Mac & Party Harambe / Liverpool

One of the most prolific Kenyan taarab musicians from the 1950s and ‘60s was Yaseen Mohamed. Born in Mombasa in 1922 to a Omani mother and Kenyan father, Yaseen got professionally involved in music while working for a Mombasa-based music store as a radio technician during the second world war. Assanand, which would later grow into a well known music store brand with branches in Nairobi and Dar es Salaam and whose name is still on a store front in Nairobi today, started recording local musicians for Columbia Records to meet demand of a growing market for East African music on 78 rpm shellac records. Around 1950 Yaseen joined the recording sessions at Assanand as a singer, cutting a couple of songs for Columbia Records. In the next fifteen to twenty years many more followed on a number of labels, including Jambo, which released songs he recorded as Yaseen & Radio Singers for Sauti ya Mvita, a local radio station. Towards the early ‘60s Assanand started its own label called Mzuri, which would continue to put out an impressive range and number (hundreds) of songs from Kenya and Tanzania up to the 1970s on 78 rpm records and 45 rpm singles.
One of the first releases on Mzuri was indeed by Yaseen; ‘Harambe/Africa Twist’ (Mzuri HL 2) carried the enigmatic name of Mac & Party (a group name that was not remembered by anyone we met in Mombasa) but an early Mzuri master catalog mentions Yaseen as the artist. Other Yaseen releases on Mzuri were under the name of Yaseen & Party. At least some of the songs were available both on fragile 78 rpm records as well as the handy and modern 7 inch format. While many of Yaseen’s releases under his own name (sometimes accompanied by his wife Saada, also known as Mimi) were Swahili songs in a number of styles loosely based around the increasingly eclectic Mombasa taarab, this and following Mac & Party singles were mostly sung in English, and musically the Mac & Party songs related to the international pop styles of the era. As Yaseen explained in the ‘60s to musicologist John Storm Roberts: “There is no certain thing which is tarabu. Even rock is tarabu if people just sit and listen”. Rather than explaining the genre by its borrowing from Arabic or Indian musical traditions, to Yaseen it was mostly the way the audience experienced the performance – sitting down – that made taarab unique, while “style depends on the people’s choice”. This would explain the experimentation and innovation during the era, and the introduction of new instruments such as tabla, a drum kit or the taishogoto, a Japanese harp.