Frank Gunderson is associate professor of ethnomusicology at Florida State University.

• Foreword by Hassan Rehani BitchukaIntroduction“Jembe Hilo Limeondoka” (“That Hoe has Departed”)—Farewell to Muhidin Maalim GurumoScope of the BookApproachesSources and EvidenceOrganization and LayoutChapter 1: Introducing Muhidin Maalim Gurumo and Hassan Rehani Bitchuka“Gurumo the Great”—A Reluctant Star in Dar es SalaamMuhidin Gurumo’s Mitindo (Styles) and the Practice of Tanzanian Dance Music Branding“Bitchuka the Bold”—A Transcendent Voice in Tanzanian Popular MusicHassan Bitchuka’s Cross–Dressed Vocal PersonaHassan Bitchuka’s and Muhidin Gurumo’s Compositional AestheticChapter 2: Setting the Stage—The Cultural History of the East–Central African Rhumba SceneThe Spread of the Congolese RhumbaThe Emergence of Muziki wa DansiSikinde Live! –The Tanzanian Rhumba Scene in Dar es SalaamChapter 3: Muhidin Gurumo’s Musical Development and Work with Nuta Jazz BandMuhidin Gurumo—The Formative Years (1939–1959)Muhidin Gurumo's Stints with Kilimanjaro Cha Cha Jazz Band, Rufiji Jazz Band, and Kilwa Jazz Band (1959–1964)The Origins and Early Years of NUTA Jazz BandSafari of NUTA Jazz Band and their Emerging Fan BaseGrowing Mtindo wa Msondo (Msondo Style)Considering Provenance(s)—The Case of the Song “Nimwokoe Nani?” (Whom shall I rescue?)Chapter 4: “Mtoto Mtundu” (“Precocious Child”)—Hassan Bitchuka’s Early Musical CareerHassan Bitchuka—The Formative Years (1956–1973)Hassan Bitchuka Joins NUTA / JUWATA Jazz BandState Song Patronage—The Case of the Song “Nidhamu ya Kazi” (Work discipline)Chapter 5: Mlimani Park Orchestra—The “Classic Period” (1978–1985)Origin StoriesHassan Bitchuka Joins Mlimani Park Orchestra“Hapa Tunapangusa Almasi” (“Here We Polish Diamonds”)—Band Practice during RamadanThe Black Warriors Recording ProjectMlimani Park Orchestra’s Rise to National and International VisibilityChapter 6: The International Orchestra Safari Sound Era (1985–1987)Businessman Hugo Kisima’s Coup de Tat with International Orchestra Safari SoundMtindo wa Ndekule (Ndekule Style)Hassan Bitchuka’s Return to Mlimani Park Orchestra (1987–1991)The “Kumi Bora” (“Ten Best”) Piracy ScandalChapter 7: The Ottu Jazz Band Era (1991–2004)From JUWATA Jazz Band to OTTU Jazz Band“Baba wa Muziki” (“Fathers of Music”)Hassan Bitchuka’s Scandalous Departure from OTTU Jazz BandThe Msondo—Sikinde Clan Battles Intensify“Wachawi Wapo, na Wanaua Watu” (“Witches are There, and They Murder People”)Chapter 8: Msondo and Sikinde in the Era of Kujitegemea (Self–Reliance)The Msondo—Sikinde Clans Respond to the Free Market EconomySikinde—“Ngoma ya Ukae” (“The Music of Home”)Mashindano! (Contest!)Zilipendwa (They Were Loved)—Golden Oldies and Musical NostalgiaChapter 9: Muhidin Gurumo’s Retirement and PassingRetirement Plans (M. M. *Gurumo 2010b)Bitchuka and Gurumo Reunited OnstageEulogy for a Musical HeroConcluding Remarks: The Legacy of Muhidin Gurumo and Hassan BitchukaAppendix I: GlossaryAppendix II: Government–Related AcronymsAppendix III: Muhidin Gurumo and Hassan Bitchuka Band ChronologyAppendix IV: Extended Interviews with Muhidin GurumoA Conversation with Muhidin Gurumo about MitindoA Conversation with Muhidin Gurumo about CompositionAppendix V: Online Discussion: “Bitchuka ana Mafumbo Mengi Yake” (“Bitchuka has his Many Mysteries”)Appendix VI: Documented Msondo / Sikinde Studio Sessions at Radio Tanzania—Dar es SalaamNUTA Jazz BandJUWATA Jazz BandMlimani Park OrchestraList of Interviews CitedArchives VisitedDiscographyBibliography

The Legacy of Tanzanian Musicians Muhidin Gurumo and Hassan Bitchuka is an essential book about east African popular music. Through storytelling that integrates compelling ethnographic accounts and secondary sources, Frank Gunderson meticulously examines the creative lives of two masterminds behind the popular muziki wa dansi scene. He unveils a rare archive of the undocumented history and practice of Tanzanian rhumba music.

