SA’s definitive guide

R35.00 (VAT INCL) Spring 2014/Summer 2015 Vol 1 • Issue 2

17 YEARS OF STANDARD BANK JOY OF JAZZ

PRINCESS OF LAUNCHES MUSIC AWARDS

TWO DECADES OF

JONAS GWANGWA HEADLINES STANDARD BANK JOY OF JAZZ

PORTRAITS OF A JAZZ PAINTER: LAST WORD FROM ABROAD: PLUS SAM NHLENGETHWA ADVERTORIALVENUES

The National Lotteries Board – The Catalyst for Social Upliftment

ince 2000 the National The arts, culture and national to time to discuss more effective Lotteries Board has played heritage sectors gets 28% ways of processing applications Sa significant role in the and the sport and recreation and distributing funds. The funds social upliftment of ’s sector receives 22%. During the for miscellaneous purposes (5%) underprivileged communities. Its 2012/2013 financial year, the are used for ad hoc projects that mandate is to partner government National Lottery Distribution Trust fall outside the scope of the main in its nation building initiative Fund has made total payments three sectors and board members through job creation, poverty of R1 664 622 583 of which of the National Lotteries Board eradication and education. To R716 876 940 went to charity. allocate such funds in terms of date the lottery has contributed The arts, culture and heritage the conditions set by the minister a groundbreaking R18 billion sectors received a handsome of trade and industry, who is to a variety of social upliftment R510 727 435 in the same responsible for setting up the projects. It has also played a critical financial year. Funding is based lottery in terms of the Lotteries Act part in the country’s development on applications from not-for- of 1997. of the arts, culture and national profit (NPOs), non-governmental “Part of our philosophy as heritage sectors. organisations (NGOs), non-profit an agency of social change In turn the lottery’s beneficiary companies, public benefit trusts is to continuously review our communities – which include and schools. approaches to establish effective ways to serve our beneficiaries “During the 2012/2013 financial year, the with the aim of making the lives of our people progressively National LotteryDistribution Trust Fund has better,” says the National Lotteries made total payments of R1 664 622 583 of Board Chief Executive Officer, Thabang Charlotte Mampane. which R716 876 940 went to charity”. “In our mission to serve needy communities, experience has charities, hospices, orphanages, In general organisations can apply taught us that it is important to HIV/Aids support groups, if they meet the following criteria: work closely with our beneficiaries. community development centres • Improve the quality of life for the That is why in the past three years and schools – had over the years community as a whole. we have been visiting beneficiary increased in numbers to transform • Assist disadvantaged, communities to hear, first hand, their societies in a progressive marginalised or neglected groups what they think of the services and and meaningful way. In a country such as the elderly, disabled support we offer them.” that is still facing serious social people and vulnerable children. “It has been an eye-opening problems such as poverty, • Provide service or facilities for the and educational experience; and unemployment and incurable underprivileged. so as we go forward we shall diseases, the charities sector is Committees known as distributing intensify such engagements. Our the lottery’s chief beneficiary and agencies are responsible for the relationships with stakeholders receives the lion’s share of 45% of allocation of funds to beneficiaries. are also defined by the need to the allocated funds annually. These agencies meet from time strengthen their capacity so that

2 JAZZ LIFE SPRING 2014/SUMMER 2015 VENUES they can deliver on the socio- going strong. For instance, we • Promoting arts and crafts economic development mandate have a rich musical heritage produced by groups of women they share with us. This is very that is personified in bands like and disabled people. important for us because our the Malombo Jazzmen whose • Developing and preserving success is inextricably linked to the music is directly inspired by their cultural heritage sites as a way to capacity of our stakeholders.” environment and its history. So it generate revenue and develop Having spent most of her is important that our artists should communities. professional life in the broadcasting remember where they come from • Enabling people across the sphere in various capacities that and start using those neglected country to enjoy a range of art include radio presenter, manager community halls and centres.” activities. and executive roles, Mampane has If musicians and artists work as a • Making the arts accessible to brought a wealth of experience collective rather than as individuals, more people. and expertise to the National they stand a better chance of • Improving art facilities so people Lotteries Board (NLB). Her insights accessing funds from institutions may better enjoy participating in into the arts, culture and heritage such as the NLB, she adds. The the arts. sectors are particularly telling. She lottery welcomes applicants of all • Providing arts facilities outside believes that the arts fraternity sizes – ranging from local clubs to major cultural centres. need to return to their roots if national bodies. • Promoting art forms that are not they hope to make any significant The arts and culture distributing adequately supported. advancement to the sector. agency gives priority to • Preserving and promoting “Artists should share a common organisations that meet the awareness of culture and vision, which means taking their following criteria: historical, natural or architectural art to the people and communities • Protecting and promoting heritage. that inspired them. They need to traditional knowledge and cultural keep cultural organisations and expressions. arts centres in their own backyards

THE CENTRE OF PERFORMING ARTS

OVER THE YEARS the lottery has proper recording and performing includes a 500-seat auditorium funded a significant number of arts, facilities and were consequently called Bongi Makeba (in honour of culture and heritage institutions being lost to other better equipped Mama Afrika’s daughter), a state- – notably theatres, libraries, provinces. of-the-art music recording studio, museums and music academies. In 2004 the late jazz pianist a multimedia audiovisual centre, The Miriam Makeba Centre – Hotep Idris Galeta was tasked gym, theatre and gallery with a also known as the Eastern Cape with the construction of a multi- permanent exhibition of Miriam Audio Visual Centre (ECAVC) – is purpose arts centre and jazz Makeba images and memorabilia. a case in point and the lottery’s school at the University of Fort The centre boasts an flagship beneficiary institution. Hare’s East campus. enthusiastic team of young and A partnership initiative between Named the Miriam Makeba dynamic mentors with an inspiring the Eastern Cape government’s Centre of Performing Arts, it was vision and programme that bring department of sport, recreation, opened on 24 September (Heritage together the triple pursuits of arts & culture and the University of Day) in 2006. The centre became teaching, research and community Fort Hare, the idea for the centre a reality following a generous development. It offers a Bachelor originated in the early 2000s financial aid of R11-million from of Music degree with curriculum after the Eastern Cape authorities the National Lotteries Board. The that includes African traditional realised that local artists had no multi-purpose arts institution music and a course on the

CONTINUED ON PAGE 16

JAZZ LIFE SPRING 2014/SUMMER 2015 3 Contents SPRING 2014/SUMMER 2015 Features in this edition

13 41 JONAS MOSA GWANGWA Sam Nhlengethwa: Headlines Standard Bank Joy Portrait[s] of a Jazz Painter of Jazz

19 SEVENTEEN YEARS OF STANDARD BANK JOY OF JAZZ

25 PRINCESS OF AFRICA LAUNCHES MUSIC AWARDS

35 SAKHUMZI RESTAURANT A classy eatery

38 THE ORBIT Joburg’s New Jazz Mecca

45 CHARLES MINGUS REMEMBERED

51 NINA MKHIZE 25 A New Dynamic Jazz Voice Chaka Chaka Honours fellow 54 TWO DECADES OF SOUTH AFRICAN JAZZ musicians A Personal Journey VENUES

Regulars

6 PHOTO ESSAY The Road to Standard Bank Joy of Jazz Publishers Afro Jazz Media & Communications 2899 Kittewake Crescent, Extension 9, Riverlea 8 EDITOR’S NOTE South, 2093 SA’s youthful jazz scene Tel: 011 839 0930 Fax: 011 839 0930 Email: [email protected] 9 JAZZ POETRY Website: www.jazzlife.co.za Ode To A Jazz Maestro Editor Sam Mathe 30 BOOK REVIEW In Township Tonight! Contributors Julian Bahula 31 CD REVIEWS Ayanda Billie Dave Reynolds, Nduduzo Makhathini, Mphutlane Wa Bofelo Don Makatile Estelle Kokot And Lex Futshane Dan Motaung Sol Rachilo 58 JAZZ ESSAY Dave Reynolds Dancing At Jazz Concerts Jeff Mathethe Sehume

61 LAST WORD FROM ABROAD Photography Ernest Cole Julian Bahula Mojalefa Letago Kenneth Matlala Emmanuel Mohlamme Jurie Senekal 6 Designer Photo Essay Nomalizo Ngwenya The Road to Standard Bank Joy of Jazz Printing Lebone Litho Printers

Copyright subsists in all contributions in this magazine. Any reproduction or adaptation without prior written consent of the publisher is strictly prohibited and amounts to copyright infringement. The opinions expressed by contributors are not necessarily those of the publisher.

ISSN 2225-0409 Standard Bank Road to Joy of Jazz Festival MONTECASINO, JOHANNESBURG, 20 SEPTEMBER 2014

T IS BEFITTING that self when she entertained are grounded in the rich folk , the guests with favourites like traditions of her homeland. country’s celebrated jazz “Thando’s Groove”, “Joy Finds In 1993 she was declared and opera singer was born You” and “Thetha” – a duet Standard Bank Young Artist onI 24 September, Heritage Day. with . It was an Award winner – an accolade But this year her birthday party event that brought under one that became a launch pad for came four days earlier when she roof some of the country’s finest an illustrious recording career. was honoured during a special musicians and was marked by “My birthday is indeed on Road to Joy of Jazz concert held beautiful sounds and a warm 24 September,” she confirms. at the Teatro, Montecasino in spirit of camaraderie between “But T-Musicman asked to use Fourways. The well attended both artists and audience. the Road to Joy of Jazz event to surprise party was organised by Hailed as South Africa’s celebrate it. They went all out to Joy of Jazz festival organiser, first lady of song and one of its make it a special event. It was Peter Tladi of T-Musicman. leading cultural ambassadors, a big surprise for me and I’m The birthday girl was moved Khumalo is a versatile vocal extremely grateful.” to tears by the generous gesture powerhouse whose diverse but later she was her ebullient repertoire of jazz and opera Pictures: Emmanuel Mohlamme

The sprightly Mimi Mtshali Guitarist Themba Mokoena doing what he knows best Backing singer and alto Kuki sings her lungs out Mncube in full cry

6 JAZZ LIFE SPRING 2014/SUMMER 2015 PHOTO ESSAY

Bassist Prince Bulo plays sweet rhythms Crooner Kabomo Vilakazi keeps audiences off their seats

Trumpeter Prince Lengoasa A surprised Sibongile Khumalo after hearing A warm hug from jazz singer blows a storm of her unexpected birthday party Lindiwe Maxolo

Sipho Mabuse belts out a soulful The jazz and opera diva expresses Sibongile Khumalo and Sipho Mabuse share tune for the birthday girl her appreciation in song a joyful moment at the end of the show

JAZZ LIFE SPRING 2014/SUMMER 2015 7 EDITOR’S NOTE

SA’s youthful jazz scene

HE SOUTH AFRICAN inroads as instrumentalists to be a genuine home for jazz jazz scene is as ensembles like Ladies in artists. One hopes that jazz increasingly becoming Jazz have proven. One of the aficionados who are successful more interesting contemporary jazz artists to entrepreneurs will realise the Tas it grows from strength to listen to in this regard is pianist cultural significance of this strength. The past few years Thandi Ntuli. noble art form and invest some have witnessed the emergence In this edition we introduce of their wealth in its growth. of a new breed of jazz artist with you to Nina Mkhize, a dynamic needs little special musical gifts to take jazz singer whose resume or no introduction. We hope the genre to greater heights. speaks volumes. Unlike their you will enjoy his insights on Names that easily spring to illustrious predecessors the contemporary jazz scene mind include pianists Nduduzo who were suffocated by the as well as his eventful life as Makhathini and Yonela Mnana; oppressive environment of a globetrotting performer with drummer Siphiwe Shiburi, in bygone years and Amandla cultural ensemble. saxophonists Nhlanhla were eventually forced into Another article worth reading Mahlangu and Mthunzi Mvubu. exile or to hang their beloved is the Orbit – a venue that Standard Bank Young Artist instruments for nine-to-five is making a significant Award winners Kyle Shepherd, jobs, this is a generation that contribution in the shaping of Shane Cooper and Bokani Dyer has had the opportunity to contemporary jazz. Elsewhere have also proven that they are receive formal education at on these pages we profile jazz artists of international stature tertiary institutions and are painter Standard Bank Young with their brand of jazz that has free to perform everywhere as Artist Award winner Sam captured global attention. fulltime artists. Nhlengethwa and legendary A male singer like Zola But as one of the living bass player from the US, Futshane is proof that the legends of African jazz, Jonas Charles Mingus. We also tell South African vocal jazz Gwangwa, has indicated, we the story of Joy of Jazz from tradition – a proud tradition are blessed with abundant its humble beginnings and that was pioneered by the musical talent but there is still how Standard Bank helped to likes of Blues Ntaka, Victor a scarcity of proper jazz venues. transform it into the premier Ndlazilwane and found worthy Legendary venues like Kippies jazz festival on the continent. inheritors in artists like Zim in Newtown have been reduced Ngqawana and Stompie Mavi to disused monuments. But Enjoy your read. – has a bright future. Ladies the Orbit in Braamfontein, who have long dominated the which was opened in March SAM MATHE vocal space are also making this year, has already proven EDITOR & PUBLISHER

8 JAZZ LIFE SPRING 2014/SUMMER 2015 JAZZ POETRY

Touch of Blues for the Guitarism Jazz Rappers BY AYANDA BILLIE BY MPHUTLANE WA BOFELO Inspired by Jimmy Dludlu keep your podiums high tables, circus stables Your heart beat red carpets for puppets Is where melody comes from, blood in the wallets ‘echoes from the past’ there is in the conscience Message brought to earth, psalms for sums; emotions on sale capturing our true spirit. they count the cents for sense You create music for the rand they are the red ants From pain and suffering throw heretics off the stage while your highly spiritual clear the way for the market silence in the theatre and revealing harmonies it’s not sirens revive who we are but the voice of the poet Your distinct strings doing a judas/brutas on rap master supreme remind distant lovers a hatchet job for the gods of poetry for pleasure to reminisce over each other, they slaughter literature say a prayer googled beats & pirated melodies for ambience giving in to the music playing perhaps it’s time for a séance to draw them close summon the ghost of Cesaire yet so far away call the presence of Count Bassie invite the roar Play it again bring on Mahotela Queens, Dark City Sisters more and more that freedom song you ever have an orchestra of voices play to those who are still from the underbelly beaten by hard knocks of life, whose lives were never reached we come wailing by winds of change with bob and the wailers sweeping through our land on the pharaoh express Afrika in the south bavino sermons a jeremiad against gutter education Play it, play that guitar no histrionic choruses ’cause you know it’s rage against the killing of life what music could do to a man... no bane robotics, sir

FROM AVENUES OF MY SOUL; some went mechanical with the sound SWII ARTS AMENDMENT, 2006 others technical with the word truth robo lyrical with the technique it is the return to the verbal conscious music a weapon lethal it’s not beats from the box, sir it’s hearts pounding against the odds life hip and hopping at the grassroots we rap the blues from the ground thunder, the wind & the ocean play our kind of jazz

JAZZ LIFE SPRING 2014/SUMMER 2015 9 JAZZ POETRY

Trains wail and taxis honk Ode to a Jazz For labourers who dig trenches And those who dig for gold Maestro (For From the bowels of the earth Washerwomen and nannies Suburb maids and township helpers Kippie ‘Morolong’ Factory workers All with hands calloused Moeketsi) Beautiful people Whores and pimps BY SOL RACHILO Soon the rays of the sun will struggle And penetrate the cloud of smoke Then it will be day He stood there They will go to rallies Motionless They will go to funerals Whatever was fermenting They will dance In his musical mind. The freedom dance He made a pace Some will fall and die Towards the instrument. To free those who must live He picked it up Soweto dawn Started blowing It is not for nothing Adept in his craft That there is all this pain What sounds Dawn is birth of day Oozing Birth of hope From a frail human figure’s horn Birth through pain The mellifluous notes For labour is pain Surpassing cadenzas It is time to rejoice And dropping It is time to rejoice Like ripples in a pond When the doors of prison Like musical cascades. Open wide Suddenly he stopped And boats cross Leaving us high… From the island On an open mike To the shores of the motherland With our feelings When those whose plaintive horns Dropped the horn Have been wailing in foreign lands In its original place Come back home And forward his back It is time to rejoice With his hands behind… Though the war is not yet won Soon very soon We shall talk here of a time Soweto Dawn When the sad music of the guns BY ZAKES MDA Has finally ceased And the smell of sulphur Has drifted beyond the horizons It is dawn in Soweto Of this long suffering land A blanket of dense smoke Then we shall march hand in hand From a million chimneys To rebuild these smouldering ruins And smouldering charcoal braziers Rejoice! Thabang Suffocates our little matchboxes We call home FROM: SAXOPHONIST MIKE Soweto dawn MAKHALEMELE’S ALBUM, THABANG (TUSK MUSIC, 1997)

10 JAZZ LIFE SPRING 2014/SUMMER 2015 VENUES

OWN THE JOY

0 25 – 27 September 2014 2 Sandton Convention Centre Tickets are available at a 15% discount for all Standard Bank card holders. (Terms and conditions apply) Book now at Computicket. For more information visit www.standardbankarts.com www.joyofjazz.co.za

Authorised financial services and registered credit provider (NCRCP15). The Standard Bank of South Africa Limited (Reg. No. 1962/000738/06). Moving Forward is a trademark of The Standard Bank of South Africa Limited. TM SBSA 182207/M-Omar-8/14 Moving Forward JAZZ LIFE SPRING 2014/SUMMER 2015 11 VENUES

Jonas Gwangwa performing at the 2014 Standard Bank Joy JAZZ LIFE SPRING 2014/SUMMER 2015 of Jazz in 12Sandton. Picture: Kenneth Matlala/Joy of Jazz JONAS MOSA GWANGWA Headlines Standard Bank Joy of Jazz

WORDS: SAM MATHE • PHOTOGRAPHY: KENNETH MATLALA/JOY OF JAZZ

“Jonas Gwangwa’s life experiences are vast. He has seen life’s sunshine and shadows and he has learned about himself along the way. The tales he tells through his music come from the heart. In this day and age when creative, sincere musical statements are often overlooked in favour of whatever is hip and new, it is the love of his craft and dedication to his beliefs that makes Jonas Gwangwa unique and places him in a league with a very select few in modern music.”

