Concord - This Is My World

Kai Horsthemke

Perhaps disappointingly to some, Concord Nkabinde’s second album is (again) not a ‘bass album’ in the conventional sense. Not only are there hardly any ‘killer’ bass features here – six tracks, indeed (3, 7, 8, 10, 11, 17), do not have any ‘real’ bass at all, and on tracks 1 and 12 the deep-end duties are assumed by Fana Zulu, albeit impressively. So – this may seem like an overly humble statement by a guy who is rightly considered to be one of the foremost bassists in the country. But then again we’ve known that for Concord it has never been the bass that counts but, first and foremost, the music. It is largely with this understanding that I’ll talk about the album.

On the whole, the CD’s leitmotiv is provided by ‘Afrika’, a warm bit of Afroptimism. Whereas the theme pervading the first album was/ is one of a celebration of interculturalism, ‘This is my World’ is characterized by a vote of confidence both in Africa’s future and in its place within (and value to) the world and global development. Nqubeko Mbatha provides a sizzling harmonica synth solo on this track, but the string synth sound is not even consciously cheesy – it is just plain dated.

‘My Paradise’ is an enjoyable song, although I would have loved Concord to burn up a real bass here. Neil Gonsalves plays a delightfully jazzy piano solo.

If memory serves, Concord played ‘Umoya Wami’ as an introduction to his SABPC workshop on 23 October. It is one of the strongest tracks here, with sterling brass and vocal arrangements.

Similarly strong is ‘Song of Forgiveness’, which has gorgeous fretless slide harmonics and soprano sax work by Brendan Ross.

Cuts 6, 7 and 9, in keeping with the album’s theme, forswear any scepticism about Africa’s place in the world.

‘Truly, truly, truly’ resumes Concord’s fruitful musical relationship with Lili Feng, who is featured here on vocals and zither.

‘What goes around comes around’ is darkly gorgeous, although I’m beginning to think that Concord actually likes these sub-cheesy string sounds! Mbatha shines on organ, and Concord adds enticing bass flourishes towards the end.

‘Cul’ Ingoma Afrika’ brings to mind Angolan singer-guitarist Waldemar Bastos and, to a lesser degree, Richard Bona – and extends the leitmotiv of the album; the cute voices belong to Philile and S’qobilo Nkabinde.

‘Esta Noche/ Lobubusuku’ is a further example of the beautiful possibilities of intercultural exchange and sharing, this being the second track on which Concord sings (partly) in Spanish.

Ross and Mbatha, again, excel on the ballad ‘Ilanga’, and Concord turns in a spellbindingly tasteful solo.

For bass enthusiasts, ‘He-Zo-We’ will be one of the highlights, Concord’s paean to the bass that features some incredible low-string work.

‘Anginanto Esandleni’ is a jazzy ballad, showcasing pianist Gonsalves and Concord on singing fretless.

To be honest, I don’t share Concord’s optimism about our continent. There’s far too much disease, poverty, violent crime and warfare, corruption, superstition, xenophobia, sexism and sheer stupidity around to feel comfortable in this regard. Yet, I wholeheartedly endorse Concord’s belief that music is a major healing and unifying force, within our society and for Africa as a whole. Concord’s own music is a substantial step in that direction.

Kai Horsthemke

October 2006