The very fact that little is known about both the musical and personal biography of Solomon "Zulu Boy" Cele, one of the foremost South African jazz exponents in the inter-war period, between the First World War and the Second World War, is an index of how excrutiating difficut it has been to assemble the preliminary and elementary forms of the cultural history of music during the early and middle years of the New African Movement. This difficulty is compounded by the fact that we know very little about intellectual biography of the New African intellectual such as Walter M. B. Nhlapo, who seems to have been the cultural historian of jazz and marabi music, among other things, during this period of the New African Movement. Since Nhlapo wrote a column called "Spotlight on Social Events" in The Bantu World for several years in the early 1940s, which highlighted and analyzed the most important cultural events of the moment, a knowledge of the intellectual portrait of Walter Nhlapo would enable us to have a fuller view of the brilliant saxophonist like Solomon "Zulu Boy" Cele who was a member of the Jazz Maniacs. Having been impressed by the quality of the cultural writings of Nhlapo, and yet knowing much about him, on July 9th 2002 I called Ezekiel Mphahlele in Pretoria from Los Angeles in search of enlightenment about this fscinating intellectual personality. Mphahlele, strong as ever at the age of 84, informed me that he had edited together with Nhlapo a monthly journal called The Voice of Africa from September 1949 to June 1952. Mphahlele informed me that Nhlapo was a very amiable person but also a very seriously committed intellectual. By extraordinary luck and coincidence, within a matter of days after the conversation with Mphahlele I run across an intellectual portrait of Nhlapo by R. R. R. Dhlomo which appeared in The Bantu World of May 27, 1944. Dhlomo makes the following observations of Walter M. B. Nhlapo: "Such is Mr. W. M. B. Nhlapo who is well known on the journalistic field as a fearless, unprejudiced reporter, commentator and critic. He turns now to song writing. At the moment he has two dance numbers for which he has written the words, published in England and America respectively. . . . At this date he flooded America with his music which was accepted but could not be published because the composer wanted to be treated on the same basis with established world famous composers. His works are still with publishersawaiting his orders. . . . Sometime back he submitted a book to a Fleet Street publisher [in] London and the book was accepted but Nhlapo turned down the offer by the publisher. It was transferred to another publisher. It was transferred to another publisher who accepted it too: but the terms to the 'new writer' were not acceptable and the manuscript is still in London with the publishers awaiting his orders." Two critical issues emerge from this excerpt by R. R. R. Dhlomo about Walter M. B. Nhlapo: he was a serious composer in his own right and fastidious about standards of excellence. Unfortunately, like other important New African intellectuals such as Allan Kirkland Soga and Walter B. Rubusana, Nhlapo has had manuscripts lost or disappeared with publishers overseas, particularly in United States and Britain. These manuscripts should be searched for by future scholars in order to understand the amplitude of the trasjectory of the New African Movement. But to return to what is at issue here, it is the moral seriousness and exacting standards observed by Dhlomo that Walter Nhlapo brings to his writings about a particular aspect of the cultural history of the New African Movement. In the three selected instances in which Nhlapo had occasion to write about Solomon "Zulu Boy" Cele, it is noteworthy to observe that Nhlapo invariably gives a fuller social context of the cultural history of the object or subject he is writing about. In the first following excerpt Nhlapo on Cele found it necessary not only to write about Jazz Maniacs of which Cele was a leading member but also in relation to the other jazz bands of the 1930s and 1940s that were the central part of the cultural fabric of Johannesburg: "The birth of jazz in Johannesburg started in the late 20s with the popular brass bands like U-No-Mess of Pretoria; the Gay Arrawaras of Boksburg for which the veteran Phillip Mbanjwa of the African Rhythmers Band was a trombonist. In the 30's it saw the first band in the Japanese Express, followed by the Merry Blackbirds Band, the Jazz Maniacs, the defunct Rhythm Kings, Ambassadors, the Harmony Kings, the defunct Rhythm Hot Shots, the Rhythm Clouds and the new Jolly Swallows Band. But in all this time the Merry Blackbirds and Jazz Maniacs flourished and were both a success and competing for the foremost seat. The first line up of 1934 was as follows: Jacob Msadumo--saxophone; Jack Masede--drums; Solomon (Z. Boy) Sele--piano. This month the Jazz Maniacs celebrated their eighth anniversary and it is pleasant to know that today they occupy one of the colourful riches in the Jazz edifices in Bantu society. They are one of the leading combinations and fine exponents of swing. Unfortunately, the controversy: who's who in the dance band world has not yet been decided between the Blackbirds and the Maniacs. Jazz Maniacs for years have been called a 'Marabi band', but whether so, their music had intensity, brilliance and sensational drive which is essential in jazz or swing. Jazz Maniacs is one of the few great bands that can boast that in its development it has had some of the best instrumentalists and has disbanded more than any other band, and thus gave way to the formation of the Hsarmony Kings, Harlem Swing Aces and the defunct Rhythm Hot Shots. It has had Greats like trumpeter Stephen Monkoe of the Blackbirds, Jacob Madumo, a fine saxophonist now of the African Rhythmers of Benoni, Jimmy one of the finest saxophonists who scraps a band when he has engagement: Fatty Dutywa a bass string with the Blackbirds; fana Khumalo, a fine drummer now with the Rhythm Clouds. But after each re-organization, the band has been truly good. Currently they have played in