HESE POIGNANT plays are the results of years of about the local jazz scene is observations were struggle and self-examination.” that while there is no shortage uttered by the late Over the years Gwangwa’s of male talent, there is also an Koloi Lebona, arguably virtuosity and dedication abundance of talent among TSouth Africa’s best loved to his craft as the country’s young women. Those who are producer who was instrumental preeminent trombonist, not musicians appreciate jazz in crafting some of the best composer and singer has made and support shows like Joy of jazz and African music albums, him the headline act at the Jazz. The downside to all these including Jonas Gwangwa’s Standard Bank Joy of Jazz and is that there is a lack of jazz 2001 album, Flowers of the other major jazz concerts in venues – something I have been Nation. “While Jonas possesses the country and abroad. “Joy complaining about for years the facility and command that of Jazz has always featured since I returned from exile in certainly places him up there an impressive line-up of some 1991.” among the contemporary voices of the best talents across the Arguably the greatest of the trombone, I do not believe world,” he says. trombonist to have come out of that is what makes his music “It is therefore a pleasure to this country, Jonas Gwangwa unique,” he continued. be associated with an event of was born in Orlando East on “The melodies he writes and such stature. One of the things 19 October 1937 into a family the passion with which he I have observed over the years of pianists. In his boyhood,

JAZZ LIFE SPRING 2014/SUMMER 2015 13 COVER STORY

“Jazz artists like Kippie Moeketsi struggled to have the music recognised. Apartheid authorities regarded jazz as the music of the revolution and were determined to stamp it out.”

his parents exposed him to Gwangwa takes credit for in February 1960 during the the marabi music of pioneers the band’s name after being production’s London Griffiths Motsieloa and Peter declared the winner of the tour and went on to distinguish Rezant’s Merry Blackbirds. He naming contest. Although this himself on international stages idolised Kippie Moeketsi and was a band of schoolboys, they until his return three decades Mackay Davashe, two of the were regarded as a classy outfit later in the early 1990s. leading lights during township that could hold its own with After King Kong’s run he jazz’s golden era in the fifties. established bands. followed to the “These two were exceptional He later distinguished United States and furthered clarinet players who went on to himself as a member of the his studies at the prestigious become great composers and famous Jazz Epistles alongside Manhattan School of Music saxophonists.” his idol Kippie Moeketsi in New York. One of his high His favourite instrument was (alto sax), Makhaya Ntshoko profile performances in those a clarinet until humanitarian (drums), Dollar Brand (piano), years was in 1965 at Carnegie and anti-apartheid cleric, Johnny Gertze (bass) and Hugh Hall alongside fellow expatriates Father , gave Masekela (trumpet). The Jazz Miriam Makeba, him a trombone. “I grew up to Epistles were the first South and . In the love the instrument. African band to release a jazz 1970s Gwangwa, Caiphus Part of the passion came LP, Jazz Epistles - Verse 1. “In Semenya and Hugh Masekela through the brass music of the fifties we used to organise came together to form a jazz Glenn Miller and there were jazz shows in the city at venues combo called the Union of a lot of Glenn Miller-type like City Hall, Selborne Hall and South Africa. bands in the fifties.” Although Wits Great Hall. But eventually Their album, Hugh Masekela the trombone was a favourite the Group Areas Act made it & the Union of South Africa, instrument with big bands, impossible for African artists to was released in 1971 under Gwangwa has distinguished play in the city.” Masekela’s Chisa label. It himself as the first local “Jazz artists like Kippie showcased the music of their musician to play it in small Moeketsi struggled to have the township upbringing and combos. music recognised. Apartheid caused an immediate sensation His first school band was The authorities regarded jazz as with tracks like Johannesburg Huddleston Jazz Band which the music of the revolution and Hi-Lite Jive, Shebeen, Caution, included fellow students Zakes were determined to stamp it Dyambo (The Sun) and Mamani. Mokae, Stompie Manana and out. It was music that united In later years, recalling a cousin, Hugh Masekela – all people across the racial divide Father Huddleston’s advice to classmates at St Peter’s in and therefore dangerous.” remember the role of culture , Johannesburg. Gwangwa was forced into exile in the liberation struggle,

14 JAZZ LIFE SPRING 2014/SUMMER 2015 COVER STORY

Gwangwa served on the ANC’s made by artists. “Amandla was jingles. A much-vaunted cultural desk as chief composer, on the road for ten years but example is the score and theme arranger and music director today culture is treated like song for Richard Attenborough’s of Amandla, the then banned an orphan of the liberation film, (1988), based liberation movement’s cultural struggle.” Since his return to on journalist Donald Woods’ ensemble. South Africa in 1991 he has friendship with Steve Biko. “Amandla toured over fifty re-established his colourful The score, which he created countries on all continents. We career with some help from with George Fenton, earned took South African culture to a formidable crop of jazz him several achievements, the rest of the world and made instrumentalists who constitute notably an Oscar, Golden the international community his band – the late Glen Mafoko Globe and Black Emmy aware of the evils of apartheid. (bass), Sabelo Mtshali (piano), nominations. Other notable Amandla was a showcase of Mzamo Bhengu (trumpet), achievements include the first South African culture in all Godfrey Mgcina (drums), theme song for the TV soapie its vibrancy – poetry, dance, Babes Ndamase (drums), Generations, soundtrack for theatre and of course music.” Kenny Mathaba (guitar), Khaya feature film, Soweto Green Highlights with Amandla Mahlangu (saxophone) and (1995), theme song for Dali included leading them in a Arthur Tshabalala (keyboards). Tambo’s now-defunct M-Net performance during Nelson While his talents as a variety show, People of the Mandela’s historic 1988 composer of enduring jazz South, a soundtrack for the Birthday Concert in Wembley, melodies are beyond dispute, British film version of Othello London. Gwangwa has also made a (1990) and a theme song for He adds that the ensemble significant contribution to etv news bulletin. In 2012 he raised millions of dollars for the country and indeed the was honoured with a Lifetime the liberation movement, but world’s popular culture as a Achievement Award by the feels that the current political formidable composer of film Arts and Culture Trust for his establishment seems to have soundtracks, theme songs contribution to South African forgotten the contributions for documentaries and radio music.

DISCOGRAPHY

• Diphororo (Sony, 1994) • A Temporary Inconvenience (Sony, 1999) • Songs from Exile (Sony, 2002) • Flowers of the Nation (Sony, 2001) • Live At the Standard Bank Joy of Jazz Festival (Sony, 2006) • Kukude [lapho sivela khona] (Sony-BMG, 2008)

Jonas Gwangwa with his wife, Violet Gwangwa and Father Trevor Huddlestone in 1991 in London.

JAZZ LIFE SPRING 2014/SUMMER 2015 15 VENUES ADVERTORIALCOVER STORYFROM PAGE 3

business of music. The centre runs run on a monthly basis. guidance in everything they need a series of outreach programmes These outreach programmes to know about the music business. with the aim of unearthing and also serve as a platform for A talent search named the Eastern developing young musical talent interactive sessions with Cape Jazz Mentorship Programme in the province through a series established artists and industry has been established with the aim of workshops on the business of insiders, which help to identify of forming the best jazz ensemble music as well as talent searches students’ needs, offer advice and in the region.

THABANG CHARLOTTE MAMPANE A life dedicated to the airwaves and the arts

Charlotte Thabang Mampane, CEO of the National Lotteries Board Pictures: courtesy of National Lotteries Board

CHARLOTTE THABANG early 1980s black television was when she started her job as a MAMPANE’S pioneering roles in a novelty for the majority of junior presenter. “She was a pillar radio and selfless dedication to viewers in South Africa. “I wanted of support for me and became improving the airwaves has never to become part of it. So after my mother, sister and mentor,” been properly documented in completing my university studies, recalls the married mother of two. local media. Born in Kimberley, I applied at the SABC for a job as Her first programme Dikolong Tse Northern Cape, in a family of a presenter,” she remembers. “But Dipotlana (Primary Schools) was an teachers – both parents and the bosses had other plans for instant success and a hit with the all siblings were teachers – she me. I was advised to audition for a younger set. It earned her an Artes charted her own career path when presenting job on radio. And that’s Awards nomination in the category she chose broadcasting, much to how I eventually became one of of Best Children’s Programme. her parents’ disapproval. “I was an Radio Setswana’s broadcasters.” Her next slot covered women’s ardent Radio Setswana listener and In 1983 broadcasting was issues and career guidance. “I was used to enjoy the legendary Gertz a largely male-dominated always interested in programmes Komane’s jazz programme, Jazz environment but she says it with a live and interactive format Ka Gertz (Jazz With Gertz),” she was a blessing to have worked because I believe broadcasting is recalls. with veteran female announcer, about taking radio to the people,” But she was interested in a Keabetswe Komane, who she remarks. And thanks to her job as a TV presenter. In the welcomed her with open arms visionary spirit and pioneering

16 JAZZ LIFE SPRING 2014/SUMMER 2015 VENUES approach to broadcasting, she on career development. Her role important to develop young talent says she was able to engage more in the development of Setswana in scriptwriting and acting. It was meaningfully with her listeners radio dramas earned her a also crucial to transform dramas through phone-ins at a time when position of manager in the drama, to help develop and empower they were still unheard-of. “I was language and culture portfolio. listeners socially, economically also interested in technology and “The principal role of radio is to and politically. In 1987 we set a how it could enhance radio as a educate, inform and entertain. Our trend for other stations when we broadcasting medium.” dramas have always been popular launched the first SABC radio Within two years she was with our listeners, attracting soapie.” promoted to a special portfolio more audiences. Therefore it was

THABANG CHARLOTTE MAMPANE IN BRIEF: Achievements, Accolades & Academic Qualifications

Current position language and cultural issues • Redefined and positioned the CEO of the National Lotteries (1983-1994) regions portfolio of the SABC to Board from 17 September 2012. • Telkom Limited – Manager of the provide broadcasting services in audio visual section (1994) various provinces. Last position • The Independent Broadcasting • Established the strategy, risk and Acting Chief Operations Officer Authority – special adviser to the procurement units of the SABC. of the South African Broadcasting CEO (1995) • Developed the new vision and Corporation responsible for • SABC – General manager of strategy for the SABC with the editorial policy and regulatory regional radio services (1996- Group CEO in 2006. affairs. 1999) • Led the team that developed the Academic Achievements • SABC – Chief executive of radio broadcasting strategy and plan services (1999-2001) for the 2010 Soccer World Cup. • Bachelor of Arts in Public • SABC – Head of regions (2002- Administration and Political *Former memberships 2005) Science (University of the North, • Executive director and member • SABC – Group executive in Limpopo) of the remuneration committee the office of the Group Chief • Bachelor of Arts in Public at Astral Foods Limited. Executive and regions (2005- Administration (Honours), • Former chairperson of NICRO 2007) University of South Africa. and the National Film and Video • SABC – Acting chief operations • Masters Degree in Management Foundation. officer (2007-2010) (P&DM), Wits Business School • Member of the Technology for • General Management Certificate Key Achievements in Women in Business (TWIB). (Wits Business School) Broadcasting • Member of the National • Executive Development • Pioneered live broadcasts Association of Broadcasters Programme (Wits Business from recorded tapes, a highly (NAB). School) interactive format which was • Founder member of the Moral • Business Executive Coaching followed by other radio stations. Regeneration Movement, chaired (Wits Business School, 2012) • Developed a new generation of by Father Smangaliso Mkhatshwa. scriptwriters and actors. Key Positions Held Over the *She has since resigned from all • Spearheaded the incorporation Years board engagements to focus on of radio services of former • Human Sciences Research her current role. independent states into the SABC Council – Assistant technical to form one national public officer for research (1982) broadcaster. • SABC – Manager of drama,

For more details on how to apply for funding visit the National Lotteries Board website www.nlb.org.za

JAZZ LIFE SPRING 2014/SUMMER 2015 17 VENUES

Peter Tladi, founder of T-Musicman and the Standard Bank Joy of Jazz Festival addressing guests at Montecasino, Fourways, during JAZZ LIFE SPRING 2014/SUMMER 2015 Sibongile 18Khumalo’s birthday concert. Picture: Emmanuel Mohlamme Standard Bank Joy of Jazz Festival A MUSICAL HISTORY

WORDS: SAM MATHE • PHOTOGRAPHY: KENNETH MATLALA/JOY OF JAZZ

OR SIXTEEN YEARS crowds have given them the an awe-inspiring jazzy odyssey the Standard Bank confidence to aspire for lofty travelled by its pioneering and Joy of Jazz Festival achievements. enterprising founder, Peter Tladi has been at the In this regard it provides of T-Musicman. Fapex of international jazz youth development projects entertainment. As the most such as music workshops and THE ROAD TO JOY prestigious arena for live the Standard Bank National OF JAZZ music and a landmark event Youth Jazz Band, the most for musicians to display their significant development youth Until recently the festival performance skills, Joy of initiative in jazz in South had a permanent address Jazz has hosted most of the Africa. Charitable initiatives at the Newtown Precinct, world’s exceptionally gifted jazz such as Jazz Cares are proof Johannesburg. But the idea of practitioners – from swing and of the festival’s compassionate staging the biggest international bebop grandmasters to the nature while a forum such as jazz festival on the continent hottest prospects of Afro-jazz the Breakfast Colloquium are began on the Vaal River in and avant-garde. a poignant expression of the 1994 when a cousin, Paseka The diversity of the festival’s festival’s intellectual content Jobo, invited Peter Tladi to a line-up has seen its stages and discourse on cutting edge picnic on the river bank’s lush being graced by some of the themes such as jazz’s cultural and picturesque surroundings. biggest names in secular music significance on the country’s “I have been influenced a lot – from the sultriest sirens of musical landscape. by the New Orleans live jazz soul to the continent’s World But how did a live show of scene and when I was there Music superstars. But the 20 acts at the State Theatre enjoying the beautiful scenery, festival has not only acted as sixteen years ago evolve into images of New Orleans jazzmen a draw-card for some of the one of the world’s best known playing outdoors along the great illustrious names in the jazz festivals with over 1 500 acts Mississippi River flashed on my iconography, it has also become in 2014? To understand Joy of mind,” Tladi recalls. a nursery for rising stars whose Jazz’s humble beginnings and So what started innocently experiences in front of big phenomenal growth, join me on enough as an outing with a

