Who's Who 2017 - The Cape Town International Jazz Festival by Who's Who

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We are pleased once again to be associated with the annual Cape Town International Jazz Festival. The year 2017 marks its 18th edition, and it can claim pride of place as the largest music event in sub-Saharan Africa— widely regarded as “Africa’s Grandest Gathering”.

His Excellency Mr Jacob Gedleyihlekisa Zuma President of the Republic of South Africa

This popular festival continues to bring together both local and international artists as well as thousands of music enthusiasts to South Africa in support of the country’s arts and culture. We also value the immense contribution the festival makes to our tourism industry as well as to economic growth and job creation. Hosting more than 37 600 music enthusiasts over the two-day show, the CTIJF in 2016 created 3 542 jobs around the event. As Government, we will continue developing the cultural industries sector, which contributes to the country’s gross domestic product. We remain most appreciative as Government of the value of this event in making a positive impact toward the economy, tourism and job creation. We extend the warmest welcome to all festivalgoers to the City of Cape Town and South Africa as a whole. To our international visitors, we are certain you will enjoy the beautiful experiences our country has to offer. We wish you all a joyous jazz encounter.

THE PRESIDENCY REPUBLIC OF SOUTH AFRICA

Who’s Who 2017

The Cape Town International Jazz Festival has become an iconic annual event, confirmed by the fact that tickets are completely sold out many weeks before the festival takes place.

Mr Nathi Mthethwa Minister of Arts & Culture

The Department of Arts & Culture has been one of the proud sponsors since the event’s inception. We are pleased that the direct and indirect job creation for 2016 numbered 3 542 in total, and the festival was attended by 37 600 people, with 13 500 being free concert attendees. The CTIJF represents a major opportunity to showcase our country’s abundant artistic talent and to allow local artists to interact, engage and exchange best practice with leading international musicians. Also deeply appreciated is the festival’s empowerment and skills initiative: Training workshops to develop musical, production, photographic and journalistic skills are held annually—a testament to developing youth in conjunction with the sponsors and volunteers. As a country, we entered 2017 in a sombre mood. The untimely passing of Mandoza and Sfiso Ncwane toward the end of last year shocked our people. As if the pain of losing these two artists was not enough, we opened 2017 with the passing of jazz icon Thandi Klaasen, from a generation that preserved our sanity and humanity through song under extreme difficulties. As we were laying Mama Thandi to rest, another gospel artist Lundi Tyamara departed this world. All these tragedies have come at a time when our country needs their wisdom and contribution toward our efforts in nation building and social cohesion. As a country, we pay tribute to these outstanding sons and daughters of our land. I wish the organisers continued success with this 18th edition of the Cape Town International Jazz Festival. And may you all enjoy the offerings.

Who’s Who 2017

Once again, it is time for one of the most iconic events in the Mother City: the Cape Town International Jazz Festival. It is a great pleasure and honour for me to welcome jazz lovers from all over South Africa and abroad to our city. Cape Town can boast of many icons who have united us around our common love for music since the birth of the unique sounds of Cape Town jazz. Those sounds are deeply woven into both our past and our present, and they continue to bring us together. The Cape Town International Jazz Festival is not just a local favourite, but has rightfully taken its place as one of the premier festivals of its kind on a global scale. Each year it gives us the opportunity to consolidate our position as the events capital of Africa, and brings a national and international audience to our world-class local acts. Welcome to all the artists—from our own country and the world. We have amazing local talent, and the Cape Town International Jazz Festival makes it possible for them to share a platform with the world’s best. With five stages and more than 40 artists performing over two nights, there truly is something for everyone. I know the event will be enjoyed by all. Thank you very much to all sponsors and organisers for choosing Cape Town, and for giving us the opportunity to support the event each year. I look forward to being part of the audience at Africa’s Grandest Gathering!

Who’s Who 2017

Alderman Patricia de Lille Executive Mayor of Cape Town

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Who’s Who 2017

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The beauty of jazz is its ability to shift, change and meld with the times. No two jazz standards are alike; so, too, no two jazz festivals. However, the difference between great and just another music concert is consistency. Consistency builds trust among followers, and it is what keeps the Cape Town International Jazz Festival a regular in the top five best jazz festivals in the world.This, plus espAfrika’s demonstrable output that shows it has what it takes to achieve sustainable success in the competitive entertainment environment, both on a qualitative (governance) and quantitative (financially sound and profitable) basis to deliver a world-class experience. Keeping it ahead of the game, and ensuring it remains a firm favourite, espAfrika, the organiser of this event, has once again pulled out all the stops to deliver a masterpiece of musical engineering for its 18th edition. A showcase for African music artists to reach new audiences and for the international set to make new fans, the festival is underpinned by a rich legacy of community empowerment—providing employment for literally hundreds of local service providers (from rigging and stage management to catering and everything in between).The two-day event also offers an opportunity for festivalgoers to experience other art forms, such as photography, where South Africa’s rich political history and cultural movements are preserved in film for all to appreciate, to remember and, for many, to see for the first time.

Who’s Who 2017

With jazz being the singing expression for ‘the people’, espAfrika is mindful of the need for new voices to enter the industry and manifest and encapsulate their messages of the moment. The Sustainable Training & Development outreach programme continues to be an essential for the company. Each year, this programme expands on its influence—and with solid profits, business outlook and streamlined operations, the company is able to further invest into its corporate social responsibilities to ensure the South African entertainment industry has its fair share of fresh talent (whether on stage or in the wings as support staff) for the future. Putting on a world-class festival also means being in tune with what audiences want. Part of that has been a more inclusive approach to artist selection, with the formation of specific focus groups. Here, I would like to commend festival director Billy Domingo and his team for the hours of sourcing, listening and patient negotiation, and for ultimately delivering one of the best line-ups this festival has ever seen. The world may be in flux at present, but as the great Stevie Wonder sang:“Music is a world within itself, with a language we all understand.” As a nation and inter-nation builder, look no further than the Cape Town International Jazz Festival in 2017, where the world will once again unite through great music and entertainment. I look forward to seeing you there.

Mr Khalid Abdulla Chief Executive Officer, AEEI Acting Chief Executive Officer, espAfrika

I can hardly believe the Cape Town International Jazz Festival has already come of age—18 years old and still going strong! This is in no small measure due to the incredible support we have had from you, the public, both on the African continent and around the world, as well as the professionalism and hard work of our incredible team over the years. Part of that enduring success is also down to our ability to evolve, and when looking back at the last three years of programming, there is one word that sums it all up perfectly: collaboration! This is what I truly believe in. The more musicians who get the opportunity to meet and play together, the better it is for artists worldwide, as it opens their eyes to the different methods one can use to gain success in the industry. We always speak about “jazz”, but for the future growth of the Cape Town International Jazz Festival, it’s important we also develop an audience base that is not only interested in the jazz and jazz-infused genres, but who can also embrace different styles that appeal to different age groups. In doing so, we have broadened our scope to allow this lifestyle festival to attract people from all walks of life and corners of the globe who may travel here for different reasons, but who still congregate at Africa’s Grandest Gathering for a music extravaganza of note.

Who’s Who 2017

Jazz as a genre is synonymous with the energetic expression of societal consciousness, embracing multiple beats, tempos and voices. Drawn from following our audiences across various channels, the expertise of our panel and those in the know, this year’s line-up speaks to the nuances of jazz as a whole: purists, contemporary, urban, and the suave and sophisticated are all catered for in a melting pot of musical culture that is as much entertaining as it is illuminating. There are many notable performers this year; in fact, it is a hard call to single out any one act—which is testament to the excellent guidance of our programming focus group who balance the up-and-coming with the vanguard of jazz royalty. One of my proudest moments as festival director was the creation of our Legends performance slot that has seen artists like the Mahotella Queens, Dorothy Masuka and Abigail Kubeka grace the CTIJF stage; and this year I’m very proud to welcome the legendary two-time Oscar-nominee, veteran composer, trombonist, bandleader and director, Jonas Gwangwa and Friends. We have also travelled the length and breadth of our continent to get the best African collaborations, and I believe we have succeeded in that—with Manu Dibango and Moreira Chonguica, as well as the all-African supergroup Jokko. In closing, as always I’m indebted to you, the festinos who travel from near and far, who have supported this festival and truly have made it what it is today: a grand musical gathering under African skies, where the world joins in to celebrate life and a love of excellent entertainment. I salute you.

Mr Billy Domingo Chief Operating Officer, espAfrika & Festival Director

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THE RECORDING INDUSTRY OF SOUTH AFRICA

THE RECORDING INDUSTRY OF SOUTH AFRICA (RISA) IS A TRADE ASSOCIATION THAT REPRESENTS THE COLLECTIVE INTERESTS OF PRODUCERS OF MUSIC SOUND RECORDINGS, MAJOR AND INDEPENDENT RECORD LABELS IN SOUTH AFRICA. Formerly known as the Association of the South African Music Industry (ASAMI), it was established in the 1970’s. RiSA is recognised by the International Federation of the Phonographic Industry (IFPI) as the official National Group for the Recording Industry in South Africa. The IFPI is itself recognised by UNESCO as the global representative of the recording industry. As the recognised National Group for the recording industry for South Africa, RiSA enjoys international recognition – not least with the government of surrounding Southern African countries which are themselves members of the United Nations Organisation. Such recognition is of significance not only in relation to trading matters, but, particularly, in relation to the anti-piracy activities. RiSA is also the association in South Africa that is responsible for issuing

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protection of their exclusive and/or non-exclusive rights in their music (sound recordings and cinematograph films) as contemplated by the statute. Any information on music piracy can be submitted via email to piracy@risa.org.za.

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Working hand in hand with RiSA is SAMPRA The South African Music Performers Rights Association. SAMPRA is a national, non-governmental, organization that licenses to third party’s specific copyrights that vest in record companies that are members of the Recording Industry of South Africa (RiSA). The body of sound recordings licensed by SAMPRA is referred to as its repertoire. SAMPRA was accredited by the Department of Trade and Industry’s

THE SOUTH AFRICAN MUSIC AWARDS RiSA is the custodian of the Annual South African Music Awards (SAMA’s). The South African Music Awards are classified as the premium music awards event, that aims to honour and acknowledge all recording artists in all different genres of music, celebrating the diversity of culture in our country. This annual event, honours the country’s finest music talent over two days (SAMA weekend), in key categories, as they battle for the South Africa Industry’s highest accolade – a statuette at the South African Music Awards. The SAMA’s are as old as the South African Democracy and this year we are celebrating 23 years of pure South African music, representative of the diverse cultures in our society. Join us as we journey to Sun City on the weekend of the 26th May 2017 to honour the sounds of music that define our very existence produced with love by our very own talented music artists. For more information, please contact us on www.samusicawards.co.za.

Companies and Intellectual Property Registration Office (CIPRO) in June 2007. The copyright of sound recordings administered by SAMPRA are the rights of: • communicating sound recordings to the public, • the diﬀusing of sound recordings and, • the broadcasting of sound recordings SAMPRA issues licences to South African radio broadcasters who use sound recordings (records, tapes, CDs) in SAMPRA’s repertoire in their transmissions. SAMPRA also licence shops, restaurants, pubs and clubs and other music users who render sound recordings in SAMPRA’s repertoire audible in public. The SAMPRA licence enables music users to play literally millions of sound recordings on their business premises. For more information on how to become a SAMPRA member or on the business of SAMPRA please visit our website on www.sampra.org.za.

PerFORMING AT Kippies on Saturday, 1 April 2017 Discography Cheers to the Fall, 2015 Merry Christmas from Andra Day, 2016 22

Whoâ&#x20AC;&#x2122;s Who 2017

Day’s voice has “Eartha Kitt’s unflappable confidence, Amy Winehouse’s effortless grasp of classic jazz, Billie Holiday’s access to raw emotion, and Adele’s range and pop sensibility.” It was through her series of song covers on YouTube that people first took notice of ANDRA DAY. Since then, she has continued to “Rise Up”: from performances at the White House and the Grammy Awards, to giving the Black Lives Matter campaign an anthem and opening for Lenny Kravitz on his 2015 US tour. Born Cassandra Monique Batie in Washington State, her family moved to San Diego where she studied dance and musical theatre at the School of Creative and Performing Arts, while honing her voice in church. By the age of 16, Andra knew she wanted to sing professionally. After school, she gravitated toward contemporary R&B and pop, but eventually the pull of classic jazz by her favourite artists such as Ella Fitzgerald and Billie Holiday became too strong. “Listening to the stories told in jazz music and how those artists expressed their truths about the times and what they were dealing with is what struck me the most,” she revealed in Essence Magazine. Not wanting to follow the mainstream jazz style, however, Day began putting her own touch on her favourite songs. It was a performance at a strip mall in Malibu that

Who’s Who 2017

brought her to the attention of Kai Millard, the then-wife of legendary Stevie Wonder— who put her in touch with a producer. She was encouraged to put her original song covers on YouTube, and soon her tracks (such as Eminem’s “Lose Yourself ” and Muse’s “Uprising”) caught the ear of Warner Bros. Records. Day’s debut album Cheers to the Fall landed in 2015, and has been described by the retro star—with her signature 1950s-style beehive and hoop earrings—as “a biography told in the form of music”. The title is not about the autumn, but rather about the possibility of failure—which she believes has allowed her to flourish. The album as well as Day’s breakout hit “Rise Up” were nominated for a Grammy last year. NPR reviewer Katie Presley summed it up well when she said that Day’s voice has “Eartha Kitt’s unflappable confidence, Amy Winehouse’s effortless grasp of classic jazz, Billie Holiday’s access to raw emotion, and Adele’s range and pop sensibility.” The singer herself told Rolling Stone that she’s not going to put herself in a box musically. “Whichever chord progressions move me—whether it’s rock, jazz, doo-wop or soul—I’m going to put it together and not be worried about whether people can put it in a lane or not.”

