504Multimedia south africa edition by Wm. Doc Jones

021 MAGAZINE VOLUME 1 ISSUE 1

SOUTH AFRICA

504 MULTIMEDIA PUBLICATION

W W W . 5 0 4 M A G . C O M

Jazz from New Orlens to South Africa

HUGH MASAKELA

SOUTH AFRICA EDTION

EVENT SPECIATY PARTNER

Producing Events Globally

“HOME IS WHERE THE MUSIC IS” ALSO FEATURING:

Cama Gwini Thandiswa Mazwai LIRA Simphiwe Dana DeDe Bridgewater Damon Baitse Ladysmith Black Mambazo

NAYO JONES

NEW CD ENTITLED 504 MAGAZINE PAYS TRIBUTE TO SOUTH AFRICA

GREAT ZIM NGQAWANA MEET THE NEW U.S. AMBASSADOR TO SOUTH AFRICA, PATRICK GASPARD

504 Magazine Celebrates South Africa Contribution to Jazz 504MAG.COM

Hugh Masekela:

Musician by Intent, Activist By Default

CONTENTS 5

THE NEW CONNECTION “This magazine is dedicated toward

building the New Orleans- South Africa connection Dr Wm Doc Jones”

Kim Ngqawana

Hugh Masekle

021

magazine

WELCOME 504/021 MAGAZINE TO SOUTH AFRICA

Kim Ngqawana Pays tribute to South Africa sax man

Hugh Masekle Father of SA Jazz

Simphiwe Dana

QUEEN

16 New Orleans Own DEDE Bridge water

Nicholas Payton Representing a great New Orleans Musical sound

Damon Baptise NOSAC connecting South Afria

For customer service, change of address, and subscription inquiries, please visit www.504mag.com Simphiwe Dana

DeDe Bridgewater 16

Damon Bapitse

36 Cama Gwini Has a plan

Sonny Rollin & Barack Obama

LIRA

A Tribute to Billy Strathornr

52 Nayo Jones Live at the Kerr

62 Thandiswa Mazwai

Nayo Jones 36

ALL CONTENT AND PHOTOGRAPH MATERIAL ARE COPYRIGHTED TO THEIR RESPECTED OWNERS. TO CONTACT OUR EDITORIAL TEAM PLEASE EMAIL US AT PUBLISH@504MAG.COM 021 MAGAZINE 4

CELEBRATING THE LEGACY OF

ZIM NGQAWANA By: Cynthia Gill Mitchell

504 Magazine pays Tribute To the Lifes work of South Afica great Jazz Ambassador, Zim Ngqawana

Zim Ngqawana, widely considered one of South Africa’s preeminent contemporary jazz composer and performer, has died. The saxophonist and flautist suffered a stroke May 9 and today the 52-year-old was taken off life support at a hospital in Johannesburg. In accordance with his Islamic faith, he will be buried this evening. Speaking to Billboard. Biz, Lee Walters, general manager of the Moshito Music Conference and Exhibition described Ngqawana’s death as “shocking”.“Zim was busy preparing for a show at Wits University in Joburg this weekend and, as was customary for him, was working on many other projects. His death is a devastating blow to the South African music industry which has lost a gifted artist who was never afraid of experimenting and pushing himself and his collaborators in new directions.” When he took ill, Ngqawana had been rehearsing at his home in Troyeville in Johannesburg for the Wits show

on May 14, which will now be turned into a tribute concert for the musician. Trained locally at the University of Natal and then awarded a Max Roach scholarship to the University of Massachusetts, where he studied with jazz legends Archie Shepp and Yusef Lateef, Ngqawana recorded four acclaimed solo studio albums - “Zimology” (Sheer Sound, 1998), “Ingoma” (Sheer Sound, 1999), “Zimphonic Suites” (Sheer Sound, 2001) and “Vadzimu” (Sheer Sound, 2003). The latter album earned Ngqawana several South African Music Awards in 2004 including best male artist.

Continued on page 8

021 MAGAZINE 5

Hugh Masekle Celebrates The 4th Annual International Jazz Day

You cannot say the words “South Africa” and “Jazz” without mentioning the Great trumpeter Hugh Masekela. IMG_7461So historically significant when you think about his playing and barrier breaking collaborations with other American and European artists around the world. His music spoke for the people and tonight, to the people as they raised the roof. The Kippies stage is almost at capacity as Hugh fills the crowd with energetic emotion. He has paved the way for many other South African musicians to travel the world and tell their stories of the country through song, bringing us all closer together through music!

Hugh Masekela Talks Exile, Apartheid and Being Invaded by Music At a recent sell-out concert in London, Hugh Masekela demonstrated that he can still move like a man half his age and knows how to work a crowd. He talks to Global about growing up under the apartheid regime, how the pull of the American jazz scene lured him away from his homeland, and why being back in South Africa is bringing him such joy and musical satisfaction once again. Hugh Masekela saunters in from the wings, his horn in his hand. When he reaches centre stage, he bends and gracefully touches his toes, just because he can. The audience roars with approval and admiration – how many septuagenarians are capable of such a show of agility? But he doesn’t stop there. During the up-tempo numbers, he grinds his way down into a squatting position, knees pumping in and out as he slowly moves up and down, matching step for step the younger men in his band. The crowd loves it – and he knows they do – cheering and clapping every time. So where, at the ripe old age of 72, does he get his energy from? That’s a secret Masekela is reluctant to divulge: “It’s none of your business,” he tells me curtly, down the line from Johannesburg, a couple of weeks before his sell-out appearance at London’s Barbican. The concert marked the start of Commonwealth Week and is part of a year-long celebration of diversity within this association of 54 countries, encapsulated in the theme ‘Connecting Cultures’. It’s hard to think of a better example of the Commonwealth’s cultural connectivity than Masekela. He’s collaborated with a diverse range of artists from Bob Marley to Paul Simon, from Fela Kuti to the London Symphony Orchestra. And his music blends jazz, swing, soul, funk and reggae with the township grooves he heard as a child. “Where I grew up was one of South Africa’s melting pots – everything from all around South Africa and the surrounding countries,” Masekela says. “The migrant labourers came through there, so every weekend was a carnival. You couldn’t have had a better life, as oppressed as we were.” 8 stylus magazine

Masekela was born in 1939 and raised in Kwa-Guqa Township, Witbank. “I grew up with music as an infant and music invaded me, you know, like in The Exorcist. It’s been my obsession, my whole life and it still is,” he says. And watching him on stage it’s easy to see what he means. From the clear, pure tone of his flugelhorn to his rasping, emotion-filled vocals, he is every inch the musician. Even when playing the cowbell – hopping around, beating out complex rhythmical sequences – his musicality shines through. When he was just nine years old, the National Party introduced the apartheid system of racial segregation. Rallies, riots and boycotts became the backdrop to his youth. “What you have to understand is that we grew up in an environment where we worked on beating the system. From 1653, when the first Europeans came here, until 1994, that was the main focus of native South Africans. And after 350 years we finally got to the point where we had the first day of peace,” he says. Masekela started playing the trumpet at the age of 14. His first instrument was given to him by Archbishop Trevor Huddleston – then a parish priest in Sophiatown, later a stalwart of the anti-apartheid movement – and he joined the clergyman’s eponymous Jazz Band. “Huddleston’s greatest strength was that he stood against injustice against anybody. It wasn’t about black or white, he was just shocked that the people of Sophiatown were going through the shit they were going through,” explains Masekela. So how much of an influence was Huddleston on Masekela the activist? “I’m not an activist, I’m a musician,” he replies. “People seem to think that musicians have a role to play or that musicians are responsible for social change. I don’t believe that.” But this assertion doesn’t

quite ring true. His back catalogue includes songs like ‘Soweto Blues’, which chronicles the 1976 student uprising in that South African

of my time there. I also went to the Manhattan School of Music and met all the young musicians who were burgeoning into the next generation, like Herbie Hancock and [ac-

township; ‘Stimela: The Coal Train’, detailing the travails of migrants working in Johannesburg’s gold mines; and the anthemic ‘Bring Him Back Home’, a plea for the release of Nelson Mandela. On stage, his band playing quietly in the background, he delivers a sermon on mankind’s exploitation of the natural environment. Masekela is both a musician and an activist. Huddleston helped Masekela secure a place at London’s Guildhall School of Music. He left South Africa in 1960 and despite the warmth of feeling he has towards his homeland, it wasn’t difficult for him to leave. “It was the best experience,” he says. “I’d been working on leaving South Africa since I was a little child. I got Huddleston to get me a scholarship so that I could leave South Africa, because I just wanted to come and learn music from the best teachers and they were in New York.” So the UK was only a stopping point on his way to America. “I came at the best time to New York. It was the golden age of the jazz clubs and I spent most

claimed jazz bassist] Ron Carter.”

Continued 10

Masekela spent 30 years in exile, moving to Guinea in the early 1970s, then Botswana in 1981 and finally back to the UK in 1985. Along with Miriam Makeba (his wife for a few years in the mid-60s) and Ladysmith Black Mambazo, Masekela provided the soundtrack to the anti-apartheid struggle. “I think [we] got noticed by the world because we didn’t adopt any other cultural style. We projected the music of our country. Not for a political reason but [because] we came from there, we came from our people,” he says, downplaying once again the significance of his role in South Africa’s emancipation. Returning to the country of his birth was something Masekela never expected to be able to do, so when the system of apartheid began to be dismantled in the early 1990s, he seized the opportunity to go home. “The two greatest things that ever happened in my life was to leave South Africa and to come back to South Africa. That to me is the paradox of my life,” he says. His greatest joy was to be able to play with South African musicians again, with whom he feels he has an innate connection and understanding. “When I was overseas I had to write down music, analyse it and compartmentalise it for me to be able to play with other people. In South Africa, we would play music naturally. So to have the opportunity to come back and just be able to zero in on what you grew up with without having to explain it, you can’t beat that.”