JAZZ LIFE SPRING 2014/SUMMER 2015 19 MAIN FEATURE

relative planted a seed in the Victor Ntoni, Moses Molelekwa Department of Arts and Culture mind of the enterprising concert and Moses Khumalo. became another major sponsor. promoter and germinated Two of the country’s greatest Over thirty festival supporters into what famously became female vocalists who emerged and service providers in the known as Jazz by the River in from the Sophiatown era, form of restaurants, hotels, Dickinson Park, Vereeniging. Miriam Makeba and Dolly beverages, car brands, catering In 1995, when the fledgling Rathebe, were also part of and events management jazz event was in its second the Joy of Jazz experience. companies have made it year running, Hugh Masekela Tladi was also instrumental in possible for Joy of Jazz to was employed as an assistant staging historic concerts that consistently be a world class CEO of the State were headlined by top pop and jazz experience. Theatre. “Bra Hugh was having gospel acts such as Brenda This solid financial support a tough time trying to get black Fassie and – base has contributed to it audiences on theatre seats and musicians he knew very well as being the biggest job creator wanted someone who could some of those whose careers he of its kind, with 5 857 offer a helping hand in this has launched when he was a employees in 2013 compared regard,” he recalls. marketing director at EMI. Two to approximately 500 in T-Musicman, an artist memorable albums and videos 1997, a year when the festival management company founded released by EMI resulted from showcased 20 acts that in 1989 with the aim of growing these historic shows: Brenda performed in front of 1 800 the country’s live music scene Fassie: Live at the State Theatre music lovers, a tiny figure into a dynamic sector of and Rebecca Malope: Live at the compared to a record 24 000 the entertainment industry, State Theatre – both released in audiences who turned up in opened an office inside the 1996. 2013 for the sixteenth edition State Theatre, a move that “These were great moments of the Standard Bank’s flagship marked the launching of the in the history of T-Musicman. jazz event. It has effectively State Theatre-sponsored Joy of But the finest hour for me was become a major contributor to Jazz series in 1996. “The first also in 1996 when we staged the province’s GDP. shows were staged in the small a live performance of Miriam “Sponsorships will always 200-seater Theatre Rendezvous Makeba and Hugh Masekela. determine how far initiatives go. and were incredibly popular, What was significant about For 16 years, Standard Bank attracting the best jazz acts in that show was that it was their has been a major sponsor of the country, including Hugh last collaboration on stage. Joy of Jazz, and it’s important Masekela, Don Laka and Zim Unfortunately the video that to acknowledge the difference Ngqawana,” he recalls. resulted from that performance they have made through “They ran from Tuesdays never reached many music their continued support in to Sundays and were always lovers the way the Rebecca maintaining the highest quality packed affairs. The following Malope and Brenda Fassie ones and standard of jazz that we year the number of audiences did,” he explains. have created together. The bank had grown phenomenally, has consistently demonstrated so we took the festival to the THE FESTIVAL its loyal support of the arts and 800-seater Dramas Theatre.” MOVES FORWARD in the case of Joy of Jazz, it has Some of Mzansi’s finest jazz always been up to T-Musicman talents who graced the Joy In 1998 T-Musicman and to stage the festival properly of Jazz stages in the early Standard Bank signed a for the bank to give us its years included the late Allen sponsorship deal which unwavering support,” says Kwela, Mankunku Ngozi, Mike contributed significantly to the Tladi. Makhalemele, Sipho Gumede, festival’s increasing growth The bank’s former group Bheki Mseleku, Robbie Jansen, and international profile. The chief executive, Jacko Maree

20 JAZZ LIFE SPRING 2014/SUMMER 2015 MAIN FEATURE

sums as being relevant to hospitality tents. to convince top international the major societies in which With names such as Mbira, jazz acts to sign them for we operate. It’s important for Dinaledi and Conga stages, the performances in South Africa. us not just to be seen to be marquees reflect the festival’s But the festival’s growing global providing banking services and African identity and pride in popularity has tipped the scales making money. Because we the country’s rich jazz heritage. in our favour. Standard Bank have been such an integral part Turbine Hall, another iconic Joy of Jazz has become a big of South Africa for 150 years, structure at the precinct that brand of international repute. we have to do a number of had become a derelict building This means that our job of things that show that we have and a home for the homeless compiling a festival line-up and a sense of responsibility for and drifters, was refurbished trying to get them on board has the communities in which we and hosted top international been made easier by the fact operate.”tandard Bank’s senior smooth jazz acts like Earl Klugh that now we get requests from manager of group sponsorships, and Kirk Whalum. musicians themselves to come Hazel Chimhandamba, says the Joy of Jazz’s first and perform – musicians who festival has firmly put South international acts included come from all corners of the Africa on the international jazz Americans Marion Meadows world.” map. “We are proud to sponsor (saxophonist), Bob Baldwin And over the years Joy an event that celebrates jazz in (pianist) and British trombonist of Jazz has provided a the heart of the City of Gold. Annie Whitehead. They literally solid platform for most of It is our flagship jazz event set the tone for the festival’s international jazz’s statesmen/ and allows us to connect with future international line- women, Grammy winners, our customers, offering them ups and returned in 2009 rising stars and hall of famers. a unique way to experience to celebrate ‘10 years of jazz All these have represented the our brand in sharing in the excellence’ alongside household genre in all its manifestations enjoyment of jazz.” South African names such – straight-ahead jazz, post-bop, as Jonas Gwangwa, Judith Latin jazz, smooth jazz, swing A PERMANENT Sephuma, Brian Thusi, Vusi and township jazz alongside ADDRESS FOR THE Mahlasela, and popular styles such as soul, FESTIVAL Jimmy Dludlu. R&B and . Opera “One of the numerous and classical music have also When the Standard Bank Joy highlights of the festival was been represented through of Jazz moved to the Newtown in 2000 when a relatively exciting outfits such as the Cultural Precinct in 2000, it unknown Annie Whitehead Johannesburg Youth Orchestra, was a big cultural boost for the brought the roof down inside Afro Tenors and the Soweto City of Joburg. The precinct, a a packed Kippies. Her exciting String Quartet. landmark cultural mecca, has performance inspired me to The festival’s ultimate been home to iconic venues like introduce surprise acts for headline act was New Orleans- the Market Theatre, Kippies successive editions of the born trumpeter and nine-time Jazz International and the festival, which has since Grammy winner, Wynton Bassline for over three decades. become a trend. Much as it is Marsalis who graced the festival These became ideal cultural important to bring ultimate jazz in 2011. spaces to host became the city’s giants like Wynton Marsalis, “Wynton Marsalis’ sterling ultimate jazz extravaganza. it has always been a necessity performance represented the With the passage of time, the to introduce new or relatively peak of the festival, which was marquees were pitched to unknown musicians who are attended by 22 800 music accommodate the increasing nevertheless world class. lovers,” says Tladi number of performers and “During these formative audiences while also used as years, it was always a hurdle

JAZZ LIFE SPRING 2014/SUMMER 2015 21 MAIN FEATURE

TIPS AND TRICKS international jazz luminaries they demonstrated a better FROM THE JAZZ have facilitated these swing than their American MASTERS workshops at various music counterparts in US colleges. Community outreach projects schools. One of the highlights like the jazz workshops have of these workshops was in 2006 SWINGING WITH been a mainstay of the festival when Branford Marsalis visited JAZZ GREATS for several years. The objective the Music Academy of Gauteng is to expose jazz students in Benoni where he presented Duke Ellington’s classic and young musicians to a talk titled ‘the soul of the composition, “It Don’t Mean jazz education with the aim saxophone’ and later performed a Thing If It Ain’t Got that of introducing them to the with the resident band, the Swing” is a perfect metaphor music industry as fulltime Youth Jazz Orchestra. Another for similarities in jazz and practitioners. The workshops’ distinguished US musician golf. Both rely on painstaking curriculum includes music who visited the academy was practice, focus and precision theory, performance techniques Thelonious Sphere Monk, to achieve perfect results. and the business of music. drummer and son of celebrated “Although golfers are generally These workshops have become pianist Thelonious Monk. competitive, there is synergy popular platforms for their Not only was he impressed between golf and jazz,” says edutainment value for young with the orchestra’s Kedi Mooi, who is the organiser musicians. playing technique, he also of the Standard Bank Joy of Over the years a number of famously remarked that Jazz Golf Day.

22 JAZZ LIFE SPRING 2014/SUMMER 2015 MAIN FEATURE

“Like jazz, golf can be Webster (2012) followed. The for their performances at these addictive. There is the drive at year 2013 was a historic super sessions.” being good at what you do. Golf one for the accolades when grows on you as you always five leading ladies of song – A PEOPLE’S try to be the best. But more Dorothy Masuka, Sathima Bea FESTIVAL important is that as no noise is Benjamin, Thandi Klaasen, tolerable when listening to jazz, Abigail Kubheka and Sylvia The compassionate face of there is no more peaceful place Mdunyelwa – were honoured. Joy of Jazz is expressed than a beautifully manicured through a social responsibility fairway. On the course you are THE JAZZ programme called Jazz Cares. consumed and you forget who DISCIPLES The programme targets the you are.” elderly, disabled and people It is a result of this affinity Jazz appreciation societies working in hospices and between jazz and golf that have become an integral orphanages. The beneficiaries organisers of the Standard feature of South Africa’s receive material comforts and Bank Joy of Jazz Festival jazzscape. Members attend musical entertainment that decided to stage a golf day – Sunday sessions where iconic is normally enjoyed by the which has become an ideal jazz artists are played and privileged. The first to benefit networking opportunity between new releases are shared. from this programme were the jazz aficionados and golfing These social gatherings also residents of Alexandra who enthusiasts. The highlight of serve as forums where jazz- were entertained at the East this prestigious event is a gala related issues are discussed Bank Community Hall in 2011. dinner that involves prize giving and debated. An important In 2013 it was the turn of 277 with a headline act. Launched milestone in the evolution of pensioners from Diepsloot to be in 2010 at the Woodmead Golf these organisations was the pampered with hot jazz, food Course, the golf day aims to formation of a national body and an assortment of gifts. introduce the golfing fraternity named the South African Jazz to the jazz festival. Appreciators Associations THE BREAKFAST (SAJAA) on 10 August 2013 in COLLOQUIUM JOY OF JAZZ . SALUTES JAZZ Peter Tladi says the This intellectual platform was GIANTS associations are an important created in 2008 to host experts platform to promote jazz and industry leaders who speak In 2010 the festival extended appreciation through live on a variety of topical issues. its cultural footprint as an shows. “We have fostered The theme of the 2013 edition event that is committed to an ongoing professional was ‘the cultural significance the recognition of music relationship with them. of jazz as part of South Africa’s ambassadors who have made Through a campaign called national heritage’. Advocate a sterling contribution to the The Road to the Joy of Jazz – a Sonwabile Mancotywa, CEO of country’s rich jazz heritage series of concerts that showcase the National Heritage Council, when it introduced the upcoming genuine talent – delivered the keynote address. Standard Bank Joy of Jazz members of jazz clubs can enjoy Topics in the previous seminars Honours. The first honours live music known as super included ‘the economic and went to Hugh Masekela, sessions. The Road to Joy of cultural impact of a jazz festival Caiphus Semenya and Jonas Jazz has become an important to a city’ and ‘the importance Gwangwa. Jazz personalities element of the festival’s brand of music education for jazz Mesh Mapetla and Don Albert and a key contributor to musicians. Speakers on these (2011); Fitzroy Ngcukana, job creation as these young topics included Allen Webster, Johnny Mekoa and Alan musicians benefit financially director of the Grahamstown

JAZZ LIFE SPRING 2014/SUMMER 2015 23 MAIN FEATURE

National Arts Festival and Dinaledi, Conga and Mbira – in numbers. Seton Hawkins from Jazz at line with jazz festivals around “We are projecting nearly Lincoln Centre, New York. the globe. 30 000 people attending this The move from cultural year and we will be taking SUBURBAN BLISS Newtown to corporate Sandton the festival to greater heights In 2014 a new chapter in the was a necessary development at its new home for the next history of the festival was after the former has reached its five years. The move to the opened when it moved to a full capacity and no longer able Convention Centre has multiple new venue – the Sandton to expand to accommodate the benefits. It allows us to grow, to Convention Centre – with new growing audience numbers. In sell a full festival pass as well dates (September 25-27). The addition, extensive corporate as to improve sound, staging, new venue will allow the festival hospitality options will now be security and parking. We are to continue its phenomenal available given the extra venue also no longer at the mercy of growth and also means that, capacity. “Given the exponential the weather.” The first festival for the first time, audiences growth of the festival, the was critically acclaimed, with will be able to buy a full festival Sandton Convention Centre R&B legend Billy Ocean as one pass to the three main stages – allows us almost unlimited of the festival favourites. VENUES

YVONNE CHAKA CHAKA Launches Special Music Awards WORDS: SAM MATHE • PHOTOGRAPHY: PRINCESS OF AFRICA FOUNDATION

ESSION MUSICIANS seldom acknowledged by the recording studios to contribute and backing singers lead singers and bandleaders. to the bandleader’s next project. are the unsung heroes Occasionally a session musician Being a background musician of the music industry. or backing vocalist would is indeed a thankless and TheyS are the supporting release a gem of an album unheralded role. But in fact music acts whose role on which unfortunately would go they are the true stars of the both stage and studio hasn’t unnoticed. industry, the mainstay of both really been appraised, let But true to their selfless the live and recording circuit; alone appreciated. During live calling and unwavering very much instrumental in performances, press interviews dedication to their craft, time the success or failure of a lead and awards ceremonies they are after time they return to artist. They are always waiting

JAZZ LIFE SPRING 2014/SUMMER 2015 25 FEATURE

in the wings – ready to be in their own artistic creativity, passed on and she hopes to called for the next gig or studio providing national exposure and honour them posthumously. engagement. celebrating their gift of music She fondly remembers the late One of the session artists’ with fellow South Africans and Wings Segale, who gained fame greatest assets is artistic the wider world,” she says. in the mid-1980s as lead singer versatility – their ability to Apart from their gift of song, of Afro-funk outfits, Varikweru navigate seamlessly across backing singers are blessed and Thetha. Segale went on to diverse idioms and media that with a sharp ear for harmony, become one of the prominent include theatre, film and radio she says. “Backing vocalists are session musicians of his jingles. Without their artistic skilled in hearing harmony lines generation. input producers, soloists and over and around the music and Another special musician bandleaders are simply unable can vocally reproduce what they she intends to salute with to craft those best-selling and hear to create harmony vocal a special award is her dear award-winning masterpieces. line requiring written music friend and long-time backing One artist has decided to sheets or direction from the vocalist, Phumzile Ntuli who formally acknowledge backing or producer,” she died of malaria in 2004 after singers and session musicians explains. When she ventured a tour in Gabon, West Africa. by launching music awards in into the industry as a 20-year- Chaka Chaka hopes her awards their honour. And it is none old singing sensation in 1985, will also accord an illustrious other than the Princess of township pop was on the rise, bevy of backing vocalists their Africa, Yvonne Chaka Chaka, thanks to dynamic performers rightful place in the history of who recognised their selfless such as Chico, Brenda Fassie South African music. These but essential role in the music and Cheek To Cheek. include Mandisa Dlanga, industry. But Chaka Chaka took it Beaulah Hashe, Faith Kekana, “These are special artists who to another level and provided Stella Khumalo, Khanyo bring variety into one’s music the professional rivalry that Maphumulo and Marylin and enhances one’s artistry,” until then Fassie didn’t have. Nokwe. Some like Girly Mafura, she says. “Without their input I As a young and shy songbird went on to become solo stars in don’t think I would have made it she enjoyed the backing – in their own right. as a recording and stage artist. every sense of the word – of “The purpose of the I was young and inexperienced a formidable and seasoned awards is to provide greater when I became a professional line-up of session musicians opportunity and recognition for musician and they were there like Teaspoon Ndelu (sax), backing vocalists and session to guide me. I owe my success Wings Segale (vocals), Al Etto musicians,” she continues. The to them. Today I look back and (keyboards), Jaws Dlathu awards event will be staged appreciate their guidance. It has (guitar), Zoli Bacela (guitar), annually on a date separate been ten years since I conceived Vusi Khumalo (drums) and Attie from the South African Music the idea of honouring them.” van Wyk, who played keyboards Awards or any other event The result is the Backing and was also producer and that currently recognises Vocalists and Session Musicians songwriter. contribution by successful Awards (BVSM Awards), to Van Wyk wrote and produced music artists. Preferably this be launched in September I’m in Love with a DJ, the 1985 date should be during the (Heritage Month) this year. hit single that launched Chaka month of September when “Their personal and professional Chaka’s illustrious career. It South Africa celebrates Heritage contributions have over the turned gold within a week of Month. The first event will years created opportunities of its release and went on to sell be held at the State Theatre, pride and musical excellence over 80 000 copies in the next Pretoria on 22 October 2014. and the awards will be a way of few months. Sadly, some of honouring them, fostering pride these musicians have since

26 JAZZ LIFE SPRING 2014/SUMMER 2015 FEATURE

CATEGORIES What Fellow Musicians OF AWARDS Said About The Awards: The awards will cover a wide range of genres “It has always been my dream to see backing singers and including jazz, hip session musicians being honoured in this manner. Yvonne hop, gospel, maskandi, has been talking about launching these awards for years, but , boeremusiek, I was sceptical. I respect her for this noble initiative because gospel and kwaito. They we are the engines of this industry.” – Faith Kekana, seasoned will also consider gender backing singer. She will back Angelique Kidjo during a Miriam parity as well as recognising Makeba tribute concert at Carnegie Hall, New York later this year the golden oldies from with fellow backing singers Stella Khumalo and Zamo Mbutho. the past decades – 1960s to 1980s – while also “I have worked for years with Yvonne and I know her as a taking into cognisance person who always strives to do things to the best of her the growing talent in abilities. She likes to associate herself with success. Therefore contemporary music. The I have no doubt that she will achieve this feat. I believe it is a following categories are great idea although personally I don’t support music awards. being considered for the awards: But Yvonne has my blessings.” – Rollins Lolo Mankge, pianist, multi-instrumentalist and composer who has performed, recorded • Best Female Backing and toured extensively with the Princess of Africa as a sideman Vocalist (studio and live) before launched a solo career. • Best Male Backing Vocalist (studio and live) • Best Session Musicians “This is the best thing that has happened to us backing • Best Lead Guitarist singers. To be acknowledged by a successful and well- • Best Bass Guitarist travelled musician like Yvonne means a lot to us. I wish • Best Brass Section and other successful soloists and bandleaders will think like her Drums because we have been instrumental in crafting their careers.” • Lifetime Backing Vocalist – Mandisa Dlanga, singer and dancer who has worked with an (male and female) array of local and international artists including Yvonne Chaka • Lifetime Session Musician Chaka, , Hugh Masekela, Stimela, Jennifer Rush and (male and female) . She recently released her debut solo album titled The • Best Backing Vocalists of Dawn. the 1960s, 1970s, 1980s, 1990s and 2000s (males and female) “Yvonne Chaka Chaka has always been a person who takes • Rookie of the Year – musicians into heart – not only recording artists but session Backing Vocalist (male and musicians as well as the people who actually make music female) sound good especially for the lead singers because without • Rookie of the Year – session and backing musicians there’s no good music. She Session Musician (male is someone who has always looked after fellow musicians and female) emotionally and financially while at the same time mentoring young artists about the business of music.” – Bernice Boikanyo, drummer and bandleader who has played with Yvonne Chaka Chaka as a session artist.

