Brève Histoire Du Jazz Sud-Africain Sous L'apartheid
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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. -
Abdullah Ibrahim and the Politics of Jazz in South Africa Nusra Khan Jazz Has Had an Especial Role in the Social and Cultural Politics of South Africa
Abdullah Ibrahim and the Politics of Jazz in South Africa Nusra Khan Jazz has had an especial role in the social and cultural politics of South Africa. This paper will trace its function in the political struggle waged by Black and Colored musicians against the apartheid regime, from the early 1950s until the 1990s, focusing on the work of one artist particularly. While Abdullah Ibrahim is by no means the only South African musician to use jazz for political goals, the development of his career provides an incredible example of the convergence of race, protest, and memory in the performance as well as study of jazz. Ibrahim’s musical career is entrenched in South Africa’s struggle against apartheid, and it is through this lens that I will examine his life and the role of jazz music in general. As early as the 1940s, jazz had emerged as the favored genre of the elite in South Africa. Professional musicians preferred American ‘international’ performance styles, and only a few African jazz musicians brought anything identifiably South African to their performances of American swing. The negative association between traditional African music and the ‘tribal’ past or rural present was begun by missionaries and had become entrenched in African society, most obviously under the Afrikaner’s government’s policy of “forcing Africans to develop along their own lines1”. Like the leaders of the American Harlem Renaissance, the African elite hoped that achievements in the artistic and intellectual fields would help break down the color bar2. Indeed the similar experience of Black Americans and Africans, of “two peoples under white domination,”3 may have increased the appeal of Black American style in amongst South African performers. -
Liberian Girl from Wikipedia, the Free Encyclopedia
Liberian Girl From Wikipedia, the free encyclopedia "Liberian Girl" was the ninth single released from American recording artist Michael "Liberian Girl" Jackson's 1987 album Bad. The song was written as early as 1983 and was among those considered for The Jacksons' Victory album. It was reworked and rewritten for Bad. The song was released as a single in Europe and Australia. Contents 1 Critical reception 1.1 Reaction in Liberia Single by Michael Jackson 2 Chart performance from the album Bad 3 Music video 4 Track listing B-side "Girlfriend" 5 Covers and sampling Released July 4, 1989 6 Personnel 7 References Format CD single, 12" 8 External links Recorded 1987 Genre R&B Length 3:53 (album version) Critical reception 3:40 (edit) The New York Times editor Jon Pareles wrote Label Epic that a melody line from Billie Jean reappears in Writer(s) Michael Jackson [1] this song. Rolling Stone's Davitt Sigerson Producer(s) Quincy Jones praised the song: "'Liberian Girl' — is Michael's Michael Jackson (co- filler, which makes it richer, sexier, better than producer) Thriller's forgettables" and he also described that it "glistens with gratitude for the existence Michael Jackson singles chronology of a loved one."[2] In 2003, Q Magazine ranked "2300 "Liberian "Black or the song at number 1,001 in their list of the Jackson Girl" White" "1001 Best Songs Ever".[3] Street" (1989) (1991) (1989) Reaction in Liberia Bad track listing The song received a positive reception in "Speed "Liberian "Just Good Demon" Girl" Friends" [4] Liberia, with women from the country viewing (3) (4) (5) [4] the song as empowering. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
24Th STANDARD BANK NATIONAL YOUTH JAZZ FESTIVAL 2016
24th STANDARD BANK NATIONAL YOUTH JAZZ FESTIVAL 2016 Welcome to Grahamstown, the National Arts Festival, and the biggest youth jazz festival in South Africa! There are five extremely full days for you to take advantage of and a host of excellent musicians and teachers to meet and hear, as well as a chance to assess yourself against your peers from around the country. The full programme for the Standard Bank National Youth Jazz Festival is outlined below. Thank you to the following institutions and people who have supported us by providing equipment: Paul Bothner Music, Les van der Veen, Eastern Cape Jazz Promotions, Stirling High School, DSG / St. Andrews Music School, UCT College of Music, Rondebosch Boys High, Len Cloete, Kingswood College, The Settlers High School, Little Giants, Bridge House School, Parel Vallei High School, Neville Hartzenberg The Festival Production Office (for performing artists) is in the Music School. The Artists’ Office is Music 2. The NYJF Student Office is Music 3. FESTIVAL RULES 1. Please be punctual for all aspects of the SBNYJF. Everyone must be there – on time – for band rehearsals. 2. We are guests of DSG – please treat the facilities accordingly. Please obey the rules of the hostels and show consideration for others. There is to be no noise after 22.00 and curfew for students in DSG hostels is 00.30. Don’t try to sneak friends in overnight, as you will need to pay in full for their accommodation. 3. Show respect for NYJF equipment. Most of it has been lent to us and needs to be returned in perfect condition. -