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Who’s Who 2017

Born in the year of the Soweto Uprising, 1976, into a family of political journalists and activists, Thandiswa Mazwai says she always felt she had the soul of a rebel. “Music gave me an opportunity to feed my revolutionary self.” The singer-songwriter’s compositions include traditional Xhosa rhythms, mbaqanga, reggae, kwaito, funk and jazz—straddling the urban and the rural, melding the traditional and the modern. Mazwai first entered the spotlight as part of the kwaito-pioneering group Bongo Maffin, which won numerous top South African music awards. But the accolades continued with her debut solo project Zabalaza. Her

Who’s Who 2017

follow-up album Ibokwe (“goat”) left behind the kwaito sounds and moved toward traditional Zulu and Xhosa melodies and rhythms, punctuated with jazz, funk and contemporary African music. It featured some of the country’s most exciting instrumentalists like guitarist Sunnyboy Mthimunye. Belede, Mazwai’s latest offering, is a tribute to her mother who died when Mazwai was young, as well as to her musical heroes such as Miriam Makeba, Busi Mhlongo and Dorothy Masuka. Even while part of Bongo Maffin, she says, she thought about her mother and preserving the memory of what she taught her. Apart from her own work, Mazwai has collaborated with acclaimed international artists such as Meshell Ndegeocello (on the American singer’s Grammynominated album The World Has Made Me the Man of My Dreams) and Paul Simon on his Graceland 25th Anniversary Tour through Europe. Mazwai still has much up her sleeve. She would like to merge the sounds of South Africa with those of other countries, to play all over the world and share her music with new audiences. She is also interested in exploring electronic music, dub and funk—even punk. “I guess I want to do it all.”

PerFORMING AT Rosies on Saturday, 1 April 2017 DISCOGRAPHY Zabalaza, 2004 Ibokwe, 2009 Dance of the Forgotten Free (Live in Concert), 2010 Belede, 2016 25

Often proclaimed a jazz master, the quiet and unassuming Wells prefers to let his music do the talking. The 18th edition of the Cape Town International Jazz Festival welcomes back a familiar face and sound: Saxophonist (and occasional flautist) Buddy Wells has entertained our audiences at multiple festivals as sideman, but this year graces the Rosies stage as leader of his sextet. The urban jazz reedman has performed at numerous other prestigious music fests both at home and abroad, such as the Grahamstown National Arts Festival, North Sea Jazz Festival, Swedish Jazz Celebration and Festival d’Automne in Paris. Wells has lent his musical prowess as arranger to a number of

projects by other top South African jazz artists, including Jimmy Dludlu’s Echoes From The Past, which won the 1998 SAMAs for Best Contemporary Jazz Album and Best Newcomer; and most recently Andreas Loven’s District Six—a work that celebrates the spirit of District Six, 50 years after its destruction. At this year’s festival, Wells leads his sextet whose sound is described as “strongly rooted in traditional South African folk and jazz, simultaneously exploring deeper into the South African sound while drawing inspiration from the rest of the world.” Often proclaimed a jazz master, the quiet and unassuming Wells prefers to let his music do the talking. So listen and be awed.

PerFORMING AT Rosies on Friday, 31 March 26

Who’s Who 2017

Makuzeni’s music is a crossover of modern jazz, R&B and hip hop with Afro-Xhosa influences.

If you hadn’t heard the name Siya Makuzeni in South African jazz circles before, then winning the 2016 Standard Bank Young Artist of the Year for Jazz surely put her on your radar. This multitalented musician, composer and bandleader was the first vocalist in 12 years to receive the prestigious accolade.

PerFORMING AT Rosies on Friday, 31 March 2017 Discography Out of This World, 2016 28

Who’s Who 2017

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Makuzeni has been honing her craft over the past 15 years, lending her vocals to albums by acclaimed artists such as Carlo Mombelli and Marcus Wyatt as well as to television and movie soundtracks; she has performed on multiple stages all over South Africa and abroad in Stockholm, Paris and Vienna, among others. Aside from collaborating with fellow musicians, she leads her own band IppyFuze— whose core sound she describes as “a heavily groove-based rock riff ”—and jazz sextet comprising other gifted South African jazz artists. Her music is a crossover of modern jazz, R&B and hip hop with Afro-Xhosa influences. “I’m influenced by everything I hear, and I see music as a broad language.” Siyavuya Makuzeni started off with a strong foundation in the big band arena, attending the National Youth Jazz Festival throughout her high school years and ultimately becoming a member of the National Youth Jazz Band and Zim Ngqawana’s Big Band, among others. Having gained a love for the trombone (her “baby” and “best friend”), she later added vocals—and today her two passions can each hold their own. She has also begun experimenting with electronics to enhance and manipulate her voice to bring an entirely new facet to her songs. According to Lloyd Gedye of the City Press, “Siya Makuzeni has one of those voices. When you hear it, everything stops. All of a sudden, there is magic in the world again.”

Who’s Who 2017

The Cape Town Showcase brings together consummate artists from the Mother City who have made their mark in the music industry over the past four decades. The Cape Town Showcase came to life in 2005, paying homage to the great music artists and composers of South Africa. With a stellar 14-piece band comprised of a six-piece rhythm section, five horns and three backing vocals, this unique showcase promises to dazzle one and all at this year’s festival.

PerFORMING AT Kippies on Saturday, 1 April 2017 32

Camillo Lombard, a legendary jazz musician in his own right, is the brainchild behind the Cape Town Showcase. This multi-instrumentalist, composer and arranger is a highly skilled individual despite not having received training in his formative years. Since he began playing piano professionally at the age of 19, he has toured with various bands across the world. Lombard is the principal of the Cape Music Institute—which affords previously disadvantaged individuals access to a formalised programme for music education—as well as a member of the popular Afro-jazz band TopDog, bringing its fresh and vibrant take on Cape jazz classics. At this year’s festival, the Cape Town Showcase brings together consummate artists from the Mother City who have made their mark in the music industry over the past four decades. The line-up includes the internationally acclaimed cabaret artist Sophia Foster; the inimitable female impersonator and entertainer Terry Fortune; jazz singer and UCLA graduate Sylvia Mdunyelwa; legendary bass guitarist Sammy Webber, whose lack of sight has not kept him from thrilling audiences across the country; and magical songstress Vicky Sampson, whose song “African Dream” continues to be a favourite.

Who’s Who 2017

Current and past members of the Chris Hani High School Band will play their selection of jazz and African songs Located in Khayelitsha, Cape Town, Chris Hani High is a designated Western Cape Education Department “Arts & Culture Focus” school—and the band is doing them proud.

PerFORMING AT Manenberg on Saturday, 1 April 2017

Chris Hani is a previous participant in the Arts & Culture Focus Schools Programme (now the Music & Career Workshop) managed by the Cape Town International Jazz Festival’s Training & Development team and supported by the Western Cape Education Department. The band has been trained by industry professionals and mentors to polish their music talent, and introduce them to the many different career prospects within the entertainment industry. Now the prestigious Cape Town International Jazz Festival welcomes current and past members of the Chris Hani High School Band onstage to play their selection of jazz and African songs, and stand tall among top acts from South Africa and abroad. They will be ably supported by other students participating in the Music & Career Workshop.

Who’s Who 2017

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The SAMRO Overseas Scholarships Competition, a springboard for southern Africaâ&#x20AC;&#x2122;s music virtuosos, is targeting keyboard players this year.

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Jazz and Western Art keyboardists with the fingers and focus to compete, have the opportunity to enter this exciting and prestigious competition. To be eligible to compete, candidates should be music students or professional keyboardists; between 20 and 32 years old; and citizens of South Africa, Botswana, Lesotho or Swaziland. The competition will be held at ZK Matthews Hall, UNISA, Pretoria in August 2017. For more information, visit our website at www.samrofoundation.org.za

“Darren English is an adventurous, resolute new voice on the scene” From his humble beginnings exploring music at Muizenberg High School in Cape Town, trumpeter Darren English has gone on to make a name for himself in jazz circles in his home country as well as Europe and the US.

PerFORMING AT Moses Molelekwa on Saturday, 1 April 2017 Discography Imagine Nation, 2016 36

At the University of Cape Town, he partnered often with drummer Claude Cozens, who joined him in Norway to study further and perform at the Norwegian Folk Festival in 2009. English honed his skills at jam sessions in and around Cape Town, doing a two-year tour with well-known guitarist Jimmy Dludlu and working with Mark Fransman, Feya Faku, Robbie Jansen and Zim Ngqawana, among other big-name South African jazz artists. A SAMRO Overseas Scholarship in 2012 enabled English to graduate with a master’s degree in Jazz Studies from Georgia State

University in Atlanta, where he is now based. He has been enthralling audiences there since featuring with Grammy nominee Russell Gunn’s Krunk Jazz Orchestra at the 2014 Atlanta Jazz Festival. According to Gunn, “Darren English is an adventurous, resolute new voice on the scene and will unquestionably leave his imprint on the world of jazz in years to come.” The youngest artist ever to be signed to top Atlanta label Hot Shoe Records, English regularly partners with award-winning saxophonist, Gregory Tardy. His debut album Imagine Nation comprises well-known standards that he has made his own. Composing, arranging and playing jazz, hip hop, contemporary pop and bebop, English creates different moods with his subtle accompaniments. He told Kaya FM’s Brenda Sisane: “Music can’t be pretentious, especially jazz. Be as honest as you can be—for the song’s sake.”

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WIDELY VIOLINISTS IN INDIA, PANDIT COLLABORATES AND HAS COMPOSED MUSIC FOR NUMEROUS FILMS.

Whoâ&#x20AC;&#x2122;s Who 2017

Recognised as a child prodigy, Deepak Pandit began learning Indian classical violin from his father at the age of 6, and went on to graduate in classical vocals from the Prayag Sangeet Samiti music school in India. His years of training have engendered a deep love and understanding of multiple traditional schools of music including Western classical. But Pandit says his heart is “100% dedicated to Indian classical music”—particularly the lighter form of ghazal. He first began performing solo and as a violin accompanist, but a fortuitous meeting with the “Ghazal King” Jagjit Singh at a concert in Delhi in 1989 marked the beginning of a long collaboration with the legendary Indian artist—with Pandit scoring and arranging music for Singh and performing alongside him in more than a thousand concerts across the globe over 23 years. Counted among the best violinists in India, Pandit collaborates widely and has composed music for numerous films. He premiered his Symphony of Ghazal with the Cape Town Philharmonic Orchestra in February last year. Pandit is joined on stage at this year’s Cape Town International Jazz Festival by highly lauded South African trumpeter, flugelhorn player and composer MARCUS WYATT. Introduced to music at a young age by his father, he gravitated toward the trumpet at age 11 and started playing in

Who’s Who 2017

his school band. It was later during his time with the South African Defence Force’s Naval Band that he developed a love for jazz, and decided to further his music studies at the University of Cape Town’s College of Music. Since then, Wyatt has toured extensively across Africa, Europe and Asia—collaborating with accomplished musicians, and leading ensembles such as Language12, The Blue Notes Tribute Orkestra and the Afro-Balkan skadubhall outfit Bombshelter Beast. Wyatt’s seventh album as leader, One Night in the Sun, recorded with the ZAR Jazz Orchestra, won the 2016 SAMA for Best Jazz Album. It features some of the best of South Africa’s young jazz talent including fellow CTIJF performer, Siya Makuzeni. Adding his infectious drumbeats to the mix is RANJIT BAROT: a distinguished film-score composer, music producer and arranger who has been credited as a pioneer of Indo-jazz music collaborations. His flair for Western drums was obvious at a young age, becoming one of India’s leading drummers by the time he was 17. Drawing from his Indian roots, he has successfully brought together the sounds of East and West in his music. Barot’s first big performance was at the 1980 Jazz Yatra music festival, with the Jazz Yatra Sextet. Since then he has collaborated with well-known jazz artists from around the world, such as Swedish bassist Jonas Helborg, Turkish

PerFORMING AT Rosies on Friday, 31 March 2017 SELECTED Discography Deepak Pandit Green Fields, 2009 Instrumental: Best of Jagjit Singh on Violin, 2012 Different Strings, 2013 39

seventh album as leader, One Night in the Sun, recorded with the ZAR Jazz Orchestra, won the 2016 SAMA for Best Jazz Album. Wyatt’s

SELECTED DiscographIES Marcus Wyatt Gathering, 2000 Africans in Space, 2002 Language 12, 2007 One Life in the Sun (as the Marcus Wyatt Quartet), 2013 Maji Maji: In the Land of Milk and Honey (as Language12), 2014 ZAR (as the Marcus Wyatt Quartet), 2015 One Night in the Sun (with the ZAR Jazz Orchestra), 2015 Ranjit Barot Bada Boom, 2010

keyboardist Aydin Esen, British saxophonist Tim Garland—and fellow fusion musician, the English guitarist John McLaughlin, touring with his 4th Dimension quartet. McLaughlin has described Barot as “one of the leading edges in drumming”. Bada Boom was Barot’s highly acclaimed debut album released worldwide in 2010, featuring some of today’s greatest musicians from both India and the West, and comprising his masterful jazz fusion and world compositions.