JAZZ LIFE SPRING 2014/SUMMER 2015 27 FEATURE

TIMELINE

1986 ▶ Yvonne’s first under the baton of respected performances beyond the borders conductor Richard Cock. of her motherland begin in 1995 She returns to Sun City to Namibia during the Windhoek ▶ participate during the Women of Lager Music Festival alongside the World Unite Against Drugs and fellow South African artists Chicco War concert. and Johnny Clegg. She then performed at ’s Rufaro 1996 ▶ She expresses her passion Stadium, in front of a for the African continent with the capacity crowd of 25 000 fans and release of The Power of Africa. heads of state from other African 1997 Yvonne Chaka Chaka countries. ▶ qualifies in speech and drama 1987 ▶ She makes a return to from Trinity College, London. She television when she launches an releases Bombani (Tiko Ra Hina), acting career on the Zulu drama a landmark album produced by series Ifa La KwaMthethwa as a Sello Twala and Abraham Sibiya. young heiress. She tours Europe It contains the Shona hit Kana and the US for a month and a half. Uchechema.

1988 ▶ Her adventures in the heart 2000 ▶ Receives the African 1965 ▶ Born on 18 March in of Africa begin on 11 October Woman Achievement Award. Dobsonville, Soweto to Phuti when she landed in Nairobi, Kenya 2001 Named one of the Top 100 Habakkuk Machaka and Sophie with eleven band members as ▶ Heroes of South Africa by the Star Machaka. guests of President Daniel Arap newspaper. Moi. 1978 ▶ The late Reverend Samuel 2002 ▶ Joins 702 Radio as a talk- Modise of the International 1989 ▶ Chaka Chaka is welcomed show host alongside household Pentecostal Holiness Church to the Congo like royalty where name John Robbie. (IPCC) identifies her among 500 she was invited by Zairian young church members as one president Mobutu Sese Seko for 2003 ▶ She wins a kora at the who would one day travel the a series of live shows in Kinshasa, Kora All Africa Music Awards in world and sing for royalty and Lubumbashi and in Congo- the Best Arrangement category presidents. Brazzaville. She establishes her for her sixteenth album, Zibuyile own company, Chaka Chaka Izinkomo, a recording of 1982 ▶ She becomes the first black kid to sing on national Promotions cc. consummate musicianship and fine artistry. Produced by Abraham television during a talent search 1990 ▶ She thrills 200 000 Sibiya, it features Sipho ‘Hotstix’ contest and impresses viewers revellers at a concert in Lagos, Mabuse’s mellow and sensual with her rendition of Brook Nigeria where she was invited for saxophone. Benton’s song, “Dear Mr Editor”. the first time to perform and film a launches an Aids-awareness Pepsi-Cola commercial. The soft 1984 Yvonne completes her campaign with a major concert ▶ drink company was looking for the matric and prepares herself for a scheduled for 29 November in continent’s most popular artist to singing career. . Chaka Chaka shares advertise their product. the stage with prominent African 1985 ▶ In February pop musician 1994 ▶ She participates in The musicians such as Angelique Kidjo, Pat Shange introduces her to Rhythms of Africa concert at Baaba Maal, Ladysmith Black Phil Hollis, recording mogul and Sun City Superbowl, one of the Mambazo as well as Johnny Clegg owner of Dephon Records. Later highlights of the live performances & Sipho Mchunu. that year she released her first on home soil alongside Abdullah hit single, I’m in Love with a DJ, 2004 Her song “Umqombothi” Ibrahim, Sibongile Khumalo and ▶ written by Attie van Wyk and from her 1988 album of the same the National Symphony Orchestra Herbert Xulu. name is one of the soundtracks of

28 JAZZ LIFE SPRING 2014/SUMMER 2015 FEATURE

the award-winning movie, Hotel in September, ahead of the and Youssou N’Dour. She also Rwanda. She loses best friend and Millennium Development releases a single titled Let’s Talk backing singer Phumzile Ntuli who Goals Summit and Global Fund (featuring Reason), about teenage suffered from cerebral malaria Conference. Both were critical pregnancy and HIV/Aids. after a performance in Gabon, meetings for world leaders to look West Africa. The experience at the progress and challenges inspired her to become UNICEF’s in meeting the global poverty goodwill ambassador against goals set for 2015. She is one AWARDS malaria. “I know first-hand the pain of the eight African artists to associated with losing a loved one perform in the United Nations • African Woman Achievement Award from this completely preventable Development Goals campaign • Autumn Harvest Music disease. This fight is personal for song for the 2010 FIFA World Cup, Personality Award me,” she says. Her song “Eight Goals for Africa” alongside • Dr Michael Cassidy Peace Angelique Kidjo and Oliver 2005 Releases her seventeenth Award ▶ Mtukudzi. and first gospel album, Celebrate • Kora All Africa Music Award Life to celebrate forty years of her 2011 ▶ Honoured in New York • OKTV Best Pop Music life and to mark twenty years in with explorer Kingsley Holgate Award • Pearl of Africa Music Award the music industry. She was also for their contribution to fighting • SAMA Award nominated for the Music of Black malaria. She later takes part in • SAMA Lifetime the Global Business Coalition’s Origin (MOBO) Awards alongside Achievement Award in the 10th anniversary, also attended by • South African Traditional Best African Act category. Sarah Jessica Parker and Richard Music Award (Satma) Branson. 2006 ▶ She launches the • Special Award by Munghana Lonene FM Princess of Africa Foundation 2012 ▶ Yvonne becomes the first to complement her work as African woman to receive the • World Economic Forum Crystal Award UNICEF and Rollback malaria World Economic Forum’s Crystal • Academic Achievements & goodwill ambassador in Africa. Award bestowed to artists who Accolades She performs at the Global Youth are dedicated to improving the • Certificate of speech and Summit at the United Nations in world through their works. She drama from London Trinity New York. also receives the prestigious Dr College (1997). Michael Cassidy Peace Award and 2007 Releases 18/28 featuring • Advanced diploma in adult ▶ is nominated for Women of the education (Unisa, 1997) Hugh Masekela, Jimmy Dludlu Week on 27 August on SABC3’s • Certificate of local and Ihashi Elimhlophe. She Expresso Breakfast Show. government, management experiences personal tragedy and administration (Unisa, following the loss of her beloved 2013 ▶ On Nelson Mandela Day 1997) mother, Sophie Machaka. (18 July), Chaka Chaka makes a • Goodwill ambassador for special appearance at the South Unisa (2003 to the present) 2008 She participates in the ▶ African season in France with • Ambassador for Nelson groundbreaking CarePack in the KwaZulu-Natal Philharmonic Mandela’s 46664 HIV/Aids Kenya, an HIV/Aids awareness Orchestra. In September she awareness campaign campaign that saw 50 000 rural performs at the South-South • An honorary doctorate residents testing for HIV status. Awards ceremony in New York degree in music from the University of KwaZulu-Natal 2009 Yvonne receives the SAMA where Nelson Mandela and Graca ▶ for her contribution and Machel were honoured with Lifetime Achievement Award at achievements in the music Sun City. She sings for the first awards for their humanitarian industry (2012). Nelson Mandela Day concert in contributions. • Gold & Platinum Discs New York City. 2014 ▶ She releases Amazing Man • I’m Burning Up (double platinum) 2010 ▶ Yvonne Chaka Chaka’s Deluxe, a path-breaking CD/DVD film, “The Motherland Tour – A recording that includes live and • I Cry For Freedom (platinum & triple gold) Journey of African Women”, studio songs. The album features • Motherland (double highlights global action on Ladysmith Black Mambazo, platinum) poverty and was released Zuluboy, Soweto Gospel Choir

JAZZ LIFE SPRING 2014/SUMMER 2015 29 BOOK REVIEW

IN TOWNSHIP TONIGHT: Three apartheid era. Centuries of South African Black In vivid detail, Coplan City Music and Theatre comprehensively explores Author: Professor David B more than three centuries Coplan of the diverse history Publisher: Jacana Media of South Africa’s black popular culture, taking his pioneering social readers from indigenous history of black South musical traditions into the TAfrica’s urban music, world of slave orchestras, dance, and theatre established penny whistlers, composing itself as a classic soon after its clerics, the gumboot publication in 1985 by Ravan dances of mineworkers, Press. As the first substantial and touring minstrelsy, history of black performing arts vaudeville acts; and of in South Africa, course the birth and In Township Tonight! was evolution of South African championed by a broad range of jazz. scholars and treasured by fans This up-to-date edition of of South African music. a landmark work will be welcomed by scholars Now completely revised, expanded, and of ethnomusicology and African studies, world updated, this new edition takes account of music fans, and anyone concerned with South developments over the last thirty years while Africa and its development. reflecting on the massive changes in South African politics and society since the end of the

David Coplan is professor in and chair of the Department of Anthropology at the University of the Witwatersrand. He is also the author of Lyrics of the Basotho Migrants and In the Time of Cannibals: Word ’s Basotho Migrants.

musicians, esoteric, philosophy, motivational, South African politics and other genres; music CDs, DVDs and art. But, if you are looking for inspiration, entertainment, deeper understanding of the ways of the world, gift At Xarra Books, the mainstream is the African ideas or simply how to prepare a fine African Book. You will also find a wide selection and dish, visit us at Xarra. We also sell quality rare titles by both local and international magazines on a variety of subjects including authors; best-selling novels, lifestyle manuals, music, lifestyle, sport and art. Xarra Books is biographies of sporting icons, legendary jazz the ultimate retailer for discerning readers.

We are now located at the Constitution Hill, 11 Kotze Street, Braamfontein, Johannesburg. Tel. (011) 403 0947

30 JAZZ LIFE SPRING 2014/SUMMER 2015 CD REVIEWS

MEADOWLANDS, their own musical footprints Makeba’s international career) STOLEN JAZZ with a unique, jazz aesthetic. and Malaika (a traditional Kheswa & Her Martians Cape Town-born pianist Kyle Swahili ditty made famous by Label: Xippi Phonorecords Shepherd is perhaps a perfect Mama Africa). example of a young artist who The title is derived has embraced his goema roots from Strike Vilakazi’s and the pianism of gurus like Meadowlands, a 1950s protest , but has song following the Sophiatown also crafted music that is forced removals. And uniquely his own. Kheswa’s voice is reminiscent Nonhlanhla Kheswa is a of the sultry sirens of that Johannesburg-born actress golden era of South African and singer who had taken jazz. But her interpretations Can Themba’s The Suit to of these songs are uniquely international stages with her hers. Her vibrant, wailing exceptional performance. On voice takes these standards this debut the New York-based to another, interesting level. f there is one significant artist shares a sizeable slice Her seven-piece band – all achievement that the of the great South African jazz Americans – is a well-drilled Inew generation of South discography with the world. ensemble that understands African jazz practitioners These include Tshona (Kippie the nuances of South African are doing, it has been the Moeketsi & Pat Matshikiza), jazz instrumentalists and reclaiming of their rich Ntyilo Ntyilo (an Alan Silinga plays with aplomb and Sophiatown-era jazz heritage classic that launched Miriam remarkable virtuosity. while at the same time leaving

TAKE NOTE . . . and The murmurings that swipes Journey Begins within humanity. Track 1 to Label: Isingqi Records 8 brings howling storms to Genre: Jazz the surface for a moment. These tracks speaks of love, - ‘uThando Lwam’, and they are ake Note is taking us to the voices of the downtrodden another level with their and the neglected Trecently released album, communities of South Africa, ‘...and The Journey Begins’, - ‘Bath’ asinamali, Afrika and which covers the full range ’, they make our of jazz styles from traditional inner being a mirror and a African to contemporary. The dance to the rhyme of the group is firmly established on Ncetani (bass), Siyabulela ancestors. the Port Elizabeth and around Mdebele (piano), Lefa Edward Track 9 to 12 is what jazz Eastern Cape jazz scene. Mosea (tenor sax), Sinethemba cats call jazz, here Take Note The 12 tunes are Mgebuza (alto sax) and Andile transcends from African beat transposed by six innovative Nomjila (drums). Their fusion to jazz standards. ‘Phakama, artists, and this album gives suggests a private journey to Fuse Blues, China Chino a taste of what each has to one’s own truth. Funk, and uThando Lwam’, offer. First up is Asanda Music is not just notes; it is notes becoming music, Mqiki (vocal), Sinethemba it is a great storm of soul- the sound of the heart beat

JAZZ LIFE SPRING 2014/SUMMER 2015 31 CD REVIEWS

returning to life of the living. chaos. She is a voice that the ride with these young cats Behind the music we have speaks to all the unsuspected from eBhayi, your problems a haunting voice of Asanda dimensions that make us both becomes lighter, they carry Mqiki, a voice that speaks to human and being touched by them with you. our joy, our relationships, the setting of the sun. BY AYANDA BILLIE our private lives and national The moment you are on

MAFTOWN BLUES – De distinguished him among the Gegana (bass), Albert Makhotla best composers, arrangers Brewin (drums), Majoro Label: Tsagae Music and saxophone players of his Makhotla (percussions), Production generation. Moabi Magomotso (bass), On this sophomore offering Pebble Mambane (keys), De Makhotla returns to his Themba Zakwe (trumpet) and Setswana roots with some Tsholanang Molefe (trumpet). catchy folk tunes while he Peter Selloane, David also showcases his versatility Leshomo and Andiswa on a variety of instruments – Mambane are outstanding saxes, flute, acoustic guitars, on lead and backing vocals. keyboards, percussions and This is a self-produced album vocals. that showcases the artist’s His trademark soulful proficiency on the reeds while saxophone jazz is evident at the same time expressing in several tracks, notably his passion for African folk No Place Like Home, A New music – which explains why t is exactly ten years since Day and Echoes of Africa – the album was nominated for De Makhotla released his which features Zimbabwean the SATMAs in two categories: Idebut Afro-Jazz album, guitarist Maxwell Vidima. Best African Jazz and Best Kgomodinaka – a work that Other artists include Mlungisi Setswana Traditional Album.

a celebrated and highly INNOCENT VICTIMS & PERPETRATORS – Lex respected jazz tradition – in Futshane this case a brand of South Label: Lexido Productions African jazz that was inspired by his rich Xhosa folk heritage. Tracks like Do You on’t be fooled by the Remember Dri/Somagwaza heavy, politically and Ngu Makazi are classic Dsounding title of this examples of Afro-Jazz created album. It is a work of art that in this tradition while the likes offers memorable cheerful of Iculo (A Song) offers the moments transported on album its cheerful, celebratory world-class jazz sounds. Lex Futshane is a master mood. It is the kind of jazz Seasoned bass player, at crafting exceptionally that commands the listener’s composer and music teacher beautiful compositions within full attention and faculties.