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 -
Western Cape Jazz Legends
Western Cape Jazz Legends Foreword The Western Cape Jazz legends which unveiled on 17 March 2011 pays homage to the rich jazz heritage of the Western Cape. The publishing of the Western Cape Jazz Legends Booklet gives a wider audience access to an appreciation of the contribution of these musicians who often plied their trade under the most difficult circumstances and with very little material reward. The short biographies are informed by existing literature and interviews conducted with family members. The list is by no means comprehensive but it does indicate our resolve to give homage, to acknowledge, to preserve and to promote the rich musical heritage of the Western Cape. Documenting our musical history not only ensures that the impact of the role of these legends on the musical landscape of the Western Cape is captured for posterity, but also that their stories serve as a source of inspiration to aspiring musicians. This booklet represents an important step towards the building of a socially inclusive Western Cape. These Jazz Legends united us around our common love for music and the unique sounds of Cape Town Jazz. Let’s celebrate their achievement and resolve that we will continue to build on this initiative to acknowledge our musicians who created musical melodies which filled us with joy, often leaving us in awe of their amazing talent and with a deep sense of self-worth and cultural warmth. Dr IH Meyer Minister of Cultural Affairs and Sport Western cape Government. Western Cape Jazz Legends 1 2 Western Cape Jazz Legends IntroductIon The Department of Cultural Affairs and Sport has embedded in its vision, “… A socially cohesive and creative Western Cape.” The arts and culture component of the department has embraced this vision and the Western Cape Jazz Legends project is reflective thereof. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Mannenberg": Notes on the Making of an Icon and Anthem1
African Studies Quarterly | Volume 9, Issue 4 | Fall 2007 "Mannenberg": Notes on the Making of an Icon and Anthem1 JOHN EDWIN MASON Abstract: Abdullah Ibrahim's [Dollar Brand] composition "Mannenberg" was an instant hit, when it was released on the 1974 album, Mannenberg is Where It's Happening. This paper shows that the song is a product of Ibrahim's efforts to find an authentically South African mode of expression within the jazz tradition, blending South African musical forms -- marabi, mbaqanga, and langarm--with American jazz-rock fusion. It quickly became an icon of South African jazz, defining the genre both within the country and overseas. At the same time, the South African coloured community invested the song with their own meaning, transforming it into an an icon of their culture and of themselves. In the 1980s, "Mannenberg" had a second life as an anthem of the struggle against apartheid. Some called it South Africa's "unofficial national anthem." Once again, the song acquired a new meaning, this time through the efforts of musicians, especially Basil Coetzee and Robbie Jansen, who made it the musical centerpiece of countless anti- apartheid rallies and concerts. As the paper traces this narrative, it is constantly aware of the profound influence of African-American culture and political thought on Ibrahim and the coloured community as a whole. Introduction On a winter's day in 1974, a group of musicians led by Abdullah Ibrahim (or Dollar Brand, as most still knew him) entered a recording studio on Bloem Street, in the heart of Cape Town, and emerged, hours later, having changed South African music, forever. -
Remembering Hugh Masekela: the Horn Player with a Shrewd Ear for Music of the Day