Frank Gunderson is associate professor of ethnomusicology at Florida State University.

• Foreword by Hassan Rehani BitchukaIntroduction“Jembe Hilo Limeondoka” (“That Hoe has Departed”)—Farewell to Muhidin Maalim GurumoScope of the BookApproachesSources and EvidenceOrganization and LayoutChapter 1: Introducing Muhidin Maalim Gurumo and Hassan Rehani Bitchuka“Gurumo the Great”—A Reluctant Star in Dar es SalaamMuhidin Gurumo’s Mitindo (Styles) and the Practice of Tanzanian Dance Music Branding“Bitchuka the Bold”—A Transcendent Voice in Tanzanian Popular MusicHassan Bitchuka’s Cross–Dressed Vocal PersonaHassan Bitchuka’s and Muhidin Gurumo’s Compositional AestheticChapter 2: Setting the Stage—The Cultural History of the East–Central African Rhumba SceneThe Spread of the Congolese RhumbaThe Emergence of Muziki wa DansiSikinde Live! –The Tanzanian Rhumba Scene in Dar es SalaamChapter 3: Muhidin Gurumo’s Musical Development and Work with Nuta Jazz BandMuhidin Gurumo—The Formative Years (1939–1959)Muhidin Gurumo's Stints with Kilimanjaro Cha Cha Jazz Band, Rufiji Jazz Band, and Kilwa Jazz Band (1959–1964)The Origins and Early Years of NUTA Jazz BandSafari of NUTA Jazz Band and their Emerging Fan BaseGrowing Mtindo wa Msondo (Msondo Style)Considering Provenance(s)—The Case of the Song “Nimwokoe Nani?” (Whom shall I rescue?)Chapter 4: “Mtoto Mtundu” (“Precocious Child”)—Hassan Bitchuka’s Early Musical CareerHassan Bitchuka—The Formative Years (1956–1973)Hassan Bitchuka Joins NUTA / JUWATA Jazz BandState Song Patronage—The Case of the Song “Nidhamu ya Kazi” (Work discipline)Chapter 5: Mlimani Park Orchestra—The “Classic Period” (1978–1985)Origin StoriesHassan Bitchuka Joins Mlimani Park Orchestra“Hapa Tunapangusa Almasi” (“Here We Polish Diamonds”)—Band Practice during RamadanThe Black Warriors Recording ProjectMlimani Park Orchestra’s Rise to National and International VisibilityChapter 6: The International Orchestra Safari Sound Era (1985–1987)Businessman Hugo Kisima’s Coup de Tat with International Orchestra Safari SoundMtindo wa Ndekule (Ndekule Style)Hassan Bitchuka’s Return to Mlimani Park Orchestra (1987–1991)The “Kumi Bora” (“Ten Best”) Piracy ScandalChapter 7: The Ottu Jazz Band Era (1991–2004)From JUWATA Jazz Band to OTTU Jazz Band“Baba wa Muziki” (“Fathers of Music”)Hassan Bitchuka’s Scandalous Departure from OTTU Jazz BandThe Msondo—Sikinde Clan Battles Intensify“Wachawi Wapo, na Wanaua Watu” (“Witches are There, and They Murder People”)Chapter 8: Msondo and Sikinde in the Era of Kujitegemea (Self–Reliance)The Msondo—Sikinde Clans Respond to the Free Market EconomySikinde—“Ngoma ya Ukae” (“The Music of Home”)Mashindano! (Contest!)Zilipendwa (They Were Loved)—Golden Oldies and Musical NostalgiaChapter 9: Muhidin Gurumo’s Retirement and PassingRetirement Plans (M. M. *Gurumo 2010b)Bitchuka and Gurumo Reunited OnstageEulogy for a Musical HeroConcluding Remarks: The Legacy of Muhidin Gurumo and Hassan BitchukaAppendix I: GlossaryAppendix II: Government–Related AcronymsAppendix III: Muhidin Gurumo and Hassan Bitchuka Band ChronologyAppendix IV: Extended Interviews with Muhidin GurumoA Conversation with Muhidin Gurumo about MitindoA Conversation with Muhidin Gurumo about CompositionAppendix V: Online Discussion: “Bitchuka ana Mafumbo Mengi Yake” (“Bitchuka has his Many Mysteries”)Appendix VI: Documented Msondo / Sikinde Studio Sessions at Radio Tanzania—Dar es SalaamNUTA Jazz BandJUWATA Jazz BandMlimani Park OrchestraList of Interviews CitedArchives VisitedDiscographyBibliography

The Legacy of Tanzanian Musicians Muhidin Gurumo and Hassan Bitchuka is an essential book about east African popular music. Through storytelling that integrates compelling ethnographic accounts and secondary sources, Frank Gunderson meticulously examines the creative lives of two masterminds behind the popular muziki wa dansi scene. He unveils a rare archive of the undocumented history and practice of Tanzanian rhumba music.