32 JAZZ LIFE SPRING 2014/SUMMER 2015 CD REVIEWS

Zola Futshane is outstanding Thandi Ntuli are class acts – an outstanding work that on vocals with a soulful, on the ivories while Mthunzi salutes a great jazz tradition understated delivery that Mvubu’s alto sax sizzles with while at the same time reminds one of the vocal jazz a virtuosity and maturity that pointing forward to the future pioneers of bygone years. blie his years. Percussionist possibilities of contemporary The musicians on this Samora Ntsebeza and jazz. album are a youthful drummer Siphiwe Shiburi ensemble of exciting talent. complete the line-up. This Pianists Yonela Mnana and is definitely collector’s item

INFORMATION – Estelle 1988 when she joined the like Canadian trumpeter Kokot crossover band, Rush Hour. Bruce Cassidy and the Label: Sony Music Their album, The Perfect late saxophonist Mike Makhalemele. Her 2001 azz singer and pianist SAMA-nominated album, Estelle Kokot is another Information features originals JSouth African artist such as Where is the whose repertoire is steeped Rainbow? And See You On in a proud jazz tradition. Her Sunday and standards like sweet, melodic and crystal Thelonious Monk’s Round clear voice has endeared her Midnight. to legions of jazz fans that But whether you are enjoy a great voice with piano listening to her own accompaniment. She made compositions or standards, her stage debut in 1987 at what is striking about her Kippies with Phambili, a music is its unique touch and resident band that was led by vocal range. This is partly the late and mentor Way, became a chart-topping due to the fact that she is Victor Ntoni. success on local airwaves a deft arranger of her and Other notable – catapulting the band to other composers’ music. If collaborations followed with whirlwind tours on the club, you are into vocal jazz that is esteemed acts like Barney festival and concert scenes. laid-back, soothing but rich Rachabane, Johnny Fourie She eventually embarked with poignant themes and and Bayete. Her recording on a solo career – performing messages, then this is the success was assured in and recording with artists album for you.

THE LIGHT OF DAY – Dave that originated in Trinidad Reynolds & Friends and Tobago and gave birth to Label: Caveman Music/Sheer Publishing the sweet sounds of calypso. Dave Reynolds’ combination of his trademark carnival his is the country’s sound of the steel drums steel pan maestro’s and the celestial sounds of Tdebut album – a work the harp is nothing short of that expresses his virtuosity innovative, groundbreaking on this special instrument and explosive.

JAZZ LIFE SPRING 2014/SUMMER 2015 33 CD REVIEWS

The electro-acoustic harp like sounds of the pans Himalayas. is played by the superbly complement the silky sounds In contrast, Malay Jam gifted Jude van der Wat, of the harp and create a and Breakfast Goema are a US-educated musician meditative state in the joyous compositions crafted who has played an array listener. in the proud tradition of Cape of unusual instruments in The fact that both Town’s street carnival music her twenty-year career as a instruments are percussive – the goema. A stellar line- well-travelled performer and in nature also strengthens up of guest artists includes recording artist. This is the their ‘bond’. On tracks like Pops Mohamed (kora), first time she has collaborated Hands in the Sand, Winter Mlungisi Gegana (bass), with a steel pan player – a Sun and The Ghosts of Bernice Boikanyo (drums), partnership that has created Platteklip Reynolds paints a (guitar), Frank a beautiful landscape for bleak landscape of sun-baked Paco (drums) and Tony Cox smooth listening. The bell- deserts and the snow-capped (guitars).

If you are interested in some of the albums reviewed here, Bra Eddie’s JUST CDs is the place to visit. The music shop sells quality jazz and related genres for discerning listeners. Address: 23 Jorissen Street, Braamfontein Centre, Shop No. 8/ 111 Commissioner Street Shop No. 26, Johannesburg, 2001 Tel: 011 337 4938 / 082 959 9488 Fax: 011 337 4938 Web: http://www.justcdmusic.co.za

34 JAZZ LIFE SPRING 2014/SUMMER 2015 Sakhumzi Restaurant A classy Soweto eatery with an authentic township flavour

WORDS: SAM MATHE

T IS A SPECIAL eatery approached by helpful car Sakhumzi for its traditional with a homely feel and guards and the vibrant street African dishes like mngqushu a pleasant township entertainment by pantsula (beans and samp) and lamb ambience. And every dancers, bottle jugglers and stew; which remind them of touristI worth his passport has pennywhistle players. On their proud food heritage.” aspirations to visit Soweto’s special days it is common to see Guests can enjoy their food ultimate tourist destination. traditional dancers entertaining to the background of local jazz If the vibrant, world-famous tourists as they eat their and African music by artists urban sprawl has a heart and lunch under the porch of the such as Miriam Makeba, Hugh soul, then they are to be found restaurant. The first impression Masekela, Zim Ngqawana and in Orlando West – the home a visitor gets about the place Moses Molelekwa – musicians of soccer legends, pioneering is its relaxing and friendly Maqubela personally enjoy educators, famous musicians atmosphere. playing. “My mother used to and iconic struggle leaders. “First time visitors love the cook tasty African dishes which There was a time in Soweto place because there is a sense I used to enjoy with friends and other black residential of novelty and uniqueness after a session of drinks that areas when township tourism about it,” explains owner we used to buy nearby,” he was associated primarily with Sakhumzi Maqubela. “Black recalls. This township lifestyle foreign dignitaries and rock people from the countryside of hanging around with friends stars from distant lands. Not and local whites visit in order under the cool shade of a tree anymore. to experience the real Soweto and enjoying home-cooked food Sakhumzi Restaurant on – a place of ubuntu (African eventually prompted him to Vilakazi Street, Orlando West hospitality), not the hotbed of leave his day job as a banker. has changed all that as a crime as outsiders who haven’t The seeds of running a welcoming and warm space for visited tend to portray it,” he township restaurant were everyone – local and foreign. continues. “Ninety-nine percent firmly planted in his mind Driving through the historic of these visitors come here for and thirteen years ago the lane, one is immediately the food. Rural folks appreciate Sakhumzi legend was born to

JAZZ LIFE SPRING 2014/SUMMER 2015 35 VENUES

Restaurant owner Sakhumzi Maqubela gets a bird’s eye view of his Orlando West neighbourhood. Picture: Mojalefa Letago take its rightful place among Soweto,” she remarked. The quiet weekday the restaurant Orlando West’s household fact that Sakhumzi Restaurant serves no less than 100 food names. Maqubela is humbled is situated on Vilakazi Street lovers while on weekends it by the fact that there are foreign certainly gives it some mystique accommodates over 500 people tourists – particularly from and edge over competition. After for lunch. The restaurant France and Norway – who have all, this is the historic address has a staff complement of 71 made the restaurant a regular that has made its way into the people. Not bad for business stop-over, even a place where Guinness World Records as the that started in 2001 with four they enjoy staging birthday only street in the world that has workers and a seating capacity parties for family and friends. produced two Nobel Peace Prize of twenty people. So how has “I am having the best laureates, Nelson Mandela and Sakhumzi Restaurant evolved time of my life, and I will Archbishop Desmond Tutu. It from its humble township recommend the place to is also a stone’s throw from the beginnings into a proudly South clients,” said Rune Engstrom, Hector Pietersen Memorial, the African household brand of a Norwegian. “The food, the site of the tragic June 16 1976 international repute? people, everything is great!” A student uprisings. “The fact that we are situated local guest from Bedfordview, After the death of Nelson on Vilakazi Street didn’t bring Joanne Eve Taylor, was equally Mandela in December last us overnight success. This impressed. “It is great for a year, the number of visitors is a challenging industry proper African experience in increased phenomenally. On a that requires patience and

36 JAZZ LIFE SPRING 2014/SUMMER 2015 VENUES

perseverance – not to mention visible figure at the restaurant – about keeping Soweto on hard work. The lessons I have and very much a part of the the international map. Now learnt as an entrepreneur are community where he grew up. outsiders respect Soweto that you need to know all facets His down-to-earth personality because places like Sakhumzi of the business – particularly and friendly demeanour have have made Soweto respectable.” marketing, advertising and endeared him to both locals And what is his vision human resources. It is also and tourists. What motivates for Sakhumzi restaurant? about identifying and hiring the him to wake up every day and “Obviously we would love to right staff that will contribute look forward to another day spread our wings and establish to the positive growth of the at this popular eatery? “I love ourselves elsewhere, to be the business and enhance its brand what I do. As an entrepreneur ultimate brand in township value.” I believe in making a difference hospitality and heritage Although he has hired in the lives of those who visit tourism. But it will need some capable managers, cooks and the place. Sakhumzi is about capacity building to achieve head chefs, Maqubela is a helping and serving people that.”

Services at Sakhumzi Restaurant

• African cuisine buffet with an authentic township • Exhibitions in Germany, Italy and Japan with South flavour. African Tourism • A la carte evening menu which serves some of the • Hosts of the Nelson Mandela Birthday Marathon; country’s favourite meats and seafood. 2007 • Special dishes for children. • Hosts of the Miss World Soweto luncheon; 2008 • Halaal meals (by prior arrangement). • Restaurant Association Award • A fully licensed bar with a wide range of soft drinks Contact Details and alcoholic beverages including champagnes. Tel: (011) 536 1379/939 4427 • A cocktail bar with on-tap draughts. Fax: (011) 086 692 7065 • Special exhibition shows involving Harley Davidson Email: [email protected] bikers and vintage cars. Website: www.sakhumzi.co.za • Live entertainment (by prior arrangement). Sakhumzi Restaurant is perched on a volcanic • Wireless internet connection. hillock next door to Archbishop Emeritus Tutu’s upmarket property on the right and three houses • Foreign currency exchange endorsed by Bidvest away from Nelson and Winnie Mandela’s modest Bank. four-room house-cum-museum. • Corporate events (up to 2000 guests with street Street address: closure). 6980 Vilakazi Street, Orlando West, 1804 • Soweto mini tours (2-hour tour and 2-hour lunch). GPS: S 26, 14’ 20, 6” E 27 54’ 35, 0 • Year-end corporate function packages. • Shuttle services (by prior arrangement). Awards & Accolades • Restaurant of the Year Award in 2003

JAZZ LIFE SPRING 2014/SUMMER 2015 37 South African Jazz inOrbit

Only six months after opening its doors to jazz lovers, The Orbit has transformed Joburg’s live jazzscape, giving both patrons and performers a warm and vibrant entertainment space. Within a short period this majestic jazz club and bistro has created proud historic moments, one of the highlights being hosting the line-up announcement of Standard Bank Joy of Jazz in May. Alongside the music the magnificent venue is also playing host to social functions like wine tasting events.

WORDS: SAM MATHE

Jazz lovers enjoying the music of trumpeter and friends at the Orbit. Picture: Courtesy of the Orbit

38 JAZZ LIFE SPRING 2014/SUMMER 2015 VENUES

ONDON’S JAZZ SOUL and respectful of musicians Mrubata, Herbie Tsoaeli, Paul resides in Ronnie when they are on stage.” Hanmer and Justin Badenhorst Scott’s. Basel in “I think musicians enjoy the have been one of the highlights Switzerland finds its venue including the backstage. of The Orbit performances. They Ljazz pride in The Bird’s Eye The baby grand piano is a hit. performed as Uhadi, a collective while Birdland, The Village The acoustics are good but we featuring Sibongile Khumalo. Vanguard and The Blue Note can improve as we go on. For The Orbit has also become are New York City’s enduring instance, we need to fine-tune home for nurturing and jazz landmarks. Johannesburg a few processes on bookings showcasing young jazz talent. has a rich jazz tradition, over and service. Overall the whole In this regard Peguillan is the years having attracted most atmosphere – the service and particularly impressed with the of the best talents from all the food are all conducive for artistry of young lions like Tumi corners of the country. But the great performances. We are Mogorosi, Mthunzi Mvubu, city hasn’t been able to justify enjoying every moment of it. Nhlanhla Mahlangu and Zola its status as South Africa’s jazz That’s for sure.” Futshane. “The next generation capital. Born in Cognac, France, of South African jazz greats It has failed to save Kippies, in 2002 Peguillan ran a small have a stage to hone their craft the city’s answer to New jazz social club in Troyeville and learn from the veterans,” he York’s Birdland – historic jazz called Peg’s Cosy Corner. Twelve says. “They are an exceptionally institutions named after iconic years later he believes he has talented lot who write some of jazzmen Kippie ‘Morolong’ established a permanent home the best, quality music I have Moeketsi and Charlie ‘Yardbird’ for jazz in Johannesburg. ever heard. For instance, I Parker. It couldn’t keep the “The music and the vibe are can’t wait to listen to a CD by best-loved Bassline in bohemian everything and the musicians someone like Mthunzi.” Melville or corporate Sandton’s are the real VIPs. So we have The decision by Standard Bluesroom. But all that is in spent a lot of time listening to Bank Joy of Jazz founder Peter the past. The historic opening what they think makes a great Tladi to launch the next edition of The Orbit jazz club and bistro jazz club. The vision is to fuse of the international festival in Braamfontein on Friday, 14 the spirit of legendary Joburg has confirmed The Orbit as March marked the rebirth of the clubs like Kippie’s and Bassline, the quintessential jazz address live jazz scene in the city. with places like the New in Joburg. And Peguillan is “We had 265 jazz lovers Morning in Paris, the Blue Note happy about having created a during the opening. Since then in New York and the Jazz Café synergy between the global jazz we have had approximately and Ronnie Scott’s in London,” showpiece and his club. “The 1000 guests at The Orbit,” he explains in his characteristic launch of the Standard Bank said Aymeric Peguillan, the French accent. Joy of Jazz at The Orbit was club’s co-owner and managing The place has already hosted definitely a special highlight director at the time. “We are some of the prominent names for us. We hope that some pleased with the turn-out so in South African jazz – notably of the musicians who will be far because we are getting Feya Faku, Lex Futshane, performing at the festival will increasing support daily. The Nduduzo Makhathini, Concord also come and jam at the club.” space seems to correspond with Nkabinde, Tutu Puoane and The club was named after the audiences’ expectations in Marcus Wyatt. Feya Faku, a In Orbit, a 1958 Clark Terry terms of setting, comfort and respected Port Elizabeth-born album featuring bebop pianist decor. We have realised that trumpeter, flugelhorn player Thelonious Monk. And co- people have been starving for and one of the ambassadors of founder Dan Sermand believes live jazz in a proper venue. The Orbit, had the honour of it is an apt name for a jazz And we are encouraged by how being the first bandleader to joint that is situated in the audiences have been responsive play during the opening. McCoy heart of Johannesburg. “This

JAZZ LIFE SPRING 2014/SUMMER 2015 39 VENUES

is a vibrant part of the city lived in Joburg and hung out medicine, jazz should be that is fast developing into an in some of the world’s great accessible to all. “One of our entertainment space. It is also clubs, so we are passionate core principles is democracy. developing at a rapid pace and about creating a home the We believe that jazz is a it is becoming the epicentre South African jazz movement democratic sound, with a of the city in many respects. deserves.” The Swedish-born rare quality to touch everyone Therefore The Orbit is a music producer and former regardless of their station in metaphor for a meeting point of director of Medecins Sans life.” people, particularly jazz lovers.” Frontiers (Doctors Without “We’re jazz fanatics who’ve Borders), believes that like What the musicians said:

“I say respect and recognition at last for jazz Bimhuis in Amsterdam, the Blue Notes in musicians. After the Bassline in Melville and Japan and Carnegie Hall in New York. It is Kippies in Newtown we never really had a indeed a great honour to share the stage with home for jazz. When was the last time we had some of the best South African jazz artists at a proper venue with a grand piano and drum The Orbit.” – Fezile Feya Faku, trumpeter set? As a musician who is passionate about developing young talent, I’m excited that the venue also caters for freshmen and students “The Orbit has brought back an exciting live jazz scene that reminds one of the 1990s in who really need platforms such as The Orbit. places like the Bassline and Kippies. It was a – McCoy Mrubata, saxophonist privilege and an honour to have played at The Orbit with a great project like Uhadi in front “This is a first in the history of South African of an appreciative and attentive audience.” – jazz. They are pitching at a higher level but at Herbie Tsoaeli, bass player and winner of the 2013 the same time they have created a venue that SAMA Best Jazz Album is accessible. Before the owners established this venue, they consulted us – something unheard of in the local music scene. It means “I like the fact that it is a dedicated jazz space. finally we are being taken seriously and given I absolutely loved the baby grand piano and the respect that we deserve. The fact that they the general acoustic nature of the room. I have put in place musical instruments in the liked the whole feel of it. The staff is friendly venue makes a big difference for performing and helpful. And I guess that comes from artists. ” – Concord Nkabinde, bassist, singer and the management generally. They have set Standard Bank Young Artist Award recipient themselves a standard and I hope they will maintain it. – Sibongile Khumalo, jazz singer and Standard Bank Young Artist Award (1993) “The Orbit is a classy venue with an recipient international flavour. It reminds me of the

