Who's Who 2018 - The Cape Town International Jazz Festival

2018 A CELEBRATION OF

HUGH MASEKELA’S LIFE & MUSIC

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Loud and proud to be involved The South African Government, through the Department of Arts and Culture, is proud once again to be associated with the Cape Town International Jazz Festival, the country’s premier event for jazz enthusiasts and music lovers.

Over the years, the festival has provided a platform for both local and international artists – those who are established and those who are breaking through – appealing to both a local and a growing international audience.

Once again, espAfrika, the founders and producers of the two-day event, have lived up to their undertaking to ‘give back’ to the communities by creating a series of sustainable training and development programmes that benefit tomorrow’s performing artists and those behind the scenes who make it all happen. The free programmes embrace children of school-going age as well those members of the community who are already in the music industry.

We are especially pleased by the increasing contribution of the Cape Town International Jazz Festival to the economic growth of the Western Cape and the country. It continues to boost the country’s tourism industry, attracting at the last count over 34 000 festival goers and bringing many more visitors to the city who stay on to experience the full beauty and landscape of Cape Town.

I would like to welcome you to the Mother City and invite you to sit back, relax and enjoy what the City of Cape Town and our beautiful country has to offer.

His Excellency Mr Cyril Ramaphosa President of the Republic of South Africa

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THE PRESIDENCY REPUBLIC OF SOUTH AFRICA

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Who’s Who 2018

We stand together

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As we celebrate the 19th edition of the Cape Town International Jazz Festival we do so with pride in how creative and cultural industries are playing their part in contributing to economic development.

Arts, culture and heritage contribute to creativity and innovation in a society.

This leads to the adoption and development of new technologies, which in turn contributes to improved productivity. This results in economic development and growth.

South African resilience, ingenuity, diversity and creativity have been a pivot for our development for centuries. These skills – nurtured and supported by diverse cultural bases, and their expression in music, dance, food, ritual, arts and crafts and more complex creative pursuits – have allowed us to overcome many trials, and to triumph even when the odds are stacked against us.

Time and time again, South Africans have proven that we know how to stand together. Our broad and diverse cultures create our fundamental resilience. This is our social and heritage capital. But it also supports the expansion of other forms of capital too – especially economic.

Now is the time to leverage our creative capital to take us into the new dawn.

How we conceive of expanding and deepening our golden cultural and creative economy must then emanate from this strong base.

In the centenary year of Nelson Mandela, we must consider the many important lessons and knowledge that Madiba left us with.

His fundamental beliefs centred on reaching emancipation through “a good head and a good heart” but he says that if you “add to that a literate tongue or pen, then you have something very special”.

According to Madiba, education, language and self-knowledge, are critical pathways to achieving all goals.

Madiba says that, “Without language, one cannot talk to people and understand them; one cannot share their hopes and aspirations, grasp their history, appreciate their poetry, or savour their songs.”

Let us use our diversity of languages, our multiplicity of songs and cultural expressions, to make this country a better place and so that it continues to play its part in the development of world culture.

In honour of those musical legends, who have sadly left our midst and in looking forward to new sounds and new generations of musicians and cultural activists, let this festival be a great success.

Let us be reminded of the words of the late Bra Hugh Masekela, who said defiantly that, “I’ve got to where I am in life not because of something I brought to the world, but through something I found – the wealth of African culture.”

As music lovers enjoy the array of musical offerings at the 19th edition of this festival, let them do so conscious of our immense cultural talent and the wealth bestowed upon us by our African culture.

Who’s Who 2018

Mr Nathi Mthethwa Minister of Arts & Culture

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A Warm Welcome to Cape Town March is here and that means it is time once again for the Cape Town International Jazz Festival.

Alderman Patricia de Lille Executive Mayor of Cape Town

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2018 marks the 19th staging of this quintessential event, as it does the centenary of former President Nelson Mandela and the sad passing of another one of our musical son’s – Hugh Masekela. It is in this spirit of remembrance, celebration, respect and newfound optimism that pervades South Africa at present, that I welcome you all to our city this year.

I have often noted in the past, how music brings people together. This is never truer than this year, when thousands of people thronged Greenmarket Square for the free community concert, and the many local and international visitors gathered in Cape Town to experience this world-class event.

Along with the love of music that unites us, the bounteous beauty of the Cape also entices visitors to enjoy what we have to offer. This also includes the warmth of welcome from our Cape Town people, who despite the current water shortages, have opened their arms to embrace those attending this year’s festival. It is no wonder, that Cape Town is acknowledged as the event capital of Africa.