Frank Gunderson is associate professor of ethnomusicology at Florida State University.

• Foreword by Hassan Rehani BitchukaIntroduction“Jembe Hilo Limeondoka” (“That Hoe has Departed”)—Farewell to Muhidin Maalim GurumoScope of the BookApproachesSources and EvidenceOrganization and LayoutChapter 1: Introducing Muhidin Maalim Gurumo and Hassan Rehani Bitchuka“Gurumo the Great”—A Reluctant Star in Dar es SalaamMuhidin Gurumo’s Mitindo (Styles) and the Practice of Tanzanian Dance Music Branding“Bitchuka the Bold”—A Transcendent Voice in Tanzanian Popular MusicHassan Bitchuka’s Cross–Dressed Vocal PersonaHassan Bitchuka’s and Muhidin Gurumo’s Compositional AestheticChapter 2: Setting the Stage—The Cultural History of the East–Central African Rhumba SceneThe Spread of the Congolese RhumbaThe Emergence of Muziki wa DansiSikinde Live! –The Tanzanian Rhumba Scene in Dar es SalaamChapter 3: Muhidin Gurumo’s Musical Development and Work with Nuta Jazz BandMuhidin Gurumo—The Formative Years (1939–1959)Muhidin Gurumo's Stints with Kilimanjaro Cha Cha Jazz Band, Rufiji Jazz Band, and Kilwa Jazz Band (1959–1964)The Origins and Early Years of NUTA Jazz BandSafari of NUTA Jazz Band and their Emerging Fan BaseGrowing Mtindo wa Msondo (Msondo Style)Considering Provenance(s)—The Case of the Song “Nimwokoe Nani?” (Whom shall I rescue?)Chapter 4: “Mtoto Mtundu” (“Precocious Child”)—Hassan Bitchuka’s Early Musical CareerHassan Bitchuka—The Formative Years (1956–1973)Hassan Bitchuka Joins NUTA / JUWATA Jazz BandState Song Patronage—The Case of the Song “Nidhamu ya Kazi” (Work discipline)Chapter 5: Mlimani Park Orchestra—The “Classic Period” (1978–1985)Origin StoriesHassan Bitchuka Joins Mlimani Park Orchestra“Hapa Tunapangusa Almasi” (“Here We Polish Diamonds”)—Band Practice during RamadanThe Black Warriors Recording ProjectMlimani Park Orchestra’s Rise to National and International VisibilityChapter 6: The International Orchestra Safari Sound Era (1985–1987)Businessman Hugo Kisima’s Coup de Tat with International Orchestra Safari SoundMtindo wa Ndekule (Ndekule Style)Hassan Bitchuka’s Return to Mlimani Park Orchestra (1987–1991)The “Kumi Bora” (“Ten Best”) Piracy ScandalChapter 7: The Ottu Jazz Band Era (1991–2004)From JUWATA Jazz Band to OTTU Jazz Band“Baba wa Muziki” (“Fathers of Music”)Hassan Bitchuka’s Scandalous Departure from OTTU Jazz BandThe Msondo—Sikinde Clan Battles Intensify“Wachawi Wapo, na Wanaua Watu” (“Witches are There, and They Murder People”)Chapter 8: Msondo and Sikinde in the Era of Kujitegemea (Self–Reliance)The Msondo—Sikinde Clans Respond to the Free Market EconomySikinde—“Ngoma ya Ukae” (“The Music of Home”)Mashindano! (Contest!)Zilipendwa (They Were Loved)—Golden Oldies and Musical NostalgiaChapter 9: Muhidin Gurumo’s Retirement and PassingRetirement Plans (M. M. *Gurumo 2010b)Bitchuka and Gurumo Reunited OnstageEulogy for a Musical HeroConcluding Remarks: The Legacy of Muhidin Gurumo and Hassan BitchukaAppendix I: GlossaryAppendix II: Government–Related AcronymsAppendix III: Muhidin Gurumo and Hassan Bitchuka Band ChronologyAppendix IV: Extended Interviews with Muhidin GurumoA Conversation with Muhidin Gurumo about MitindoA Conversation with Muhidin Gurumo about CompositionAppendix V: Online Discussion: “Bitchuka ana Mafumbo Mengi Yake” (“Bitchuka has his Many Mysteries”)Appendix VI: Documented Msondo / Sikinde Studio Sessions at Radio Tanzania—Dar es SalaamNUTA Jazz BandJUWATA Jazz BandMlimani Park OrchestraList of Interviews CitedArchives VisitedDiscographyBibliography

The Legacy of Tanzanian Musicians Muhidin Gurumo and Hassan Bitchuka is an essential book about east African popular music. Through storytelling that integrates compelling ethnographic accounts and secondary sources, Frank Gunderson meticulously examines the creative lives of two masterminds behind the popular muziki wa dansi scene. He unveils a rare archive of the undocumented history and practice of Tanzanian rhumba music.