INFORMATION WHAT: A unique jazz venue with a classy and welcoming ambience. The main stage upstairs has a seating capacity of 250. The downstairs venue accommodates 160 guests and is mainly used by students for lunch time sessions. WHERE: 81 De Korte Street, Braamfontein WHEN: Tuesdays to Sundays from 11:30 am until late WHY: The best live jazz by South African musical talent HOW: Send an email request for tickets to [email protected]

40 JAZZ LIFE SPRING 2014/SUMMER 2015 1994 Standard Bank Young Artist Award Winner SAM NHLENGETHWA PORTRAIT[S] OF A JAZZ PAINTER

WORDS: JEFFREY MATHETHE SEHUME

Jazz lover and painter Sam Nhlengethwa has spread his artistic horizons way beyond the borders of his motherland. Picture: Jurie Senekal

JAZZ LIFE SPRING 2014/SUMMER 2015 41 SPECIAL PROFILE

RTISTS EMERGE FROM a particular “Jazz simply inspires me. Of influential space and place. They are all subjects that I have dealt notA sui generis. A canvas from which accomplished artist Sam with, none has been revisited Nhlengethwa comes from is identifiable. His craft is shaped by his varied socialisation. His like jazz. Jazz is second muse though, has a singular source. The jazz motif defines nature to me. I think at heart, his technique, intended outcome, impression and I am a non-practising jazz expression. How to characterise him in musician!” brief? He is a painterly jazz collage artist reared on local soil rich enough to absorb international palettes to fashion like a latter-day flâneur. Jazz secular religion to him. As a a unique body of work. towers above all else other unifying theme in his collected Despite what his official sources of insight. Why is jazz works, jazz has a welcomed passport document says, he is so refreshingly virginal in his power over him. A sense of anything but a South African hand? It is testimony to his this alluring quality, on jazz as artist. His oeuvre places him unstinting labour ever since he America’s classical music, is as a cosmopolitan citizen ably first walked through the doors found in Nhlengethwa’s 2002 building on bridges erected by of the Rorke’s Drift academy Jazz Series. elderly American cousins like many moons ago. In a series of colour Jacob Lawrence and Romare Therefore, his subsequent lithographs, amongst other he Bearden. Who is he by way fame did not come on a silver variously pays homage to of geography? Simply, he was platter, but emerged from oily pennywhistle conjuror Lemmy born in the old mining area of toil where he is now exhibited Mabaso, bassist bedrock Ron Springs in the old East Rand in esteemed galleries like the Carter, bear-dancing Thelonius whose other claim to fame is Netherlands Architecture Monk and the activist who that it produced South Africa’s Institute, Seippel Art Gallery happened to sing Nina Simone. first Nobel Prize in literature in Germany, and the Trevi How does jazz worm its appeal laureate, Nadine Gordimer. Exhibition Area in Italy. Still, in Nhlengethwa’s canvas? Is Where does he come from jazz and Nhlengethwa have it perhaps this artform’s easy in figurative terms? He derives always been snug bedfellows. access to improvisational inspiration from a legacy of Since he is more articulate than convention that avoids merely planet earth’s first creative any scribe, hear him adeptly aping reality? In shying away human artists, namely the hold court in a Brief Statement from merely copying life, he petroglyphs of the Khoisan. He on Why I Fuse Jazz and Art: has loudly heard Henri Matisse joins their ranks in using art to “Jazz simply inspires me. Of all when he said, “exactitude is not comment on life as an attempt subjects that I have dealt with, truth.” at reckoning with truth. It is no none has been revisited like Improvisation is a key military secret what has kept jazz. Jazz is second nature to that unlocks Nhlengethwa’s him focused in his systems of me. I think at heart, I am a non- philosophical approach to the thought and has entitled him practising jazz musician!” One practice of creation. He explains to parade across world galleries would also swear jazz is a at length: “I listen to jazz and

42 JAZZ LIFE SPRING 2014/SUMMER 2015 SPECIAL PROFILE

what we are. That which we remember is, more often than not, that which we would like to have been, or that which we hoped to be”. I believe this passage is something Nhlengethwa can subscribe to as an artist emerging from the baobab memory of Gerard Sekoto and Jackson Hlungwani who also sought to fuse life and art. Why is heritage so seminal Deep in thought Feeling It to Nhlengethwa? His artistic 2010 Mixed media on 2010 Mixed media on paper elders serve as lodestars he paper 29 x 29 cm 29 x 29cm aspires towards as he waxes in his Brief Statement on the meaning of departed songbird Miriam Makeba and Abdullah visualise the performance. Jarrett and Henry Threadgill – Ibrahim. Jazz performers improvise moving beyond tradition is more These homages found in within the conventions of their important for Nhlengethwa. his 2002 ‘Jazz Series’ find chosen styles. Jazz emphasises Hence some of his favourite artist, muse and instrument interpretation rather than jazz musicians such as Miles in accomplished sync. Let composition. There are and Trane are cats who us extrapolate one example deliberate tonal distortions that emphasised innovation and from this Series, the piece contribute to its uniqueness. interpretation in their craft. Like entitled Take One featuring My jazz collages, with their him, they were driven above all a clarinet player standing to distorted patterns, attempt to by finding an individual voice attention deep in focus and communicate this.” from the found canon. When with instrument in place. Was However, an alert cynic all is said and done, seeking an Nhlengethwa remembering might pointedly ask, what is the inner voice is all a person can clarinet masters such as eventual message relayed from rely on to find life’s purpose if Sydney Bechet and Don Byron? his sundry palette? What is a one is an artist as demanding In Take Three he paints a viewer supposed to take home on himself and the world as chic conguero (or proficient with them after interpreting Nhlengethwa. conga player) manning his his, for example, the 1994/5 At the same time, conga drums with meticulous Homage to Jazz Solo exhibition; Nhlengethwa understands his ease. In his meditative trance, an exhibition which won him art has to be based in the lived the conguero seems entranced the prestigious 1994 Standard experience of his life and people. in meditative solo or he could Bank Young Artist Award? For He appreciates the history be laying down a solid rhythmic this collage whiz, the possibility informing where he comes from beat to the band. It is clear of a viewer infusing their own and the existing conditions there is infinite room for diverse interpretation in his work is which continue to defer the interpretations in his work an intended goal. As much as dreams for the majority of since great art has potential to it is vital to honour tradition – South Africans. As the essayist being a “vehicle that transports from which Wynton Marsalis and trombonist Ralph Ellison various traditions”. built his musical temple to the says in The Golden Age, Time Another image in the same annoyance of , Keith Past: “That which we do is Series sees Nhlengethwa paying

JAZZ LIFE SPRING 2014/SUMMER 2015 43 SPECIAL PROFILE

deference to vocal crooner Sammy Davis Jr. plus the imperial last concert of the Modern Jazz Concert. A closer attention to this now-classic ‘Jazz Series’ reveals a rare feat from an artist. In virtuosic fashion Nhlengethwa combines the styles of two masters of collage art, Bearden and Lawrence. This is rare feat since it has arguably not Backstage Taking Solo II 2010 Mixed media on paper 2010 Mixed media on paper been easily done with 140 x 161 cm 29 x 29 cm such assurance, depth and ingenuity. One can almost feel Nhlengethwa in effortless ecstasy which now have a dialogue between brush of Sam Nhlengethwa. echoes Matisse that in great art descendants of slavery and Sehume is a former academic l’exactitude n’est pas la vérité or off-springs of colonialism- at AFDA College, Fort Hare accuracy is not the truth, but apartheid. and Rhodes Universities. He honest interpretation is. North America and Africa worked in The Presidency as a Nhlengethwa is therefore share conversations about the researcher and speechwriter. commended for creating cross- past – “what we are”, “what we His appreciation of jazz ocean channels of dialogue would like to have been”, and circulates around the artistic with masters like Bearden ultimately that “which we hope philosophy of Abdullah Ibrahim, and Lawrence. In his canvas to be”. The product of this ideal Henry Threadgill and Steve the doors of cross-fertilisation matrimony is filled with new Coleman. receive space for creative vistas that can only be come interbreeding. In his model, we and arrive in the jazz-inspired

“like a jazz musician who can depart from the original melody altogether and improvise on its harmonic base, I create a well-balanced final product with interesting textures, perspective and dimensions”

44 JAZZ LIFE SPRING 2014/SUMMER 2015 My Name is Mingus, Charles Mingus

A contemporary of Charlie Parker and Miles Davis, he is regarded as the most significant jazz composer after the master himself, Duke Ellington. DON MAKATILE pays homage to an illustrious bass genius who left the world not only a rich and enduring jazz legacy but also a streetwise name that township clevers wear like a badge of honour

Y LATE AUNT’S hometown, Kagiso, west of dabbled with the trombone ELDEST son, Johannesburg. He had a way of (later a favourite instrument to who has since saying it, like he’d just told you compose for) and studied the died, was named he was Jehovah. cello before being encouraged to Charles.M God bless his soul. Charles Mingus. switch to the upright bass when He was a shameless layabout The name has a mystique to he was 16. Turning professional whose relationships with it. Every Charles I know or have after high school, he eventually other people were strictly one- heard of, who possessed the became an in-demand player on sided. Whenever his hand was singular desire to be streetwise, the busy local scene, and met outstretched towards another either insisted on the epithet like-minded youngsters such as person, it was not in greeting. or had it freely thrown on him. Dexter Gordon and Art Pepper. He was invariably taking They relished it. Well, you could “A lot of the music he was something from the other hand, call them Charlie but the best then called on to play was a dime or two. honour you’d show them, in current pop music, but he You’d do yourself well to part their view, would be if you said nurtured the simultaneous ways with your hard-earned Mingus. ambition of becoming a cash, failing which he’d never The man born Charles successful pop writer and miss the chance to tell you Mingus on 22 April 1922 grew composing big orchestral works. how he regretted engaging you up in Watts, the Los Angeles When he first toured nationally in conversation as you were slum neighbourhood that would with Lionel Hampton’s band beneath him. Even when he be known later throughout at the age of 25, he wrote a died in his late 50s, he’d never the world as a hotbed of racial piece to feature himself with done a decent stitch of work in tension. Brian Priestley, who the band called Mingus Fingers his life. co-authored The Rough Guide that encapsulated his writing Irrespective of your social to Jazz (Penguin) and wrote ambitions along with some very standing or the size of your Mingus: A Critical Biography (Da demanding bass work.” purse, my cousin always spoke Capo) makes this fascinating This gifted musician proved like you lacked something he introduction: to be an all-rounder in the had. “I am Mingus,” he’d say “He showed interest in genre – playing a mean bass in the Afrikaans patois of our music from an early age and and composing great music.

JAZZ LIFE SPRING 2014/SUMMER 2015 45 JAZZ PROFILE

An iconic image of Charles Mingus on a 2007 compilation album cover. Picture: Courtesy of Columbia Records

He is described somewhere as reading what people say about listening – all at the same time! ‘the most significant composer Mingus; play his music and, Priestley says the following in jazz after Ellington’. Duke if you can, play it loud, play it about the music of this bassist Ellington had a special place in unceasingly! Listen to Better Git extraordinaire: “One of the most Mingus’ heart. When he moved It In Your Soul. It is riotous, in a distinctive features of Mingus’ to New York in 1951, Mingus spiritual kind of way. I promise, music, heard in the opening got to play with a number of at the end, you will ‘get it in track, was the importation into influential jazz giants, among your soul’. It is like Mahalia jazz of the dynamic sound of a them Ellington and Charlie Jackson singing, Martin Luther gospel church service. There’s a Parker. King Jnr speaking, Charles suggestion of this also in parts But you’re better off not Mingus on bass and God of Slop, Song With Orange and

46 JAZZ LIFE SPRING 2014/SUMMER 2015 JAZZ PROFILE

Gunslinging Bird, but Better Git give me twenty minutes. Let me attest to the church choir It In Your Soul uses this flavour play it again. influences that shaped Charlie to the full, with its hymn-like Thank you. Now read on. Mingus’ early years. The second harmonies and choral effects.” Ysable’s Table Dance comes disc on Tijuana Moods stretches There’s an earlier recording off the album Tijuana Moods to 13 tracks. Truth be told: here simply titled Mingus, which which Mingus considered his Charlie Mingus is bragging. I dusted off the shelves of a best work ever. It is playful yet The bandleader and composer nondescript music store. It has serious work. It opens with the in him come to the fore. Born only three tracks on it. The first castanets of Frankie Dunlop on a military base in Arizona – MDM, runs for a glorious 19 which then go on to dominate – before moving to California – minutes and 52 seconds. Now, the song. The magic of this this second CD shows Mingus if you listen to jazz on Sundays rendition is that Dunlop’s almost as a military general, only, I can’t help you much. efforts flirt with the teasing commanding his forces, with But say you lived 20 minutes vocals of Ysabel Morel, who no precision, to do as he orders. away from work and looked for doubt inspired the title of the His bass is a weapon of mass a reason to get to the office fired track. amusement. It is no wonder up, MDM would be just the They play the track in three he singles this album out as tonic. different variations in the two- his best offering of all time. “The greatness of jazz is that it is an art of the moment. It is so particularly through improvisation, but also, in my music, through the successive relation of one composition to another”

This track, like the third CD album. The Alternate Take, Nostalgia in Times Square from Lock ’Em Up, came from a as the second instalment of the another album, no doubt made jazz workshop session. Now, track is called, is played like the the audience happy. They roar the thing of genius about the nine-man band wanted to prove in applause at the end of the natives who played this music a point – that they can do this song. If I was in that audience was that they described these thing called jazz. They play it myself, I’d have clapped my sessions as jam sessions. They like someone had dared them to palms sore in dizzy salute. used the idea of jamming, as either play or go home. Well, forget Nostalgia in if to mean they were dawdling, They are not going home on Times Square if you’re averse fooling around, playing, sizing this one! to clapping as you consider it each other up … There are other fabulous an act of idolatry perhaps. Say The end result was a product tracks on this CD, like Flamingo you’re of the Christian bent and of the quality of MDM. It tears – which also has an original find idolatry sinful. Listen then you apart, not like Jack The and an Alternative Take – Dizzy to something called Wednesday Reaper did. It makes you want Moods and Los Mariachis, which Night Prayer Meeting. to join in and play, and jam, sounds like a prayer to a god of Lord have mercy! and fool around. Hit the Pause wonders. Christians pray every night. button. Give me a minute. No, Tracks like Los Mariachis In that spirit, do not wait for

JAZZ LIFE SPRING 2014/SUMMER 2015 47 JAZZ PROFILE

Wednesday night to get into that jostle for space at the top of bandleader and composer’. prayer meeting with Mingus. If the Mingus canon. Forget Open Despite what his music may God approves of nightly prayers Letter To Duke, a tribute to do to you – whatever demons from His people, Mingus will not his idol Duke Ellington. It is it may arouse, remember that mind you playing Wednesday overrated. It only gets energetic Mingus made his name largely Night Prayer Meeting every night towards the end. as a composer. He also founded – and day. Rather Goodbye Pork Pie a platform for young composers This song is a conspiracy of Hat. It is the epitome of jazz. to showcase their new works, musical instruments, peppered But be warned: if you played which would be performed in with appreciative jazz vocals. it as a valediction to anyone, concerts and on recordings. There’s a marriage of a they would not go. It is not a What did he call this? The Jazz variation of saxes – Jackie goodbye song. It says ‘stay’. Workshop, of course! Mclean and John Handy on You will hear every saxophone Carlo Mombelli teaches alto, Booker Ervin on tenor on it; every sound made by the music to university students. and Pepper Adams on baritone. bass, drums, clarinet and the Like Mingus, he plays a Mingus’ old sidekick Dannie trombone. mean bass. There’s an album Richmond adds his riot of Boogie Stop Shuffle is a fun Abstractions Retrospective, drums and the man himself, song. where he jams with Charlie Charlie, strums the bass like But picture for a moment Mariano. Mingus himself plays he’s in conversation with the every little thing you hold a track in one of his albums gods of jazz. If you listen to this dear: fine clothes, good titled Abstractions. It begins and find you’re not a Mingus food, beautiful women, high like a movie soundtrack. If you convert at the end, consider performance cars or whatever closed your eyes long enough as your curse helpless. lifts your mood. Believe you me it plays, you could very easily Mingus Ah Um, which was – Self-Portrait in Three Colours conjure up images of yourself recorded in 1959, is said to is way better than all of that. It walking the cobbled streets have come at a point in his is the orgasm of sound. A piece of a foreign city in cold windy career when Mingus was at of paper I read in the loo many weather. But you’d be warm if his most productive. It boasts years back said Mingus was a you had this song playing in 12 tracks, each of which can ‘player, accomplished pianist, your head as you pounded the said streets. Mombelli does not say if Mingus inspired the title of his “I love musicians that own Abstractions Retrospective. He is modest to a fault: “I teach paint with the colours at Wits. That is not a jazz school such as UCT in Cape Town. they have. With Mingus’ Ours is a music department of many styles. So we have jazz and classical students in the music I am able to hear the same class. They all come to me to study jazz improvisation and musicians’ personalities and the principles of it, chords/scale relationships, styles, forms and their contribution to the the like.” “They then also study composition” – SA bassist classical harmony and counterpoint, the art form Carlo Mombelli called New Music (John Cage,