RATED 5 stars Ready for new experiences! My husband and I went to Mama Africa to try something new for dinner. It was decorated rustically and it was complementary with live band music. And it was beyond our expectations. Our waitress was so helpful and kind. Also service was so fast. We took Mama’s Wild Game Mix Grill. It was delicious but the portion was not enough for two people. I recommend you to order starter first. The meat is well done. I took Mojo Jam Jar for drink and if you like sweet drinks, I strongly suggest you. We couldn’t choose anything for a dessert so we took mix plate again. They are all fine. It was a beautiful night to remember. Mama Africa must be seen.:) with Uygar Akgul

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Ashwani Mehta 119 Reviews , 205 Followers Follow 2 months ago via Zomato for iOS RATED The cab driver on hearing that I wanted to try wild game insisted that he will take me to this restaurant mama Africa in the CBD of Cape Town. Of we drove. Very disappointed to find that they had no place. Upon using our indian persistence they agreed to accommodate us at the bar. Once inside we were given a table by the manager. Since I wanted to try all wild meats she suggested I try a mama wild game grill. Sipping their house wine waited in anticipation. Tried their veg samosa as a side. The grill came with 5 types of game. Venison/springbok/kudu/ ostrich/crocodile. Did not take warthog because don’t take pork. Delicious meat done to perfection. An experience to remember. Decor was rustic African. 10-10 VFM. Cape Town must have the cheapest food in the world. Got world class cuisines and no where I had to pay more then 3/4000 bucks.

Mama Africa welcomes you with open arms to enjoy her hearty bounty of food @ entertainment. If you haven’t been to Mama Africa, you havent been to Cape Town

Restaurant Hearty, traditional food in colourful, rustic setting with eclectic mix of bands and drummers. Address: 178 Long Street, Cape Town, 8000, South Africa Phone:+27 21 426 1017 Hours: Open today · 12:30 – 3:00 pm, 6:30 pm – 12:00 am

Johannesburg Restaurateur Creates Sushi for African Palate Silver blades of high-tensile carbon steel flash inside the kitchen of the inner city restaurant known as The Blackanese. Sushi chef Themba Khumalo sharpens the blades, saying he feels naked without his treasured Japanese knives. “If you don’t have a knife, you don’t have sushi,” Khumalo said. “You have to sharpen your knives each and every morning when you come to work.” Khumalo is perfecting the art of fusion cooking, the delicate art of combining cultural and culinary traditions. The Johannesburg chef ’s unique mission is to ‘Africanize’ the Asian delicacy sushi, to get more black people to eat it. In front of a pitch black wall decorated with golden chopsticks, Khumalo sculpts maki: teardrop-shaped mouthfuls of raw salmon, cucumber and avocado, surrounded by sticky, white rice, in a wrap of paper-thin dark green seaweed. Khumalo is paid to create “sushi art,” as he calls it, at The Blackanese - an eatery that’s the brainchild of 30-year-old restaurateur Vusi Kunene. Kunene was raised poor, in a village in Mpumalanga Province. On special days, he says, his family would eat chicken. But mostly, they could afford only porridge and spinach on his mother’s meager income as a vegetable seller. “I don’t think there was sushi at that time in Africa,” he said. “I never knew anything about sushi.” After his mother died, Kunene left school at 14 and moved to Johannesburg, surviving on odd jobs, eventually becoming a waiter in a sushi restaurant. He became mesmerized by the process of crafting sushi and set out to learn as much about it as he could. “At the time the chefs were Japanese, were Chinese, who could not speak English,” he said. “And who were not willing to share the information. Then I started doing my own research, on the Internet and stuff like that, and moving to different types of sushi restaurants.” Kunene opened his restaurant two years ago with a mission to create sushi for the African palate. “People tend to think sushi is raw fish, which it’s not,” he said. “Sushi’s a combination of rice and vinegar. That’s why you can actually have sushi without raw fish. Raw fish is just one of the fillings.”

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Art of SushiMaking AfricanStyle Silver blades forged with high-tensile carbon steel flash as they slice through cardinal-red fillets of salmon on a restaurant counter in inner-city Johannesburg. Themba Khumalo’s most treasured possessions are his Japanese sushi knives, which he keeps razor sharp and disinfected “at all times.” “Without beautiful knives, a sushi chef is naked,” says the lithe 33-year-old chef, dressed in a checked shirt, tattered jeans and sneakers. “Where I come from the only people who love knives as much as I do are gangsters!” Khumalo lives in Vosloorus, a sprawling, smoky, impoverished township east of Johannesburg. “People there think I’m lying when I tell them I’m a sushi chef. “The few who even know what sushi is tell me: ‘Black people can’t make sushi, it’s only for Japanese and white people,” he says, winking and smiling. Beneath a pitch black wall decorated with golden chopsticks, Khumalo gently sculpts maki - teardrop-shaped mouthfuls of raw salmon, cucumber and avocado, surrounded by sticky

, snow-white rice in a wrap of paper-thin dark green seaweed.

Next, he creates a serving of spicy prawn bean curd. It looks like a piece of bread, topped with chopped raw pink prawns, slivers of avocado, creamy mayonnaise sprinkled with black and white sesame seeds and an auburn-colored sauce “Don’t ask me what’s in the sauce. It’s our secret,” Khumalo maintains. “All I’ll say is that it contains a blend of African and Japanese spices.”

WHAT’S COMING NEXT ON THE CONTINET, MEXICAN SUSHI?

South africa accommodation, hotels travel, South africa accommodation / south africa travel / south africa hotels / explore southern africa with sa-venues.com. South africa â&#x20AC;&#x201C; department international relations , Measures and guidelines for the enhanced coordination of south africaâ&#x20AC;&#x2122;s international engagements. South african qualification authority (saqa), An official body appointed by the ministers of education and labour to oversee the development of the national qualification framework (nqf) in south africa..

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# 1 MEXICAN SUSHI RESTAURANT IN ARIZONA IS TEAMING UP WITH INTERNATIONAL JAZZ DAY FOUNDATION TO BRING WORLD CLASS SUSHI & LATIN JAZZ ON TOUR TO SOUTH AFRICA

Simphiwe Dana

The “new Miriam Makeba BORN in the Transkei, Eastern Cape, Simphiwe Dana entered South African music mainstream in 2004 with her debut album Zandisile. Notching up numerous live appearances in the new millennium, it was her debut album which earned her a South African music award for “Best Jazz Vocal Album and Best Newcomer” Aside from Zandisile, her performance of the theme song on the soundtrack of the Yizo Yizo television show greatly enhanced her profile with the South African audience. The singer was born in rural Gcuwa, and then raised in the town of Lusikisiki. She schooled at the Vela private school in Umtata, from which she matriculated in 1997. Her tertiary education pursued her interests in graphic design, and she successfully studied for her National Diploma in IT at the Wits Technikon, Johannesburg. Dana’s music draws strongly on her upbringing in the Transkei, and she sites the powerful singing of her mother as

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an inspiration for her and her siblings, and ultimately as a key motivator in her resolve to pursue her musical career. She typically sketches her work in acapella form, before revisiting the compositions and fleshing out song structures. Vocal arrangements are up front in her music, often layered over a sparse instrumentation and groove. Simphiwe Dana has maintained a strong presence, with consistent radio play and live appearances at key national events and Festivals such as Arts Alive, the Cape Town International Jazz Festival, and the Standard Bank Joy of Jazz. In September 2005, pregnant with her second child, and travelling to perform in Vereeniging, she was involved in a serious road accident. She was hospitalised for a week, and needed reconstructive surgery, but fortunately gave birth to a healthy baby boy. In the ensuing period, she took time out to prioritise her maternal role, and also for her own healing. She maintains her live performance roster, which increasingly includes international dates. During 2006, she was also continuing work towards her second album.

Simphiwe Dana is a Xhosa Singer and song-writer in South Africa. Due to her unique combination of Jazz, Afrosoul, RAP and Traditional music, she has been hailed as the “new Miriam Makeba”.[1] Uci sequisto que odigent. Sed es ium fugit, sinctaturis endiam quunti quia voluptat rem. Culparcimi, nihit quam rerferu ptatibus et quatquam, qui tem. Itat ex eos as et, cus consequ atiost aut quid eum, nulliciis evenimi, sa eseque mos aceperu ptatempore volupic atendip suntotam veremquam untiam corat. Early life Simphiwe was born in 1980 in Gcuwa, Transkei, in the Eastern Cape, South Africa. Her father was a preacher and as she grew up she heard church music in both choral and gospel forms.[2] She schooled at the Vela Private School in Mthatha, where she matriculated in 1997. Her tertiary education pursued her interests in graphic design, and she successfully studied for her National Diploma in IT at the Wits Technikon, Johannesburg. From 2002, she sang in small clubs in Johannesburg where she began attracting attention. She made a major impact in South Africa with the release in 2004 of Zandisile. The album sold very well and gained several awards, including some South African Music Award (SAMA) in 2005. On its worldwide release the album gained success in the Billboard charts and she won an AVO Session Dana, who has been likened to singers such as Miriam Makeba and Dorothy Masuka, sings an artful musical form that blends traditional African music with contemporary soul and hence shows hints of gospel and blues. The depth of her musical portrayals is such that she has drawn approval from an older generation of South Africans, especially women, while her youth and grasp of contemporary pop has endeared her to the young audience. Among the songs in Dana’s repertoire are ‘Ndiredi’, ‘Troubled Soldier’, ‘Chula Ukunyathela’, ‘Bantu Biko Street’, ‘Zundiqondisise’, ‘Uzobuya Nini’, ‘Sonini Nanini’ and ‘Naphakade’. She also sings the theme song of the Yizo Yizo television show. She has maintained a strong presence, with consistent radio play and live appearances at key national events and Festivals such as Arts Alive, the Cape Town International Jazz Festival and the Standard Bank Joy of Jazz. With two commerciallysuccessful and critically acclaimed albums to her credit, she maintains a busy live performance roster, which increasingly includes international dates. Her third album, Kulture Noir, was released in the summer of 2010. She later released her live album, An Evening with Sipmhiwe Dana Live in Concert, which features her singing some of her best hits accompanied by a 27 piece orchestra. Simphiwe has been vocal on topical issues in social media including political issues in South Africa. Simphiwe Dana is also Europe.

active in the World Music scene in

Publisher / CEO DR.William “Doc” Jones Senior Editor & Vice President Wayne Gaskins Senior Writer / Chief Editor Shirley A. Jones Senior Writer/ Editor Cynthia Gill Mitchell Staff Writer Douglas Berry Senior Design Layout Wm. Doc. Jones Chief Photo Editor Doc Jones Assistant Photo Editor Fredy Garcia ©504 Multi MEDIA LLC. All Rights Reserved

Welcome to 021 Magazine. As Publisher & CEO OF 504 Multimedia, I would like to congratulate Herbie Hancock, President Barack Obama,UNSECO Director General Irina Bokova,& all the Jazz musicians that has supported the International Jazz Day Movement around the world .

