Listening to the band tonight, took me back to Berlin the summer after the Wall came down, when I heard The Zawinal Syndicate in the Quasimodo. That same level of topranking musicianship, enjoying their interaction with jazz, funk, soul or whatever other ingredient they wish to bring to the pepperpot.
As with the Zawinal band, this one, musically, is led by a keyboardist; co-founding member and main songwriter, Dave Evans. The other co-founder is the bartione vocalist, Xolani Mbathe. Zawinal liked to experiment with vocals; his own, other band members or guest vocalists. The same with Ubunye, the band of tonight; embellished by the Zulu vocal traditions.
When we think of Zulu singing, we tend to think first of Isicathamayia and its most famous exponents, Ladysmith Black Mambazo. So it was good to see the vocals of this Nguni people, rendered in a different, smaller format – normally a trio, tonight a quartet – including female singers. And it was the vocals, lyrics of upliftment, whether bouncing off each other or in unison, that were the highlights of the show for me. Although I appreciated the high level of musicianship – bass, drums, guitar, saxophone, trumpet and keyboards - I don't think we got the full potential from the vocals, or maybe I wanted a cappella; to hear just the intermingling of soprano, falsetto and baritone.
There was an interlude when three of the vocalists left the stage, with one remaining to lead a a purer jazz number. Would of been good if they'd been a pause or two in the music and the singers had been allowed to give us their fullest blessing. Or maybe to have heard the vocals with just drum kit; the drummer playing a snare and the rim of another: I felt a drum was missing. An isigubhu, jembe or talking drum, to round the repertoire out, adding more musical balance, so Africa doesn't get lost in the funk.
It seemed to me, like there were moments of Stevie Wonder during the concert – amongst other influences - as there were glints of Miles Davis in Zawinal music, especially in Weather Report. But that's going to happen when musicians gather from different genres and generations; from eastern South Africa and northern England. It was good to hear live the vocals of Isigqi – a lesser known term on the world music scene – the genre that helped to inspire the Zulu contribution to the evening's pepperpot.
Watching a London Jazz Festival gig of Ubunye from 2020 and a Manchester Jazz Festival one from last year, there seems more of an African feel in the earlier concerts, especially the London gig. I know that every band evolves, but I hope that as their popularity continues to rise, that the African anchor isn't dislodged. Maybe I shouldn't say African anchor, as its a fusion, a bedrock of two parts, built on African and Western music; but I hope that one doesn't supersede the other - after all, Ubunye means ''oneness'' - that the attraction of widest appeal doesn't rear its bittersweet head.
Anyway, they had most of the attendees rocking at the Cowley Workers Club and in the end, that's all any dance band wants; to see the appreciation of their music, manifested through radiant faces and joyful feet. So we give thanks again to Dan Ofer, the one I call Jahphonik, for another night of international music. We give thanks for Ubunye.