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UNSUNG: South African Jazz Musicians Under Apartheidunsung
UNSUNG: South African Jazz Musicians under Apartheid outh African jazz under apartheid has in recent years been the subject of numerous studies. The main focus, however, has hitherto been on the musicians who went into exile. Here, for the first time, those who stayed behind are allowed to tell their stories: the stories of musicians from across the colour spectrum who helped to keep their art alive in South Africa during the years of state oppression. CHATRADARI DEVROOP &CHRIS WALTON CHATRADARI Unsung South African Jazz Musicians under Apartheid EDITORS Chatradari Devroop & Chris Walton UNSUNG: South African Jazz Musicians under Apartheid Published by SUN PReSS, an imprint of AFRICAN SUN MeDIA (Pty) Ltd., Stellenbosch 7600 www.africansunmedia.co.za www.sun-e-shop.co.za All rights reserved. Copyright © 2007 Chatradari Devroop & Chris Walton No part of this book may be reproduced or transmitted in any form or by any electronic, photographic or mechanical means, including photocopying and recording on record, tape or laser disk, on microfilm, via the Internet, by e-mail, or by any other information storage and retrieval system, without prior written permission by the publisher. First edition 2007 ISBN: 978-1-920109-66-9 e-ISBN: 978-1-920109-67-7 DOI: 10.18820/9781920109677 Set in 11/13 Sylfaen Cover design by Ilse Roelofse Typesetting by SUN MeDIA Stellenbosch SUN PReSS is an imprint of AFRICAN SUN MeDIA (Pty) Ltd. Academic, professional and reference works are published under this imprint in print and electronic format. This publication may be ordered directly from www.sun-e-shop.co.za Printed and bound by ASM/USD, Ryneveld Street, Stellenbosch, 7600. -
A Crash of Drums Durban By
LAT / LONG: 29.53° S, 31.03° E DURBAN ‘It’s the sound that gets to you A CRASH first,’ says David ‘Qadashi’ Jenkins. ‘A loud crashing of drums before OF DRUMS you even see the dancers. We heard it while we were still on the street, walking towards the hostel. It was 2012 and I’d just moved to Durban from Empangeni. My mentor, Maqhinga Radebe, took me to the Dalton Hostels on Sydney Road to see them dancing. But, of course, you hear it first. That tumultuous crash, a tremendous sound produced on huge marching band drums. You can hear it as far away as Davenport Centre, which is a few blocks up – you’ll hear it on a Sunday if you listen out for it.’ Jenkins grew up in northern KwaZulu-Natal, where he fell in love with Zulu culture. He’s never looked back; his boyhood obsession with maskandi has evolved into a thriving music career. Yet, even after years spent studying Zulu music traditions, he says witnessing Umzansi war dancing left him breathless. ‘The closer we got, the louder those crashing drums grew and eventually we were in the presence of these potent, DURBAN powerful dancers – workers who stay at the hostels and who dance on Sundays. The drumming is the heart of the music, but with harmonies sung over that, incredible war songs running over this loud drum beat. There are up to 20 singers who stand in a semi-circle, and up to ten men dancing at a time. And they move back and forth, swapping out all the time. -
Guest Artist Recital: New York Voices New York Voices
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-5-2004 Guest Artist Recital: New York Voices New York Voices Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation New York Voices, "Guest Artist Recital: New York Voices" (2004). All Concert & Recital Programs. 3425. https://digitalcommons.ithaca.edu/music_programs/3425 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE CONCERTS 2004-5 NEW YORK VOICES Darmon Meader Kim Nazarian Lauren Kinhan Peter Eldridge Andy Ezrin, piano Papul Nowinski, bass Marcello Pellitteri, drums Ford Hall Friday, November 5, 2004 8:15 p.m. · IT:HACA Program To Be Selected From The Following: Ain't Nobody Here Written by Joan Whitney & Alex Kramer But Us Chickens Additional Lyrics by Darmon Meader Arranged by Darmon Meader Almost Like Being in Love Music by Frederick Loewe Lyrics by Alan Jay Lerner Arranged by Darmon Meader A Night in Tunisia Written by Dizzy Gillespie Arranged by Darmon Meader Baby Driver Written by Paul Simon Arranged by Peter Eldridge & Darmon Meader Baroque Samba Written & arranged by Darmon Meader Bli-Blip Written by Duke Ellington & Sid Kuller Additional lyrics by Darmon Meader Arranged by Darmon Meader Caravan Written by Duke Ellington, Juan Tizol, Irving Mills Additional -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene -
Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change. -
ERIN DICKINS QUARTET European Tour 2013