Dr Wm Jones, Phx AZ Mayor Greg Stanton,& Wayne Gaskins

meet on the topic of the Phoenix and South Africa International Jazz Dday AZ cultural exchange 2016

Once you meet him, you’ll remember him. Dr. William Jones (lovingly referred to as Doc) is Founder/CEO and Chief Editor of the pulse of NOLA’s, 504Mag.com. Doc Jones brings a high level energy, excitement and hands on involvement to anything he believes in. Doc’s motto, love of people, and talents continues to be, “if you believe in it, you should be a contributing factor in it.” Doc is excited about the restoration of and is spearheading an all out effort to bring an influx of new ready-to-run contributors to the area armed with current information in 504Mag.com. He recently stated, “It’s not the remaining rubble, though the devastation of Katrina remains vividly in my mind, but the beauty of the people, the succulence of the food and the throngs of happy tourist I once performed for himself on Bourbon Street.” 504Mag.com comes to give and not take from the history of the culture

Publisher Doc Jones & Int’l Jazz Day Ambassador Herbie Hancock

UNESCO Director-General Irina Bokova

& Ambassador Herbie Hancock within that makes NOLA so unique. I come to give and not take toward the complete restoration of New Orleans.

Doc Jones has been a music educator and professional musician /restaurant owner for more than 35 years. Everywhere he has lived from Chicago to Arizona and now New Orleans, he has left a trail of happy and fond memories. Though there will always be a special place in his heart for Chicago, Doc Jones is quoted to have said New Orleans is, “His Kind of Town.”

504 MAGAZINE /COVERED/ DEDE BRIDGEWATER WITH THE NEW ORLEANS JAZZ ORCHESTRA AT THIS YEARS CAPE TOWN INTERNATIONAL JAZZ FESTIVAL 2015

I can tell you about someone who is not the least bit shy. In fact, she has this infallible power to put the biggest smile on your face. Dee Dee Bridgewater is the bomb! With her command of one of the most beautiful voices in jazz, she turns music, song and story into the show of the century every time. Here with one of New Orlean’s, “finest” trumpeters, (and with Dee Dee every word is a triple entendre), Irvin Mayfield knows how to keep the music strong and hold it all together, even under welcomed duress. The coercion is the cohesion just like the music is the magic and when backed up by the New Orleans Jazz Orchestra, its a guaranteed good time! Photo By: Marc Bongers

504 MAGAZINE TRAVEL TO AUSTRIAL DEDE BRIDGWATER ROYALTY IN THE EYES OF MANY

ee Dee Bridgewater & Irvin Mayfield with the New Orleans Jazz Orchestra brought an acoustic jazz ensemble to the cavernous Kippies stage. And they pulled it off, courtesy of a totally hot performance. Bridgewater has enough style and sass to hold any stage I can imagine, plus the vocal chops to back them up. They began with “Hold Your

Water,” moved on to a new arrangement of the Harry Connick, Jr. song “One Fine Thing,” then on to “Lay Your Burden Down” and a Duke Ellington tune. Bridgewater finally got a break while the band played Benny Goodman’s “Sing, Sing, Sing” (a terrific big band arrangement with no connection to New Orleans that I know of). But the N.O. connection was back in full force with “Do You Know What It Means To

Photo ByMarc Bonger:

Miss New Orleans.”

Photo By: Marc Bongers

Dee Dee Bridgewater & Irvin Mayfield with the New Orleans Jazz Orchestra brought an acoustic jazz ensemble to the cavernous Kippies stage. And they pulled it off, courtesy of a totally hot performance. Bridgewater has enough style and sass to hold any stage I can imagine, plus the vocal chops to back them up. They began with “Hold Your Water,” moved on to a new arrangement of the Harry Connick, Jr. song “One Fine Thing,” then on to “Lay Your

Burden Down” and a Duke Ellington tune. Bridgewater finally got a break while the band played Benny Goodman’s “Sing, Sing, Sing” (a terrific big band arrangement with no connection to New Orleans that I know of). But the N.O. connection was back in full force with “Do You Know What It Means To Miss New Orleans.”

Photo ByMarc Bonger:

Photo By:

504 MAGAZINE 15

NAYO JONES TO RELEASE HER NEW CD LIVE AT THE KERR CENTER Nayo Jones to release her new CD

Summer Time. This rhythm sec-

This Summer; Entitled Live from the

tion sounds twice its size, and cou-

Kerr Center in Scottsdale AZ “It’s My

nter stated by a cohort of virtuoso

Turn”: “A great live recording project

soloists, she finds fresh, unfailingly

permeate this beautifully rendered

swinging approaches to this well-

paying tribute to New Orleans, and “Real Jazz” with her version of the standard, St James Infirmary, If I Only Had A Brain, Take The A-Train by (Billy Strayhorn), her signature song, At Last, and the classic, Summer Time —a voice that

traveled repertoire, melding into a

projects from a whisper to a scream,

personal argot elements garnered

Nayo has impeccable diction, dead-

from such distinguished mentors

center pitch, fluid phrasing. Backed

as Natalie Cole, Whitney Houston,

by a breath taking swinging quar-

Nancy Wilson—while sounding like

tet –(4 piece) unit of top-shelf mu-

no one other than Nayo Jones. As

sicians, Dowell Davis Drums, Felix

she aptly puts it, this is a tribute to,

Sainz Bass, Loannis Goudelis Piano,

“Real Jazz” New Orleans Style on In-

Kerry Campbell Alto Sax, featuring

ternational Jazz Day.”

Doc Jones on Piano on At Last, and

504 MAGAZINE 16

Donald. Harrison

Air Flights to South Africa Cape Town, located just near the southern main tip of South Africa, which is really famous for its outstanding beauty, the world-renowned landmarks such as ... Cape Town, located just near the southern main tip of South Africa, which is really famous for its outstanding beauty, the world-renowned landmarks such as the Table Mountain as well as the Kirstenbosch Gardens Botanical, and its hip and food and art scene. And because of the recent death of Mandela, tourists are really interested in digging deeper into

the countryâ&#x20AC;&#x2122;s hidden history as well as its struggle against the apartheid. When you are planning a visit to the Mother City, just get away from the tired things that you find in different guidebooks and then get off the really beaten path. We have gathered some of the very unique things to do and this will really make you feel like a local.

#1 Airline in South Africa

SOUTH AFRICAN AIRWAYS WINS “BEST AIRLINE IN AFRICA” SKYTRAX AWARD FOR THE 13TH CONSECUTIVE YEAR South African Airways (SAA), Africa’s most awarded airline, has been named “Best Airline in Africa” by Skytrax for the thirteenth consecutive year. Responses from air travelers to the Skytrax survey also ensured that SAA was honored with the award for “Best Airline Staff in Africa” for the fourth time. The awards for “Best Airline Staff ” are special and coveted accolades, as they represent the combined quality performance of an airline’s front-line staff, including the onboard cabin crew and airport customer service staff. Mango, SAA’s low-cost carrier, received the award for “Best Low-Cost Airline in Africa”. The awards were presented at the Skytrax World Airline Awards ceremony during the Paris Air Show, Le Bourget.

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The awards are based on a consumer satisfaction survey conducted each year by Skytrax, an independent aviation research organization. This year, the survey elicited responses from 18-million business and leisure air travelers from 160 countries, covering more than 200 airlines, from the largest international airlines to smaller domestic carriers. The online survey is open for a 10-month period, giving passengers an opportunity to rate their experience in the air and on the ground. It measures satisfaction across 41 key performance indicators of airline front-line product and service including check-in, boarding, on-board seat comfort, cabin cleanliness, food, beverages, inflight entertainment and staff service.

honor to, once again, receive these awards. We are committed to excellence and strongly believe that an outstanding customer experience is what makes a great airline,” said Marc Cavaliere, Executive Vice President for South African Airways in North America. “SAA is proud to be the only Skytrax 4-Star airline flying between the U.S. and Africa, and we are pleased that travelers recognize us as the best way to travel to Africa.” “It is a distinguished

South African Airways offers the most daily flights between the U.S. and South Africa with nonstop service from New York-JFK Airport and direct service from Washington, DC-Dulles Airport to Johannesburg. SAA currently offers daily nonstop service between Washington, DC-Dulles Airport and Dakar, Senegal, and beginning August 3rd, will launch a new nonstop flight four days per week between Washington, D.C.-Dulles International Airport and Accra’s Kotoka International Airport.

sit www.flysaa.com or contact South African Airways’ North America Reservations Center at 1-(800) 7229675, or their professional travel consultant. About South African Airways South African Airways (SAA), South Africa’s national flag carrier and the continent’s most awarded airline, serves 67 destinations worldwide in partnership with SA Express, Airlink and its low cost carrier Mango. In North America, SAA operates daily nonstop flights from New York-JFK and direct flights from Washington D.C.-IAD (via Accra, Ghana* and Dakar, Senegal) to Johannesburg. SAA has codes share agreements with United Airlines, Air Canada and JetBlue Airways, which offer convenient connections from more than 30 cities to SAA’s flights. SAA is a Star Alliance member and the recipient of the Skytrax 4-Star rating for 13 consecutive years.

*Flights between Washington, DC-Dulles Airport and For reservations and information, customers should vi- Accra, Ghana begin August 3, 2015

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NEW ORLEANS & SOUTH AFRICA CULURAL EXCHANGE

Damon J. Batiste is the President & Cultural Ambassador of the New Orleans South African Connection. Mr. Batiste has traveled to Africa over 74 times since his first trip to South Arica in 1998. The results were the beginning of a solid cultural music exchange between New Orleans & South Africa. This Connection has seen the likes of Miriam Makeba, Hugh Masakela, Ladysmith Black Mambazo, Jimmy Dludlu, Selealo Seloto, Prince Kupi, Musi Manzini & Miss South Africa and more return to the Birth Place of Jazz New Orleans, Louisiana. Founded by Damon J. Batiste in 1998, the New Orleans South African Connection, Inc. (NOSACONN) has been a non-profit 501 (c) 3 organization, comprised of business, civic, community and entertainment industry leaders, both in New Orleans and in the Republic of South Africa. Our unique partnership has allowed us to produce special events in the City of New Orleans and the Republic of South Africa, simultaneously for the past three years. These activities have allowed our organization to serve as pioneers of presenting art, culture and tourism as the forefront of economic development. NOSACONN has recognized the field of arts, culture & education on a local, regional and international level as a tremendous networking tool for job creation, tourism, and self-empowerment. It has also served as an incubator for economic sustainability. Over the past 5 years, NOSACONN has produced outdoor concerts, educational workshops, empowerment seminars, business expositions, and youth enhancement programs. Since our inception, we have employed over 250 people, including mentoring youth in our local school system. To further our efforts of continued growth, we are seeking further assistance from the Louisiana State

Department of Economic Development. During our next endeavor to South Africa, we will continue to promote the State of Louisiana and the City of New Orleans. We do this because of Cityâ&#x20AC;&#x2122;s uniqueness, diversity of culture and our openess to new opportunities for education and economic development. This cultural exchange has opened doors for many businesses, entertainers and social groups to continue their work, which has been a great opportunity to support their effort. Not only does this cultural exchange help our city but also it offers the opportunity for producers, and musicians to gain marketing exposure while bringing dollars to our city. It is no surprise that what benefits the Each Province also benefits the Republic of South Africa. Through NOSACONN, International Cultural Exchange will continue to gather a diverse group of government and business leaders to explore import, export, trade and business opportunities. Here are a few key measures Nosaconn uses for future growth.