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Sing to the Moon was hailed as “one of the most striking and original debuts from any British artist in many a year”

PerFORMING AT Manenberg on Saturday, 1 April 2017 Discography Sing to the Moon, 2013 The Dreaming Room, 2016

Like many other accomplished artists, LAURA MVULA grew up surrounded by music. In her Birmingham, UK home her father played the piano, her brother the cello, her sister the violin, and she herself became acquainted with both the piano and violin. As teens, the siblings formed the Douglas String Trio. Mvula’s brother and sister continue playing with her today, as part of her five-strong band. Laura is married to the equally musically-gifted baritone, Themba Mvula. The award-winning soul singer-songwriter counts Nina Simone, Jill Scott, Erykah Badu and Lauryn Hill as her inspiration— but her layered vocals together with sparse piano, strings and brass make her a unique and innovative freeform jazz artist.

Who’s Who 2017

Mvula’s debut album Sing to the Moon—with influences ranging from Björk, gospel, The Beach Boys and The Carpenters to Broadway and Gershwin— garnered multiple award nominations and was hailed as “one of the most striking and original debuts from any British artist in many a year” by The Telegraph UK. Her follow-up, The Dreaming Room, has been well received and critically acclaimed. Ryan Patrick from the Canadian music magazine Exclaim! described it as “a subconscious succession of visuals, emotions and ideas”. Apart from her own albums, Mvula has also recorded songs for the movies 12 Years A Slave and The Man From U.N.C.L.E. A special highlight—and a glowing acknowledgment of her talent—has been writing the music for the Royal Shakespeare Company’s 2017 show, Antony and Cleopatra. With her parents being originally from St. Kitts, Mvula says she is keen to incorporate the sounds of the Caribbean. “It’s my culture, my identity. It’s in my music somewhere. The warmth and the sea and the green and the mountains and the music and the spirit…” The former supply teacher from Birmingham has come a long way from singing in her aunt’s a cappella group, and it’s clear Laura Mvula’s journey is only beginning!

Who’s Who 2017

The trio’s debut album Reachin’ (A New Refutation of Space and Time) was packed with samples from Art Blakey,

Sonny Rollins and Curtis Mayfield

Brooklyn-based rappers Ishmael “Butterfly” Butler, Mary-Ann “Ladybug Mecca” Vieira and Craig “Doodlebug” Irving merged their musical talents in 1992 to form the alternative hip hop trio Digable Planets.

PerFORMING AT Bassline on Saturday, 1 April 2017 Discography Reachin’ (A New Refutation of Space and Time), 1993 Blowout Comb, 1994 Beyond the Spectrum:The Creamy Spy Chronicles, 2005 44

Every individual is a planet, they say, and their handles reflect a universal consciousness; insects—unlike humans—stick together and work for mutually beneficial causes, Ladybug told Essence Magazine. Incorporating jazz, funk, samba and psychedelia into their street-savvy hip hop, Digable Planets’ debut album Reachin’ (A New Refutation of Space and Time) was packed with samples from Art Blakey, Sonny Rollins and Curtis Mayfield, among others. The lead single “Rebirth of Slick (Cool Like Dat)” became a massive crossover hit that won a 1994 Grammy

for Best Rap Performance by a Duo or Group. Their follow-up Blowout Comb continued their jazz-rap fusion, but was described as darker and more overtly political—embracing the old-school sound of the streets. By 1995, however, the trio had split. The three members remained musically active and worked on individual projects, but got together for a few Digable Planets reunions, such as the one in 2005 that led to a compilation album comprising previously released material with remixes and B-sides; and a performance alongside The Pharcyde at the Canadian North by Northeast music festival in 2011. Their most recent reunion tour, in early 2016, was regarded as a huge success and just what the Digable Planets fans had been waiting for. “We haven’t stopped loving the magic that we have together,” said Ladybug. With the timeless nature of their sound, the trio is sure to continue where they left off. Who’s Who 2017

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PerFORMING AT Kippies on Friday, 31 March 2017 Discography The Epic, 2015

Washington has been bridging the worlds of jazz and hip hop, attracting a following of new fans like a modernday Pied Piper. Whoâ&#x20AC;&#x2122;s Who 2017

asi -year-old, Kam as a curious 13 picked up his father’s saxophone

©pic credit

and began playing his favourite tune.

Who’s Who 2017

“Epic” is truly a word that befits Kamasi Washington. “The Los Angeles saxophonist is the most audacious player in a movement making the electric flurry of ‘70s fusion jazz cool again,” wrote Rolling Stone. Washington’s work has been highly respected by music insiders for a number of years, but it was with his stellar string arrangements and performance on Kendrick Lamar’s multiple Grammy-winning album To Pimp a Butterfly, as well as the launch of his own much-praised debut that he made a name for himself around the world. And it all began one day when, as a curious 13-year-old, Kamasi picked up his father’s saxophone and began playing his favourite tune. He had been learning the clarinet, but the sounds were just not matching the music in his head, he told the FT.com.With the sax, however, he had an epiphany: “Oh, this is what I’ve been looking for!” It wasn’t long before Washington was the lead tenor saxophonist at the Hamilton High School Music Academy and formed his own band, The Young Jazz Giants. During his studies in ethnomusicology at UCLA, he embarked on his first national tour with none other than hip hop legend Snoop Dogg, and had the opportunity to join the orchestra of one of his music heroes, trumpeter Gerald Wilson. His debut international tour soon followed, with R&B legend Raphael Saadiq. Since then, Washington has been bridging the worlds of jazz and hip hop, attracting a following of new fans like a modern-day Pied Piper. He has collaborated with artists from McCoy Tyner and Freddie Hubbard to Mos Def and Thundercat; while his own 10-piece ensemble, The Next Step, is a modern spin on the big band. The Epic is his debut triple-disc, almostthree-hour-long masterpiece that shook up the charts and the critics in 2015. Featuring The Next Step plus a 20-person choir and 32-piece orchestra, Rolling Stone described it as “jazz fusion that rockets everywhere from electric Miles [Davis] groove to Sun Ra sputter, from velvety smooth to hardcore squawk—and still sounds as future-minded as any hip hop or experimental electronic LP out.”

“Every song I write has a message.”

After thrilling audiences alongside Mafikizolo at last year’s Cape Town International Jazz Festival, the husky-voiced 63-year-old TSEPO TSHOLA is back in 2017 to host his own set that’s sure to be even more memorable.

PerFORMING AT Kippies on Friday, 31 March 2017 Discography The Village Pope, 1994 Let’s Hold Hands, 1994 Lesedi, 1999 A New Dawn, 2002 Winding Rivers and Waterfalls, 2006 Ask Me, 2008 Reconciliation, 2009 Nothing Can Beat The Truth, 2011 Killer Joe, 2014

Born in Lesotho, Tshola has been in the music scene for more than 40 years, performing in his home country and his adopted nation of South Africa, as well as Europe. He was a member of four local bands during the 1970s, but relocated to London during the turbulent ‘80s. It was only upon the release of Nelson Mandela that he decided to return to the southern tip of Africa, and soon became an in-demand solo artist. Tshola’s love of gospel music earned him the nickname “The Village Pope”, and his unique and captivating baritone garnered many requests for duets or collaborations with some of South Africa’s leading artists including Rebecca Malope, the late Brenda

Fassie and Hugh Masekela. He went on to pen several songs that are now classics, such as “Madambadamba” and “Ho Lokile”. “Every song I write has a message,” he told the Sowetan. In 2015, his contribution to music was recognised with a Lifetime Achievement Award at the Metro FM Music Awards. Most recently, Tshola leant his powerfully emotive lyrics and voice to a new track by rapper Jub Jub in January this year—titled “Ke Kopa Tshwarelo” (Sesotho for “Please Forgive Me”). “There are so many things to say about [Tshola], because he transformed the arts in southern Africa and created a legacy that continues to live,” said one of Tshola’s long-time friends from Lesotho, Chief Kebonatshwene Mosielele.

Who’s Who 2017

These Cape Town–based musicians are committed to honouring the rich musical legacy of South Africa Tune Recreation Committee is a rotating assembly of Cape Town–based musicians who are committed to honouring the rich musical legacy of South Africa by bridging the past, present and future—and thereby exposing these local sounds to the broader public. Led by trumpeter Mandla Mlangeni and guitarist Keenan Ahrends (who co-founded TRC in 2007), the musicians reinvent tunes but maintain their respective influences, fusing sounds and improvising around melodies.They embrace everything—from underground music to Balkanology. Mlangeni describes their sound as “mesmerising harmonic movements,

hypnotising vamps, miniature tone poems and minor-key melodic riffs. Basically, cool jazz for a new school.” Originally from Soweto and a graduate of the University of Cape Town, the SAMA-nominated Mlangeni writes and performs his music with various other bands such as The Native Groove Collective and Amandla Freedom Ensemble, and is the founder of the concert series, Afrikan Freedom Principle. He is also active in projects in Norway, Sweden, Germany, Israel, Britain and Botswana—delving into a range of music styles from classical to indigenous African. The other members of TRC are equally accomplished artists who have toured extensively in South Africa and abroad, and have been praised for their performances in their respective bands. In their very first outing at this year’s Cape Town International Jazz Festival, TRC will be joined by multi-instrumentalist Mark Fransman, who has a long list of accolades behind his name: two SAMA awards; the Standard Bank Young Artist for Jazz and the FNB Vita Awards; the Johnnie Walker Musician of the Year Award; and the UCT Adcock Ingram Jazz Award.

PerFORMING AT Rosies on Saturday, 1 April 2017

Who’s Who 2017

Her debut EP Reimagine has been described as “a tapestry of emotions— it’s the story of someone living”.

PerFORMING AT Bassline on Saturday, 1 April 2017 Discography Reimagine, 2016 50

Catherine St Jude Pretorius began rapping as a teenager in her home neighbourhood around the Cape Flats. Soon she was writing her own songs and putting together innovative live presentations—and DOPE SAINT JUDE was born.

Who’s Who 2017

Shining Light Awards 2017/2018 De Beers Young Jewellery Designers Skills Development Programme The Shining Light Awards (SLA) is the De Beers Group of Companies, Young Jewellery Designers Skills Development Programme. A platform that has existed for more than 20 years in South Africa and more than 8 years in Botswana and Namibia respectively. The programme accords young jewellery designers a unique opportunity to realise their dreams within the downstream segment of the diamond pipeline through exposure to the De beers diamond brand; Forevermark. The Shining Light Awards has gone from strength to strength; creating opportunities and exposure for young designers through developing their skills in diamond jewellery design and craftsmanship. The programme, through the Shining Light Awards competition, has received great acclaim with a growing number of entries received from year to year. This year’s competition entails the selection of one winner from each country who would benefit from opportunities such as an apprenticeship at partner design school and a jewellery skills development programme in Milan, Italy in conjunction with Forevermark. The Shining Light Awards competition finale rotates among the three producer countries, every two years. This year’s Awards finale will be hosted in Windhoek, Namibia. The 2017/2018 theme, ‘Protecting Nature’s Beauty’, is a poignant reminder of the need to take care of the world’s finite natural resources, including diamonds. For more information log onto: www.shininglightsawards.com

“It’s a long journey to become The One.” In our constant pursuit of absolute beauty, every Forevermark diamond undergoes a journey of rigorous selection. This is why less than 1% of the world’s diamonds are worthy of the Forevermark inscription – our promise of beauty, rarity and responsible sourcing. Forevermark is a diamond brand from the De Beers Group of Companies available in 2000 global retailers around the world. Join us on a personal journey through the Forevermark Experience Store situated at the entrance of the corporate village. Visit www.forevermark.com for more information.

“My parents named me after the [patron] saint of lost causes. I found that to be a really profound and significant name. So, to honour my parents and my spirituality, I took on the name of Saint Jude and just added the ‘Dope’ to be kwaai [cool],” she explained to the Mail & Guardian. Since then, the rap artist and activist has brought her edgy yet playful—and slightly controversial—lyrics and persona to unexpecting audiences both in South Africa and abroad, having toured in the US, France and Finland. Dope Saint Jude first made waves in 2014 with her track “Hit Politik”, and last year launched her entirely self-produced debut EP Reimagine. Music reviewer Sabelo Mkhabela described it as “a tapestry of emotions—it’s the story of someone living”. But she is also an advocate for feminism, class, race and gender neutrality, often guestlecturing at Cape Town universities on the topic of hip hop as a social vehicle. In her own words to website okayafrica: “Dope Saint Jude is an example to all girls. Dope Saint Jude is an academic, a thug, a rapper, a hustler, an activist, a producer, a community worker, a filmmaker, a party animal, a lover, a sista and a boss bitch!”

BRINGS HER EDGY DOPE SAINT JUDE

YET PLAYFUL— AND SLIGHTY CONTROVERSIAL LYRICS AND PERSONA TO THE CTIJF STAGE .

