LAST Saturday, the Gwambina Lounge at Chang’ombe (formerly Tanzania Cigarette Club – TCC) in Dar es Salaam was bursting at the seams.
The crowd was buzzing and every corner of the open-air venue was filled with that rare mix of anticipation and excitement.
Msondo Ngoma music band was celebrating its 60th anniversary with all the pomp and cheers imaginable.
Midway through the celebrations, Masoud Masoud, Tanzania’s very own music historian extraordinaire, was invited by the band to take the stage to give the outfit’s chronicles. But the ethnomusicologist did not end up telling Msondo Ngoma’s history.
No, he seized the opportunity to make his case that this outfit is not just a band—it is a national treasure, worthy of a Guinness World Record.
Masoud’s signature steely voice cut through the chatter as he began his pitch, outlining how, with over 60 years of steady, infectious beats, Msondo Ngoma has etched itself into Tanzanian history.
The band’s unique rhythms, mid-tempo groove and ever-reliable 4-4-time signature have not only shaped the country’s musical landscape but also laid the foundation for something much more significant—a legacy deserving of international recognition.
According to Masoud, as Msondo marches ever closer to a century, there is no reason it should not be celebrated right alongside Cuba’s Sexteto Habanero and Guinea’s Bembeya Jazz as one of the longest-running bands still performing today.
And what a journey it has been. Masoud then took his audience on a “historical safari,” showing exactly why Msondo Ngoma deserves a place in the global spotlight.
Even the Minister for Culture, Arts and Sports, Dr Damas Ndumbaro, and BASATA’s Executive Secretary, Dr Kedmon Mapana, also in attendance, were transfixed as Masoud painted a vivid picture of Msondo’s place in Tanzania and East African music history.
Tracing its origins back to 1964, Msondo Ngoma was more than just a band from the beginning.
It was a project championed by none other than Mzee Rashid Mfaume Kawawa, then a leader in the National Union of Tanzania Association (NUTA), with the blessing of President Julius Kambarage Nyerere himself.
Mwalimu, who saw the power of music to unite and inspire patriotism, encouraged Kawawa to form a music band that would reflect that vision while entertaining Tanzania’s men and women after their hard workdays.
In just 28 days, they entered the studio and recorded their first four songs: “Heko Mwalimu Nyerere” (Congratulations Mwalimu Nyerere), “Pongezi Muungano” (Hail the Union), “Sisi ni wana NUTA Jazz” (We are NUTA Jazz) and “Tuushangilie Muungano” (Let Us Celebrate the Union).
At that time, the band had no style of its own. They simply performed Latin American covers. But at Radio Tanzania Dar es Salaam (RTD) Studios, when the big wigs David Wakati and Elli Mbotto posed a fateful question— “What style do you play?”—the band remained dumb. And that is when they realised that they needed to define a style whose sound truly represented Tanzania.
Their journey started with “Pachanga,” which Mbotto had initially proposed jokingly, but it did not quite fit. They tried a little Soukouss Odemba, borrowed from Congo, but something was still missing.
What to do? They began with a style known as “Boughe,” with one early hit, “Nashukuru Kurudi Salama,” but they still weren’t satisfied, as this, too, originated from Latin America. They later adopted “Soukouss Odemba” from Congo, yet even that felt foreign.
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They mulled over the need for their own style. However, with Congolese musicians like Hamisi Franco, Mnenge Ramadhani, Joseph Lusungu and others in the band’s mix, creating something distinctly Tanzanian was no small feat.
This search for a unique identity continued until the then Minister for Culture, Mzee Lawi Nangwanda Sijaona, firmly nudged the band to create a distinctly Tanzanian sound.
This moment of reckoning led band legend Muhidin Maalim Gurumo to experiment. His first attempt was “Kiwelewele” style, which carried hits like “Onesha Nguvu Mtoto wa kiume,” but it was eventually scrapped.
His second attempt, inspired by the poly-rhythmic beats of his Zaramo tribal heritage, birthed “Msondo Ngoma”—and the 1970s hit “Kaka” was NUTA Jazz band’s first number in this new style.
