By Fidelis Manyange
DURING Jesus’ triumphant entry into Jerusalem on a colt or donkey, the people displayed their reverence by throwing their cloaks over the animal. Some spread their cloaks on the road, while others laid a carpet of tree branches on the road. The air reverberated with the chorus,
“Praise God! Blessings on the one who comes in the name of the Lord! Blessings on the coming kingdom of King David, our father! Praise be to God!” as the don-key majestically carried the Son of Man through the crowd.
According to a popular joke, the fol-lowing day, the donkey returned to Jeru-salem with the hope of getting the same rousing red carpet welcome. But it was not to be.
The biblical donkey’s rude awakening probably reflects one of the dilemmas facing disgruntled band members who decide to go solo or to form their own outfits riding on the popularity of their bosses. Their desire to lead their own bands often leads them into oblivion or forces them to return cap in hand, to their former paymasters.
Several names come to mind. Innocent Mujintu, one of Zimbabwe’s most gifted rhythm guitarists and former member of the Barura Express and Or-chestra Mberikwazvo, was fired by Alick Macheso on New Year’s Eve 2009. This was after the ‘Madawu’ hitmaker learnt of his guitarist’s plans to go solo not to men-tion his secret recordings with Energy Mutodi’s band.
Mujintu went on to form his own band, which he called ZARE Express (Zimba-bwe African Rhythm Experts). The band has since recorded more than 10 albums to date, all of them flops, leaving many music fans wondering why it continues to exist. However, Mujintu continues to make a living by putting his rhythm gui-tar-playing skills to good use as a session musician for various artistes.
Also in the same boat is Zakaria Za-karia, the younger brother of Nicholas Zakaria and former rhythm guitarist for Orchestra Mberikwazvo. Like Mujintu, Zakaria Zakaria also formed his own band and released several albums that failed to gain traction.
“Zaka Zaka”, as he is popularly known, has since retraced his footsteps to Alick Macheso, his former employer, to reclaim his guitar. Macheso welcomed him back with both hands, thanks to the strong bond they shared after they were both abandoned by Nicholas Zakaria at Khia-ma Boys.
By the way, the “Senior Lecturer” locked away his instruments when he de-cided to quit music to pursue a career as a haulage truck driver, leaving his sibling and Macheso clutching at thin air.
Orchestra Mberikwazvo is, for all intents and purposes, an offshoot of Za-karia’s original Khiama Boys. But, unlike most bands, it has survived despite losing some of its key members who became big-headed and subsequently left but lat-er begged to be allowed back.
When Jonas Kasamba, Obert Gom-ba, Franco Slomo and Noel Nyazanda rebelled against Macheso to form Extra Kwazvose, they believed they were chart-ing a new era for themselves by launching their own outfit. However, the overwhelming reception at their debut album launch was largely thanks to Macheso’s fans turning out in droves out of curios-ity. But once the initial enthusiasm died down, it was downhill all the way. Even-tually, they called it quits and rejoined Orchestra Mberikwazvo, except for Fran-co Slomo, who continued as a solo artiste but never rediscovered the magic that turned him into an overnight celebrity at Orchestra Mberikwazvo.
In the late 1990s, Solo Makore, a tal-ented rhythm guitarist with the Orchestra Dendera Kings, dumped Simon Chimbetu to form Fogo Fire Band. His debut album, ‘Mari Muenzi’, was a hit with sungura fans. However, subsequent recordings failed to make an impact while his live shows attracted paltry crowds. Like the biblical Prodigal son, Makore begged for readmission to the Dendera Kings, now led by Sulumani Chimbetu.
Foster Mkweu, Simon Chimbetu’s best backing vocalist, also left to form his own band, Super MK Upper 5, and released an album with the hit song ‘Kambiri Kaenda’. However, like the other artistes before him, Mkweu’s success was short-lived.
Similarly, talented bassist Ronnie Mudhindo bade farewell to Tongai Moyo to form Orchestra Vazvamburi. A chain of unsuccessful albums was enough to convince him to shelve his music career to become a full-time truck driver. The bass guitarist’s plight was subtly captured by his former boss in the following lyrics: “Ndima iyi ine makata chinin’ina changu inotoda muchina muhombe.”
Today, Mudhindo plays the bass guitar for recording artistes when he takes time off the steering wheel.
Renowned producer Clive Mono Mukundu, who once played with Oliver Mtukudzi’s Black Spirits, has attempted several times to form his own band, in-cluding Chikokoko, but with limited suc-cess. Now he splits his time between play-ing the guitar as a session musician and his full-time duties as a record producer.
Lady Luck also deserted Pamela Zulu, better known as Gonyeti, who gained fame as Jah Prayzah’s dancer and back-ing vocalist. She parted ways with the
‘Mudhara Achauya’ hitmaker following allegations of sexual abuse. Gonyeti sub-sequently formed the Horse Power Band, but without her former paymaster’s mag-netism, she soon found the going tough. The band is now dead and forgotten.
But it’s not all doom and gloom. In the next instalment, the focus shifts to those artistes who struck gold after leaving their employers.