Who’s Who 2017

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Their new album still has the signature En Vogue sound and harmonies, but the music has evolved—just as they have It’s a touch of “Déjà Vu” at the 2017 Cape Town International Jazz Festival, with the powerhouse all-female R&B group En Vogue promoting their newest album in more than a decade. Since coming onto the scene with their first smash hit “Hold On”, En Vogue has sold more than 20 million records and won numerous top music awards, including being nominated for a Grammy seven times. It’s no wonder they made the top 10 on Billboard Magazine’s 2015 list of the most successful female groups of all time. The Real Funky Divas began their musical journey in the late 1980s in California, when producers chose Cindy Herron, Terry Ellis, Dawn Robinson and Maxine Jones as a modern-day girl group that could emulate the female vocal trios of the 1950s and ‘60s. They had the talent, the looks, the style and the intelligence to pull it off. En Vogue helped kick-start the “new jill swing” movement—the female equivalent of new jack swing, a blend of soul and hip hop—giving rise to other equally successful all-girl groups such as SWV and TLC. There have been several reincarnations of the group through the years, but currently En Vogue comprises original members Herron (now Braggs) and Ellis, featuring the latest addition of Rhona Bennett. This trio will soon release the group’s sixth full-length album Electric Café, produced by the founding production duo of Denzil Foster and Thomas McElroy. The promotional single “Déjà Vu” is a callback to the ‘60s sound that inspired their formation. Heron-Braggs told SingersRoom that the new album still has the signature En Vogue sound and harmonies, but the music has evolved—just as they have. “We absolutely love singing. We’re not done just yet. We’re absolutely not ready to put the mics down!” she told the UK’s The Voice Online.

Who’s Who 2017

PerFORMING AT Manenberg on Friday, 31 March 2017 Discography Born to Sing, 1990 Funky Divas, 1992 EV3, 1997 Masterpiece Theatre, 2000 Soul Flower, 2004 Electric Café, 2017

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PerFORMING AT Manenberg on Friday, 31 March 2017 Discography Child of the Light, 2001 Lovely Things, 2002 My African Heart, 2005 Everything Around Me, 2008 Blessed Man, 2009 Time For Love, 2015 Closer, 2016 56

Who’s Who 2017

ly cent e re s 2015 r o i m ith h and ar t, leans w nd a e H a r n ith frica New O f SAIG hat Sm A y t o M r in for , said ent bum wne is al rtainm Kelly, o z scene looking h n est mo Ente ann jaz rket hallu o SAIG ove. Ern merica can ma d, Afric W L e i t A t r , For he ica mly ing me &B sign e, Time me on t to an A sophist en war dR n s e a s a i a b d n H rele nown usic soun ing. eady r of n m ERNIE ll-k ique d inspir has alr mbe tudio, a e n u c u n w i r a a s ’s t style w an for ngs urg , Af eing aris t that f “bri hing ne porary ucer f his Job I love b o jazz n guit o d p t g o r m m e “ g in a u ut o um. reater nd p som d conte rat fric meltin pectr ema from o but alb e teg uth A s d s l eg gift n u i e f a n . .” m t e i n c d i the ed es len r his d an v a h m i ssly ing So musi s a wi gazine t n o g g i o e s u l g c l e a s a m n wel ith is a urturin ed afte nothing le thro g liv Sea d-win rs up “ s acro ard M p layin rge Sm p nam but ts, n r o n peo s e a b a f n f ill artis Light— singing, touch of aw icia as Geo gan B r s nd e u e fi h e t ic m d ot mus g an of th such n he be itar. wro d to SMITH n to u o ine tes,” raw egends hild o writin ing my g t o d C s s e s h l a t ut de see tas udi he w ired by ange. B mming n, and sic in st re than s. p u h ban, o , s r i S mu r t n u s A i u ay s s s e f e M il D as plea g,” he s p in , and w nd Sand l style o ick succ tiple SA u n g o l a n s a qu r wi ng on mu of s ad Gro h meeti an Butle d pers bums in d him spre irk s e n l c r a h a a r t e h K rn chu n, Jona n voice st two claim winner s ga so w fir s ha . His ac y s e m Ben g his o ed his w m s as tin l pro c award US Gra craf ith rele sica i g s u n u i m r m M u S is FM feat en h e th d Metro nd: first c n i s a mel A an KOR d his ho n beyo

Who’s Who 2017

led entinian sextet rum is an Arg d n ed a l rm fo a ho sc E zolla, w aniel “Pipi” Piaz D er m ho um w s dr nd by p of frie 99 with a grou a the band in 19 Their name is . er th jam toge nd sa l simply loved to r a loca of the word fo clever mash-up fishes with his lla zo az rún that Pi shark escaland rum”. English word “d father, and the her rhythms, ot d an o, folk 100 Fusing jazz, tang among the top s been counted of de ca Escalandrum ha e last de ed bands of th most distinguish . ic tinian mus popular Argen d by his rgely influence be t about a Pipi has en la lla, who brough zo az Pi or st A grandfather in the 1940s ngo music back revolution in ta ques. This modern techni by introducing on new tango) so tango nuevo (the th rgentina to e spread from A ld. Pipi’s father rest of the wor ician, so he was also a mus evening spent many an ng to his ni te lis backstage perform. family members ve declared that Aficionados ha s zolla is taking hi the young Piaz a in o ngo nuev grandfather’s ta his direction with w ne y completel hmic yt rh e av of the cl incorporation -Cuban music. pattern of Afro he has found that However, Pipi s: “It’s in ot ro o ng his ta cannot escape hat’s the air—and w my blood. It’s in All to you”, he told in the air sticks About Jazz.

g the top n o m a d e t n u s been co a h m u r the last d f n o s d n a Escala b ed

ish u g n i t s i d t s sic. u m n a i 100 mo n i t n e r Arg ade of popula dec

Who’s Who 2017

Escalandrum has played on their home country’s most recognised stages and toured more than 30 countries around the world. The band has won multiple national awards (such as the 2012 Gardel de Oro and Album of the Year from Argentina’s most distinguished awards platform) and garnered a Latin Grammy nomination for Best Instrumental Album in 2011 for Piazzolla Plays Piazzolla—a tribute to Pipi’s grandfather, to commemorate his 90th birthday. In 2016, Escalandrum collaborated with consummate Argentinian actress and singer Elena Roger on the album 3001: Proyecto Piazzolla, a compilation of Astor Piazzolla’s iconic songs but with a modern and original twist.

Supported by the Ministry of Culture & the Ministry of Foreign Affairs and Worship of the Republic of Argentina.

PerFORMING AT Moses Molelekwa on Saturday, 1 April 2017

Who’s Who 2017

Discography Bar los Amigos, 2000 Estados Alterados, 2002 Sexteto en Movimiento, 2003 Misterioso, 2006 Visiones, 2008 Piazzolla Plays Piazzolla, 2011 Vértigo, 2013 Las Cuatro Estaciones Porteñas, 2014 3001: Proyecto Piazzolla (with Elena Roger), 2016 59

Ego Death “plays like a Sunday afternoon holed up in the bedroom, the melodies a soothing blanket to crawl under.”

The Internet, a Los Angeles–based, R&B/soul band, is fronted by Syd “Tha Kyd” Bennett and Matt “Martians” Martin, who fortuitously met in 2008 on MySpace—their title reflects this postmodern trend of coming together on the Net.

PerFORMING AT Manenberg on Saturday, 1 April 2017

Discography Purple Naked Ladies, 2011 Feel Good, 2012 Ego Death, 2015 60

Syd taught herself how to record, engineer and produce when she was only 15 years old. Apart from writing her own music, she also has a striking singing voice that’s sultry yet mellifluous. Together with Martians’ production and synth skills, they have made a dynamic duo since starting The Internet in 2011 after breaking away from the alternative hip hop collective, Odd Future. When playing live, The Internet includes touring

members Patrick Paige II, Christopher Smith and Steve Lacy. They began touring as a full band for their second album Feel Good, and the members have all contributed their talents to The Internet’s latest production, Ego Death. Featuring guest appearances from the likes of Janelle Monáe and Tyler the Creator from Odd Future, Ego Death ushers in a new, unique sound that The Internet has been working on for the past four years. The album “plays like a Sunday afternoon holed up in the bedroom, the melodies a soothing blanket to crawl under,” wrote TIME. It was nominated for Best Urban Contemporary Album at the 2016 Grammy Awards. Last year, Syd and Martians released their individual solo projects, and The Internet’s fourth album is expected to be launched in 2017. Who’s Who 2017

Whoâ&#x20AC;&#x2122;s Who 2017

“We should stop trying to sound like anyone else and just sing from our heart, from our soul—sing as we would speak.” Hailing from California, jazz songbird Gretchen Parlato has been described as one of the most inventive and mesmerising vocalists of her generation. It’s no wonder she gravitated toward the world of music: Her father Dave Parlato was a bassist for the eclectic musician Frank Zappa, while her grandfather Charlie Parlato played the trumpet in the Kay Kyser Big Band as well as for American musicians Tennessee Ernie Ford and Lawrence Welk. As the very first vocalist to be accepted into the Thelonious Monk Institute of Jazz Performance programme, Parlato moved to New York City and in 2004 won first place in the institute’s International Jazz Competition for vocals. Just a year later, she released her self-titled debut. Her second album, In a Dream, was hailed by Billboard as “the most alluring jazz vocal album of 2009”, while Live in NYC was nominated for a 2015 Grammy in the category Best Jazz Vocal Album. Parlato has performed at some of the most prestigious concert halls and events such as Carnegie Hall and the Hollywood Bowl, plus the London and Montreal Jazz Festivals, among others. In addition to lending her sultry, intriguing voice to more than 70 albums by top artists such as Herbie Hancock, Esperanza Spalding and Marcus Miller, Parlato is an indemand teacher at the Manhattan School of Music. This worldwide acclaimed artist told Jazz Times: “We all have our own unique and honest vocal sound. Underneath anything affected or forced is a very pure, simple, completely emotionally connected tone. It seems at a certain point, we should stop trying to sound like anyone else and just sing from our heart, from our soul—sing as we would speak.”

Who’s Who 2017

PerFORMING AT Rosies on Friday, 31 March 2017 Discography Child of the Light, 2001 Gretchen Parlato, 2005 In a Dream, 2009 The Lost and Found, 2011 Live in NYC, 2013 The Gretchen Parlato Supreme Collection, 2015 63

“I tried to create something that is both tradition and me fooling around,” says Jameszoo about his debut album. A portrait of Mitchel Van Dinther (known in the music world as Jameszoo) adorns the cover of his debut album Fool, in the style of Stephen Dedalus. Just like James Joyce’s literary alter ego, this is Jameszoo’s “Portrait of the Artist as a Young Man”. “I tried to create something that is both tradition and me fooling around.” The dance/electronic producer has described his music as “naïve computer jazz”: ‘naïve’ in the arty sense of having a childlike wonder that produces imaginative, unaffected works. But his ‘computer jazz’ is much more than mere music spiced up with digital instruments. Born in the southern Netherlands, Jameszoo began as a DJ with a bent toward avant-garde jazz, prog and kraut rock, electronic

experiments and beat oddities, and is now gaining repute with his playful electronic-jazz hybrid style. Fool was inspired by ‘70s albums by artists such as Steve Kuhn, Arthur Verocai and Robert Wyatt, and comprises live performances by leading musicians—which Jameszoo has reworked with his eccentric instrumentation, adding his signature unpredictable compositions and melodies. It was one of the best albums of 2016, “period”, wrote PopMatters. “There’s still stigma attached to the whole electronic music thing,” Jameszoo told VICE Media’s Noisey website. “But then also to jazz, like ‘Oh, jazz is intelligent music.’ There’s no such thing as ‘intelligent music’. I love this clash of traditions; it was part of me moving forward with this record.”

PerFORMING AT Moses Molelekwa on Friday, 31 March 2017 Discography Fool, 2016 64

Who’s Who 2017

The contemporary super trio Jazz Funk Soul first came together as a live touring ensemble in 2013, with fusion artists Everette Harp, Jeff Lorber and Chuck Loeb combining their individual instrumental jazz and R&B sounds. They were nominated for a 2015 Grammy Award in the category Best Contemporary Instrumental Album.

At this year’s Cape Town International Jazz Festival, Harp and Lorber are joined by Paul Jackson Jr, who is regarded as the most recorded and requested guitarist in the world. EVERETTE HARP—with his warm, ‘churchy’ sax sounds—has shared a stage with musical giants such as Aretha Franklin, Luther Vandross, Billy Joel and Patti LaBelle. “I see my music and career as a gift from God, as though I am simply a

Who’s Who 2017

conduit with a force working through me to entertain people and make them happy,” he says. Hailed as one of the founding fathers of contemporary jazz, JEFF LORBER started playing piano at the age of 4. He not only launched his own band, The Jeff Lorber Fusion, but also launched the career of saxophone master Kenny G. With his laid-back style, he has become one of the most sought-after producers and performers in jazz—collaborating with Miles Davis, Janet Jackson and Dave Koz, among other greats. Grammy-nominated PAUL JACKSON JR was a member of numerous LA bands from his early teens, and began a solo career in the late 1980s, becoming a favourite live performer. He has since supported artists from Elton John and George Benson, to Michael Jackson and Whitney Houston. His latest project, Stories from Stompin’ Willie, reflects his musical friendships made over several years—specifically with keyboard legend George Duke (who nicknamed Jackson “Stompin’ Willie”). Festivalgoers can look forward to Jazz Funk Soul’s groovy mix of songs with masterful sax solos, dazzling guitar riffs and foot-tapping melodies.