48 JAZZ LIFE SPRING 2014/SUMMER 2015 JAZZ PROFILE

“This gifted musician proved to be an all- rounder in the genre – playing a mean bass and composing great music. He is described somewhere as ‘the most significant composer in jazz after Ellington”

Stockhausen etc), Schoenberg’s “People don’t remember “So I must admit he is a twelve-tone music, from third Beethoven because he was great bassist with a good year they do composition, such a great pianist. Mingus woody tone and great feel but classical and jazz, where was a great composer and I I have not been influenced they learn to compose for have learnt from him how in by his bass playing. For bass string quartets, etc, and then one composition it can have listening I prefer listening to modernism, and this is where a so many colours and tempos, Charlie Haden, Scot LaFaro, part of jazz history is taught, so and not sudden shifts but more Paul Chambers, Marc Johnson, not in so much detail as would of moving between tempos, Avishai Cohen, Dave Holland be the case at UCT. speeding up or slowing down and Miroslav Vitous. And one “We teach a broader concept or you could call it morphing of my favourite inspired Mingus in music. We even have a course between the tempos.” albums was the one done by on punk music, community “I love musicians that paint Joni Mitchell called Mingus, but music in South Africa, and with the colours they have. With plays on it.” electro/acoustic music. What Mingus’ music I am able to hear Mingus, my cousin, was I am trying to say is that I am the musicians’ personalities moody; so was Mingus, the not a jazz expert as I listen to so and their contribution to the genius. But while the former’s many styles of music. However I composition. I think that is tantrums were largely brought have listened to Mingus.” what makes a great band leader on by likely benefactors denying Thank you, Mombelli. Now tell like Duke Ellington, Miles, Art him money, the latter, like his me more. Blakey and Mingus. Musicians buddy Miles, threw his toys out “What I have got from him is are able to grow their own voice the cot just to bring attention to his concepts and composition while debating the music.” his artistry. which are stunning. For “My favourite Mingus albums Those who knew him say the composition has always been … Let my Children Hear [the] jazz master often didn’t just more important that the Music. There is a track called stop at being moody but got playing itself. For example, if Adagio ma Non Troppo that is violent as well. Miles [Davis] brought out an a composition masterpiece and Who cares? He had album and I didn’t like the I hear how it has influenced something no one else had – he compositions, it doesn’t matter Carla Bley, and then Mingus’ was Mingus. how good Miles plays on it. I Ah Um. I love The Black Saint won’t buy it. People buy and and the Sinner Lady for its listen to music firstly for the energy, and I was fortunate to composition and then the record and tour with Charlie bonus of hearing great playing Mariano who was the alto on those compositions. player on that album.

JAZZ LIFE SPRING 2014/SUMMER 2015 49 JAZZ PROFILE

“Better Git It In Your Soul is riotous, in a spiritual kind of way. It is like Mahalia Jackson singing, Martin Luther King Jr speaking, Charles Mingus on bass and God listening – all at the same time!”

What he said:

• “[Thelonious] Monk and I play similar music. composition expresses only part or the total Perhaps it’s because we both dug Duke world of my music. In the notes for another [Ellington] at the same time, and the old-time album, I go into more detail as to why my piano players, and we both like the use of pieces are so different from one another and ‘pedal points ’ in compositions.” don’t have one specific unalleviated mood, sound or style. At a concert or night club I • “Music is a language of the emotions; it is a test call tunes in an order that I feel is right for of life. Everyone reacts to music in a different the particular situation and what I’m trying to way and everyone should be able to make it on say in that situation. Each composition builds his own – play and write the music the way he from the previous one, and the succession of feels it. If he is going to be really great, he must compositions creates the statement I’m trying learn to be himself. He is always with others, to make at that moment. The greatness of but most of all, he is alone. He must stand jazz is that it is an art of the moment. It is so alone.” particularly through improvisation, but also, in • “This is the best record I ever made.” Charles my music, through the successive relation of Mingus on Tijuana Moods (1962). one composition to another.” • “My music is as varied as my feelings are, or the Charles Mingus, 5 February 1959, New York. world is, and one composition or one kind of

Don Makatile holds a MA in Creative Writing. He is a book critic.

50 JAZZ LIFE SPRING 2014/SUMMER 2015 Nina Mkhize VERSATILE VOICE

INA MKHIZE IS A multi-dimensional “The year 2003 was an artist who offers a wide repertoire affirmation of Nina’s Nincluding her original compositions which range from immense talent, such that funk, bossa nova, ballads, swing, gospel, R&B, blues, Afro- Jazz, jazz and contemporary she was invited to perform at music. The arranger, composer, singer and keyboard player the North Sea Jazz Festival” was raised in Umlazi township where she was introduced to music by her mother who Motor Company where she Stian Casternsen, Bendik sang jazz, marabi, and received formal instruction in Hofseth, Ricard Nettermalm revolutionary songs around the music theory, aural perception, (Scandinavia). house. Noticing her positive appreciation and performance. The year further saw her reaction and interest to her Affirmed by this experience, holding workshops with singing, her mother urged she further went on to pursue acclaimed pianist Bheki her to perform for family, music studies at Natal Mseleku which led her to friends and relatives at various Technikon after high school, work with Prince Kupi’s band gatherings. where she read for a national Baagishane and Sagiya, a In high school she found diploma in light music. Her youth band based in the city of courage to explore the art of time at the technikon proved Durban. She further explored performance as a full-time fruitful. One of the highlights of work with band ‘The Stand’ career when she initiated a her student days was in 2000 which played a fusion of jazz vocal ensemble, SWV with when she was invited to do and gospel which went on to friends imitating the American leading and backing vocals for tour in Port Elizabeth. In 2001, all-girl group of the same name. the internationally acclaimed a young Nina performed in East Together they sang music that Shuttle Band which was London with jazz trumpeter stemmed from but was not commissioned by the Nordic Feya Faku and further went limited to R&B, gospel and Council of Ministers. It was a on to work with acclaimed African music. Throughout her collaboration Zulu singer on a high school years she spent her between South African and music production hosted by the Saturdays at the University of Scandinavian musicians – Playhouse Company in Durban, Durban-Westville music project, namely , , It’s Cooking Under the Melting an initiative by the Volkswagen Concord Nkabinde (SA) and Pot, under the direction of

JAZZ LIFE SPRING 2014/SUMMER 2015 51 YOUNG LIONS

Susan Barry. Istorotoro which was shown Her rich and soulful voice at the Playhouse Company. went on to the unsuspecting The same year saw her again studios of the world where she return to the stage with her started to session which led to hero Bheki Mseleku at the collaborations with an array of Melody International held at the artists such as Ian Henderson Mmabatho ICC, in the North on his album, Free Falling, West province. She closed off guitarist Nibs Van der Spuy’s her year on a high note when Flower in the Rain record and she dazzled audiences on her also as backing vocalist on Busi home ground at the MTN Jazz Mhlongo’s Indiza, an album Festival, at the Hazelmere Dam. that was produced by Bryce In 2005 she again worked Wassy and released under with composer Sazi Dlamini on Robert Trunz’s Melt 2000 label. music for another movie, Izulu On invitation by Ian Henderson Lami together with singer Lu in 2002 she made a debut at Dlamini. In-between that time the Splashy Fan Festival in she focused on her family and Underberg, KwaZulu-Natal. spiritual life but still worked, Reaching even further from though on a lighter scale. her well of talents, she together In 2012 after her sabbatical with Dr Sazi Dlamini arranged, she returned to work and composed and scored music for collaborated with American the movie, The Sky In Her Eyes songwriter and producer Kenny which received rave reviews Nina in song Young on his Rhythms Del and went on to win an award in Mundo project which was a France. cross-cultural collaboration In 2002 her talents were Grahamstown Jazz Festival, to between Cuban and African rewarded when she won the which she performed to raving musicians, exploring a different Old Mutual Jazz Encounter’s applause. take on contemporary ‘hits’ by Award in the Afro Jazz Vocalist In 2004 she again teamed western artists like Coldplay, category. The following year up with Sazi Dlamini on Sting, Beyonce, Bruno Mars marked another milestone when another project, Bhambayi, and many more. she was invited to perform at a documentary film which The proceeds from the the North Sea Jazz Festival explored the effect violence album are given to Artists in Cape Town (later renamed had in the Inanda and Phoenix Project Earth, a not-for-profit Cape Town International Jazz areas and how it had affected organisation which raises Festival). After that, she went people from the communities. awareness and funds for on to perform at the World During the 10th South African environmental issues and Economic Forum Conference Freedom Celebrations, she disaster relief efforts. In the in Durban. She then created went on to conduct workshops same year she collaborated with a stir when she became on South African Jazz and another American composer the first vocalist to lead the Township music in Brasilia Carl Stone who primarily Standard Bank Youth Jazz and Sao Paulo, Brazil through works on the live electronic Band under the direction of an initiative organised by The music circuit, at the Unyazi acclaimed saxophonist Barney Jazz Foundation and The South Electric Music Festival, hosted Rachabane, a platform normally African Embassy. by the University of KwaZulu- focusing on the development Returning from Brazil, Natal’s school of music, young instrumentalists at the she joined the musical show, Howard College. In 2014 she

52 JAZZ LIFE SPRING 2014/SUMMER 2015 YOUNG LIONS

presented a set of her original compositions at the Ugu Jazz Festival in Port Shepstone. Nina proves to be a gifted artist with unlimited abilities. Born on 13 February 1980 in Durban, her talent is influenced by and is not limited to Busi Mhlongo, Mfaz’Omnyama, Joe Zawinul, Carmen, McRae, Oumou Sangare, Herbie Hancock, Bheki Mseleku, Dianne Reeves, Salif Keita, Letta Mbulu, Susan Barry and Thelonious Monk. Nina is currently working on her debut solo album.

Nina with Hugh Masekela

“One of the highlights of her student days was in 2000 when she was invited to do leading and backing vocals for the internationally acclaimed Shuttle Band which was commissioned by the Nordic Council of Ministers”

JAZZ LIFE SPRING 2014/SUMMER 2015 53 TWO DECADES OF JAZZ IN SOUTH AFRICA A Personal Journey with steel pan master Dave Reynolds

So it was a real community of creatives. A month after arriving I went to Tandoor to see Simba Morri, a guitarist and singer from Kenya who had worked with protest poet Mzwakhe Mbuli. There I met Gito Baloi, bass player extraordinaire from known for being part of the super group . Wow! I felt so lucky. The next day I was at his place with my steel pans and we jammed a few tunes he was working on. I still remember the very first one called “Hambanini” and I still have that jam on a cassette. I ended up performing and recording with Gito for just over a decade, including the last concert before he died, which you can find on youtube. On FTER STUDYING like then. For me it was simple. the 4th of April 2004, I got the MUSIC at Rhodes I became immersed in a world call at 05h30 from his wife’s University in the early of music. Rockey Street was mother: Gito had been shot and nineties, I began my pumping with live music joints. killed in Joburg. I remember Alife as an aspiring young adult Some of them played music six giving a speech at his memorial musician in Yeoville, Joburg in nights a week, and each had its at the Bassline in Newtown. It 1994. It may be hard to imagine own unique identity. Many of was strange. We’d never spoken these days what things were the musicians lived in Yeoville. about what it was like to work

54 JAZZ LIFE SPRING 2014/SUMMER 2015 REFLECTIONS

together. It was as if that too. Tandoor was the original working out a tune at the sound conversation was retrospective home of crossover African jazz. check, something I’d never and we were always talking of Seeing groups like Bayete, seen before, and a few hours tomorrow. Sankomota and African Jazz later the tune was born and I’d never even thanked him Pioneers with Ntemi Piliso made named “Chef’s Groove” because for the countless opportunities, a huge impression on me. the chef was telling Gito what or had a chance to talk about I then became friends with style of bassline he thought the few times when things trombonist Jasper Cook. he should play earlier! The didn’t work out so well. Four Everyone knew Jasper. Another tune was recorded on Trains years after he died, I produced group that I never missed was to Taung, an album whose and recorded Beyond, a Muzik Ye Afrika. I remember surprising commercial success collection of unreleased songs asking them if I could sit in for kick-started a new era of South that he had started recording. a set at a venue called Mojo’s African jazz. That was the best goodbye I (which later became 206) and Until then, record companies could offer. I listened to the it wasn’t long before drummer believed that South African audiences would only buy imported jazz. They considered local markets to be only “There were no marketing township pop (Brenda and Yvonne) and mbaqanga of departments, no sales teams, groups like the Soul Brothers or Mahlathini & the . These had, since no publicity gurus, no social apartheid times, enjoyed airplay on the black radio stations. media analysts – just people Paradoxically, good things often come out of the bad. In the new living life to the full, and it Mandela era, Paul changed that perception with a single album, worked” although to be fair, there was also the album Echoes from the Past by Jimmy Dludlu too. album just the other day. What Jethro Shasha was the first Things were taking off, a great musician. If you want to person I’d call for a gig. Louis and I was keeping my eyes hear it, contact me on Facebook Mhlanga, the Muzik Ye Afrika and ears wide open (and my and I’ll send it to you for free. guitarist, is one seriously mouth shut – which I still do The thing I loved most about versatile musician and a great from time to time). I remember those early days was being part friend since those days. We meeting Marcus [Wyatt] at one of a musicking community (is collaborated on the Grassroots of Jimmy’s gigs at Kippies in there such a thing? Sure I’ve project, and he played on my Newtown. During the break I tasted it myself, so let’s name latest album The Light of Day. was backstage and Jimmy was it.) It wasn’t just that I was [If you’d like to download a working out the set list before watching and playing tons of tune for free from this album, the band could perform again. live music that mattered. It click on the following link and He asked Marcus, “Can you was the connection between follow the steps: http://eepurl. blow a solo on Malala?” [Malala the musicians. Hundreds of com/rU3RH]. I also remember was my favourite tune on the hard-working professionals meeting Paul Hanmer in 1995 album. I’d just spent the whole doing four gigs a week, and the when he called Gito for a afternoon listening to it over connection with the audiences show at Rumours. They were and over, and now they ‘re going

JAZZ LIFE SPRING 2014/SUMMER 2015 55 REFLECTIONS

to play Malala!] Marcus replied, it worked. I remember getting so inspired when I bumped into “How does that one go again?” a call from sound engineer him taking his suit to the dry So immediately I started singing Peter Pearlson to do a session cleaners the next day, praising the opening lines. on Hugh Masekela’s album what he’d heard the previous Everyone looked at me Sixty. Don Laka was producing night after I’d left the building. strangely and I suddenly it, and I went into the studio Paul Hanmer and I ended up realised I wasn’t part of the a few days before just to hang neighbours in Observatory, a band! That phrase “How does out and see what the music few blocks down from Yeoville that one go again?” how many sounded like. and a few years later when I million times have I heard Hugh was grilling the came back from living in Paris, it? It seems jazz musicians backing vocalists about we did a really great project, can remember huge amounts annunciating their words on the Universities and Townships of music but don’t seem to tune “Shango”. “Come on man, (2011). We toured the whole manage to remember the names I want to see big black lips… country doing workshops and of the tunes. Nowadays as I tropical lips … from all of you”. performances at music schools, perform with a wireless headset I watched their performance night clubs and concert halls. mic, I have learned to mute session go from being relaxed For a youtube video, click on it after announcing the next tune, just in case one of the musicians on stage says, “How “Moretele Park soon became does that one go again?” and I have to hum the opening lines. It was 1997 and suddenly more about braaing and jazz had found a market. Kaya FM was sharing it all day every drinking than jazz, and of day (not just on Sundays). People were buying it and course with large audiences, we were all playing it! Hugh Masekela had partnered with the limelight also went to J&B and opened a venue in Rockey St called The Junction. There was so much competition many artists’ heads” between venues – each trying to sway the flock – and the standard that bands delivered (and a bit iffy) to world-class this link: http://www.youtube. was really high. Every group in ten minutes. That was com/watch?v=CozAQpN3xsE was rehearsing a huge amount my first lesson in producing We also did a house concert for every gig, knowing that the records – giving the right kind at Bev and Patrick’s place in audiences were really tuned in. of direction during the session Port Elizabeth. They are the Also, there were always without criticism. Thankfully parents of the late Alex van musicians in the audiences, and Hugh wasn’t in studio during Heerden, who I actually never if you blew a solo that brought my session. I don’t think I met, but I love the work he the house down, they’d talk would have come up with my did. A trumpet player and and someone would want you best work if he’d given me the accordionist, Alex was someone for something soon. There were tropical lips speech, but I doubt who really experimented with no marketing departments, no he would have. local sounds in a different way. sales teams, no publicity gurus, Don was great. He didn’t I can never get enough of that. no social media analysts – just have any fixed ideas. I had I also realised that night in Port people living life to the full, and carte blanche. And Hugh was Elizabeth that house concerts