1/24/2018 Remembering Hugh Masekela: the horn player with a shrewd ear for music of the day Academic rigour, journalistic flair Remembering Hugh Masekela: the horn player with a shrewd ear for music of the day October 29, 2017 1.12pm SAST •Updated January 23, 2018 10.13am SAST Hugh Masekela performing during the 16th Cape Town International Jazz Festival. Esa Alexander/The Times Trumpeter, flugelhorn-player, singer, composer and activist Hugh Ramapolo Masekela Author has passed away after a long battle with prostate cancer. When he cancelled his appearance last year at the Johannesburg Joy of Jazz Festival, taking time out to deal with his serious health issues, fans were forced to return to his recorded opus for reminders of his unique work. Listening through that half-century of Gwen Ansell Associate of the Gordon Institute for disks, the nature and scope of the trumpeter’s achievement becomes clear. Business Science, University of Pretoria Masekela had two early horn heroes. The first was part-mythical: the life of jazz great Bix Biederbecke filtered through Kirk Douglas’s acting and Harry James’s trumpet, in the 1950 movie “Young Man With A Horn”. Masekela saw the film as a schoolboy at the Harlem Bioscope in Johannesburg’s Sophiatown. The erstwhile chorister resolved “then and there to become a trumpet player”. The second horn hero, unsurprisingly, was Miles Davis. And while Masekela’s accessible, storytelling style and lyrical instrumental tone are very different, he shared one important characteristic with the American: his life and music were marked by constant reinvention. -
CHRIS Mcgregor : Sea Breezes
When Chris McGregor came to South Africa in October 1987 to his musicality. Mongezi was to die tragically due to neglect of were known while in the play a gig in the series of tribute concerts for South African jazz pneumonia in an English hospital in 1975. Mongezi wrote the process, as “Abakwetha”. musicians called the “Carling Circle of Jazz” it was in fact his first tune “Sonia” for his girlfriend at the time and Chris always loved The young men were kept formal performing visit to his homeland since he left with the the quirky rhythm and melody of this song, and the big band separate from the rest of the Blue Notes in 1964. He had visited South Africa a few times in formation Brotherhood of Breath often played it. villagers while undergoing between but this was the first time he had been formally invited the process, to give them the to play in all those years. The solid rhythmic base of the Blue Notes’ music was provided chance to learn independence by master drummer Louis Tebugo Moholo-Moholo for whom and self-reliance. It was a time This visit was rather bitter-sweet and was actually his second Chris wrote “Kwa Tebugo” which means “at Tebugo’s place.” of deprivation and dislocation that year – our mother had died at the end of December 1986 Chris takes this number at a faster pace than he usually did, for many. Music and dance and Chris had come out to South Africa in January 1987 to visit especially when the big band played it. -
Catalogue of the African Studies Library Film Collection in UCT Libraries Special Collections
Catalogue of the African Studies Library Film Collection in UCT Libraries Special Collections Any queries regarding the ASL film collection please contact Bev Angus ([email protected]) Updated:June 2015 Introduction In film, as with all other African Studies material in Special Collections, we collect comprehensively on South and Southern Africa and we are also committed to strengthening and broadening our film coverage of the rest of Africa to meet existing needs and to create new opportunities for research. Film is a powerful and accessible medium for conveying the stories and images of Africa, past and present. The African continent has a long and proud tradition of film-making, and has produced many film-makers of international renown. Our collection contains documentaries, television series and feature films made by both African and international film-makers. Besides supporting the teaching and research programmes of the University of Cape Town, the African Studies Library makes provision for the preservation of the films in the collection. Please note: The films in the ASL are primarily for viewing by members of the University of Cape Town community. For a collection of African films with public access see the Western Cape Provincial Library Service collection at http://cplweb.pals.gov.za Tips on searching the collection: To facilitate searching, click the binoculars in the toolbar. Select Use Advanced Search Options. If you know the title of the film, enter the exact title in the box and select Match Exact Word or Phrase in the dropdown box e.g. “Cry the Beloved Country” For a keyword search where the exact title is unknown or you are searching around a particular topic, enter appropriate keywords in the box provided, then select Match any of the Words in the drop-drown box below e.g.