Jazz Funk Soul was nominated for a 2015 Grammy Award in the category Best

Contemporary Instrumental Album.

PerFORMING AT Kippies on Saturday, 1 April 2017 Discography Jazz Funk Soul, 2014 More Serious Business, 2016 Who’s Who 2017

The members of Jokko meld their traditional sounds with modern influences of pop, dance and jazz What happens when fate puts five top-ranking African instrumentalists together in a supergroup? Pure magic.

PerFORMING AT Moses Molelekwa on Saturday, 1 April 2017

The members of JoKKO are each musical geniuses in their own right, melding their traditional sounds with modern influences of pop, dance and jazz. The group’s name means “to share” in Wolof, a regional language of Senegal—and they will no doubt share the essence of Africa with music lovers at this year’s festival. ALY KEITA, a master of the balafon (a wooden xylophone), is descended from a long line of “griots”—oral historians and songsmiths of West Africa. It was in his hometown of Abidjan that he was introduced to the piano, and saw several similarities between this Western instrument and the millennium-old balafon. While playing jazz with musician Georges Makinto, Keita crafted his own diatonic balafon, which allowed him to widen his repertoire. As a young music talent growing up in southern Morocco, MEHDI NASSOULI learnt

Who’s Who 2017

to play a wide range of instruments, but became passionate about the guembri, a three-string plucked lute, and later the double-reed ghaita. Merging traditional African, Gnawa and Amazigh music with contemporary sounds, Nassouli has fascinated audiences across the globe and collaborated with international artists such as bluesman Justin Adams and jazz great Herbie Hancock. Also hailing from the Moroccan Souss, FOULANE BOUHSSINE has been called the “Mozart of the ribab”—a Berber single-string bowed instrument that sounds similar to a violin. One of the revered young talents on the Moroccan music scene, he began his career with the groups Amargh Fusion and Mazagan, before creating his own project, Ribab

Fusion, which has been attracting younger audiences to the ancient instrument. Bouhssine designed and manufactured the first ever electric ribab. Mozambican bassist (and occasional mbira player) CHILDO TOMÁS has been a regular touring member of Cuban-born pianist Omar Sosa’s Quarteto AfroCubano, and has also leant his African flavour to the performances of Mexican pianist Mark Aanderud and Venezuelan drummer Juan Rodríguez Berbín. Tomás released his first solo album in 2013. Born in Senegal and based in France, SÉGA SECK is an in-demand drummer all over the world, and has performed as part of the Touré Kunda ensemble with its infectious blend of African, Latin, reggae and pop rhythms.

The group’s n ame means “to share” in Wolo f,

a regional language of Senegal— and they will no doubt

h music lovers share the essence of Africa wit

Who’s Who 2017

One of South Africaâ&#x20AC;&#x2122;s most influential jazz musicians, trombonist Jonas Mosa Gwangwa has never stopped making musicâ&#x20AC;&#x201D; even after being exiled from his country of birth for 30 years. Indeed, it was in the darkness of apartheid that his gift truly shone.

PerFORMING AT Kippies on Friday, 31 March 2017 Selected Discography

Cry Freedom, 1990 A Temporary Inconvenience, 1999 Flowers of The Nation, 2001 Sounds From Exile, 2002 Collections, 2007 Kukude (Lapho Sivela Khona), 2008 Pure Sounds of Africa, 2015

©pic credit

Gwangwa’s commitment to raising awareness of the scourge of apartheid became an integral part of his music.

The young, self-taught Jonas began playing the trombone as part of the country’s first youth orchestra, the Huddleston Jazz Band, and eventually joined the groundbreaking outfit, The Jazz Epistles. Members included artists who would also become icons of South African musical heritage: Dollar Brand (Abdullah Ibrahim), Kippie Moeketsi and Hugh Masekela, among others. The 1960s became an important moulding period for Gwangwa: He was a cast member of the first all-African jazz opera King Kong that toured London; secured a scholarship at the prestigious Manhattan School of Music in the US; participated with Masekela, Miriam Makeba, Caiphus Semenya and Letta Mbulu in “The Sound of Africa ’65” concert produced by Harry Belafonte; and toured with Masekela for “The Main Event”. Labelled an “enemy of the state” by the apartheid government, Gwangwa left South Africa in the early 1970s and made the US his new home. But his commitment to raising awareness of the scourge of apartheid became an integral part of his music. “For a long time, I have believed that politics and culture cannot be separated; I channelled my energies to writing and performing for the love of my country,” he said. During his years in exile, he took on the role of composer and artistic director for the ANC’s Amandla Cultural Ensemble, recruiting and training talented youngsters and touring the world with their anti-apartheid message in music. Gwangwa has become one of South Africa’s foremost and award-winning composers: writing the acclaimed score for the much-lauded film Cry Freedom (1987); and composing the music for the Nelson Mandela 70th Birthday Tribute concert at London’s Wembley Stadium (1988), South Africa’s Olympic bid (1997), for his biographical performance piece, Jonas (1998), and the launch of the National Coat of Arms (2000). He has also contributed musical scores to several South African films, television programmes and documentaries celebrating the people of the Struggle. But, as Gwangwa told Times Live: “I never had the notion of being a big star or having big money. I was just into the music.”

Who’s Who 2017

Sephumaâ&#x20AC;&#x2122;s critically acclaimed debut album captured the attention of music fans with its beautifully crafted songs of hope and love

With her heart firmly set on pursuing a career in music, the young Judith Sephuma attended the highly respected Fuba School of Music in Johannesburg and the University of Cape Town, studying jazz singing and being classically trained.

PerFORMING AT Kippies on Saturday, 1 April 2017 Discography A Smile, A Cry, A Dance, 2001 New Beginnings, 2005 Change Is Here, 2008 I Am Living Testimony, 2011 A Legacy: Live in Concert, 2012 The Experience â&#x20AC;&#x201C; Live, 2013 One Word, 2015 72

ntract recording co A ING W FOLLO with the African division of BMG,

a jazz and gospel superstar emerge d.

As if a sign from above, she was a finalist in the Shell Road to Fame and SABC Jam Alley Talent Search competitions, and crowned it all with the Best Jazz Vocalist award at the 1999 Old Mutual Jazz Into The Future contest. A recording contract with the African division of BMG followed— and a jazz and gospel superstar emerged. In Cape Town, Sephuma had the privilege of performing with big-name bands such as Selaelo Selota’s Taola, the C-Base Collective and the Cape Symphonic Orchestra. Her first taste of international audiences came during 1998 and 1999 as part of the band Meropa, at France’s Fin de Siècle Festival. Since then she has toured extensively, from The Netherlands to Mexico to Senegal, and collaborated with music icons across various genres. Her critically acclaimed debut album A Cry, A Smile, A Dance captured the attention of music fans with its beautifully crafted songs of hope and love. Sixteen years later, she released her latest work titled One Word—recorded with a live band in Cape Town—which she has described as Afro-funk jazz. As the songbird puts it, “God has blessed me with the ability to reach people, so I must take the challenge head-on and be an inspiration to people.”

Whoâ&#x20AC;&#x2122;s Who 2017

Get ready to dance, dance, dance, dance some more with the iconic South African group, MANGO GROOVE. From humble beginnings in the late 1980s as a very rare multiracial outfit, they have been delighting audiences from all walks of life. “Mango Groove is quite simply South African music royalty,” says Warner Music SA’s Tracy Fraser. Centred around the soaring vocals of Claire Johnston (who joined when she was 17 years old) and the instantly recognisable penny whistle of Mduduzi Magwaza, Mango Groove continues to bring its unique blend of marabi, kwela, big-band swing and pop to stages around the country and abroad, from Sun City to Hong Kong—and even via satellite for the 1992 Freddie Mercury Tribute Concert in London. The multi-platinum-selling band has a number of firsts behind its name: the first to redefine live acts in South Africa; the first to get a million-rand sponsorship deal; and the first (and only) group to remain at the top of the country’s national sales charts for more than a year.

Who’s Who 2017

PerFORMING AT Manenberg on Friday, 31 March 2017 Discography Child of the Light, 2001 Mango Groove, 1989 Hometalk, 1990 Another Country, 1993 Eat a Mango, 1995 Bang the Drum, 2009 Faces to the Sun, 2016 77

Mango Groove continues to bring its unique blend of marabi, kwela, big-band swing and pop to stages around the country and abroad, from Sun City to Hong Kong Mango Groove is as popular at Emmarentia and Kirstenbosch as it is at Oppikoppi and Rocking the Daisies. “It would appear that we still have our fan base. It’s sort of young and old. It’s so thrilling that, at Oppikoppi, people go nuts when we walk on stage—and that’s the power of music. It never really goes away,” Johnston told IOL. Last year, the group released their first album since 2009, and it’s bound to be a real treat for long-time fans. “In many ways, for Mango Groove the Faces to the Sun project was about much more than music, as it was about celebrating being South African in all its many forms,” says Johnston. “In essence, the two CDs are really just different sides of the same coin. If ‘Memories and Moments’

celebrates where we have come from and the great SA tracks that have touched us through the decades, then ‘Here, Now and Forever’ is very much about Mango Groove today and where we are going in the future.” The double album features collaborations with some of South Africa’s favourite artists such as Freshlyground’s Zolani Mahola, Vusi Mahlasela and Mo T from Mi Casa, as well as the last ever recordings of the late penny whistler and singer, “Big Voice” Jack Lerole. “Times might have changed, but the essence of performing is the same. You’re still on stage having fun—and that has remained the ethos of Mango Groove,” Johnston told the Sowetan.

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The sounds of Cameroon and Mozambique will transform the Cape Town International Jazz Festival stage this year when two unique African reedmen come together.

PerFORMING AT Kippies on Friday, 31 March 2017

Born in Douala, Manu Dibango had his heart set on studying medicine in Paris, but the pull of music was too great and he went on to learn classical piano and later the saxophone and vibraphone. Influenced by jazz masters such as Louis Armstrong and Duke Ellington, he became a founding member of the seminal Congolese rumba group African Jazz— developing his own style that fuses jazz, funk and traditional Cameroonian makossa (“dance”) music.

long s a h a ç i Chongu d e t a n i c s a been f nal o i t i d a r t with ll a m o r f c i s mu world e h t r e v o

Discography Moreira Chonguiça Kusile, 2013 Moreira Chonguiça The Moreira Project:Vol. I – The Journey, 2006 The Moreira Project:Vol. II – Citizen of the World, 2009 Khanimambo, 2011 80

Who’s Who 2017

Nicknamed “The Lion of Cameroon”—from his 2007 album Lion of Africa—Dibango has been performing, composing and leading acclaimed big bands since 1968. But it was his 1972 hit single “Soul Makossa” that made the music world sit up and take notice. The track was not only one of the first crossover Afro-jazz hits, but also the first to make it onto the New York disco scene—inspiring a host of homages and modern pop songs: from Michael Jackson’s “Wanna Be Startin’ Somethin’” to Rihanna’s “Don’t Stop the Music”. Dibango celebrated his 80th birthday in 2014 with a huge concert at the Olympia music hall in Paris, showing that he still has what it takes to get crowds moving with his fresh concepts. Indeed, Manu is still “one of the great innovators of world music,” as AllMusic puts it. So it’s little wonder Dibango enjoys collaborating with younger artists such as celebrated Mozambican-born jazz musician, Moreira Chonguiça. The awardwinning saxophonist, composer, producer, music educator and ethnomusicologist moved to Cape Town to further his studies, and graduated from the South African College of Music in 2000. His debut album received an overwhelming response both locally and internationally, showcasing his phenomenal songwriting ability and energetic performances. The contemporary African fusion jazz album was nominated for three SA Music Awards in 2007, winning the accolade for Best Producer. AllAboutJazz commented that when “groove is melded with a variety of cultural influences, competent musicianship on every instrument and a sense of adventure, you’ve got something special”.

Chonguiça has long been fascinated with traditional music from all over the world, having studied Ethnomusicology up to honours level. His collection of various cultural music formed the basis of his follow-up album Citizen of the World, which won the 2009 SAMA for Best Contemporary Jazz. Chonguiça’s own band, The Moreira Project, has featured in most of southern Africa’s major music festivals, and comprises some of SA’s hottest young jazz talents.

still s i o g Diban at e r g e h ft of “one o s r o t innovamusic” world

Discography Manu Dibango Manu Dibango, 1968 Soul Makossa, 1972 Electric Africa, 1985 Wakafrika, 1994 Lion of Africa, 2007 Balade En Saxo, 2013 Who’s Who 2017

A humble lady with a powerful voice, Nomfundo Xaluva is so comfortable behind the piano that she seems to have been born to play it. Unpretentious (and often barefoot), she pours emotion into every note. â&#x20AC;&#x153;I only write music when I have something to say about my life and experience,â&#x20AC;? she told The Citizen.

