Lovemore Majaivana: The revival

His son, Derrick, who has literally turned himself into a reincarnation of his “departed” father, told The Financial Gazette that he had effectively assumed Majaivana’s musical legacy.
The “Petition to Get Lovemore Majaivana out of Retirement”, initiated in March, “is for Majaivana’s fans to show him just how much they miss him. As they say, a little absence makes the heart grow fonder and Majaivana’s absence has done doubly that”.
The petition is also a plea “to get Majaivana on stage before the end of 2011”.
One of the most celebrated musicians in Zimbabwe, Maja-ivana left the country for the United States in 2001 and is reportedly not keen on coming back.
Derrick – who has embarked on an ambitious move to follow in his father’s steps and “keep” the music that his father used to play – has given a thinly veiled warning that it might be very unlikely Majaivana would be coming back anytime soon.
“I wouldn’t rule out the possibility of him coming back (to continue with his musical career), but people should keep praying that he should make that   decision,” Derrick said.
He said people shou-ld not despair anymore, as he was the-re to fill his father’s place.
“Sometim   es when people hear me playing, they ru-sh into the venue thinking that probably Majaivana is back only to discover that it’s his son,” he mused, adding that all the fans who miss his father “should come to our shows and they will never miss out again”.
As one of the most prominent brands in Zimbabwean music, his sudden departure from the scene following      the release of his 2001 smash hit, Isono Sami, left his fans confused and heartbroken.
According the Facebook page, show promoters who have repeatedly tried to lure him out of this self-imposed musical exile usually meet a firm refusal, but never an explanation why the 57-year-old will not go back on stage.
Majaivana, also known as Majee among his peers and fans, declines interviews from journalists.
“Those who have spoken to Majee tell of his overwhelming despondency and frustration with the exploitation he suffered in the music industry,” the administrator of the page indicates.
In his book, Lovemore Majaivana and the Township Music of Zimbabwe, Themba Nkabinde wrote: “Love (Majee) talks with traceable anger and disillusionment in his voice. If he had made it in life he would be driving a big car, wearing a suit and doing a fine job that society respect, doctor lawyer, accountant, he says, ‘I spent 15 years of my life lining other people’s pockets. Sure, they didn’t force me to, and now I wanted to get out. Playing at a night club is never satisfactory because people come firstly to drink and to talk to their friends, whereas on the road they come for the show’.”
Surely, so much bitterness in the man. Majee was born in Lower Gwelo, now Lower Gweru, but his family was to later move to Bulawayo where he started ventured into singing aged 15.
He joined the Marisha Band in 1974 before he moved to Harare where he joined the Jobs Combination band with Fanyana Dube in 1978. After several successful singles, the band produced its first album, Isitimela, in 1980 which was an instant hit.
After the Jobs Combination disbanded, Majaivana joined the Real Sounds for a short-time before he founded the Zulu Band. With his band he recorded four other albums – Salanini Zanini (1984), Jiri (1987), Amandala (1990) and Isono Sami (2001) and a compilation, The Best of Lovemore Majaivana.
Majee will be remembered for his imposing baritone voice and peculiar dance routines which made him a distinctive artiste on the local scene; and   his son is determined to uphold that legacy.
Derrick has formed his own band, named after his father’s band, the       Zulu Band, and said he will soon be recording his debut album, Angeke. He is currently based at The Tube Niteclub and at  Nyama Choma along Bulawayo Road.