To the artists who will share their musical gifts with us in 2018, a warm welcome.

As a platform that presents a stage for both local and international artists to perform to existing fans, it also offers artists the opportunity to reach new ears. With five stages and more than 40 artists performing over two nights, there is a wealth of talent from which ‘festinos’ can choose.

I would also like to extend our thanks to the organisers and the many sponsors and partners involved in choosing Cape Town as the host city for the Cape Town International Jazz Festival (CTIJF).

The CTIJF has not only put Cape Town on the global musical map, but has the added benefit of contributing significantly to our local and national economic prosperity. It is an important part of our heritage and our future.

I will once more enjoy being part of the audience at Africa’s grandest gathering, and trust you will too.

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Who’s Who 2018

Time to move with the music Music is a great unifier – whether it be the melody or the lyrics with a message profound enough to launch a movement. Underscoring this notion, were the many headlines I saw in February this year that proclaimed; “New songs at SONA”. How appropriate that a new era for South Africa was ushered in with music – the soul of our country and the cornerstone for building our future nation.

Throughout the ages, the arts, have been an important proponent of telling a country’s story at a moment in time and preserving it. Even in today’s age of social media, with instant news (sadly often fake) at our fingertips, actors and artists are an essential conduit for getting the word out on all sorts of topics and issues. I cannot imagine a time though where, through lack of support and funding, our artistic commentators disappear, which is why global events such as the Cape Town International Jazz Festival, are the lifeblood and essential element for preserving the longevity of music and the arts.

As the acting CEO of espAfrika, I am privileged to work with a passionate and talented team who go about the business of making sure there will always be a platform for music artists to share their messages – whether it be the festival nights or the work we do with young performers and would-be event professionals through our many skills and development programmes. I would like to acknowledge each and every one and congratulate all on the staging of yet another superb event.

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

While our artists capture life’s flow in their medium - be it stage or canvas - all credit to you, our festinos, sponsors and partners for keeping it alive and making it all happen.

Your support each year ensures that a vibrant industry continues to sound the call for a better life for all South Africans. A special note of gratitude to all who are here this particular weekend in the wake of news surrounding water shortages in the Cape. We appreciate your participation as it not only ensures the longevity of our entertainment sector, but contributes to the economy and livelihood of several thousand people who each year benefit from working with and on the CTIJF. 2018 sees the 19th staging of the Cape Town International Jazz Festival. It likewise marks former President Nelson Mandela’s centenary, reminding us how the power of forgiveness, transparency, authenticity and conducting ourselves ethically, can realise transformation through all levels of society and business. 2018 also waved farewell to one of South Africa’s music legends – the great Hugh Masekela. ‘Bra’ Hugh too, bridged the social and generational divide through his evergreen music, carrying our message to the world. His song, ‘Thuma Mina’ (‘Send Me’) quoted by President Ramaphosa in his maiden SONA 2018 address, is an opportune reminder of what we have to lose… and gain.

While there is still much to be done in terms of redressing local and global inequities, here in South Africa, we move forward with renewed optimism. It’s time…”send me”… too.

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Thank you for joining us.

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Breaking New Ground Music is very much a narrator of the times. If I think back to where we were twelve months ago, and how the music has evolved in leaps and bounds, we are truly embracing this new direction, resulting in a new wave of thinking.

Mr Billy Domingo Chief Operating Officer, espAfrika & Festival Director

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Each year I sit down and listen to the feedback, thoughts and suggestions of those who have supported us for the past 19 years. Going forward I try to implement them as best I can into the festival programme. Over the last twelve months, we have lost a phenomenal number of incredible musicians and people in the creative industry, but we must keep one thing in mind; we are going through a cycle. There’s a younger influence of music emerging. We always hope to stay abreast of the times. Sometimes it’s easier, other times it can be more challenging, but we continue to evolve and develop as the world and the industry changes.

I must also address the current water-crisis affecting our host city. Like with music, this new challenge has forced us to adapt and make changes in the way we approach our event. It has made us think differently, but nothing is insurmountable. We are implementing the city’s water-saving strategies and systems that have been put into place, because that is the only way we can guarantee the longevity and sustainability of not only the festival, but also the event industry.

Our reputation of being one of the top five such events in the world, was not built on bringing just one or two big acts. It has been established through the experience we present – giving you the opportunity to safely explore and discern your own preferences. It has also become an established platform from which many of today’s highly successful music artists have been launched. It is a heritage we are grateful to have created and a legacy we will continue to build on in the years to come.