PerFORMING AT Moses Molelekwa on Saturday, 1 April 2017

The young Nomfundo, raised by her grandparents in Port Elizabeth, started singing in her church and school choirs. Her grandfather, a big fan of jazz, insisted she study a musical instrument—and her love for the classical piano blossomed. Jazz music would become her life’s passion, she forecasted. A master’s degree in jazz studies followed, with a dissertation on one of her idols: the great Miriam Makeba. It was a dream come true when Xaluva was approached to perform with Sibongile Khumalo in a tribute concert for Makeba at the 2014 Grahamstown National Arts Festival. Xaluva also had the opportunity to perform with another of her idols, Grammy-winning jazz singer Dianne Reeves, in 2011, with Reeves complimenting her exceptional voice control. But it was her debut album Kusile that brought attention to the sultry songstress. “Kusile is such a beautiful album—in

music when “I only write I have something to say

about my life and experience.”

fact, it is a work of art,” said Wandile Sikhosana from Universal Music South Africa. Equally highly acclaimed is Xaluva’s follow-up From.Now.On, with its take on classic south vocal jazz by the likes of The Skylarks and Busi Mhlongo. “The title of the album is just a different way of saying past, present and future,” she explains. “I wanted to pay tribute to the jazz musicians who came before me, with a contemporary twist to their music. This album is a celebration of our musical heritage.” Both works won the Metro FM Music Award for Best Urban Jazz Album, in 2014 and 2016 respectively. Xaluva is excited and proud to be a jazz musician in South Africa. “There is so much to write about in South Africa. Our country has a great energy culturally, and we also have such a rich heritage of jazz,” she told the Mail & Guardian. Now she is passing on this love of jazz to youngsters, in her role as vocals teacher at the Cape Academy of Performing Arts in Cape Town.

Who’s Who 2017

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“I figured that protecting and preserving our indigenous music could be my contribution to the Struggle. We must know our heritage.”

PerFORMING AT Moses Molelekwa on Friday, 31 March 2017 Discography Kalamazoo, 1990 Ancestral Healing, 1995 How Far Have We Come?, 1997 Pops Mohamed Meets The London Sound Collective, 2000 Yesterday,Today and Tomorrow, 2002 Healing Sounds from Mother Africa, 2007 Live in Grahamstown, 2016 86

Known by fans as the Minister of Music, Ismail ”POPS” MOHAMED-Jan began his musical journey in Kalamazoo, Gauteng, where he and his father listened to the traditional music of the vibrant community. “Migrant miners playing their mouthbows, with jazz musicians jamming to [American pianist] Count Basie… these sounds are always in my mind,” he says. Kalamazoo might have been demolished by the apartheid government, but Mohamed’s love of music would never be suppressed. Pops (so named for his love of Popeye) formed his first band, The Valiants, at the age of 14, playing a wide range of musical styles such as kwela, pop and Latin on guitar and keyboard. Starting off on a homemade box guitar, he honed his skills from jazzmen at Dorkay House—the building inextricably linked with the music of black artists in the 1950s—including Dollar Brand and Kippie Moeketsi. Tours with various artists, both nationally and abroad, followed

Who’s Who 2017

as well as arranging and composing music. But it was the political turbulence of South Africa in the 1970s that led Mohamed back to his roots and eventually engendered the music style for which he is now globally acclaimed. To this end, he mastered traditional instruments from the kora and mbira to the mouthbow and didgeridoo. “I figured that protecting and preserving our indigenous music could be my contribution to the Struggle. We must know our heritage.” Mohamed’s most successful album has been How Far Have We Come?, which comprises recordings of the chants and music of the Khoisan bushmen in the Kalahari Desert, processed on computer and supplemented with in-studio tracks by a group of young British jazz musicians like Chris Bowden and Roland Sutherland. His aim was not only to conserve the traditional sounds, but to embellish them with modern music and rhythms in order to attract a younger audience. A similar project was with Hindustani classical vocal musician Samia Mahbub Ahmad on her album Braids, which suffuses old Bengali songs with the sounds of traditional African instruments. Most recently, Mohamed has been working with the representatives of Kalahari San communities to preserve and expose their healing sounds through the Urban Khoisan Project; and launched an album with Dave Reynolds titled Live in Grahamstown, which was recorded at the 2015 Standard Bank Jazz Festival and features Tony Cedras, Frank Paco and Sylvain Baloubeta. It’s little wonder Pops Mohamed has been described as South Africa’s leading indigenous-contemporary crossover artist.

Who’s Who 2017

sed a c w sho e r Fi sâ&#x20AC;&#x2122; new e h d p T mental e U t e a i z r Bla Rud corpo hip e , h s T s n ba ti a d h n t a d soun p, drum cehall. te nd dan s b u a d hop

PerFORMING AT Manenberg on Saturday, 1 April 2017 Discography More Fire, 2003 Set It Proper, 2007 Blaze Up The Fire EP, 2014 88

Hailing from the Mother City, THE RUDIMENTALS started out in 2001 as one of the few South African bands exploring ska music. Since then, they have broadened their infectious sound to include African, reggae, ragga, rock and dancehall music. The band has featured at major South African festivals such as Synergy, Rocking the Daisies and Up The Creek, and has been a regular item at the Kirstenbosch Summer Sunset Concerts. The Rudimentals toured with UB40 in South Africa in 2007, and have also shared the stage with acclaimed live performers

like Johnny Clegg, HHP and Freshlyground, as well as international acts including Jimmy Eat World, The Prodigy and Groove Armada. In the past few years, they have added the firecracker vocal talents of Jamaican-born dancehall vocalist and singer Cotterell “Khaos” Jop, famed Zimbabwean dancehall artist Lloyd “King” Labash, and Brooklyn rapper Whosane Pangaea, who bring their respective musical influences to the band. The 2014 EP release Blaze Up The Fire showcased The Rudimentals’ new sound that incorporated dubstep, drum and bass, hip hop and dancehall. A former band member, Antonio Cencherle, returned to lend his electronic flavour to the songs.

He is “one of a special class of players who have led jazz into the New Millennium” Saxophonist and composer Rudresh Mahanthappa has become a master at blending the classical music of his South Indian heritage with jazz and modern electronica—reflecting his experience of growing up as a second-generation IndianAmerican. He is “one of a special class of players who have led jazz into the New Millennium; rooted firmly in tradition, while PerFORMING AT finding new directions and Rosies on Saturday, possibilities in a new era”, 1 April 2017 wrote AllAboutJazz’s Victor Discography Schermer.

Yatra, 1994 Black Water, 2002 Mother Tongue, 2004 Codebook, 2006 Apti (as Rudresh Mahanthappa’s Indo-Pak Coalition), 2008 Kinsmen (as The Dakshina Ensemble), 2008 Dual Identity, 2010 Samdhi, 2011 Gamak, 2013 Bird Calls, 2015 90

It was during his studies at the Berklee College of Music that Mahanthappa was inspired by Indian saxophonist Kadri Gopalnath’s use of a Western instrument in the context of classical Carnatic music. “My idea was to take whatever I learnt, take that knowledge and really put it in a setting that has nothing to do with Indian classical music,” he says.

Since then, the talented reedman has released numerous albums as both leader and sideman. His projects include: The Rudresh Mahanthappa Quartet, Raw Materials (with Vijay Iyer), the Indo-Pak Coalition, MSG (with Chander Sardjoe and Ronan Guilfoyle), the Mauger rio, the Dakshina Ensemble septet, the Dual Identity quintet, and the cross-generational alto summit Apex featuring Bunky Green. Mahanthappa has been named Alto Saxophonist of the Year for four of the past five years in the annual DownBeat Magazine International Critics Poll, and for five years running by the Jazz Journalists’ Association. His most recent album Bird Calls has been the most lauded, garnering Album of the Year, Alto Saxophonist of the Year and Rising Composer of the Year from DownBeat. Bird Calls pays homage to one of jazz’s founding fathers, saxophonist Charlie “Bird” Parker—one of Mahanthappa’s earliest and most enduring inspirations. It is not a tribute album in the traditional sense: There are no Parker compositions, just entirely new music by Mahanthappa—but with the distinct touches of Bird in the melodies, wholly reimagined and recontextualised. “This is music that is all directly inspired by Charlie Parker, but it sounds as modern as anything today,” he says.

Who’s Who 2017

Bird Calls

Whoâ&#x20AC;&#x2122;s Who 2017

Donovan Witten and Dr Iqbal Survé established the Sekunjalo Edujazz Project to promote development of jazz music in township schools on the Cape Flats Over the past 16 years, the Sekunjalo Development Foundation has hosted its annual Sekunjalo Edujazz Concert where young music students share a stage with established jazz artists from Cape Town.

PerFORMING AT Manenberg on Friday, 31 March 2017 92

Back in 2001, current programme co-coordinator Donovan Witten shared his original vision with Dr Iqbal Survé, and together they established the Sekunjalo Edujazz PROJECT to promote development of jazz music in township schools on the Cape Flats. Extensive workshops are conducted by mentors such as Alvin Dyers and Camillo Lombard as well as educators (including Frank Paco, Ronel Nagfal, Henriette Weber and Terence Scarr) to help the aspiring youngsters foster skills and experience in live performances, sharing the stage with the likes of established musicians Jimmy Nevis, MiCasa and Beatenberg. Bands such as The Little Giants, Belhar Music Collective, Athlone Music Academy, Alexander Sinton High Jazz Band, Heathfield High Jazz Band, Zerilda Park Primary Band, Muizenberg High Jazz Band, Delft Jazz Band, University of the Western Cape Wind Orchestra and the Ifidyoli String Ensemble have all been gaining a great advantage from this learning opportunity. A number of current and rising South African music stars can be counted among the Sekunjalo Edujazz Project’s successes: Donveno Prins, Dylan Tabisher, Jamie Faull, Spha Mdlalose, as well as Cape Town International Jazz Festival acts such as Kyle Shepherd, Darren English, Claude Cozens and the 2016 espYoungLegend Lana Crowster, among others. For 2017, the band will be under the direction of Andrew Ford, an international awardwinning musician whose arranging skills are constantly in demand by large ensembles like the Cape Town Philharmonic Orchestra.

Who’s Who 2017

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“There was a real natural chemistry when we all played together for the first time”, said Shane Cooper.

Who’s Who 2017

Skyjack is an award-winning collaborative band of five jazz musicians from South Africa and Switzerland who come together on cross-continental trips, drawing from their multiple cultural influences. The three South African artists are no strangers to the country’s jazz audiences: All are previous recipients of the Standard Bank Young Artist for Jazz award and have toured widely and performed with the most in-demand jazz names at home and abroad. Shane Cooper—who won the 2014 SAMA for Best Jazz Album for Oscillations, his debut as leader—also writes and performs electronic dance music under the

Who’s Who 2017

PerFORMING AT Rosies on Saturday, 1 April 2017 Discography Skyjack, 2016 95

name “Card on Spokes”. He is one of the members of Kyle Shepherd’s trio, and produced Shepherd’s original soundtrack album for South Africa’s 2017 Oscar entry, Noem My Skollie. A SAMA and Metro FM Music Award nominee, the virtuoso pianist Kyle Shepherd has delivered celebrated performances in South Africa, Europe, Asia, Canada and the US, and has already released six critically acclaimed albums. “Shepherd… plays piano with old-soul authority and composes rich, evocative music,” wrote The Ottawa Citizen. New York-based drummer Kesivan Naidoo made his professional on-stage debut at the age of 14 as part of the Webster Jazz Quintet. Mentored by internationally acclaimed Berklee College of Music, Naidoo’s wide range of eclectic musical influences has created a sound that has been described as “majestic playing, mind-blowing listening”. The South Africans’ Swiss collaborators Marc Stucki (a well-known figure on Switzerland’s jazz scene and co-founder of the Jazzwerkstatt Bern music festival) and Andreas Tschopp

(who has collaborated with many other local musicians, including bassist Herbie Tsoaeli) first joined them on a national tour in 2013—playing at, among others, the National Arts Festival in Grahamstown. “There was a real natural chemistry when we all played together for the first time”, said Cooper. “We ended up being a quintet for the whole show, because the formation between us was so strong.” In 2015, Skyjack reunited for a tour across Switzerland, where they won the country’s prestigious BeJazz TransNational competition. They returned in 2016 to perform at the BeJazz Winter Festival in Bern. In the same year, Skyjack recorded their debut self-titled album at the world-renowned Powerplay Studios near Zurich, and launched the CD with a 12-gigs-in-12-days special tour. According to the Mail & Guardian, “Despite the band members being on different continents, and with widely diverse backgrounds, the album has achieved a complete fluidity with a modern jazz aesthetic.”

UR UNITED FOR A TO RE K JAC Y SK , 15 IN 20 ACROSS SWITZERLAND, WHERE THEY WON THE

BeJazz TransNational competition

Who’s Who 2017

FCB CAPE TOWN 10008725CT/E

Thousands of children come to school hungry day. You can to help! Thousands ofevery children come school hungry A donation of only R395 every day. You can help! will feed a child for a year. A donation only R395 child. Remember: You can’t of teach a hungry

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The trio is

“a ‘songinspired’ entity, composing and performing songs of lyric melody and

poignancy”

This lyrical soul-rock trio is one of many musical projects initiated by talented South African performer and composer Mark Fransman (who can also be seen jamming with Tune Recreation Committee at this year’s festival). With a string of awards behind his name, Fransman consistently breaks down genre labels—and it’s no different with Sonik Citizen. The trio describes the ensemble as “a ‘song-inspired’ entity, composing and performing songs of lyric melody and poignancy on a variety of subjects, which appeal to a wide range of audiences.” Fransman’s soulful, husky voice and driving guitar are complemented by the groovy bass of Eugene “Gino” Ackerman (also a member of Bokani Dyer’s dynamic Soul Housing Project and Brandon Ruiters’ afro-funk band BK Pro) and the rhythmic beats of celebrated drummer Paul Tizzard, who has performed with several Cape Town bands and solo artists for more than 20 years.