South Africa Renewed New Orleans Diplomatic Ties Diplomatic ties between New Orleans and South Africa are being renewed after a break 33 years ago over Apartheid rule. An honorary consul’s main concern will be shepherding a $10 billion energy plant to completion in southwest Louisiana. The South African company Sasol is planning a $10 billion-dollar plant in Westlake, converting natural gas to liquid fuels. South African Ambassador Ebrahim Rasool says the technology was developed when oil imports were blocked from his country. As international pressure grew to end the white-minority rule under Apartheid, the government developed fuel alternatives. Rasool says Louisiana is a natural fit for his country’s investment. Louisiana is the place at which all of this gas comes together. It can come together in Louisiana and it can be dispersed from Louisiana using the channels that the Mississippi offers to get it all over the U.S. These are also the areas in which the greatest deposits of natural gas are to be found. And so rather than getting large pipeline and shipment costs with the natural gas you do it as close to the deposits as is possible.” New Orleans attorney Keith Doley is the new honorary consul, and will concentrate on getting the plant online.

A foreign company to come in and make an investment of this nature, it just shows that the doors of Louisiana are open for business. This won’t be the last plant that comes here. There’s a possibility that there may be other plants. We have natural resources that other states don’t have. They have to come to us.” Officials expect 850 permanent jobs at the plant, with several thousand during construction. Rasool says the project could be finished in five years.

From South Africa to New Orleans: A WideRanging Season From Apollo Theater

Festivals, the music of New Orleans and a tribute to Bob Marley are among the highlights scheduled for the Apollo Theater’s 2014-15 season, the theater announced Thursday. The Apollo’s third annual “Africa Now!” festival (Oct. 9-12) returns with a focus on South Africa as part of a citywide celebration of the 20th anniversary of Nelson Mandela’s inauguration as president. Plans for the event include panel discussions, film screenings and performances by the South African musicians the Soil, Simphiwe Dana, Tumi Molekane and Toya Delazy. stylus magazine 33

South Africa Cape Town Luxury Hotel

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stylus magazine 35

HERBIE HANCOCK

HAD A DREAM

stylus magazine 37

MAYOR Of PHOENIX AZ GREG STANTON Photo By Jay Vivid Blaq

Photo By 504 Staff

504 MULTIMEDIA CONNECTS PHOENIX TO NEW ORLEANS INTERNATIONAL JAZZ DAY AZ FOUNDATION

MAYOR MITCH LANDRUM

Photot By:504 Mag staff

Photo By: Lama

Camagwini plans

Article with Collage #3

To keep Artists At Home

40 stylus magazine

AWARD-winning musician Camagwini is on a mission to keep Eastern Cape musicians in the province and is hoping a four-part documentary she is filming will do just that. The 31-year-old, originally of New Brighton but now living in Johannesburg, said she had seen firsthand the heartbreak many artists experienced when they left for greener pastures. Her documentary New Originals, being filmed in Nelson Mandela Bay, will look at why artists leave the province, and how the youth use art to uplift themselves and others, and will include fashion, visual arts, music and dance. “When I left EC in 2006, there were no opportunities for artists in Nelson Mandela Bay. Things were not easy in Johannesburg as I had to start afresh,” she said. “When I left PE, I was sure about

my craft and I had mastered everything. I had to define my voice and polish my writing skills. If I was not strong I could have thrown in the towel.” She said artists now did not have to go through all that. “Things have changed and artists don’t have to move to Johannesburg in order to make it in the music industry. “These days technology has made it easy for artists to record and send their music to recording artists wherever they are. “I also feel that local municipalities are not doing enough to support their local artists. It doesn’t make sense for the municipality to spend millions of rands on one festival. That amount could have organised many festivals during the course of the year to support local music.” Camagwini will take time to listen to artists and share her successes and mistakes with them. She also

hopes to find out what support Eastern Cape musicians need to ensure they are successful, and implement those changes. She said she would organise a free concert to showcase some of the Bay’s young talent at the Opera House on Mon day. “On the day of the concert I will also give a performance. I have invited Gallo Music Publishing and Bozza Records to have them commit to helping young talent here in PE. “Zwai Bala, who is also going to feature in the documentary, will help create a demo studio where artists can record demos.”

Article with Collage #3

AFTER RUMOURS IN MAY THAT SHE HAD DIED, SIPHOKAZI BUTI, BETTER KNOWN AS CAMAGWINI, AND BETTER STILL AS CAMA GWINI, IS BACK WITH A NEW ALBUM TITLED RE-BIRTH. The songstress says she has split her name, changed cestors. I respect my ancestors and the process too her image and her sound to include rock and Afro- much to make it a public affair,” she said. soul elements to demonstrate her versatility as an artist. She was hopeful that her fans would welcome her rebranding with open minds. Many regarded rumours of her death as a publicity stunt, but she claims it was a mistake by her cousin “The themes in this album were inspired by my who was fooling around on Facebook. own personal experiences - from losing hope, patience and loving myself,” she said. The 29-year-old singer, who is known for her chanting style of singing, said she took a two-year She told Sowetan: “In this album I am exploring the break from the music scene to do some soulAfro-soul sound and have completely changed my searching. image. “During the time off the music industry, I learnt to understand myself more and realised that I was actually blocking my own success through my actions.” Though it is publicly known that she went to train as a sangoma during her break, she flatly refused to speak about her training - and her ancestors. “People always have funny things to say about an-

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“I have never been one to be scared to experiment with unconventional fashion styles.” She attributed her bold fashion sense to her daring personality. Re-Birth features hits like Jikelemaweni and Umdali. Cama Gwini will launch her new album tomorrow.

A REBIRTH OF CAMA GWINI

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SOUTH AFRICA’S OWN Article with Banner

021Magazine

By: Doug Berry

Lira was born Lira Molapo in South Africa in March, 1979. Her music is a sweet mix of Afro-Jazz, RnB and Soul. After winning a competition for young singers and songwriters, Lira started performing live at the age of 16, singing both cover versions and original compositions. In 2000 she was discovered by musician and producer Arthur Mafokate, who had her sign with his record label, 999 Music. She wrote all the songs on her album, “All My Love”, released in May 2003. She left 999 Music and teamed up with keyboardist Victor Mngomezulu, bassist Tshepo Sekele, and producer Robin Kohl. In 2006, her second album, “Feel Good”, was released and was a bigger success. She received five nominations at the South African Grammy Awards (Best New Artist, Best Female Artist, Best R&B Album, Best Single, and Best Video). “Feel Good”, was hailed as a great Afro-jazz album. It had hits like Feel good and Ixesha. ‘Feel good’ was twice number 1 on SA’s Metro FM’s charts on the National South African Top 20. Her third album, “Soul In Mind”, was released in 2008. Lira set a soul scorching benchmark with her 2006 album “Feel Good” - and with her late 2008 release, “Soul In Mind” she created a record that is defined by its honesty, soulfulness, femininity and utter joyfulness. Her latest album, “Return To Love” is set for release this year. 46 stylus magazine

INTRODUCES LIRA JAZZ ARTIST EXTRAODINAIRE TO OUR 504 MULTIMEDIA READERS AROUND THE WORLD

stylus magazine 47

Like billions of music lovers all over the world, President CEO Dr William Jones, enjoys a live jazz performance, as evidenced by his continual invitations welcoming New Orleans musicians to perform come to phoenix & South Africa. New Orleans Congo Square is the birthplace of jazz where it is said to have started in 1819, is alive and well. Slaves would congregate on Sundays in the Square where they would dance, sing and play music native to there native homelands. Our President’s/CEO of 504 Multimedia love of jazz is seen in his over 40 yrs as a Jazz muscian and producer of International Jazz day AZ festival him plays songs, such as Coltrane’s “Blue Train,” that became Hope Train. Donald Byrd’s “A New Perspective;” also the President’s. Last, but not least, Dexter Gordon’s “Our Man in Paris,” became Our Man in New Orlensa & Phoenix AZ. By: Shirley A Jones

Itâ&#x20AC;&#x2122;s perfectly clear where Jazz began,new orleans. even the historians agree on that one. Jazz is to American music what the Mississippi is to America.

Article with Collage #2

021 MAGAZINE CELEBRATES : BHEKI MSELEKU. BY: Shirley Jones

PROPER recognition of this fine multi-instrumentalist’s (piano, composer, vocals, saxophone, guitar) talents seemed long in coming, but since 1991 this modest and dignified performer has been very much in the limelight, touring internationally and releasing several albums with major record labels, as well as featuring on some massive releases from other artists. Bheki Mseleku arrived on the Johannesburg music scene in 1975 as an electric organ player for an R&B outfit, and has over time adapted and grown into one of the world’s finest musicians. He is one of a number of supremely talented musicians who left South Africa and its oppressive apartheid system to take up residence in London, leaving South Africa’s shores in the late 70’s. After extensive touring around Europe and the U.K., his debut performance at Ronnie Scott’s in London (‘87) saw him teaming up with some of the more prominent figures from London’s Jazz revival scene. This eventually lead to the release of his star-studded debut album “Celebration”(1991). Featuring the likes of Courtney Pine, Steve Williamson, Eddie Parker, Jean 50 stylus magazine

Toussaint, Michael Bowie and Marvin “Smitty” Smith, the album was well received and supported with a heavy touring schedule, and a deserved nomination for British Mercury Music Prize for Album Of The Year. After the hype rescinded, Mseleku resumed his solo performances, accompanying overtly spiritual and dedicatory vocal-lines with gently rocking, townshipinspired piano, punctuating the whole with sparkling runs and one-handed riffs on the tenor saxophone. “Meditations”(1992), a live recording from the Bath International Music Festival, captured this absorbing style on two long tracks. Instrumentation: piano, arranger, vocals, guitar, Saxophone Genre: jazz Signing to the Verve/PolyGram label at the end of 1993, Mseleku’s “Timelessness” found him in the company of some top American heavyweights, including Joe Henderson, Pharoah Sanders, Abbey Lincoln and Elvin Jones, and was accompanied by more media furore. His fourth release “Star Seedings”(1995) and his last release of the decade “Beauty Of Sunrise”(1997) with

HOME AT LAST Sheer Sound has released a lot of albums of musicians whose music cannot categorized as “straight ahead jazz”. Most of them are influenced by their environment. I use this term not in a local sense but more in a musical one. The South African jazz scene is proud of their South African heritage and most of the musicians intend to integrate the sound of South Africa into their style. After reading his biography you will know that Bheki Mseleku has lived a great part of his time in Londoner exile caused by the oppressive apartheid system. Certainly he has profited by his collaborations with Courtney Pine, Steve Williamson, Eddie Parker, Jean Toussaint, Michael Bowie and Marvin “Smitty” Smith.

