In the early 1940s, he said, many black bands — among them the newly-formed Harlem Swingsters as well as the veteran Jazz Maniacs — started playing in what he termed an African stomp style: We call it African stomp because there was this heavy bealt... There’s more of the beat of Africa in it... the heavy beat of the African, the Zulu traditional...’ The rhythm of this stomp, as he demonstrated it, is immediately recog- nisable as the typical indlamu rhythm:

The term mbaqanga — commonly the Zulu word for a stiff, mielie-based porridge — has designated different kinds of music during the course of the last 40-odd years; but its first musical usage was as a synonym for African Jazz.

he cyclical harmonic structure of marabi, a slow, heavy beat probably derived from the traditional (and basically Zulu) secular dance-style known as indlamu, and forms and instrumentation adapted from American swing. With these was combined a languorous

INARARD ALY TS early south ofrican jazz and vaudeville