fashionable European night clubs. Personnel in 1942: Z. Boy Cele, W. Silgee, I. Nkosi--saxophonists; E. Selelo, J. Modiskge--trumpeters; S. Nkosi--trombonist; I. Seyela--drummer; T. Masole--bassist; J. Moeketsi--pianist; E. Manyasi--vocalist. At the eighth anniversary function the Maniacs presented in two items the future Jazz Maniacs Orchestra comprising of 15 players" ("Jazz Maniacs", The Bantu World, July 4, 1942). For our immediate purposes here, Nhlapo presents Solomon "Zulu Boy" Cele as a very fine versatile instrumentalist. In lamenting the senseless slaying of Solomon Cele in 1944, Nhlapo had this to say: "A vast [ ] gathered at Orlando Township on Sunday, February 20 yo pay their last tribute to Mr. Solomon (Zulu Boy) Cele, founder and leader of the Jazz Maniacs Band and gave the lie to the charge which is sometimes levelled at the Bantu people that they have a liking for a person when he lives and that they are thankless and have short memories for their leaders and benefactors. The funeral service an open affair was held in front of his house. It was conducted by the Rev, K. M. Nkabinde and was impressive and well attended. His talk on the deceased was eloquent testimony of the esteem, respect and affection in which Cele was held by all. 'It is hard to believe,' he said in his funeral service oration, 'that this great young artist is dead.' Mr. I. H. Rathebe, representing the uperintendent and the residents of Orlando, said no short tribute would do justice to the greatness of Cele. . . . Mr. G Motsieloa, manager of De Pitch Black Follies, said he died [having] achieved much furthering of the music and [that] his death was a loss. And for the band itself, it can best honour his memory by cherishing and promoting those things he held most dear. . . . Mr. P. T. Rezant, leader of the Merry Blackbirds Band, said his cause was dear to him and he sought with all his strength to help towards the goal of improving musical status in this country. He was dead but his worth remained a monument. . . . The most generous gesture was the massed jazz bands who played hymns and accompanied the congregation. This was a charming compliment to the memory of a great artsist" ("Funeral of Mr. S. Cele", The Bantu World, March 4, 1944). A week later Walter M. B. Nhlapo elaborated on what he considered the greatness of Solomon "Boy Zulu" Cele resided in, which we quote in full: "Zulu Boy, a great figure in the jazz music world has been removed from the music scene. Many must have heaved a deep sigh to realise that no more can be expected from a foundation of interpretation of melody that was active for years. Many must have lamented in thought that they would never again see him conduct of [ ] out music from either his soprano or alto saxophone. Many deeply mourn at the knowledge that Zulu Boy their friend is no more. Mr. Solomon Zulu Boy Cele , for that was his full name, has been described as a born misucian and the description fitted him perfectly that is if we mean one who loves music and plays for the love of it. He was one of those born leaders who dreamt great dreams and transformed at least a great part of them into living reality, and whose service in the [ ] music world has been of inestimable importance and magnitude. He died at a time when he had great schemes in mind and for these schemes he augmented his band, improved greatly its phrasing, style and play but instead of seeing these plans materialise , fate ordained otherwise. From the age of 15 years when he was regarded a child prodigy in playing 'marabi' in the keyboard , his thoughts and heart were given over to jazz music. The power of his personality, determination, and enthusiasm acquired for him a high position in the jazz world, rich as it was in men of talents, deeds and ideas. A few years he accompanied the defunct African Sonny Boys and the Eric lads of Pimville. He was youngest pianist in that glorious ragtime era when the African and Partners Hall functions were the highlights of our social gatherings. He was so good that everybody was gracious in praise of the way he played. About 9 years ago, Jacob Madumo (now with the African Rhythmers of Benoni) on the tenor saxophone, Jack [Masede] on the drums and the late Cele on the piano, the Jazz Maniacs Band was formed. And from this small beginning the Maniacs developed to be the person all eleven they are, which has played in famous European nightclubs like the New Paradise, defunct Log Cabin, Havana and the Stardust and many homely parties given by Europeans. The consensus of opinion is that Cele was a jolly fellow who lived for music. He always gave us the impression that he was longing for two things to happen. One was to make the Jazz Maniacs the greatest live joint in Africa. The other was his pathetic longing to see his sons grow to fill and follow his career. For one who had an almost passionate affection for this man, it was indeed sad to think that his desires were denied him. Always a sterling craftsman, those who were privileged to enjoy his friendship were enriched and inspired by the glow that emanated from this lovable personality. Although a conservative in his world, he never turned a blind eye to latest innovations. His was the gentlest of natures; he was tolerant with mediocrities; was modest in listening to criticisms against his band; gracious in his praises and generous towards his colleagues. We hope that the force that was the Jazz Maniacs has not died with the founder and leader. I know that it would have been the wish of Cele to see his life work carried on by the boys who are imbued with same ideals and thoughts. Cele has passed away, but to those of us who were fortunate enough to have had his friendship there will always remain the affectionate recollection of a genial companion, and, we say, God give him rest and peace 'Au revoir', dear friend" ("Passing of a Great Artist", The Bantu World, March 11, 1944). There have been few, if any, such a moving tribute from a leading New African cultural critic to the memory of an extraordinary New African artsist. This is what made the New African Movement such a profound moral mission.