PerFORMING AT Bassline on Saturday, 1 April 2017 Discography Sonik Citizen, 2015

Who’s Who 2017

㄀ ⴀ 㐀䨀唀一䔀㈀㄀㜀

圀䄀䌀䬀夀圀䤀一䔀圀䔀䔀䬀䔀一䐀⸀䌀伀䴀䔀嘀䔀一吀匀䀀刀伀䈀䔀刀吀匀伀一圀䤀一䔀嘀䄀䰀䰀䔀夀⸀䌀伀䴀簀㈀㌀㘀㈀㘀㌀㄀㘀㜀

One of South Africa’s favourite ensembles, the SOWETO STRING QUARTET was founded in 1989 by the three Khemese brothers— violinists Sandile and Thami, and cellist Reuben—who were joined by their childhood friend, the viola player Makhosini Mnguni.

PerFORMING AT Manenberg on Saturday, 1 April 2017 DISCOGRAPHY Zebra Crossing, 1994 Renaissance, 1996 Millennia, 1998 Rhythms of Africa, 1999 Four, 2001 Our World, 2003 100

The brothers attended their uncle Michael Masote’s Madimba School (now Institute) of Music in Soweto, where they were classically trained. This flew in the face of the norms at the time in Apartheid South Africa: four black classical musicians from a township. They even faced criticism closer to home for playing traditional ‘European’ instruments. But in the years that followed, the Soweto String Quartet redefined classical music for a new generation— adding fresh tunes and kwela dance rhythms, mbaqanga syncopation and African jazz. Their music has won numerous awards and fans at home and across the globe, collaborating with artists such as Jimmy Dludlu, HHP, Manu Dibango and the Dance Theatre of Harlem. Sadly, Reuben Khemese passed away in September 2016.

Who’s Who 2017

artet u Q g n i r t S o a new The Sowet r o f c i s u ical m s s a l c d e n fi s and e e n red u t h s e r f adding ga n a generationâ&#x20AC;&#x201D; q a b m , s m rhyth kwela dance jazz. n a ic r f A d n a syncopation

Whoâ&#x20AC;&#x2122;s Who 2017

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“Our aim is the live remix and manipulation of music right in front of you.” Fresh from their win in the Battle of the Bands at Africa’s biggest hip hop festival, Back to the City, the members of STTA (Sampling Through The Ages) bring their unique take on live performance to the 2017 Cape Town International Jazz Festival.

PerFORMING AT Bassline on Friday, 31 March 2017 102

The concept band comprises drummer extraordinaire Joshua “J-Star” Zacheus (also known as PASTABDXLL), turntablists DJ Raiko and DJ P-Kuttah with three live beat

machine samplers, versatile hypeman Nasty J (aka Joniq) and a moveable feast of wellknown guests. They have over 20 years of collective experience performing alongside some of South Africa’s most recognised musicians. “Our aim is the live remix and manipulation of music right in front of you,” P-Kuttah told The Scratch Lab. “So we do our own covers of famous music from hip hop to R&B, rock, kwaito, even gospel—but we mess with it and give it a twist of our own.”

Who’s Who 2017

Singer-songwriter, keyboardist, beatboxer, DJ, producer… TAYLOR MCFERRIN wears many hats. His first recorded appearance was in his teens as background singer on the song “Jubilee” by his father, the legendary vocalist and composer Bobby McFerrin. The young McFerrin has always been interested in music with a base in technology, even before the role of DJ/ producer was acknowledged as a career. He taught himself to play the keyboard, and in 2007 released the EP Broken Vibes, which received heavy rotation from top DJs such as Britain’s Gilles Peterson. A second EP, Early Riser, followed in 2010—and it was during the planning stages of the Early Riser album that McFerrin got together with drummer Marcus Gilmore and bassist Jason Fraticelli. They reimagined the tracks as fresh blends of jazz and soul with edgy hip hop. PopMatters hailed Early Riser as “an

PerFORMING AT Moses Molelekwa on Friday, 31 March 2017 Discography Early Riser, 2014 104

Who’s Who 2017

Music and entertainment law applies a mix of legal fields to protect the interests of businesses and individuals working in the entertainment industry. It can be applied to all forms of music and entertainment: composition, publishing, film, broadcasting, theatre, and more. The entertainment industry is wideranging, encompassing artists of all forms. For this reason, music and entertainment law tends to overlap with other fields of law and can include facets of commercial law, intellectual property law, employment law, immigration law, financial law, corporate law and privacy law, for instance. By way of example, in film, entertainment lawyers would be used

for talent and agent agreements, union and IP disputes or motion picture industry negotiations and more. In music, artists and composers would use a music lawyer for producer agreements, record deals, copyright publishing licenses, writer agreements, band agreements and IP concerns, while in television and radio, producers, songwriters, record companies, broadcasters and performers would seek legal assistance with broadcast licencing, mechanical licencing and advertising agreements etc. Also, with the impact of digital media on these industries, it is critical to partner with a law firm that understands the changes these issues have on their industries. RM Tucker Attorneys can advise on and facilitate the legal processes

involved in all aspects of music and entertainment law. We are particularly experienced in handling SAMRO registrations, licensing, royalty disputes, recording agreements, publishing agreements, writer agreements etc. At the same time, our international experience gives us the broad knowledge that is required for an area of law as dynamic as music / entertainment law. Because we’re known for providing legal insight with creative understanding, RM Tucker Attorneys is the perfect mediator between art and law. Our founder/owner is a semiprofessional musician trained to graduate level, who has played both piano and drums since childhood. This being the case, our firm’s unique mix of interests gives us an intimate understanding of the artist experience.

Contact Details Ryan Tucker (Owner / Founder) • Tel: 072 861 6385 • Email: ryan@rmtucker.co.za • Website: www.rmtucker.co.za

album full of subtle surprises”, and it featured guest appearances from Nai Palm, Thundercat, Robert Glasper, César Mariano—and none other than Taylor’s father, Bobby McFerrin. He describes his sound as “part ‘60s/’70s soul and fusion influences and partly influenced by my favourite hip hop producers—Dilla, DJ Premier, RZA and Q-Tip. And then also, the Soulquarian era… Soul music from the ‘60s and ‘70s filtered through all the things that have happened between then and now.” The talented musician has toured worldwide as a one-man show and as a duo with Gilmore, playing at major festivals and distinguished venues such as The Apollo—in the company of artists including Erykah Badu, The Roots, Nas and Talib Kweli. One of the most in-demand drummers, MARCUS GILMORE was raised in Hollis, Queens: a New York City neighbourhood with a rich history of jazz. Music formed an integral part of the youngster’s life, with various members of his family adept at

playing instruments. But his greatest influence has been his grandfather, drum legend Roy Haynes, who has been hailed by The New York Times as “jazz’s most important living drummer”. It was Roy who gave his grandson his first drum set on his 10th birthday. Since these early beginnings, Gilmore has toured the world as a regular member of some of today’s most important jazz groups including Steve Coleman & Five Elements, the Vijay Iyer Trio, and the Gonzalo Rubalcaba Trio. A DownBeat Magazine Critics Poll Rising Star for percussion, Gilmore’s drumming style has been described as so natural, yet never looking easy.

PopMatters hailed Early Riser as “an album full of subtle surprises”

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Who’s Who 2017

First came the violin, then the guitar, then the loop pedal… By the age of 11, Tom Misch was creating his own compositions. “I spent all of my time jamming over chords and building layers,” he says. “That’s what gave me the appetite for making beats and music production.” The teenaged Misch was inspired by legendary producer/rapper J Dilla and R&B singer Erykah Badu, developing a love of boom bap and jazz. This led to his own take on what he calls soulful electronic music. In 2012, at the age of 17, he put his original tracks on SoundCloud—and people listened. Influential Berlin beatmaker iamnobodi was one of the first to share Misch’s songs. Now the multi-instrumentalist, songwriter and DJ from London has two albums and two EPs to his name, featuring the likes of fellow Brits Loyle Carner and Carmody. “Chipmunked vocals, slap bass, jazz guitar, G-funk synths, a breathy sax, trip-hop beats, hand claps, a string quartet, steel drums, maracas… such is the heady cocktail that Tom Misch has here concocted,” wrote The Edge online magazine about his latest production, Reverie. It “all suddenly falls wonderfully into place” as the beatmaker becomes frontman, adding his singing voice to the mix. Still in his early 20s, Tom Misch is just getting started. All he wants is to constantly make and share his music with the world. He told RWD Magazine: “I’ve built up a reputation as PerFORMING AT a producer and a sort of bedroom music-maker guy. Bassline on Friday, Now I’m actually leaving the bedroom and playing shows, and I want to live up to the expectation people have.” 31 March 2017

Discography Beat Tape 1, 2014 Out To Sea EP, 2014 Beat Tape 2, 2015 Reverie EP, 2016

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In 2012, at the age of 17, Tom Misch put his original tracks on SoundCloud—and people listened. Who’s Who 2017

“I make sure that I am real when I do music. I am diverse in the way I do my stuff.” From orphan to car guard to SAMA winner… guitar and drums, Tresor Riziki thought he’d break onto the local scene at once. But life this was the rise to stardom of the young had other plans. musical talent known as Tresor (which After working as a car guard by day and means “treasure”). security by night and gardener in between, and entering every talent contest available, he The instrumentalist, vocalist and composer left the finally caught the attention of Durban’s music Congo for Durban in 2007 to pursue a professional makers. He co-founded the afro-fusion band career in music. Inspired by the classic heroes of black Maisha and was soon performing with popular music—such as Fela Kuti, Jimi Hendrix, Bob top-rated local outfits such as Lira, HHP, Marley and Michael Jackson—and with his gift for the Freshlyground, Prime Circle and others. Today, Tresor’s tracks are riding high on local music charts and have been released around the globe by prestigious labels including Universal Music, Warner Music and Sony Entertainment; he has been the first South African–based pop artist to break into the Italian market; he has a Rolling Stone Magazine SA songwriting competition award behind his name; and last year he opened for British singer-songwriter Seal on his South African tour, and released his debut album VII, which won a SAMA for Best Pop Album. “It all goes back to my seven years living in South Africa,” Tresor explains the title of his album. “Plus, seven is a symbol of readiness and perfection in my faith.” Written in English, French, Swahili and Lingala, he says his songs are a new soul sound that’s moulded in Africa for the world to enjoy. “I make sure that I am real when I PerFORMING AT do music. I am diverse in the way I do my stuff. I love the beats of kwaito; I Bassline on Friday, love the guitars in maskandi; in pop, I 31 March 2017 love the catchy songwriting. Music is not supposed to be put in a box,” he Discography told IOL. Tresor Riziki is a rare treasure, indeed. VII, 2016

Who’s Who 2017

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PerFORMING AT Moses Molelekwa on Friday, 31 March 2017 Discography The Birth of a New Sound EP, 2010 Better Late Than Never EP, 2013 110

Whoâ&#x20AC;&#x2122;s Who 2017

t neors fi ir e th f o s s e c After the suc Du released u V , ” y h W “ le g soul sin of a h t ir B e h T P E t u b e their d to more in g in d n a p x e , d n New Sou ory. experimental territ

Bringing their eclectic fusion of traditional American and African jazz to this year’s Cape Town International Jazz Festival, VUDU is the winner of the 2017 espYoungLegends talent search. The annual contest is an initiative founded by espAfrika—the organiser of the CTIJF—to discover young, unsigned jazzinspired talent, and to offer these musicians a chance to expose their talents to festival audiences. The band from Port Elizabeth was initially formed as Blu Notes in 2009 by bassist Alec Mackay: an ensemble that played straight-ahead jazz standards at PE’s Radisson Blu Hotel, and included Virgil Matrass, Kristo Zondagh and Sisanda “Sunda” Myataza on vocals. Over the next few years, VuDu evolved into a nu-jazz outfit with members writing their own material.

Who’s Who 2017

After the success of their first neo-soul single “Why”, VuDu released their debut EP The Birth of a New Sound, expanding into more experimental territory. With two new musicians added to the mix, Wesley Keet and Grant Allison, the second EP Better Late than Never was launched in 2013. The members of the band then decided to take a break in order to pursue individual music ambitions: Myataza toured for six months and recorded her debut solo EP; Keet completed two successful tours to Taiwan; Zondagh became an in-demand session man in Joburg; while Allison finalised his honours degree in music. It was during this break that Myataza convinced her bandmates to enter the espYoungLegends contest. Said Billy Domingo, festival director and one of the judges of the contest: “I particularly love it when we uncover exceptional talent.”