A Journey From Within features Feya Faku on flugel horn. A slow tempo piece with some impressing piano running in between. Mamelodi is one of the suburbs of Pretoria. A town with a vivid culture, jazz gigs and workshops included. Bheki Mseleku shows his own vision of this sparkling city. Love Is The Key is a further reverie, a confession to love and music. After these contemplative tunes Bheki returns with Dance With Me Tonight to the dance floor. I should better say, it’s not danceable but grooving.

“Home At Last” is an acknowledgement of superiority in respect of his homeland and its inhabitants. It’s also a reference to his own musical history. No, Bheki Mseleku refuses to be categorized as “jazz pianist” or “South African”. So try to listen to his albums without any prejudices.

Bheki goes his own way of music. Although knowing about the popularity of such grooving pieces he returns to jazz elements with classic rhythm structures. Take for example Mbizo. This tune is dedicated to Johnny Mbizo Dyani, a legendary jazz player (African Jazz, Avant-Garde Jazz).

Sandile is the pre-name of Sandile Shange, a great guitarist from Bheki’s hometown Johannesburg. Bheki’s piano playing is often compared with McCoy Tyner and fellow South African, Abdullah Ibrahim. Bheki has a smooth contact to the keys, in the beginning a caressing touch his play is increasing to a piano forte accompanied by the typical brass sound. Enoch Mthalane adds some nice guitar slicks in a “Shange” style.

Imbali a part of the Kruger National Park is the right theme for a further jazz exploration.

Monwabisi is named for the legendary “Mankunku Winston Ngozi”. Mankunku recorded and released the acclaimed album “Jika” in 1986 on the joint record label Nkomo. Recorded both in Cape Town and London, “Jika” featured a number of exiled South African musicians, including Bheki Mseleku, Russell Herman, and Lucky Ranku. It’s an enjoyment to listen to the interaction of acoustic bass, saxophone and piano. The tenor saxophone is played by Mankunku. Home again!

Monk The Priest. “The most important jazz musicians are the ones who are successful in creating their own original world of music with its own rules, logic, and surprises.” This homage to “Thelonious Monk”, the great jazz pianist, follows the path of a legend.

Home At Last a celebration of being home again incorporates the ease of existence. Although jazz styled the melodious parts of this song will appeal even the youth. A very hooking potential.

Nant’s Inkululeko, a feast for brass fans, is the platform for Ezra Ngcukana’s tenor saxophone and Feya Faku’s flugel horn solos. Bheki Mseleku piano solo is the inauguration of jazz. A further summit is Belinda Ananda. Improvisation finds a fertile ground here.

Home At Last offers a glimpse of the musical nature of Bheki Mseleku. John Matshikiza describes Bheki as a “new warrior”. I believe he is more an ambassador of his own music. Someone who knows to convince with soft tones.

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Article with photo

Afro Fiesta

Afro Fiesta - Jazz, Reggae, Afro-Beat, Function Band and Party Band - Cape Town The music of Afro- Fiesta is a fusion of various styles incorporating Makosa, Latin, African Salsa Reggea and Kwasa-Kwasa. This lively band comprises of extraordinary talented male musicians who are constantly climbing the leather of success since their beginning in 2000. International Radio plays establish their name and music worldwide. The big demand made Afro-fiesta perform all over South Africa in the most renown and established Music Venues and Festivals and in the USA. Frontman and founder of Afro Fiesta Merman Konkosenki has an outstanding voice and character and is one of the main singer for the Playing for Change project and PFC Band. Songs of Afro Fiesta have been lisensed for Palying for Change and published on the album. Currently the cover version of no more trouble is one of the best sold songs on PFC download sites. Merman is happy and excited of what comes next. About their performance enegrgy one can only say, that the audience will be carried away by the joyful rhythms and will dance the night away. With Afro-Fiesta you will listen to the beauty of Africa and feel the love. The band’s name reflects the mix of musicians who are from all over the African continent. Although Afro Fiesta is defined by a broad reggae afro jazz label, it’s music writhes with the strong spirit and sound of the Congo. Mermans Mosengo Kenkosenki, the founder and leader of Afro Fiesta, on his arrival in South Africa during 1998, joined the Young Bakuba Band as a drummer and bass guitar player, alternating between the two roles. After a year in the band he found that his independence and musical style were being limited and he branched out on his own as a solo artist in 1999. He was soon in demand, doing solo gigs at various Cape Town venues including 52 stylus magazine

Dizzy’s Jazz Café and the legendary Café Camissa on Kloof Street Shortly after this he decided that he preferred a band set-up and formed a new group which he called the Brothers’ Band, comprising his long time friend MC on congas and guitar, and Jibriel Omonga as singer and percussionist. The new millennium brought more changes for the band with Papi (Felix Garemua) joining as lead guitarist, Alfredo as bassist, Junior as drummer and Christian on keyboards. In 2004 Mermans knew it was time for the band to release an album and he was able to sign a deal with Mohamed Fall of Vibrations Studio. He decided to add a few more faces to his talented core of musicians and Chibo, Tentino, Mavakala, Bova and Jason joined the group. He now had a group of master musicians oozing talent and enthusiasm. He renamed the group Afro-Fiesta, to reflect the many countries and cultures of the band members. Afro-Fiesta has worked hard towards their work of art with their songs fusing various styles, incorporating Makosa, hints of Latino, Afro-jazz and Kwasa-Kwasa. They have performed at Manenberg “A place in Africa”, Mama Afrika, Moyo Spier Stellenbosch, Jazz on the Rocks festival (Musol, Vodacom and Oudemeester Brandy sponsored), Africa Day celebrations 2006, Light Festival, La Med Camps Bay, Gallery Café, West End 2007.

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Trombone Shorty BRINGS A TASTE OF New Orlean TO PHOENIXs

McDowell Mountain Music Festival 2015

Photo by: Jerry Maroney

McDowell Mountain Music Festival took over Margaret T. Hance Park in downtown Phoenix over the weekend. The three-day festival featured more than 30 bands from a wide range of genres between the local and main stages. For the 12th year, Wespac Construction hosted the event as a fundraiser for charity. McDowell Mountain Music Festival benefits UMOM Day Centers and Phoenix Children’s Hospital. The festival was kicked off Friday with a mixture of pop, rock and electronic music. Once the sun set, Portugal. The Man captivated the crowds with their slow-paced pop tones. They played their set without many breaks. It was challenging to determine where one song ended and another began, but the flow of the set was extremely smooth and consistently held the crowd’s attention. Portugal. The Man closed out their set with a fusion of Pink Floyd’s “Another Brick in the Wall” before melting into their song, “Purple, Yellow, Red and Blue.” Passion Pit closed out the first night with a constantly fast set. Lead singer Michael Angelakos was never idle for long as he bounced all over the stage. Although they closed out their main set with their hit “Take a Walk”, Passion Pit came back minutes later for an encore with “Sleepyhead” that put the first day of the festival over the top. Saturday’s lineup featured a slower pace of music with bands such as Trombone Shorty & Orleans Avenue and Phantogram. The mixture of fast jazz and electronic music created a quelling evening. Trombone Shorty & Orleans Avenue played a set that exploited the number of brass instruments the band uses. Despite the lack of vocals in the group’s songs, the group had the entire crowd moving and shaking. Phantogram kept the energy with their electronic pop music, which allowed Thievery Corporation to come in and wrap up the second night on a high note. A conglomeration of bands on Sunday brought the festival to a close. From rock to folk to country, Sunday offered the most diverse day of them all. Widespread Panic closed out the festival with energized country music with a number of guitar solos. Overall, the festival featured a variety of music to satisfy the tastes of everyone in attendance. Although some of the bands have a more popular ring to them, the lesser-known bands were definitely able to pull out their fair share of tricks.

By: Kaci Demarest

Article with photo No. 2

A TRIBUTE TO ONE OF THE GREATEST TENOR SAX PLAYERS OF ALL TIMES,

Azar Lawrence ASU Kerr Cultural Center presents

composer. Strayhorn is known for

by Amaury Tristão, and Lawrence,

A Taste of New Orleans jazz series

his three decades of collaboration

Souza, Albert Dailey, Carter and Bi-

Wed., April 29 – Azar Lawrence fea-

with Duke Ellington. New Orleans

lly Hart on all other selections.

turing Nicholas Payton with special

music of several styles will be explo-

guest vocalist Nayo Jones,

red, including swing, neo-soul jazz

Composer and saxophone player Azar Lawrence will be joined by Grammy- winning multi-instrumentalist Nicholas Payton and vocalist Nayo Jones and AZ award winning Rythm section (Dowell Davis,Theodore Sistrunk

and soul.

Who Is AzarLawrence? Azar Lawrence (born November 3, 1952)[1] is an American jazz saxophonist, known for his contributions as sideman to McCoy Tyner,

Bridge Into The New Age featured Jean Carn, Woody Shaw, Ray Straughter, Woody Murray, Clint Houston, Billy Hart, Guillerme Franco, Julian Priester, Hadley Caliman, Black Arthur, Joe Bonner, John Heard, Leon “Ndugu” Chancler, Mtume and Kenneth Nash.

Miles Davis, Freddie Hubbard, and

People Moving featured Patri-

Yanni Goudelis) on Wed., April 29

Woody Shaw. Lawrence was the

ce Rushen, Jerry Peters, Michael

for A Taste of New Orleans, two spe-

tenor saxophonist Tyner used fo-

Stanton[disambiguation

cial New Orleans jazz performances

llowing John Coltrane’s death.