E.A. Artist Management Presents: ERIN DICKINS QUARTET European Tour 2013 “Dickins sophisticated scat, swing and ballads remind the listener that she was one of the founding members of Manhattan Transfer.” Jordan Wright - The Washington Examiner A founding member of Manhattan Transfer, Erin Dickins continues to enchant European Bookings audiences throughout the world. During her career Erin has performed and E.A. Artist Management recorded with Leonard Cohen, Bette Midler, James Taylor, The Talking Heads, Tuindorpstraat 61 James Brown, Barry Manilow, Jaco Pastorius and Ashford & Simpson, to name 7555 CS Hengelo (Ov) but a few. The Netherlands In 2013 Erin will release her debut solo album on Dot Time Records titled Java Web: www.eaartistmanagement.com Jive. The title track of the CD is a remake of the original Ink Spots hit recorded E-mail :- [email protected] on the first Manhattan Transfer album “Jukin” and features Erin’s long time Phone :- +31(0)74 850 7481 friend and Manhattan Transfer co-founder Tim Hauser. Dickins’ album was Skype : ea.artist.management carefully crafted over a two-year period by a group of renowned musicians including Film & TV composer Jesse Frederick (Flamingo Kid, Full House, Perfect Label Strangers, Step By Step, Family Matters), pianist/arranger Rob Mounsey (Kurt Dot Time Records Elling, Tony Bennett, Natalie Cole, Deborah Cox) and bassist David Finck (Harry Web: www.dottimerecords.com Connick Jr., Steve Kuhn, Rod Stewart, Sir Andre Previn). E-mail :- [email protected] Erin Dickins will be touring Europe in November 2013 to promote her new Management release. Please contact us for further Information regarding availability and Guy Zinger performance formats. -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
Circle in a Square CD Insert
HI-FIDELITY DOTI-1001 LAUREN KINHAN CIRCLE IN A SQUARE CIRCLE MY PAINTED LADY BUTTERFLY ANOTHER HILL TO CLIMB IN A CHASING THE SUN I’M LOOKIN’ FOR THAT NUMBER SQUARE TO LIVE OR DIE POCKETFUL OF HARLEM WE’RE NOT GOING ANYWHERE TODAY CHAUSSURE’S COMPLEX BEAR WALK VANITY’S PARAMOUR THE DEEP WITHIN LAUREN KINHAN CIRCLE IN A SQUARE CIRCLE IN A SQUARE CHASING THE SUN Music by Lauren Kinhan & Ada Rovatti Music by Lauren Kinhan Lyric by Lauren Kinhan Andy Ezrin, piano Andy Ezrin, Fender Rhodes David Finck, bass Ben Wittman, drums + percussion Ben Wittman, drums + percussion Will Lee, bass Aaron Heick, alto flute Randy Brecker, trumpet Romero Lubambo, guitar Lauren Kinhan, Marlon Saunders, Ella Marcus, backround vocals I’M LOOKIN’ FOR THAT NUMBER Music & Lyric by Lauren Kinhan MY PAINTED LADY BUTTERFLY Horn arrangement by Lauren Kinhan Music and Lyric by Lauren Kinhan Andy Ezrin, piano and B3 organ Andy Ezrin, piano David Finck, bass David Finck, bass Ben Wittman, drums Ben Wittman, drums Donny McCaslin, tenor saxophone Joel Frahm, Soprano Saxophone John Bailey, flugel horn ANOTHER HILL TO CLIMB TO LIVE OR DIE Music & Lyric by Lauren Kinhan Music & Lyric by Lauren Kinhan String quartet arrangement by Rob Mounsey Andy Ezrin, piano Andy Ezrin, piano David Finck, bass David Finck, bass Ben Wittman, drums + percussion Ben Wittman, drums Romero Lubambo, guitar Sara Caswell (1st violin), Joseph Brent (2nd violin), Lois Martin (viola), Jody Redhage (cello) POCKETFUL OF HARLEM BEAR WALK Music by Lauren Kinhan & Andy Ezrin Music by Jiro Yoshida, Lyric by -
Manor Primary School Music Year 1: in the Grove Overview of the Learning: All the Learning Is Focused Around One Song: in the Groove
Manor Primary School Music Year 1: In The Grove Overview of the Learning: All the learning is focused around one song: In The Groove. The material presents an integrated approach to music where games, the interrelated dimensions of music (pulse, rhythm, pitch etc.), singing and playing instruments are all linked. Core Aims Pupils should be taught How to listen to music. perform, listen to, review and evaluate music across a range of historical periods, genres, styles and To sing a range of songs song. traditions, including the works of the great composers and musicians To understand the geographical origin of the music and in which era it was composed. Learn to sing and to use their voices, to create and compose music on their own and with others, To experience and learn how to apply key musical concepts/elements, eg finding a pulse, clapping have the opportunity to learn a musical instrument, use technology appropriately and have the a rhythm, use of pitch. opportunity to progress to the next level of musical excellence To play the accompanying instrumental parts (optional). understand and explore how music is created, produced and communicated, including through the inter-related dimensions: pitch, duration, dynamics, tempo, timbre, texture, structure and To work together in a band/ensemble. appropriate musical notations. To develop creativity through improvising and composing within the song. To understand and use the first five notes of C Major scale while improvising and composing. To experience links to other areas of the curriculum To recognise the style of the music and to understand its main style indicators. -
Legendary Paul Simon Leads Off New Season of Austin City Limits