Msondo Ngoma was born! With its captivating rhythms and roots deeply planted in Tanzanian culture, “Msondo” became a style beloved by Tanzanians and fans across East Africa.
And with that sound, the band became unstoppable. Whether performing in the heat of Dar es Salaam or touring throughout the region, Msondo Ngoma stayed true to its roots and sound, with their line up changing as the days flew past.
And Msondo have kept the beat alive through decades of change, taking a break only during the Holy Month of Ramadhan or periods of national mourning.
Masoud emphasised that Msondo’s story isn’t just about creating a sound but about preserving an entire era of Tanzanian culture and heritage and that it is a remarkable feat that sets them apart from many of their international peers.
While Cuba’s Sexteto Habanero and Guinea’s Bembeya Jazz are also legendary, Msondo Ngoma is arguably one of the world’s oldest bands still playing today, without interruption—a feat Masoud insists the deserve a spot in the Guinness World Records.
With an eye on the future, Masoud presented a bold vision: Why not position Msondo Ngoma as the centrepiece of Tanzanian music tourism? Cuba’s Sexteto Habanero, he explained, has made Havana a magnet for music enthusiasts, pulling in $87 million annually, with the Cuban government even building a museum for them in Havana for its enduring greatness.
Masoud envisions a National Music Museum nestled in the heart of Dar, where visitors could walk through exhibits, learn about the country’s music history and join workshops led by the band’s founding members.
He also imagines tourists flocking to Dar not just for the sandy beaches or wildlife safaris but for the chance to watch Msondo perform live, experiencing the rhythm that has carried Tanzania through more than half a century. Masoud urged the audience—and the country at large—to take a page out of Cuba’s playbook.
“If Cuba can have a museum for its bands, Tanzania can too,” he said. The music encyclopaedia believes that by investing in Msondo Ngoma as a cultural and historical treasure, Tanzania would not only honour the band’s legacy but also tap into a new avenue for tourism.
After all, music tourism is about offering people something they cannot find anywhere else and what could be more unique than the beat of Msondo?
The case Masoud made for a Guinness World Record goes beyond just numbers. He reminded the audience that the Guinness Book of Records is not merely a list of oddities; it’s a celebration of endurance, creativity and resilience.
Some records might make you scratch your head (like the “longest fingernails”), but others serve as odes to the human spirit. And few things are as spirited as a Tanzanian band that has rocked on, uninterrupted, for six decades.
Carlos Santana and his band might still be rocking with their blend of rock, Latin and African beats, but even they can’t match Msondo’s unbroken legacy. To Masoud, Msondo Ngoma’s endurance is a testament to Tanzania’s resilience and determination—a quality that should be celebrated on a global stage, highlighting the power of legacy.
Imagine visitors stepping into a space where Tanzania’s music, photos and memorabilia tell the story of Tanzanian resilience and spirit. Imagine young musicians learning the techniques, rhythms and history that have made Msondo Ngoma iconic.
And imagine this museum standing as a beacon, drawing tourists, scholars and fans from far and wide, united by a shared love for the soul of Tanzania’s music. Masoud’s closing words cut to the heart of the matter. A Guinness World Record for Msondo Ngoma would not just be an accolade; it would be a powerful recognition of Tanzania’s cultural heritage.
“In a world where most bands barely last a decade,” he insisted, “Msondo Ngoma’s journey is a testament to Tanzanian resilience.
“This record isn’t about fame,” he stressed—it’s about honouring Tanzania itself. “Msondo Ngoma isn’t just a nostalgia trip for older generations; it’s a bridge connecting past and present, a soundtrack to Tanzania’s journey through good times and bad.
“And by championing Msondo Ngoma, Tanzania would not just be celebrating a band but preserving a legacy that embodies the strength, resilience and rhythm of its people,” he concluded.
As the night wound down, Masoud left the crowd with a thought to ponder: If Msondo Ngoma’s beat can echo through 60 years, why not let it resonate even louder, inviting the world to experience the pulse of Tanzanian music?
And with a Guinness World Record, Msondo Ngoma’s beat would surely reach new heights, drawing admirers, tourists and music enthusiasts from around the globe.
All to become a living reminder that Tanzania’s music scene is here to stay, with a rhythm too powerful to ignore.