John Rowin, Lee Ritenour, Paul

at ASU Kerr Cultural Center. Show times are 6:30 and 9 p.m. Tickets

Lawrence released Summer Sols-

needed],

Jackson, Jr., Harvey Mason.

tice on Prestige Records in 1975,

Musician and screenwriter Herbert

produced by Orrin Keepnews. It

Baker taught music and mentored

featured Raul de Souza, Gerald Ha-

Lawrence, who recalled Baker as

yes, Amaury Tristão, Dom Salva-

“one of the greatest pianists who

In celebration of the Billy Strayhorn

dor, Ron Carter, Guilherme Fran-

ever lived.”[2]

centennial, a portion of the pro-

co on the songs “Novo Ano” and

gram will pay tribute to the prolific

“Highway” which were composed

are $65 premium, $50 reserved, $35 general admission and available at asukerr.com.

56 stylus magazine

stylus magazine 57

CAPE TOWN JAZZ FESTIVAL Article with photo No. 2

FROM 03/25/2016 TO 03/26/2016 AT CAPE TOWN CONVENTION CENTRE

The Cape Town Jazz Festival has grown into

Festival, is the largest music event in sub-Saharan Africa. The Cape Town International Jazz Festival is an annual event.

Melodytrip has ranked this proudly South African event as No.4 in the world, outshining events such as Switzerland’s Montreaux Festival and the North Sea Jazz Festival in Holland.

It is famous for delivering a star-studded line up. This proudly South African produced event is hosted at the Cape Town International Convention Centre (CTICC) each year on the last weekend of March or the first weekend of April.

a hugely successful international event since its inception.

CAPE TOWN JAZZ FESTIVALThe festival’s winning formula of bringing more than 40 International and Local artists to perform over two days on five stages has earned it the status of being the most prestigious event on the African continent. Breathtaking beaches and the stunning Table Mountain, great seafood, shark diving eco-tours, and museums that chronicle the area’s apartheid past.

The festival annually boasts 5 stages and over 40 artists performing over 2 nights. The programming – unique to the CTIJF is made up of a 50/50 split between South African artists and international artists respectively.

Cape Town Jazz Festival is the flagship event for the leading events management and production company espAfrika, which has staged and produced several world-renowned events. Affectionately referred to as “Africa’s Grandest Gathering” the Cape Town International Jazz

LEGENDS OF THE PAST

Herbie Hancock, Youssou N’Dour, Toots Thielemans, Tower of Power, Isaacc Hayes, Cassandra Wilson, Cesária Évora, Chucho Valdés, Gino Vannelli, Dianne Reeves, Lauryn Hill, Buena Vista Social Club featuring Omara Portuondo, Jack DeJohnette. The pre festival Free Community concert (March 26, 2016) is a permanent feature of the Cape Town International Jazz festival and is as old as the festival itself. Held annually in the heart of the city at Green 58 stylus magazine

Market Square, this concert is the festivals’ way of showing appreciation to the people of Cape Town, by giving them a taste of some of the world class performers at no charge, hence often drawing thousands of music lovers into the city.

Nayo Jones To perform in Cape Town 2016

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Who is Nayo Jones? Long before Nayo Jones even thought about making a name for herself as a jazz singer, she was a 10-year-old Phoenix girl studying classical flute with a jazz musician/ disciple for a father. “I would come home and my dad would make me play jazz,” Nayo says. “Because I played classical all day at school.” Doc Jones, a music educator who plays saxophone and keyboards, says, “Well, you know, being a jazz musician, I’m classically trained as well, and I knew she had something a little bit more than what she was doing. The school system always makes you stay at the level you’re supposed to be at, but she was playing what we call grown-people music then. She was playing Charlie Parker, John Coltrane, that kind of stuff, because she could read. She could sit down in the band and read those parts. I knew she would be able to play. And it came out right.” The only reason his daughter had taken up flute was to make him happy. “My older sister played the flute and when she got all these college scholarships, I saw how proud my father was,” Nayo says. “And every little

girl wants her father to be proud. So I said, ‘I can play the flute, too.’ I taught myself how to play and then my dad saw that I really wanted to learn how to play it, and from there he nurtured the gift that was there and taught me how to play it properly.” Soon she was sitting in with Doc at gigs. “She was a phenomenal flute player,” Doc says. “She used to come out to my shows and play some very difficult music at the age of 10 with some of my grown players that couldn’t keep up with her. But she was always the shy one. Don’t ask her to sing out. She wouldn’t do that at all.” He finally did convince Nayo to sing out one night at the Rhythm Room, joining her father’s band on Alicia Keys’ “Fallin’ “ at a benefit for Next Student Academy, a non-profit organization Doc created to fulfill his dream of putting an instrument in every child’s hands. She was 21 at the time — a “late bloomer,” as Nayo puts it. “And it was amazing the response she got from doing that,” Doc recalls. “She earned a standing ovation. And I think that’s where

the bug started.”Looking back on it, Nayo says, “Not many people knew I could sing, including me. I never thought of myself as a singer. I would sing around the house or sometimes shopping, I would burst out in song. But then, my father asked me to sing for one of his fundraisers. And if you’ve met my dad, you know he doesn’t take too kindly to ‘No.’ So I did the song really to get him off my back. And in spite of a terrible case of stage fright, I actually enjoyed it.” That turned into people asking Doc, “Are you bringing your daughter?” any time he had a show. “So I would go after work and sing a song or two with him,” Nayo says. “And once I realized you could actually make money doing that, I said, ‘I’ll give it a shot.’ So here I am, 11 years later.” As much as Nayo’s father encouraged her to study jazz when was still a preteen prodigy, he was not wild about the thought of her abandoning a promising career at the Charles Schwab Corp. for a far more challenging career in jazz.

NAYO JONES LIVE AT THE KERR CENTER

CD RECORDING

“She started working with me during holidays,” Doc recalls. “And she said, ‘Daddy, I think I want to do this for a living.’ So, of course, I tried to convey to her that it’s good during these times of the year, the holidays, but sometimes it gets kind of tough out there. And you’ve got a job that’s paying you six figures. I think you’d better think about this here. “Charles Schwab had her on the fast track so that she would have been able to retire at 35 and never work another day in her life. All she had to do was give Charles Schwab 15 years at the pay she was at. And she would have been set for the rest of her life. But she had already decided by then. And she wouldn’t have been able to do both, not at the pace I move at. I do this 24/7. You gonna play music? You’ve gotta play music.” Since launching her career in Phoenix, Nayo has relocated to New Orleans, where she performs in the annual New Orleans Jazz and Heritage Festival and tours the country with the Kermit Ruffins band. But she’s back in the Valley to join Doc Jones in celebrating International Jazz Day at Cityscape on Thursday, April 30. She also will share a stage with Azar Lawrence, a world-renowned composer, arranger and saxophonist who’s been a sideman to Miles Davis, McCoy Tyner, Freddie Hubbard and Woody Shaw.

Article with photo No. 2

62 stylus magazine

NIK WEST

NEW ORLEANS 1ST FAMILY OF JAZZ

ELLIS,BRANFORD, WYNTON,DELFEYO MARSALIS

stylus magazine 63

Jazz Out Of Africa Cape Town to Congo Square (First Movement): African Street Parade

ABDULLAH IBRAHIM

TAKE FIVE JAZZ SAMPLE “A MUST BUY” GO TO www.npr.org Pianist Abdullah Ibrahim (formerly known as Dollar Brand) is one of the most prominent jazz musicians from South Africa. Ibrahim left South Africa due to apartheid in the early 1960s. In 1964, he recorded Duke Ellington Presents the Dollar Brand Trio after Duke Ellington took a liking to him and encouraged his development. In his compositions, Ibrahim blends South African sounds with those of traditional jazz. He returned to his native South Africa when apartheid ended, and continues to record and perform internationally. Jazz was born in America in the early 20th century, evolving out of a meeting of African and European music traditions. Once the style began to develop around the world, jazz found its way back to Africa, which spawned the internationally acclaimed likes of Hugh Masekela, Miriam Makeba and Abdullah Ibrahim. Because this is a Take Five list, there’s only room for five songs from five artists — not exactly a definitive assessment of an entire continent’s music. Please tell us about your own favorite African jazz songs, artists and albums in the comments section below. For more entries in the Take Five series, click here. And don’t forget to subscribe to the Jazz Notes newsletter.

South Africa's Trevor Noah to replace Jon Stewart on 'Daily Show' Trevor Noah, a South African comedian little

known to U.S. audiences, will replace Jon Stewart as the host of the Emmy Award-winning, late-night parody newscast “The Daily Show,” Comedy Central said on Monday. The Viacom Inc-owned network said it selected Noah, 31, because he is an “enormous talent” and “wickedly funny.” His premiere will be announced at a later date. Hailing from the township of Soweto, Noah joined “The Daily Show with Jon Stewart” as a contributor in late 2014. He said it was an honor to step into Stewart’s shoes.

a statement. “In my brief time with the show they’ve made me feel so welcome. I’m excited to get started and work with such a fantastic group of people.”

.Trevor Noah is an enormous talent. He has an insightful and unique point of view, and most importantly, is wickedly funny,” said Comedy Central president Michele Ganeless in a statement. “For the next host of ‘The Daily Show,’ we set out to find a fresh voice who can speak to our audience with a keen take on the events of the day, and we found that in Trevor. He has a huge international following and is poised to explode here in America, and we are thrilled to have him join Comedy Central.” The South African-born Noah, 31, has appeared on “The Daily Show” just three times since joining the late-night satire in December as a contributor. He was the first South African comedian to appear on NBC’s “Tonight Show” (in 2012) and, the following year, became the first South African comedian to visit “Late Show with David Letterman.” “It’s an honor to follow Jon Stewart. He and the team at ‘The Daily Show’ have created an incredible show whose impact is felt all over the world,” said Noah in

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â&#x20AC;&#x153;I was blessed to travel to South Africa shortly after the release of Nelson Mandela and immediately developed an abiding affection for its spirited people and culture.â&#x20AC;?

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US Ambassador Patrick H. Gaspard South Africa On AGOA Renewal Talk "I just returned to South Africa from Washington where I met with many of the Senators who signed the letter to Minister Davies on Monday. I can assure you that everyone in Washington wants AGOA renewal to go forward, including for South Africa. But it is clear that the only way that will happen is if a fair resolution can be reached on this issue. I was heartened to read this morning that Minister Davies is working with SAPA to make this happen. As we have been saying, and the senators reiterated this week, time is running out. When I head back to Washington in two weeks and our two governments sit down to discuss our trade and investment framework we need to have an agreement on the table." Patrick H. Gaspard, US Ambassador to South Africa. This site is managed by the U.S. Department of State. External links to other Internet sites should not be construed as an endorsement of the views or privacy policies contained therein.

WHO IS PATRICK GASPARD?