The loss of Hugh Masekela was felt very deeply and personally by me, the team and the festival. Hugh debuted the festival with us in 2000, and throughout the years performed on our stages over seven times. I toured the world with him, and the greatest honour was to be awarded the opportunity of showcasing his official tribute concert by the Masekela family at this year’s festival.

This year I am also very proud to be showcasing an all-female band led by the amazing Simphiwe Dana. In the midst of global rights awareness movements like the #metoo campaign, women are truly doing it for themselves and that’s the way we should continue to move forward. We are moving in the right direction and embracing change in the way we think is incredibly important, as is bringing to light the message of these powerful women.

So, I hope you enjoy all that our 19th edition has to offer. Thank you to the many, many people who spent countless hours making this festival possible year-on-year, and thank you to our loyal fanbase, the festinos, for joining us on this journey.

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Sponsors & Partners

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01 Foreword President of the Republic of South Africa, Cyril Ramaphosa

02 Foreword South African Minister of Arts & Culture, Nathi Mthethwa

05 Foreword Executive Mayor of Cape Town, Alderman Patricia de Lille

07 Foreword CEO of AEEI & Acting CEO of espAfrika, Khalid Abdulla

09 Foreword Festival Director, Billy Domingo

010 Sponsors & Partners 96 2018 Duotone Photographic Exhibition 104 Training & Skills Development Initiatives 111 Service Providers 112 2018 Artists Programme

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Contents

Contents

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Who’s Who 2018

Celebration of the 20th Anniversary of the Establishment of Diplomatic Relations between the Republic of South Africa and the People’s Republic of China

JOHANNESBURG BRANCH ADDRESS: 14-16th Floor Alice Lane Towers, 15 Alice Lane, Sandton TEL: 011-520 9600

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DURBAN BRANCH ADDRESS: 2nd Floor 57 Richefond Circle Ridgeside Office Park, Umhlanga TEL: 011-520 9800

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ANA Chief Executive Officer Grant Fredericks Publisher Robbie Stammers Editing and Sub-editing Gavin Emmanuel Walter Uytenbogaardt Senior Designer Sheeth Hanief Head of Sales Kyle Villet Advertising Manager Mandla Mangena Office Manager Susan Ball Financial Manager Lisa de Villiers Photography Cover: Brett Rubin Shervin Lainez, Alexis Maryon, Aaron Woolf Haxto, Alexis Dominguez, Barbara Rigon, Lynne Harty, Gregory Franz, Lerato Maduna, Alexia Webster Printing Paarl Media Published by

ANA Publishing 176 Main Road, Claremont Cape Town, South Africa Tel; 021-6830005 www.anapublishing.com

Meet the Artists

22 Amanda Black 24 Alistair Izobell 26 Black Motion 27 Blinky Bill & Sibot’s Afrofunk Spaceship 28 Claire Phillips 30 Corinne Bailey Rae 32 The Feya Faku Spirit Unit 34 Billy Monama; Graz Roots Project 38 Incognito 40 Jared Ricketts 42 Jordan Rakei 44 Keenan Ahrends Quintet 46 Louis Moholo/ 5 Blokes 1 Doll 48 Mabuta 49 Manny Walters 50 Masego 52 Mi Casa 54 Miguel Atwood-Ferguson 56 Miles Mosley 58 Mulata Astatke 69 N8N 60 Nduduzo Makhathini 62 Nicholas Payton 64 Nicky Schrire 66 R+R=NOW 68 Sekunjalo Edujazz Band 70 Sekunjalo Delft Big Band

72 Seu Jorge 74 Sibusiso Mashiloane 76 Simphiwe Dana 78 Sisonke Xonti 80 Tank and the Bangas 82 The Liberation Project Acoustic Band 85 The Louiz Banks Quartet 86 The Settlers High School Band 88 The Soil 90 The Surge 92 Trombone Shorty 94 The Vijay lyer Quartet Who’s Who 2018

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African News Agency (ANA)

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Billy Domingo

FESTIVAL MANAGEMENT

Khalid Abdulla Sooren Ramdenee Eva Domingo Charmane Creamer

MEDIA & MARKETING

Carenza van Willingh Bianca Fernandes Thandekile Majeke Ayesha Toyer Rifqah Abrahams Paul Goliath

PRODUCTION

Henlene Barends Amelia Baird Hassan Sonday Philip Beardwood Ian Florence Grant Pleming Janet Oyier

