Andrew Missingham on how Barungwa recorded their album

I'd met all three South African players on B&W's Making Music In South Africa tour in October 1994. Max Mntambo, originally from Kwa-zulu, has quickly established himself as one of Jo'burg's finest singers. He has a range, power and edge which make him unique. Moses Molelekwa's deft, educated ear for melody is a trademark of South African jazz.
Since making the album, I must have listened to his Rhodes solo in Biko's Dream more than any other moment. Moses' playing sparkles with intelligence and maturity.
Capetonian singer/guitarist, Mxolise Mayekama, is a man who I had to play with again. His voice has a delicacy and purity which seemed the perfect foil for Max's upfront passion. Mxolise's guitar is his second voice -- check out his rhythm playing on Abangcono and the solo on Tutu.

The first time all six of up met was at the first day of recording. We got set up and got to work. The joy and celebration of Siyahamba was the first result. We played non-stop for a week, arranging the songs on the fly until we had the foundations for about 12 tracks. By then
it was time for reinforcements: Durban's percussion elder, Mabe Thobejane, was called. He hits his drums hard, with sticks. With his outlandish homemade rack (it looks like a cross between a garden fence and a scaffolder's yard) Mabe added the weight of years to grooves.
Simpiwe Matole, probably the best marimba player in Cape Town, also came up to help the vibe. The foundation of Bana Ba Afrika was his. He set up one evening and we just left him to it - three interlocking lines of sweet, subtle complexity... the rest was built on top.

Once Mabe and Simpiwe were through, we filled the second week recording brass and lead and backing vocals. Writing and recording the whole project took just fifteen days; it was intense but it was great fun. I can't say there weren't difficulties, even tensions, but we
came out knowing that this was just the start of a project which can only grow. Put six songwriters in a room, with different characters, different backgrounds, and listen to the friction of fusion ignite...


The above text was first published in the CD inlay of the recording, Barungwa The Messengers, released in 1995.