It will be my great fortune to represent the United States in our efforts to partner with the South African government as it strives to improve the economic conditions of its citizens and as it helps to lead efforts throughout the continent to increase security and prosperity for all.â&#x20AC;? * Prior to being appointed U.S. Ambassador to South Africa, Patrick Gaspard served as the Executive Director of the Democratic National Committee, a position he held since 2011. Previously, he served as an Assistant to the President and Director of the Office of Political Affairs from 2009 to 2011. Prior to that, he was the National Political Director for Obama for America. He served as the Executive Vice President and Political Director for the Service Employees International Union. In 2004, he served as the National Field Director for America Coming Together, and from 2003 to 2004, he was the National Deputy Field Director for Dean for America. From 1998 to 1999, he was the Chief of Staff for the New York City Council. Earlier in his career, Mr. Gaspard held a number of positions with the City of New York, including Special Assistant in the Office of the Manhattan Borough President and Special Assistant in the Office of Mayor Dinkins.

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Thandiswa Mazwai Article with photo No. 2

is one of the most influential musicians on the South African music scene today. Thandiswa was born in 1976 (the year of the Soweto Uprising). She grew up almost entirely in Soweto, Johannesburg, amidst the heavy apartheid township violence of the 1980s. Both her parents were journalists and anti-apartheid political activists, and she recollects that her home was filled with books, articles and thick with political discussions. It was this environment that nurtured her perspective as an artist. She went on to attend Wits University where she studied English literature and International Relations. Her work has always been inspired by her mother (who died early in Thandiswa's life) and the writings of people like Steve Biko and Frantz Fanon, Chinua Achebe and Kwame Nkrumah. Early days and Bongo Maffin[edit] Thandiswa’s first attempt to get noticed occurred at the Shell Road to Fame talent show but Thandiswa did not even make it to the semifinals round. She did, however, catch the eye of musician and producer Don Laka, who arranged to include her in a project he was working on. And so she began her career in 1998 with Bongo Maffin, one of the pioneering bands of Kwaito. She became widely recognised as the voice of South Africa’s conscious youth, their compositions consistently combining dance floor favourites with thoughtprovoking lyrics. They were invited to perform all over the world, and shared the stage with musical icons Stevie Wonder, the Marley clan, Ladysmith Black Mambazo, Chaka 68 stylus magazine

Khan, Sean Paul, Steel Pulse and Skunk Anansie, among others. Their contribution to the South African musical cannon earned Bongo Maffin numerous awards, among them South African Music Awards, the Kora All Africa Music Awards, and the Metro FM Music Awards. Early days and Bongo Maffin Thandiswa’s first attempt to get noticed occurred at the Shell Road to Fame talent show but Thandiswa did not even make it to the semifinals round. She did, however, catch the eye of musician and producer Don Laka, who arranged to include her in a project he was working on. And so she began her career in 1998 with Bongo Maffin, one of the pioneering bands of Kwaito. She became widely recognised as the voice of South Africa’s conscious youth, their compositions consistently combining dance floor favourites with thoughtprovoking lyrics. They were invited to perform all over the world, and shared the stage with musical icons Stevie Wonder, the Marley clan, Ladysmith Black Mambazo, Chaka Khan, Sean Paul, Steel Pulse and Skunk Anansie, among others. Their contribution to the South African musical cannon earned Bongo Maffin numerous awards, among them South African Music Awards, the Kora All Africa Music Awards, and the Metro FM Music Awards.

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Thandiswa Mazwai is a multi-award winning South African musician Ever since she burst into the publics consciousness as the lead vocalist and songwriter of Award-winning group Bongo Maffin, Thandiswa Mazwai has been an indelible part of the South African cultural landscape. Her musical beginnings, however, were not quite as auspicious - her first attempt to get noticed occurred at the Shell Road to Fame talent show in a move that must be puzzling the judges to this day, Thandiswa didn’t even make it to the semi-finals round. She did, however, catch the eye of musician and producer Don Laka, who arranged to include her in a project he was working on - Bongo Maffins’ sophomore album. Genre: kwaito, mbaqanga, reggae The band became known as one of the founding members of kwaito, and went on to release four more albums, becoming widely recognized as the voice of South Africa’s conscious youth their compositions consistently combined dance floor favourites with thought-provoking lyrics. They were invited to perform all over the world, and shared the stage with musical icons Stevie Wonder, the Marley clan, Ladysmith Black Mambazo, Chaka Khan, Sean Paul, Steel Pulse and Skunk Anansie, amongst others. Their contribution to the South African musical cannon earned Bongo Maffin numerous awards, amongst them South African Music Awards, the Kora All Africa Music Awards, and the Metro FM Music Awards. After almost eight years with Bongo Maffin, Thandiswa finally resolved to begin work on a solo project. The album, a work that elegantly fuses various musical genres, showcases her renowned artistic and musical capabilities, a talent which transcends borders and music genres. “I was never in a rush to do a solo album,” she explains “Only when I reached the point where I felt I could be accountable for my thoughts and ideas, did I feel comfortable doing it. me, recording this album also represents my being able to give young Africans in the 21st century an authentic voice, so it’s a project I take very seriously.” She describes the recording of the album as a daunting process, and one of the most difficult projects she’s ever embarked on “it’s difficult to take your ideas and translate them into something tangible.

But I’ve worked hard, and I think the album represents a real musical integrity.” Thandiswa Mazwai © www.musicpics.co.za Indeed, the album, entitled Zabalaza, harnessed the talents of an illustrious coterie of producers and vocalists Tshepo Tshola features on the rousing Ndilinde, Xhosa traditional vocalist Madosini lent her expertise on Lahl’umlenze, Mandla Spikiri produced Kwanele, while the lush Transkei Moon and Ndizokulibala were jointly produced by local talent D-Rex and Bluey Maunick, founder and producer of the world renowned band Incognito. Malambule, who also is the executive producer of the entire album, produces the rest of the songs. Released on Gallo Records Gallo World Vision (GWV) label, the new album also saw Thandiswa becoming a central part of the entire recording project from the production to imaging of the album cover, Thandiswa was involved in each phase of the process. Her hand-picked band was selected from a range of musicians who participated in a three day auditions process. Chosen from over 400 candidates, the new band brings a vibrant, fresh young sound to her live performances. “I decided to create a band from a completely fresh crop of musicians” Thandiswa explains. “There’s so much talent out there, just waiting to be discovered. I’m living my dreams through my work, and I’m able to do that partly because certain people gave me a chance. So I want to be able to give other young talents the same opportunity, and allow them to live their dreams. We can travel the world together, making music. I’m really looking forward to going on the road with these guys.”

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The Crypt Jazz Restaurant Article with photo No. 2

Jazzes up Cape Town, service needs to be jazzed up!

A chance notice about Ike Moriz performing at the recently opened The Crypt Jazz Restaurant below St George’s Cathedral last night caught my eye, and turned out to be a most enjoyable evening, with excellent music and ambiance, live jazz being on offer five evenings a week. The service was sadly lacking.

Hanover Street Jazz Club

With its double-storey, Hanover Street Jazz Club is a classy jazz venue housed in Cape Town’s Grand West Casino. It makes you think of New Orleans circa 1920—the golden days of jazz. The well-stocked bar will keep you happy while tapping your feet to the beats from the Voodoo-capital. Doors open at 9pm. Grand West Casino | Goodwood |

Thuthuka Jazz Café

The owner Laura Ndukwana offers visitors a night overflowing with local flavour at this popular Gugulethubased café. You will enjoy world-class jazz mixed with traditional musical elements. Popular amongst Capetonians and tourists, we can expect a truly South African experience. A potjie of culture combining musical expression and culinary splendours. Gugulethu |

Studio 7

If you’re looking for private concerts, you will love this new Sea Point establishment. Face brick walls, wooden floors and soft sofas provide the ultimate relaxing environment for some serious musical reflection. The acoustic stage has showcased some talented local musicians, including Zolani Mahola, Vusi Mahlasela, Arno Carstens and Albert Frost. You can see some of these talented musicians the first and last Sunday of the month. 213 High Level Rd | Sea Point | Cape Town |

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Sunday Jazz Brunch at the Winchester Mansions For a Sunday brunch with a difference, head out to the seaside hotel, Winchester Mansions. Enjoy the live jazz band while you browse the complimentary Sunday newspaper and sip on a glass of bubbly. Choose from a selection of dishes from the buffet at will. Cost is R225 per person, and the music starts at 11am and ends at 2pm. 221 Beach Road | Sea Point | Cape Town

West End Jazz Club

Regarded as a prime venue for live performances, you can expect to rub shoulders with serious jazz fundis. Dark velvet drapery and opulent contemporary furnishings set the scene for top local and international artists to do what they do the best. Open every Friday and Saturday from 5pm till late. No under 21s allowed. Cine 400 Building | College Road | Rylands |

Kaleidoscope CafĂŠ

Every Friday you can bob your head and tap your feet to the spellbinding jazz beats at this Claremont cafĂŠ. For a mere R100 per person, you can attend to the show as well as enjoy a delicious meal of lamb curry or chicken soup. If you just prefer to watch the show, you only have to pay R60.Show starts at 7:30 pm sharp. 85 Main Road | Claremont | Cape Town |

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THE MUSIC OF

BOKANI DYER The vitality of contemporary South African jazz meets with Swiss precision and musicianship with a result of inspired, soulful and expressive jazz. The music of Bokani Dyer reveals a heritage of diverse influences that embrace his roots as well as his context in the contemporary musical landscape of South Africa. His compositions create a fabric that tells a unique but universal story of coming together. In this spirit, the music is never far from home. Dyer plays with four great representatives of the Swiss jazz scene: Mats Spillmann, Donat Fisch, Norbert Pfammatter and Stephan Kurmann, all experienced and gifted artists who during Dyerâ&#x20AC;&#x2122;s residency at the Birdâ&#x20AC;&#x2122;s Eye Jazz club in Basel (May 2014) took ownership of his music and brought their personalities to the sound. Their interpretation of the music points to the long standing influence of South Africa on the Swiss jazz scene and celebrates and amply complements the multi-award winning Dyer.