CORPORATE HOSPITALITY

Janine Slingers China Dyira Samantha Pienaar Patricia Kitson Jessica Schaffers Spokazi Kala Sandra Scarlett

TALENT & TALENT LOGISTICS

Anthea Thys Thalia Erwin Rashieda Ismail-Davids Clive Newman Isabella April

TRAINING & DEVELOPMENT

Craig Parks Corinne Becker Ziyanda Gxothiwe

GOLF DAY

Karen Denman

ACCOUNTS

Nicoline Segers Nadia Ariefdien

OFFICE SUPPORT

Hadjiera Jabaar Assa Johnson Nazlie Samuels

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PUBLIC RELATIONS

Networx PR

DESIGN

Tone Media

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FESTIVAL DIRECTOR

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CHOOSE UMAY’KHETHELA

“The Boy’s

Doin’ It”

A Celebration of Hugh Masekela’s Life & Music

HUGH MASEKELA

4 APRIL 1939 TO 23 JANUARY 2018

“My biggest obsession is to show Africans and the world who the people of Africa really are,” World-renowned flugelhornist, trumpeter, bandleader and defiant political voice, Hugh Masekela is one of few artists throughout history to have captured the essence of Africa in song. For 78 years, South Africa was blessed with a phenomenal visionary who impacted African jazz with a unique brass tone and storytelling style that transcended the societal divide. Renowned for international hits like “Grazing in the Grass”, “Stimela”, “Puffin’ On Down the Track”, “Riot”, “Skokiaan”, “Don’t Go Lose It Baby” and “Bring

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Him Back Home”, Masekela was a long-time friend of the Cape Town International Jazz Festival (CTIJF), having debuted the inaugural festival back in 2000. Over the years, Masekela performed over 7 times on the CTIJF’s stages, always leaving his audience in awe through his remarkable talent and presence.

Together with the Masekela family, the CTIJF has put together a compelling performance, featuring Hugh Masekela’s full band of musicians, that have toured with him for the past 10 years, a top-class brass section and a stellar cast of guest vocalists, all paying their love and respect to the great Bra Hugh.

The guest vocalists all have a deep personal connection to Bra Hugh and their careers

Who’s Who 2018

and lives have in many ways been shaped and influenced by Bra Hugh.

Tsepo Tshola and his seminal band Sankomota toured with Bra Hugh in the 80’s sparking their political activism, whilst Sibongile Khumalo met Bra Hugh upon his return from exile in 1990 and he encouraged her to develop her own unique musical style.

Oliver Mtukudzi and Bra Hugh shared a deep love for their African roots and heritage, and Pu2ma was mentored by Bra Hugh when she first embarked on her musical career.

Selema Masekela is Bra Hugh’s nephew and his musical talent is evidence of the strong Masekela musical genes.

By expressing themselves through his music at the CTIJF they will no doubt be channelling the man and his powerful energy.

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Amanda Black Amanda Benedicta Antony is a Xhosa singer, song writer and self-taught guitarist who hails from Mthatha in South Africa’s, Eastern Cape province.

Amanda Black as she is popularly known in the music industry relocated to Johannesburg after graduating with a Diploma in musical education at the Nelson Mandela Metropolitan University.

She established herself as one of true positive leades and motivational musicians of South Africa Her passion for music can be traced back to her singing at church and getting performance requests from her family at the tender age of six. She then began performing publicly at the age of 12.

The multi-talented artist entered the South African Idols in 2015, where she finished in seventh position and later signed under Ambitiouz Entertainment, releasing her first debut album.

Black proved herself as a force to be reckoned with her hit album titled “Amazulu” which went platinum in a space of three weeks.

Amazulu the single instantly became a hit after it charted number one in South Africa for over 10 consecutive weeks. Her music video shortly reached one million views on YouTube and she became one of the highest selling artists of 2017.

Amanda is synonymous with headlining some of the

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biggest events in South Africa, such as the 11th Annual South African Film and Television Awards, the 16th Annual Metro FM Music Awards, as well as the Durban Jazz Festival. She is also known for her incredible unplugged performance on Metro FM with Amon Mokoena.

MTV Base has named her “2017’s One to watch” and she has graced the cover of Kas’Lam Magazine, featured on best-selling magazines such as Drum and True Love, as well as some of the biggest newspapers in South Africa.

The 24-year-old took the lead in the 2017 Metro FM awards, scoring five nominations for Best Female Artist, Best R&B Single for her song Separate, Listeners Choice Award, Song of the Year for the hit single Amazulu and Best Afro Pop Album for her Debut Album Amazulu. She won the “Listeners Choice Award and Best R&B Single”.

