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Dorothy Masuka's latest collection celebrates a life, a career, triumph over exile and an enduring voice. Subtitled, 'The Grand Dame Of African Music', it covers aspects of her work from the 1950s to the present, showcasing the influences of American swing, kwela and her own, sometimes political, material. Hearing her talk of her 'activism' she displays a certain naÔve charm. 'To me it was just a song. I didn't see colour, I saw human beings'. She was singing 'her thoughts out', she says. Nevertheless, this singing brought her the attentions of South Africa's Special Branch and years of banishment which only ended with Mandela's release. Those years, if her recent performances are anything to go by, haven't diminished her voice or spirit one bit. The sheer life-affirming quality of her latest tracks speaks for itself and she is enthusiastic about another new album which is in the can.

If some of the earliest recordings for the Troubadour label have a raw quality it doesn't detract from the power of her voice. These songs were recorded and released quickly but on tracks like 'Themba' and 'Naledi' her vitality and the simplicity of the arrangements easily compensate for any small audio deficiencies. Similarly, 'Ngi Hamba Ngedwe' swings effortlessly as she scats a few bars over the brisk rhythm and slightly reticent sax. Songs like these from the 1950s built a foundation for her career and it is good to hear one of them, 'Hamba Notsokolo', from her 1990 cd 'Pata Pata', polished up. It has been a staple of her repertoire for years and it's easy to see why as she swoops between high and low notes with grace and certainty.

There are also several tracks from her latest album 'Mzilikazi' which further updates the sound of her brand of Fifties South African jazz. 'Usemncane' and 'Andizenzinsi' both incorporate some kwela penny whistle while 'Teya Teya' is spacious and relaxed, blending vocal harmonies and percussion with unobtrusive guitar. I guess my personal favourite has to be 'Magumede', a song she wrote on her return from exile to South Africa. Here muted trumpet and sparse percussion underscore the easy swing of the piece. I've heard it before in other arrangements and it never fails to lift the spirits.

If anyone is looking for reasons to celebrate this new musical year I'd suggest this as a good place to start.

(WRASSE RECORDS. WRASS 089)