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ARTS as a Journalist” is the “Cover a Specialist Beat

ch equates JOURNALISM PROGRAMME’S calling card, whi

Photojournalism Workshop Photographers at any level wanting to explore how jazz music, photography and society interact, and with a desire to develop a signature approach to making music images, are the ideal candidates for this workshop. The week-long course, now facilitated by renowned photojournalist Caroline Mwangi, focuses on the concepts of perspective, practice and the individual approach to photography rather than basic technical concern. Participants are encouraged to explore a wider repertoire of possibilities outside the contested space of live-stage photography. Mwangi is probably the only student to have completed all the media-related workshops offered by the CTIJF. She is a published photographer and a lecturer with many years of practical and teaching experience. Each participant presents a portfolio of jazz photographs taken at various festival activities, which serves as the assessment template upon which the quality improvement and development of the individual’s visual voice is evaluated. Some sessions are combined with the Arts Journalism course to explore and consolidate the relationship between words and images, and the photographer/journalist collaboration.

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Arts Journalism Led by Gwen Ansell and Percy Mabandu, the Arts Journalism course is the longest running workshop within the festival’s Sustainable Training & Development Programme. It runs alongside the Cape Town International Jazz Festival and includes practical experience at the festival itself. Participants are carefully selected, and cover units of study accredited by the South African Qualifications Authority. “Cover a Specialist Beat as a Journalist” is the programme’s calling card, which academically equates to the Level 5 National Certificate in Journalism. The week-long course provides a workbook packed with useful tips and hints, as well as hands-on exercises offering practical guidance and feedback on tasks. Journalists, journalism cadets and interns from any medium wishing to improve their expertise in writing for the arts are encouraged to apply. In addition to students improving their skills, they are given the opportunity to work and network with seasoned journalists and media devotees. Certificates are presented to students upon completion of the course. Many graduates from the programme have become successful journalists, working across South Africa and other parts of the world.

Who’s Who 2017

to the Level 5 National Certificate in Journalism.

DATES

2017 2016

WE D N E S D AY 3 1 M ay T H U R S D AY 1 J U N E F R I D AY 2 J U N E S A T U R D AY 3 J U N E

TIME 19H45

TICKETS

VENUE

A D U LT S R 1 0 0 ALL 4 NIGHTS R350 SENIOR, SCHOLARS & STUDENTS R50

BAXTER CONCERT HALL CAPE TOWN

PARTICIPATING BANDS WEDNESDAY 31 MAY RONDEBOSCH BOYS’ PREP JAZZ BAND, PINELANDS HIGH SCHOOL JAZZ BAND, RONDEBOSCH BOYS’ HIGH SCHOOL JUNIOR JAZZ BAND, EDUJAZZ BIG BAND, RONDEBOSCH BOYS’ HIGH SCHOOL SENIOR JAZZ BAND

FRIDAY 2 JUNE THE LITTLE GIANTS, BERGVLIET HIGH SCHOOL BIG BAND, HEATHFIELD HIGH SCHOOL JAZZ BAND, BEAU SOLEIL MUSIC CENTRE, WYNBERG GIRLS’ HIGH SCHOOL BIG BAND, UCT BIG BAND

THURSDAY 1 JUNE UNI-SOUND BIG BAND, MOREJAZZ BIG BAND (Mozambique), WESTERFORD HIGH SCHOOL BIG BAND, DELFT BIG BAND WYNBERG BOYS’ HIGH SCHOOL JAZZ BAND, STELLENBOSCH YOUTH JAZZ BAND

SATURDAY 3 JUNE SACS JUNIOR SCHOOL JAZZ BAND, SANS SOUCI JAZZ CATS, SACS HIGH SCHOOL JUNIOR JAZZ BAND, RUSTENBURG HIGH SCHOOL FOR GIRLS’ JAZZ BAND, SACS HIGH SCHOOL SENIOR JAZZ BAND, ALUMNI BIG BAND

CAPE TOWN 101.3 HOUT BAY 94.7 ATLANTIC SEABOARD 97.1 FISH HOEK 107.9

evolved—highlighting the link between history and the future of music. This exciting workshop, now in its second year, will be hosted in two venues over two days, and for the first time in Masiphumelele. The workshop will feature a live performance and interactive presentation. uMculo Wam Athlone Students and scholars from schools surrounding the Cape Flats are invited to be part of this upliftment and mentorship programme. The focus is thematically based on business development within the music industry. More than anything else, this programme deals with the transfer of skills between industry professionals, educators and students. The always-popular workshop is hosted at the Cape Music Institute in Athlone, and led by principal and famed local musician, Camillo Lombard. International special guest ensemble Escalandrum (Argentina) will perform and engage with students at this year’s workshop.

uMculo Wam Masiphumelele Recognising that not everyone with a keen interest in music has access to the principle Master Classes held at the Cape Sun each year, espAfrika created uMculo Wam in 2016. The title, meaning “My Music”, perfectly encapsulates these workshops that take the music to the people. Music and music culture have come a long way, and this year uMculo Wam will be visiting the community of Masiphumelele, with an interesting workshop titled “Indigenous Culture vs Digital Technology”, facilitated by one of the foremost cultural musicians, Dizu Plaatjies. Tools and devices used to make music have gone through an almost complete metamorphosis, yet basic music instruments are always used as a benchmark to develop and grow with the ever changing technology. Participants will be shown how musical instruments from Africa and all over the world have

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Where academics and arts share the spotlight SAâ&#x20AC;&#x2122;s leading school of specialisation in performing & creative arts offers a comprehensive academic curriculum alongside highly specialized vocational training in art, dance, drama or music. Prospective NSA learners are chosen through an intensive audition process, supported by the pre-requisite academic report. NSA learners are afforded niche opportunities to work with professional directors, choreographers, designers, curators and musicians. They are often seen on professional stages, at corporate events, featured in commercials, movies and on television. This high level of vocational and practical training provides a notable head start for a career in the arts or allied sectors. In this environment of unshakeable academic excellence, learners are equipped to follow any career path and to excel: from music to medicine, from dance to engineering, from drama to astrophysics, from art to actuarial science. The alumni bear testimony, not only to the excellent education offered by this unique school with its unbroken 17-year record of 100% matric passes, but to the intrinsic value of an arts education. Nurtured to be innovative, entrepreneurial, and empathetic, the NSA produces courageous learners who leave school ready to take on both the gritty and the glorious challenges of life and to succeed. www.artschool.co.za Email: admissions@artschool.co.za Tel: 011 339 6539 x 215/305 Also visit: www.festivaloffame.co.za Accomodation: Comfortable single room hostel accommodation is offered at affordable weekly & termly rates.

AUDITIONS: 13 & 21 May 2017 REGISTRATION: 18 April to 5 May 2017 RECENTLY RANKED: Top school in the district. In the Top 25 South African Government Schools. In South Africaâ&#x20AC;&#x2122;s 10 Most Innovative Schools.

The National School of the Arts Realising dreams through excellence in arts and academics

Music Business Hosted by various experienced music industry individuals, this workshop has been designed as a panel discussion presented by top industry professionals, and is aimed at musicians and others in the industry wanting to know more about the business of music. The panel will address the influence of digital tech, with a special emphasis on how it affects South African music. The workshop covers business operations, event production, royalties, and the latest trends in the music industry. It intends to get the participants thinking about the industry in ways that are current and relevant—and which, it is hoped, will empower and help them make decisions

that will lead to sustainable and profitable careers in the music industry. This year’s workshop will be chaired by Cape Town drummer and lecturer, Andre Swartz. Panellists include well-known musicians, representatives of radio and record companies, media and businesspeople. This year’s special guest is arranger, songwriter and musical director Nat Adderley Jr (USA), who is well-known for his long-standing musical association with Luther Vandross. Attendees are encouraged to challenge panellists and members of the audience during the Q&A session. Panellists include Darren English (SA/US), Bev Scott-Brown (SA) and Shado Twala (SA).

Master Classes Master Classes include guest speakers and popular international and local musicians performing at the Cape Town International Jazz Festival. These workshops dissect the genres of jazz and urban music, and are specifically designed for students who attend music institutions, as well as musicians. This interactive encounter is presented by top jazz and urban musicians in the world, and provides attendees with an opportunity to spend quality time with some of the musicians who perform at the festival. Learn about each artist’s life in the industry, and what it takes to perform and sell albums all over the world. Facilitators also explore musical genres, technique, compositions, choice of instrument, and a myriad of other interesting and useful information. Participants are encouraged to interact by asking questions and sharing their own experiences related to the forum. Guests at the Master Classes this year include Escalandrum (Argentina), Taylor McFerrin and Marcus Gilmore (USA), The Internet (USA), Rudresh Mahanthappa (USA), Jazz Funk Soul (USA), Gretchen Parlato (USA), Andra Day (USA), Kamasi Washington (USA), and others.

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Music Technology Workshop This workshop explores the latest trends and innovations in smart-device technology, and identifies the benefit of such devices to musicians and professionals within the music industry. It is an introduction into dynamic music education that showcases the latest tech-savvy tools used to improve on-stage and in-studio performance. The influence of the digital era has been cemented in our society, and the convergence of smart multifunctional devices has enforced this phenomenon. This theme relates to all workshops under the CTIJF Training & Development umbrella. Topics include Creating Music with the Latest Equipment, Harmony & Analysis Using Computers, Composition Technology, and more. Special guests include facilitator Alistair Andrews and acclaimed drummer Ivan Bell.

Media Students The Media Students initiative is aimed at tertiary-level students from the Cape Peninsula University of Technology’s Media Department. Participants are both full- and part-time learners of various ages, gender, races, backgrounds and cultural dispositions. They work with a supervisor in the various fields of the festival. The initiative is accredited by the university and worked into the students’ formal academic programme—aligned with their curriculum. It weighs considerably toward their National Diploma (accredited by the Department of Higher Education) and forms part of their work-integrated learning programme. Modules include training in media protocol, media management and media liaison; and introduces a practical understanding of the media industry and where public relations, media and marketing fit into the industry and the CTIJF respectively. Students are both academically and practically assessed on various outcomes, based on their time with the Marketing and Sustainable Training & Development departments of the CTIJF. Media students work at the event’s press conferences and in the media centre on show nights. The students also engage with CTIJF audiences and the public via social media, and write stories, do interviews, take photographs, as well as create, edit and publish newsletters to enhance their practical training in publicity. On show days, students get the opportunity to interact with high-level media and marketing professionals, as well as performing artists. The programme provides students with an opportunity to learn from the best in the industry and actively participate in one of the top award-winning events in the world.

Who’s Who 2017

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Graduates of the CTIJF Photojournalism Workshop share their interpretation of Africa’s Grandest Gathering at this year’s Duotone Photographic Exhibition The Cape Town International Jazz Festival Duotone Photographic Exhibition has been an evolutionary process over the past couple years. Much like its content, the exhibition has morphed and expanded, shifted and changed. This year, the exhibition will return to its home at the Cape Town International Convention Centre on Friday, 31 March and Saturday, 1 April for festival visitors to enjoy.

Who’s Who 2017

Returning to its roots within the main jazz festival complex, the Duotone Photographic Exhibition will reflect the work of three graduates of the annual CTIJF Photojournalism Workshop. Being located within the main buzz and energy of the festival brings context to the works, as well as a glimpse into the very best images captured in the previous year. It also talks more to the CTIJF’s overarching Sustainable Training & Development ethos, and provides an outlet for the participants: a natural culmination of their coursework and something to strive for, as only the best will be selected to join this exhibition. This year’s theme depicts the “Insights” of Justin Smidt, Thobile Mathonsi and Motshwari Mofokeng, who are past graduates of the Photojournalism Workshop, and who now share their interpretation of Africa’s Grandest Gathering. Each has a unique understanding of what they see, as reflected by the selection of visuals at this year’s exhibition. Their discernments of the artists and their illumination of the music into celluloid will resonate with those looking to capture the nostalgic memories of yesteryear, and for those curious about previous performances and what they might have missed out on. These images—some reflecting the raw emotion of the performer and others a snapshot of the captivated audience—will perhaps spark a lifelong passion to follow the music (and the photographer). Photography is a personal journey, and Insights is about how you feel when you look deep into the photographs—where do they take you?

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a proud member of

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125

This multi-award winning photographer is currently a photojournalist at the African News Agency division of Independent Media. A graduate of the Market Photo Workshop, he is a skilled photographer with numerous qualifications including that of photojournalist and documentary photographer. Mofokeng has five yearsâ&#x20AC;&#x2122; experience in the field of newspaper media and online communications, having worked for some of the biggest national news outlets in South Africa. He can also add video editing and video production for the social media sphere to his quiver of professional arrows, and is currently reading for his Bachelor of Arts degree with Unisa to further excel in his craft.

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Hailing from Ladysmith in KwaZuluNatal, Thobile Mathonsi is a graduate of both the National College of Photography and the Market Photo Workshop in Johannesburg (Documentary Photography Programme), in addition to participating in the CTIJF Photojournalism course in 2016. She began her professional career through an internship at The Star and has since been employed as a photographer at the Pretoria News. Mathonsiâ&#x20AC;&#x2122;s love for jazz and arts photography started as a hobby, capturing numerous arts activity spaces. Her attendance at the 2010 jazz festival, particularly the Duotone Exhibition, further inspired her and reminded her why she started photography in the first place. Since then, she has devoted her time, effort and profession to enlivening the stories of jazz and the arts as well as the culture scene through her creativity in the visual medium of photography.

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Being located within the main

buzz and energy

of the

jazz festival brings context to the Duotone

works,

as well as a glimpse into the very

best

images captured in

the previous year.

Whoâ&#x20AC;&#x2122;s Who 2017

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