Bokani Dyer (Piano) Donat Fisch (Saxophone) Matthias Spillmann (Trumpet) Stephane Kurrman (Bass) Norbert Pfammatter /Drums) Photo By: Pic-by-Jonx-Pillemer

VOLUNTEER IN SOUTH AFRICAN 5TH-GRADE STUDENTS FROM OOR ELEMENTARY SCHOOL WITH HIS EXCELLENCY AMBASSADOR MNINWA MAHLANGU AT THE SOUTH AFRICAN EMBASSY AFTER THEIR FINAL PRESENTATION. Publisher’s choice

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Musical Exchange: South Africa Reflection South African jazz musicians will perform side-by-side with VCU In December 2013, six young songwriters traveled to South Africa, collaborating with fellow young musicians and performing at the CDMA Route 40 Music Festival. The trip was the culmination of Carnegie Hall’s Musical Exchange Songwriter Search, a contest in partnership with the Casterbridge Music Development Academy and the Rock School Scholarship Fund. The winners were selected by world-renowned artists, including Dave Matthews, Wayne Kramer (MC5), Vicki Peterson (The Bangles), and acclaimed South African singer-songwriter Vusi Mahlasela. The contest took place on Musical Exchange, Carnegie Hall’s global online community for young musicians, which also served as the home of a six-week songwriting project leading up to the trip. In the following, five of the winners reflect on their experiences and growth through the program and while in South Africa.

“Still Working & Committed to Connecting Phx AZ with South Africa

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KERRY CAMPBELL

KEEPER OF THE HIGH NOTE Ifeconcera nius cutus atuis consus scidientem occiemp eracchuid audam. Catampra? imusquiteris aperescia vasta, nunum clut obsenat. Ubis sentere es! Si fac me tus intervitiam iam fachus, crehebatuam. Liciam pulos, dees bonsus lis bonenatus nonsul terimum cone popubli caelibus? Pios etius firit, sedo, caest perra consul hoc ocre ta intem habenaribus dees crum int. Dam. Quem dem diem non se, tertem auterobus, octor publicultus condena tescion sulissuludam imis inc vis, ducio, Catam es, con publin tum in Itaturo teribem nonsull abunumu labementius, senari publientim ocam pra terfiris cus, sulic ta re num de venatus hostem pubitium perurs ce tam det prisquam deri ia vasdam adducit ne mei confena, ficiptilin tandi is inatalemordi con tum que num is ditiurbitis, modiesit patimisqui furnum proptiam dena adepon vis, nos facchuide es caet am consupe ritero, consuamquis reo, anu etem med caes et vas publiquo publico ndamdiendame vigna, fuidie pricam pra sentid con teris centiaes sum hoca voltod C. Dacervidet? Odius in tam silin actuam delabuncepse conduci ontilis Cat, Catiam inatuam nondissuam per us, Cupicavere no. At pato vid silicta, quitiqu asties demolto iam ia ve, quontem ia es vicepop tiuscritam

moenatandi praectum publius con verisque novehem tandion aus fue nossen vid modiente, co perribus confes tem ditemoves condam intilicum deordit. Dius vere feculinterei prox storiortio etia diissit, conferi videmo ute aut ac moven-

dum mus re tiurors corteri denti, quam imorei publis, caed incepop ontesti onsum, consimist virit, ca sentius, maxim verfiri peste nul comnos conius publius, fac is fueretilium estridi, sentis. Nate num haelis tus con pro, esse et fachucon vivividii es is pripti, sena, nocus etemorit. Sp. Gravo, nes hus, paterevid rei iam.

Gulemus ca const? Sit. Antum artis musatum octusatus adductelabes co condeo inum nimili, con tebat, suli, ma, nimolic inatant iamdint. Firio Cupecres furbesimus pris etilium opublicis. Gra ex sena, proptem pecer que const peruntrum inatero et firmanum moris. Satilii ium, nox notiae, qua erfex silius furaveri peri sces porusus quossoliur probus, quem omni fit, que temullabus aursum me is nonstim adhuium publibus, coenatus; es, ut imis; nonsum prio, quas efacerf itistoribus eti, aut fortasdam hostora venihil con demuspi catus, consus, quem ipio nonsuam ficauc terbita idi plicurei iam, qua nes egerum vidernium temnihin ta, vider quis ducepertam simiur. Nam turbem atudent? quam et patiquit. Ractorum et vid Castra in vive, qui publis. Egitabentiu conos scerio hum, teat L. Ivivirtus hortimus probse ata, patim cemod interniam, Cate publico nstiemum det essuspe renatimus catur quo none caveri tum ia? Ic ortius rescit fachil vid di pece includeps, ublicap erimiu manu convemneme iurnimis obunt.

Opio esilia? Nos consulius adduc maxim veremunumus, nultus nos ego mendam audeferis. confere cone nictusum tuideo, nostrac iventienihi, mus condam ut egerfex mendum actaturicit. Milica nosules hor hil confeci psestrit? in Etro untium prim ocrei inatestra, nocchi, publinatu vis, crent gra, vicaet vir hoctanter larit.

Patius, que con sid dem P. Caturem Romnoc, istiam publicum ta no. Vocultique nium se nostrum, ute, nit rei publii sent fur quam terem stylus magazine 81

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H.E. AMBASSADOR MNINWA JOHANNES MAHLANGU Ambassador of the Republic of South Africa to the United States of Americ South Africa’s Ambassador to the United States: Who Is Mninwa Johannes Mahlangu? Mninwa Johannes Mahlangu was appointed South Africa’s ambassador to the United States in October 2014. It’s the first ambassadorial posting for Mahlangu, a career politician. Mahlangu, known as “MJ,” was born October 8, 1952, in Middleburg, Mpumpalanga. He attended Botshabelo Training College and studied photography and religious education at Damelin College. Mahlangu started his political career as an activist with the Student Christian Movement, and he was made president of the organization from 1969 to 1973. He also became a member of the African National Congress (ANC). He began work as a clerk for the Ndebele Tribal Authority from 1972 to 1973. He then went into teaching, first at Zenzeleni High School from 1973 to 1976 and at St. Paul High School from 1977 to 1978. Mahlangu then began work for the Ellerines furniture company in sales and later as credit controller. 86 stylus magazine

Mahlangu was elected to the Lebowa parliament in 1982. Lebowa was one of the so-called homelands set up by the white-ruled Republic of South Africa as ostensibly independent countries. Mahlangu served as deputy speaker of the parliament from 1987 to 1988 and speaker in 1989, was home affairs minister from 1990 to 1991 and was education minister in 1992-1993, after which he was minister of public services. Mahlangu was elected to South Africa’s parliament in 1994 and was part of the group that drafted the country’s post-apartheid constitution. He served in that body until 2003. Mahlangu was then appointed deputy chairman of the National Council of Provinces, the upper house in South Africa’s legislature and became chairman in 2005. The following year, Mahlangu was criticized for allowing only President Thabo Mbeki to speak at a joint session of the South African legislatures. Members of parties other than the ruling ANC said Mahlangu had ignored the constitutional requirement of multipartyism. Mahlangu survived the attacks and served as chairman until retiring from the council in 2014.

WE SALUTE YOU EMBASSADOR

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Sonny Rollins /Tenor Madess Theodore Walter Rollins was born on September 7, 1930 in New York City. He grew up in Harlem not far from the Savoy Ballroom, the Apollo Theatre, and the doorstep of his idol, Coleman Hawkins. After early discovery of Fats Waller and Louis Armstrong, he started out on alto saxophone, inspired by Louis Jordan. At the age of sixteen, he switched to tenor, trying to emulate Hawkins. He also fell under the spell of the musical revolution that surrounded him, Bebop. He began to follow Charlie Parker, and soon came under the wing of Thelonious Monk, who became his musical mentor and guru. Living in Sugar Hill, his neighborhood musical peers included Jackie McLean, Kenny Drew and Art Taylor, but it was young Sonny who was first out of the pack, working and recording with Babs Gonzales, J.J. Johnson, Bud Powell and Miles Davis before he turned twenty. “Of course, these people are there to be called on because I think I represent them in a way,” Rollins said recently of his peers and mentors. “They’re not here now so I feel like I’m sort of representing all of them, all of the guys. Remember, I’m one of the last guys left, as I’m constantly being told, so I feel a holy obligation sometimes to evoke these people.” In the early fifties, he established a reputation first among musicians, then the public, as the most brash and creative young tenor on the scene, through his work with Miles, Monk, and the MJQ. Miles Davis was an early Sonny Rollins fan and in his autobiography wrote that he “began to hang out with Sonny Rollins and his Sugar Hill Harlem crowd...anyway, Sonny had a big reputation among a lot of the younger musicians in Harlem. People loved Sonny Rollins up in Harlem and everywhere else. He was a legend, almost a god to a lot of the younger musicians. Some thought he was playing the sa-

xophone on the level of Bird. I know one thing--he was close. He was an aggressive, innovative player who always had fresh musical ideas. I loved him back then as a player and he could also write his ass off...” With Clifford Brown and Max Roach, 1956 Sonny moved to Chicago for a few years to remove himself from the surrounding elements of negativity around the Jazz scene. He reemerged at the end of 1955 as a member of the Clifford Brown-Max Roach Quintet, with an even more authoritative presence. His trademarks became a caustic, often humorous style of melodic invention, a command of everything from the most arcane ballads to calypsos, and an overriding logic in his playing that found him hailed for models of thematic improvisation. It was during this time that Sonny acquired a nickname,”Newk.” As Miles Davis explains in his autobiography: “Sonny had just got back from playing a gig out in Chicago. He knew Bird, and Bird really liked Sonny, or “Newk” as we called him, because he looked like the Brooklyn Dodgers’ pitcher Don Newcombe. One day, me and Sonny were in a cab...when the white cabdriver turned around and looked at Sonny and said, `Damn, you’re Don Newcombe!’’ Man, the guy was totally excited. I was amazed, because I hadn’t thought about it before. We just put that cabdriver on something terrible. Sonny started talking about what kind of pitches he was going to throw Stan Musial, the great hitter for the St. Louis Cardinals, that evening...” In 1956, Sonny began recording the first of a series of landmark recordings issued under his

own name: Valse Hot introduced the practice, now common, of playing bop in 3/4 meter; St. Thomas initiated his explorations of calypso patterns; and Blue 7 was hailed by Gunther Schuller as demonstrating a new manner of “thematic improvisation,” in which the soloist develops motifs extracted from his theme. Way Out West (1957), Rollins’s first album using a trio of saxophone, double bass, and drums, offered a solution to his longstanding difficulties with incompatible pianists, and exemplified his witty ability to improvise on hackneyed material (Wagon Wheels, I’m an Old Cowhand). It Could Happen to You (also 1957) was the first in a long series of unaccompanied solo recordings, and The Freedom Suite (1958) foreshadowed the political stances taken in jazz in the 1960s. During the years 1956 to 1958 Rollins was widely regarded as the most talented and innovative tenor saxophonist in jazz.

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Address: 178 Long Street, Cape Town, 8000, South Africa Phone:+27 21 426 1017 Hours: Open today · 12:30 – 3:00 pm, 6:30 pm – 12:00 am 90 stylus magazine