LEGENDARY PAUL SIMON LEADS OFF NEW SEASON OF AUSTIN CITY LIMITS Rare Hour With Superstar In His ACL Debut Season 42 Premieres October 1 on PBS Austin, Texas—September 27, 2016—Austin City Limits (ACL) launches a new season of must-see performances from music’s finest with an icon of American popular music, Paul Simon, in his first-ever appearance on the ACL stage. The living legend shines in a sublime, career-spanning hour featuring beloved classics and new songs from his acclaimed recent album, Stranger to Stranger. The hour-long season premiere airs Saturday, October 1 at 8pm CT/9pm ET as part of ACL’s new Season 42. The program airs weekly on PBS stations nationwide (check local listings for times) and full episodes are made available online for a limited time at pbs.org/austincitylimits immediately following the initial broadcast. Viewers can visit acltv.com for news regarding future tapings, episode schedules and select live stream updates. The show's official hashtag is #acltv. Making a rare television appearance, Simon sparkles in an irresistible performance filled with career highlights from his over five-decade strong musical legacy. Backed by a world-class nine-piece band, the music legend opens an eleven-song set with selections from Graceland, his landmark 1986 album that brought African rhythms to mainstream American radio. A lifelong sonic adventurer, Simon takes viewers to Louisiana Cajun country for a joyful performance of “That Was Your Mother.” Simon also showcases new classics from 2016’s acclaimed Stranger to Stranger, his 13th solo album, including standouts “Wristband” and “The Werewolf.” Simon’s showmanship is on full display throughout as he dazzles the ACL audience with non-stop gems from his extensive catalog, including early solo hit “Me and Julio Down by the Schoolyard” and a stripped-down, countrified “Homeward Bound.” He dips back into his Graceland songbook for “Diamonds On the Soles Of Her Shoes,” and a show-stopping “You Can Call Me Al,” engaging the crowd in hand-clapped rhythm. -
Aporias of the Cultural Boycott
ARTICLES Detlef Siegfried APORIAS OF THE CULTURAL BOYCOTT Anti-Apartheid Movement, ANC and the Conflict Surrounding Paul Simon’s Album Graceland (1985–1988) The political goal of the Anti-Apartheid Movement was to isolate Pretoria on all levels in order to bring about the collapse of the apartheid regime. One means which initially received much less attention than the economic boycott, but which became increas- ingly important as time went on, was the cultural boycott with its two complementary components: the cessation of any form of exchange with South Africa and the mo- bilisation of artists in the fight against apartheid. The importance of both of these in- struments grew with the mass mediatisation and inner transformation of ›Western‹ countries into ›experience-driven societies‹. At the same time, transnational entangle- ments and the increasing opposition within South Africa revealed the limitations of the boycott. Awareness of these limitations increased in the mid-1980s among the general public and not least within the movement itself. A catalyst was Paul Simon’s album Graceland, which was recorded in South Africa with black South African musi- cians in 1985 and released in 1986. It formed part of the ›world music‹ revival, which had prompted a renewed recourse to the musical forms of the non-Western world in reaction to what was seen as the increasing superficiality of pop music. Initiatives like Peter Gabriel’s Real World label and the ›Festival Jazz and World Music‹ organised by Joachim-Ernst Berendt in New York had been popularising musicians from ›Third World‹ countries since the early 1980s.1 Artists from South Africa were only involved if they had been exiled – if they lived in the country itself, they were excluded. -
HISTORY WORKSHOP University Ol the Witwatersrand 1 Jan Smuts Avenue Johannesburg 2001
r\- y /"> UNIVERSITY OF THE WITWATERSRAND HISTORY WORKSHOP University ol the Witwatersrand 1 Jan Smuts Avenue Johannesburg 2001 THE MAKING OF CLASS 9-14 February, 1987 AUTHOR: V. Erlmann TITLE: "Singing Brings Joy To The Distressed" The Social History Of Zulu Migrant Workers' Choral Comnetions 1. INTRODUCTION The crucial role played by the system of cheap migrant labor as the backbone of South African capitalism is reflected in an extensive literature. However, this rich academic output con- trasts with a remarkable paucity of studies on migrant workers' consciousness and forms of cultural expression. Among the reasons for this neglect not the least important is the impact of the South African system of labor migration itself on the minds of scholars. Until at least the 1950s, the prevailing paradigm in African labor studies has been detribalization (Freund 1984:3) Since labor migration - so the argument went - undermined tradi- tional cultural values and created a cultural vacuum in the bur- geoning towns and industrial centers of the subcontinent, neither the collapsed cultural formations of the rural hinterland nor the urban void seemed to merit closer attention. The late 1950s some- what altered the picture, as scholars increasingly focused on what after all appeared to be new cultural formations in the cities: the dance clubs, churches, credit associations and early trade unions (Ranger 1975, Mitchell 1956). This literature em- phasized the ways in which the urban population attempted to com- pensate for the loss of the rural socio-economic order in "retribalizing", restructuring the urban forms of social interac- tion along tribal lines.