• country:
  South Africa
• region:
  Southern Africa
• style(s):
  Jazz South African
• label:
  EMI
• artist submitted by:
  African Hypertext LLC

The Manhattan Brothers first sang together in the mid-1930s when, as schoolboys, Joe Mogotsi, Nathan Mdledle, Rufus Khoza and Ronnie Majola formed an a cappella vocal quartet and began busking on the streets of Pimville. Over the next three decades the popularity of their records, combined with performances all over southern Africa, established them at the very top of the South African musical scene with many as yet unknown talents (including Hugh Masekela and Abdullah Ibrahim) having cut their teeth in the Brothers' backing band. Perhaps the most widely known of the Brother's protégés was Miriam Makeba whose re-recordings of Manhattan Brothers' compositions in the United States brought them to worldwide attention.

When the hit musical 'King Kong' left for London in 1961 with Nathan, Joe and Miriam in the lead roles, the Manhattan Brothers had left behind a huge reputation and a body of recorded work whose originality is still unrivalled by any other South African group in the 'township' genres they had helped create and define.

Exile brought new lives for so many of South Africa's greatest musical stars, and the Manhattan Brothers were no exception. After keeping their flame alive discreetly throughout apartheid's waning years, a new chapter in the Manhattan Brothers' story came into focus on 16 th April 1990 when, under the auspices of Father Trevor Huddleston's Nelson Mandela International Reception Committee, the group reformed after a long hiatus to make an emotionally-charged appearance at Wembley Stadium's 'International Tribute for a Free South Africa' concert celebrating Mandela's release from prison. This concert was televised around the world and is credited with hastening the negotiations leading to South Africa's new political era.

In the group's new incarnation, with Walter Loate and Josh Makhene joining Joe Mogotsi as the featured vocalists, it became clear that Joe Mogotsi had always been the primary muse behind the Brothers' melodies and vocal arrangements, which all bear his unique signature. Since the dramatic Wembley concert at the time of Mandela's release, the reconstituted and revitalised Manhattan Brothers have performed in many different contexts, perhaps most memorably at a second historic 'South Africa Freedom Day' concert in Trafalgar Square on 29 th April 2001, which marked the seventh anniversary of South Africa's first free elections and thanked the British people and the anti-apartheid movement for their support through the years.

With South African pianist and musical director Adam Glasser, Joe Mogotsi has now produced 'Inyembezi', the first new Manhattan Brothers album in four decades, evidence indeed of Joe's abiding musical genius as an utterly original South African composer of vocal arrangements and melodies, evidence indeed that a deeply significant part of South Africa's musical soul is alive and well.

In the sometimes plaintive, more often frolicsome and celebratory power of all township music, the imprint of Joe Mogotsi and the Manhattan Brothers will always be felt. With this fresh offering, Joe forges an unspoken link between the ethos of Sophiatown and the many possible futures of this passionate musical art form which continues to frame South Africa's musical identity and to contribute mightily to South Africans' crucial process of recognising themselves.