Amanda Black was granted the opportunity to perform her chart topper Amazulu during the award ceremony to a crowd of over five million live viewers.

She was one of the most nominated artists at the 23rd Annual South African Music Awards, and walked away with three prestigious awards including Female Artist of the Year, Best R&B/Soul Reggae Album as well as Newcomer of the Year.

Who’s Who 2018

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A Alistar Izobell always conjures something magical whenever he takes the stage. He entertains with so much power and takes the audience on a magical musical ride with the hypnotic quality of his voice, his fast punched humour and understanding of the command of the stage.

Audiences are spellbound and mesmerised as he is the puppet master that knows just which strings to pull.

He has the ability to capture any audience, and is also an extraordinary singer who has travelled the world with award winning musicals like Kat and the Kings, for which he won a Sir Laurence

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Olivier Award in 1999 in the role of Magoo on the West End and on Broadway, NY. In his Emcee capacity, he provides hilarious comic relief through his extrovert personality. His professional career started as far back as a child of 5-years-old doing a few variety shows, and in his primary school years became involved in school produced pantomimes.

His introduction to the professional world of entertainment started at an audition for the role of “Broertjie” (The Argus vendor), in David Kramer and the late Taliep Petersen’s production of District Six - The Musical.

He was chosen amongst 51 other young hopefuls to play the role for just over a year, and was later spearheaded by other producers to be part of other successful

Who’s Who 2018

Alistair

Izobell Many people will remember this singing sensation as a member of Ricardo and Friends in 1989, along with popular child Ricardo of “I love you daddy” fame.

theatre productions.

He was invited to perform Children of The World (written by Attie van Wyk and Al Etto) at the World Popular Song Festival in Tokyo.

In the few years that followed, he was fortunate to work with some of the most talented and successful recording artists in South Africa like the late Brenda Fassie, PJ Powers, Dr Victor and the Rasta Rebels, Walk This Way, Ringo Madlingozi. Alistair was also one of the lead vocalists of the renowned group, The Rockets, for about three years and toured SA and other neighbouring countries extensively.

Alistair performed the role of Ritchie Valens in the South African theatre production of the hit musical, The Buddy Holly Story and toured with this

Who’s Who 2018

production. He was cast in Kevin Feather’s successful tribute show, The Doowah Boys, produced by Pieter Toerien when songwriter/producer Patric van Blerk who penned the evergreen, Paradise Road, for the female trio, Joy, offered him a solo recording contract.

The title track of his first album,Venus, is still receiving regular airplay 21 years on radio stations and is regarded as his signature track.

Alistair enjoyed success with many of his one man shows like Venus in Tight Blue Jeans, Cape Town Blue, Just Me - Net So. To date, he has released eight albums.

In 2009,Alistair embarked on a whole new journey after celebrating 23 years in the industry by opening his own production company,Alistair Izobell Productions (AIP),

and one of his first major achievements in this new venture has been securing the exclusive African rights to a wonderful and acclaimed New York musical,Three Mo Tenors.

It seems as if the sky’s the limit for this impresario who has also dabbled in the world of broadcasting and has had his own radio show on Cape Town’s popular regional station, Heart 104.9 FM every Saturday and Sunday.

Alistair has travelled the world with his gift for the past three decades and has decided to concentrate on Cape Town as his base for his productions.

AIP has produced quite a few hugely successful events and productions in the past few years, also creating the opportunity and platform for the many talented youngsters on the Cape Flats.

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Black Motion Thabo Mabogwane and Bongani Mohosana form a two-man duo known to their fans as Black Motion.

The two started producing music in 2009, the duo were dancers and were inspired to create a sound that they could dance to.

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They released a lot of singles that was produced for DJ compilations, before they released their first single Banane Mavoko.

The song received a Metro FM and Channel O award nominations, and won a Munghana Lonene FM award for best dance song.

Black Motion released three albums so far, with their 2014 offering Fortune Teller reaching gold status in just one month, and winning a 2015 South African Music Award for best dance album.

On stage Mohosana is behind the decks while Mabogwane is the man behind African and Latin drums.

The energy they bring on stage is brought to life by dance routines, they incorporate into their perfomances.

Off stage Black Motion are fashion enthusiast who have the same synergy with their look as they do with their perfomances and recordings.

Black Motion has a number of charity work they are involved in, and they also give back to the community of Soshanguve in Pretoria where they come from.

