Founded in Soweto in 1972, Batsumi came together at a time when there was a radical reorientation of black culture towards the struggle for political and personal freedom in South Africa.

The band leader and founder, blind guitarist Johnny Mothopeng, was the son of imprisoned Pan-Africanist Congress president Zephania Mothopeng. By 1974, when they recorded their debut LP, the tension in the townships had escalated and the Black Consciousness movement was on the rise.

At a time when self-expression was radical in itself, Batsumi made a defiantly original statement with their sound. The rhythmic foundations were a wild fusion of jazz and African percussion.

The acoustic bass of Zulu Bidi is the cornerstone of the vibrant grooves that underpin the various shades of magic dust that are sprinkled on top. It is this dream topping that sets the record apart.

Rousing vocals are interwoven with slinky flute and saxophone solos to create mesmerising patterns that are manifest expressions of a burning desire for freedom from mental and physical chains. Their combined effect is exultant.

The music is stridently passionate but not overtly political. When the artistic argument is this strong, it doesn’t need to preach or declaim.

Batsumi come across like an unstoppable force. The inherent joy and sheer abandon in their jams brook no argument. It’s as well to submit and let your feet do the talking.

Mamshanyana is the best place to start the jive. It opens quietly with a strum of Mothopeng's guitar before drums, bass and organ join in to accentuate the flow. It sways and swings along, gently building towards a crescendo where voices, sax and flute go off like fireworks. It's an irresistible cascade of sound that never fails to fire up the dancefloor or set the twilight reeling.