56 JAZZ LIFE SPRING 2014/SUMMER 2015 REFLECTIONS

“The best place to find good jazz is wherever you can” are the future of jazz. Although instrumentalists who could tell For me that’s what jazz is; I’ve been doing them all my life, a story with their instrument something intimate, a person- since I started playing at the was no longer relevant on to-person connection. Small age of seven, until that night I’d this scale. Moretele Park soon clubs and house concerts are never considered the economy became more about braaing the way forward because of the of it – that small is the new big, and drinking than jazz, and of intimacy and its people that as author Seth Godin put it. course with large audiences, make them work. I reckon if Here’s the thing: although the lime light also went to many jazz is no longer people music, we all welcomed the jazz artists’ heads. Enter another then what’s the point? And the boom in the late nineties, had boom: corporate culture. The rest of the scene? Well, best solid evidence that we South genuine connection with fans, place to get my new album Africans could make records the village vanguard scene got these days is from me – find that sold big numbers, that we swamped. me on Facebook. Hundreds could command real fees and Many artists began of people do every week and I headline major festivals, there performing with backing tracks, always write back to each and was a definite downside to jazz (why not, kwaito artists always everyone. It’s personal and moving from being informal, have), and our livelihood shifted feels good for everyone. The experimental and personal to to corporate events, where the best place to find good jazz is becoming an industry. It was audience aren’t really there wherever you can. also linked to a boom in kwaito, for the music and often don’t And if you see a remarkable and almost immediately things listen or seem to care that performance, consider having changed. It wasn’t just that I much about music. It seems the musicians come to your was playing steel pans with capitalism is now everywhere home and perform in your Joe Nina at Jazz on the Lake in Africa, even in music. What lounge or in the yard. Invite in September 2000 thinking also happened was that artists everyone you know. And work to myself “Is this really a jazz lost contact with the audience. out some kind of private deal festival?” Moments slipped away, with the artists and guests. You It was more like the moments like always meeting don’t need the facilities; it’s not realisation that pleasing 60 new people after each and every an exact science. It’s not an 000 people could only be gig – having someone come up industry. But it is real, and it’s done by come-on-everybody- to you when you get off stage music. Just like it was not so sing-with-me vocalists, and and say, “Thanks for that, we long ago. the fine craftsmanship of really enjoyed it!”

Dave Reynolds is a composer, recording artist and South Africa’s premier steel pan player. He has performed and recorded all over the world with artists like Andy Narell, Hugh Masekela, McCoy Mrubata, Gloria Bosman, Paul Hanmer, Louis Mhlanga and Concord Nkabinde, to name a few. In addition to conventional performances, he seeks new ways to bring music to South African audiences.

Picture: Dave Reynolds is the country's leading steel pan player. Photographer: Sthe Mngadi

JAZZ LIFE SPRING 2014/SUMMER 2015 57 Dancing at Jazz Concerts A Jazz Culture or a South African Heresy?

WORDS: DAN MOTAUNG

HE LILTING FIGURE to music exhibiting bouncing – South African jazz devotees spinning acrobatically cadences that make the hall really do not take the troubles as he feints a kick shudder while their dancing to understand what jazz as an and pirouettes in the style manifests grace, poise art form is all about, including aisleT next to the stage where and class, endowing them with live jazz performances. The the live band is performing is kudos. result often induces ire from not sashaying to the pulsating But then this is no less a discerning cognoscenti. rhythms of house or kwaito place than the sedate Cape Meanwhile, some of us in music, not by a long shot. He Town International Jazz festival, the audience keep a straight is dancing to a jazz piece at the which attracts the whole social face, averting our eyes to the Cape Town International Jazz spectrum from the jazz-clueless unfolding distraction. Festival. Amid the golden bray glitzy crowd to true-blue jazz One or two members of of Steve Turre’s trombone, the aficionados and culturatti. Most the quartet flash a smile in figure sways from side to side, probably those who descend on amusement as the dancer tapping artfully in intricate our country specifically for this detracts audience attention patterns, niftily executing exhilarating experience of Cape away from the virtuosity on dazzling moves…until the piece jazz festival would, as a matter display in this spectacular ends. of course, take it for granted jazz event. It is sight for sore Going by the dancer’s that South Africa, like all eyes. Intuitively, something insouciance, one could have other places that embrace jazz goes against the grain when sworn this dancing act was culture, observe same edicts captivated audience in a live unfolding in a jazz session that hold universal sway on the jazz concert have to contend normally held in township halls jazz firmament. with such an interpolations. on the last Sunday of the month Unfortunately, history has Because there is no known where a particular mode of ‘jazz proven again and again that research findings in the area of dancing’ is highly prized. During some – and, one can even live concert audience behaviour such occasions jitterbugs move make so bold as to say many in South Africa one is in the

58 JAZZ LIFE SPRING 2014/SUMMER 2015 JAZZ ESSAY

dark as to the levels of cultural during the performance. figure with a legendary hot awareness of the South African Luckily the audience behaved and irascible temple, Mingus audiences during live jazz themselves. However it still is known to have directed his concerts. boggles the mind that jazz temper to both members of Nevertheless, it is universally lovers in our country can fail his band and the audience acknowledged that during live to observe applicable etiquette, alike when he sensed jazz gigs certain minimum given that to embrace jazz one extraneous intrusion during his norms of behaviour are is presumably au fair with its performances. expected of the audience. defining cultural tenets. Jazz According to Ron Wynn and Inversely, it is increasingly clear gigs or concerts are much like Mike Katz, editors of All Music that most South African jazz classical music concerts; they Guide to Jazz, Mingus once adherents have not shown the are guided by strict rules of stopped a concert where he ability to differentiate between behaviour. Being highbrow art was performing when some the required behaviour during forms, both jazz and classical members of the audience the live performance of jazz music concerts audiences need clank ice in their glasses and any other pop gigs, where to contribute silence to the amid animated conversations. there is nothing odd about the performance not only because After abruptly stopping the audience’s uninhibited reaction. this will enable them to have performance, Mingus is On several occasions I have total experience of the repertoire reported to have shouted at personally noticed such tacky but also because the performers the audience, stating, “Isaac behaviour like the one described need silence to give the best of Stern does not have to put up above by South African themselves. with this shit.” Mingus is also audiences during live jazz gigs. This will explain why during reported to have smashed to On one such embarrassing jazz concerts applause is only bits a $20 000 bass out of anger occasion a member of the expected at the beginning and at the famous Five Spot in New audience rose up from the end of the renditions as well as York, following heckling by the back row where he was seated after soloing. Individuals are audience. to holler ‘shut up’ and other not supposed to rise and move If you thought Charles obscenities to a young couple about during shows, as such Mingus was alone you better lost in meanderingly intrusive movements are distractive. think again. Many other jazz conversation during the live While this dancing member artists have shown hissy fits performance of the American of the audience may have following aural detritus from artist Jack DeJohnette thrilled himself dancing a the audience. Among the most during the 2013 Cape Town storm to a live jazz tune, the reported idiosyncratic reactions International Jazz festival. fact is this type of behaviour of jazz artists are those of the I intuitively inferred that flies in the face of norms and touchy piano genius, Keith the MC was probably moved deportment in the eyes of the Jarrett. Equally crusty if less by this self-same realisation jazz establishment. given to physical fights, Jarrett about the wackiness of Many South Africa jazz is reputed to leave concerts in some jazz audience during fanatics who are indifferent to the middle due to unbecoming live performances in South the codes of good behaviour audience behaviour. During one Africa, when, on introducing during the live performances such noisy disturbance in Paris, the main act, the local artist should consider themselves Jarrett is said to have flounced Carlo Mombeli at the Orbit in lucky they are patronising out of solo piano concert Braamfontein, Johannesburg jazz concerts after the demise following incessant coughing on Saturday 16 August, he took of the jazz maestro and one from the audience. troubles to warn the audience of the creative composers in The magazine Idolator recites against ringing cellphones the history of jazz, Charles a bizarre story when, while and conducting conversations Mingus. A corpulently imposing in concert in Perugia during

JAZZ LIFE SPRING 2014/SUMMER 2015 59 JAZZ ESSAY

the Umbria Jazz Festival, like under apartheid not only say, ‘Go figure’! Admittedly, Jarrett was cut to the quick history of the country suffered there are moments when by photographers who kept distortions but numerous the atmosphere during jazz snapping away during his other ideas, especially those performances invites the performance, whereupon he that came from abroad, to audience to break into dance, blurted out, “I do not speak which many did not have this invariably at the prompting Italian, so someone who direct contact at the time and of the performing band. Even speaks English can tell all often had to rely on hearsay back in the 1940s a general these assholes with cameras or urban legend. For instance consent prevailed that one to turn them fucking off right many still believe that jazz is danced to swing and listened to now! No more photographs, ‘Sunday music’, or that it is bop! But again the dancing still including that red light right only for people of a particular had to be within the bounds of there. If we see any more lights, age, especially those over the the norms. I reserve the right (and I think hill. Most disconcertingly, there By way of a disclaimer, this the privilege is yours to hear are people who believe that jazz piece was prompted by personal us), but I reserve the right and is for dancing, and are none too observations about recurring Jack and Gary reserve the right thrilled by any jazz music with embarrassing oddities during to stop playing and leave the no groovy lines. jazz concerts marring the goddamn city!” For them that inaccessibly beauteous jazz experience; it What is often forgotten is that translucent idiom, free jazz, is bears no relations with social among others, ‘dialogue’ is the ‘boring’. Most of these musical class snobbery! Unfortunately, quintessence of jazz, whether stereotypes still persist, at its best jazz is exalted art. between the wind instruments probably exacerbated by the Volitionally attending a jazz and the rhythm section, or fact that many in our country concert thus obliges one to among the brass section itself are still blighted by lack of submit themselves to the rules or among the rhythm section. education and exposure. Duke of the game. Partly or wholly, jazz thrives Ellington, reportedly among In a few weeks or days from on dialogue. It follows then the three greatest musical now Johannesburg will be that a fair amount of order composers of any genre who seeing yet another edition of and attention is called for if ever lived, is said to have its annual jazz spectacular, the members of the ensemble are famously remarked that ‘jazz Standard Bank Joy of Jazz. to communicate with one other. is music, swing is business’ Once again there is strong The question is why many following the dance fad that possibility that against all people in South Africa would gripped the United States in advice sounded in this piece one misconceive the nature of jazz the 1930s after the onset of misguided South African buff as to display such unacceptable jazz idiom called swing, which will bounce up to twist and twirl behaviour as dancing during a threatened to reduce the artistic to the sounds of jazz…much to live jazz concert. standing of jazz to pop. the consternation of all! To answer this question Almost seven decades after, one must dig a bit deeper into South Africa still associates jazz South African history. It looks with swing! As the Americans

Tlhabane Dan Motaung is a Tembisa resident and a jazz disciple who graduated with an honours degree from Wits University. He worked for government for twelve years as a speech writer. He is inclined to a broad jazz spectrum, including ragtime, Dixieland, big bands, swing, bebop, free jazz, avant-garde, post-bop, third stream and chamber music. His favourite artists include Scott Joplin, Buddy Bolden, Duke Ellington, Ornette Coleman, Kippie Moeketsi, Phillip Tabane and Billy Holiday.

60 JAZZ LIFE SPRING 2014/SUMMER 2015 LAST WORD FROM ABROAD

WORDS: JULIAN BAHULA

very excited that South Africa more of the original Malombo had produced a jazz group with Jazzmen’s music, and I promise its own unique sound. You have there will be more of new music to give the Malombo Jazzmen to come from the three of us. credit for what we came up I feel like I have been able to with. The brilliant victory we reach my full potential because achieved with our music meant I am able to do better than l Malombo Jazzmen became could in the past. I am better at South Africa’s top jazz group of composing and producing my the 1960s and that deserves to music and I’m not just blowing be celebrated. my own trumpet. I am much Thinking of 1964, there more creative with whatever I was an absolute place in my do with my music, and nothing heart for a new album that it is coming out of my workshop EW YEAR IS A TIME brings us back to where we until it is ready. It matters not when people start started to mark 1964 – 2014 how long it takes, I want to give afresh and as a original Malombo Jazzmen our jazz fans value for money. founder member of 50th anniversary. I have Just wait and hear the sounds Nthe original Malombo jazzmen featured some amazing and of the new recordings; the of the Sixties, I see 2014 as extraordinary jazz musicians Malombo Jazzmen celebration an exciting year for the group. from my group Jabula and will be the best jazz recording of I remember the day Malombo also some of our own talented 2014. became South Africa’s top homebrew artists on this I am looking forward to jazz group way back in 1964, monster of the Malombo performing the music of this performing and competing at Jazzmen celebration album. album in our country and I the Castle Lager national jazz Everyone make a new will never ever turn down any festival, like it was yesterday recording for sincere reasons chance to perform for our jazz yet it’s fifty years ago. By then and I believe the 50th Malombo fans. I would like to continue performing at a jazz festival, celebration CD really stands performing as long as my groups were competing for a out as something exciting and strength and creativity will place in the polls and that’s unique. I’ve been working hard allow. I would like to give people how it was all over the world. on the album and now that back home in my country the Jazz music was the biggest I’m just about to complete it, I best performance of my life, thing in the country and after think the idea of recording such something that would make jazz we won we brought the trophy an album is good timing. I love fans and me feel very happy. I back to our home in Mamelodi. this album and it is going to am clearly enthusiastic about People around the country were make people want to have much pushing the boundaries of what

JAZZ LIFE SPRING 2014/SUMMER 2015 61 LAST WORD

is possible during this year. was recording this album the I am very lucky to be in that I am now 76 and I am not music made me change my position. I’m still creative, thinking of retirement, although mind because I feel I’ve been inspired and enjoying my life. I have thought of it but when I given a second chance in life. 

Editor’s Note: The Malombo Jazzmen reunion album to mark the band’s fifty years in the music industry since their historic triumph at the 1964 Castle Lager Jazz Festival at Orlando Stadium, Soweto, is titled Waiting. It is scheduled for release in February 2015. Bahula and fellow members will perform in a series of concerts around the country to mark this milestone. Julian Bahula left South Africa in 1973 and went to the United Kingdom as an exile where he set the British jazz scene alight with his brand of Malombo jazz. He formed Jabula, a jazz orchestra that was composed of African, Caribbean and British artists. The ensemble travelled widely and even shared the stage with in the United States. Alongside performances and recordings, Bahula worked as a cultural worker and festival organiser as a member of the ANC’s cultural desk. He was responsible for organising the first Nelson Mandela Birthday Concert in 1983. In 1990 he returned to South Africa for the first time. In 2012 the South African government honoured him with the Presidential Order of Ikhamanga for his contribution to the arts.

The Malombo Jazzmen posing with the trophy they won at Orlando Stadium in 1964 during the Castle Lager Jazz Festival. From left, Abbey Cindi (flute), Philip Tabane (guitar) and Julian Bahula (Malombo drums). Photo: Ernest Cole

62 JAZZ LIFE SPRING 2014/SUMMER 2015 WE SALUTE MADIBA! “The curious beauty of African music is that it uplifts even if it tells a sad tale. You must continue to make music for our people.” – NELSON ROLIHLAHLA MANDELA

Xippi Phonorecords • New York - Cape Town New jazz sounds in town • www.xippi.com VENUES A black woman’s place is at the forefront of the economy

NEF Women Empowerment Fund At the National Empowerment Fund (NEF) we have found are the rock, the voice bursting to be heard, a movement for that black women make the best entrepreneurs because change and progress, a force for development and growth. they remain focused on growing and safeguarding their businesses, whatever the odds. From R250 000 to R75 million the NEF Women Empowerment Fund can help make your dream become That is why through its Women Empowerment Fund the a reality, whether it is for start-up, expansion, franchising, NEF is determined more than ever to grow the volume of procurement, rural and community development, listing on businesses that are owned and run by black women. These must have a minimum of 51% black-woman-ownership, as the JSE or its junior Altx markets, equity transformation or well as operational involvement by black women both at for greenfields projects, the NEF is the financier of choice managerial and board levels. To the daughters of the soil, for black women in business. This we do because to fund a to the mothers of the nation, your time is now because you woman is to fund a nation!

www.nefcorp.co.za [email protected] 0861 843 633 (0861 THE NEF)

64 JAZZ LIFE SPRING 2014/SUMMER 2015