounce, “Tiri heavy!heavy!” before belting out Soja Rinosvika Kure.
After that, we were treated to a mixture of old and new favourites ranging from songs on the Tsviriyo and Jerusarema albums to those on the Mudhara Vachauya album, which included Gochi Gochi, Kumbumura Mhute, Tiise Maoko, Chinamira, Ngoda and Hosana.
When it came to Eriza (Iwe Dzokorora, Kutamba Kwako Kunondifungisa Katarina), the audience really went into a frenzy as Thobekile Mandazi Nleya aka Excavator moved to the front of the stage to showcase her dance moves. ( I am sure if Bev, Zoey and Zodwa Wabantu were present, they would have learnt a thing or two.
Moments later, with the audience arrayed for maximum mayhem, Jah Prayzah launched into the pummelling scrape of Chengetedza in acapella style. This is a new tune from his forthcoming album. While still on this tune, the focus shifted to lingering eeriness as Jah Prayzah announced his forthcoming album entiled Kutonga Kwaro, which will be launched at the Harare International Conference Centre on October 13.
It was a significant show for Jah Prayzah. More importantly, it was time the contempoarary musician performed songs from his new album and recently released collaborations such as the Diamond Platinumz collab, the Mafikizolo collab and the Davido collab respectively titled Watora Mari, Sendekera and My Lilly, which succeeded in commanding attention from everyone.
So often, when you see your favourite musician at a live show, you are amazed at how small they are. However, that is not the case with this lanky frontman of the Third Generation Band known as Jah Prayzah. He certainly towers over all his band mates. Jah Prayzah’s presence alone arouses a lot of tension and ferocity even before he opens his mouth to sing or to showcase his emphatic flashes of mbira-playing which often stuns the crowds.
The rest of the band and dancers, who hardly get a mention in the press consist of Michelle Mvundura who seemed to have replaced Evidence Mudzingo aka Generator, Blessing Moyo (bass guitarist), Kudakwashe Masango, Darlington Kamukono (backing vocalist), Wesley Sayikonda (drummer), Biggie Katuka (keyboard player), Fatima Katiji (backing vocalist), Talent Karombe (dancer) and Elvis Chinounda. Jah Prayzah has also added a saxophonist.
Jah Prayzah gave a splendid two-hour-long set. In the last song, Jah Prayzah changed microphones from one which was plugged into the mixer to a cordless one. Those who were observant enough realised that he was now planning his exit from the stage. Lloyd Kurima aka Mabla 10 handed him the microphone and he got off the stage into a strategically parked car while still singing. Katuka had ensured that his exit path was clear by the time he finished.
It was long after he had finished performing that people rushed to the front of the stage to get pictures taken with him and autographs, but Jah Prayzah, who has mastered the art of disappearing straight after performance had long-driven off with Keen Mushapaidze, one of his managers.
Those enthusiasts were obviously disappointed, but those are only in the minority. The majority among those I spoke to after the gig said that they had had the time of their lives and that Jah Prayzah had proved to them once again that he is a real concert experience like no other.
According to the organisers of the Harare International Carnival, music gives soul to the universe, wings to the mind, flight to the imagination and charm to life and to everything. This year, the people of Zimbabwe have once again been treated to a carnival. Despite our economic hardships, carnival comes in as a great stress-reliever in a rare case where government has evidently been seen to support the arts.
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