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Who’s Who 2018

Blinky Bill & Sibot's

Afrofunk Spaceship He’s an alumni of the US State Music Program “One Beat Music” in 2013 as well as a participant at the Red Bull Music Academy held in Tokyo in 2014.

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Blinky Bill wears many hats as a musician, producer and a DJ, he was also a founding member of the music collective “Just A Band”, they put out three hihgly acclaimed albums.

He released adebut solo EP in 2016 “We cut keys while you wait”, he is currently in studio working on the first full lenghth album tittled “Everyone’s just winging it” as well as “Other Fly Tales”, which are set for release in 2018. The EP is an eclectic mix of Afrofunk, Hip-Hop, Jazz and Electronica.

Who’s Who 2018

This Cape Town based artist plays many roles as a producer, DJ, composer, collaborator and solo artist.

Sibot has played a pivotal role in the emergence of electronica as a real force on the national and international scane.

Sibot’s influence dates back to the 2000’s, when Sibot collaborated with artists such as Waddy Jones ( AKA Ninja from the Die Antwoord), Spoek Mathambo, Felix Laband, Yolandi Visser and Markus Wormstorm.

The iconic record label African Dope carved and created a new sound of South African underground electronic music that paved way for much of what it is today.

Sibot has performed at major festivals in South Africa as well as internationally in countries such as Barcelona, Monegros, Nuit Sonores and Printemps de Bourges.

Sibot is always evolving ways to include visuals in his perfomances, His ongoing collaboration with visual artist Toyota resulted in the creation of a 3D universe during their signature Sibot and Toyota live shows, a much sought after experience that cements him as a key player in South African electronic music.

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Who’s Who 2018

Claire

Phillips Hailing from South Africa’s “Mother City” of Cape Town and growing up in a gang and drug infested community of Belhar in the Cape Flats, Claire Phillips grew up to be a respected artist in South Africa.

She began singing as a toddler and became an impressive vocalist, referred to by many as a “musical genius”.

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A multi-instrumentalist, who plays the guitar, piano, saxophone, drums, and bass guitar, is also a vocalist, songwriter and producer.

Her first introduction into the professional stage was a cover artist, however, she opted to write, produce, arrange and build her own repertoire.

She completed her debut album Say My Name produced by Phillips and Patrick “Caramel” Hickey.

Phillips’ ability to mesmerise audiences with her instantly recognisable voice and unique style have brought her standing ovations across the country, selling out tickets to her live performances.

In 2007, Say My Name was

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nominated and won a South African Music Award (SAMA) in the category of Best R&B / Soul album, making history as she became the first female South African artist to win a SAMA for a debut album.

She has performed alongside renowned South African artists, such as Lira, Zama Jobe, Freshlyground, Oskido and Loyiso Bala, to name a few. She has also graced international stages alongside artist like Jonas Rendbo (Norway), Eddie Grant (Caribbean), Dianne Reeves (London) Kenny “Crucial Keys” Mbanda (Kenya) and Rachelle Ferrel (Milan).

Phillips launched her second album By Request, also nominated for a SAMA, and continues to leave listeners in awe of her musical talents.

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This British songbird released her selftitled debut album in 2006, topping the charts at number in the UK and number 4 in the US, featuring the global hits Put Your Records On and Like A Star.

With over five million albums sold, Bailey Rae has been awarded two Grammy’s including Best R&B Performance and multiple Grammy, BRIT, MOBO, BET nominations, amongst others.

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Who’s Who 2018

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Bailey Rae returned in 2016 with her third studio album, The Heart Speaks In Whispers (debuted #3 on Billboard’s R&B chart), featuring Green Aphrodisiac, which Billboard critics named one of the 10 Best R&B Songs of 2016.

The album has received critical acclaim worldwide with NPR naming it “one of their favourite 30 albums of the year so far” and The Guardian “one of the best R&B of 2016”. The Huffington Post included Stop Where You Are in their Top Songs of 2016.

Described as the “Bewitching Queen of British Soul”, Bailey Rae has stunned audiences worldwide in 2016 performing in the UK, Europe, US and Asia, including as special guest for Stevie Wonder at his Hyde Park BST, London concert for a crowd of 100 000.

Bailey Rae was selected by NASA for

Who’s Who 2018

the historic “Destination Jupiter” campaign.

She represented Europe for the International Olympic Committee’s PSA; and performed Ooo Baby Baby at the Smokey Robinson: The Library Of Congress Gershwin Prize Ceremony.

Bailey Rae has also written music for film and television, including the theme song to Stan Lee’s Lucky Man. Bailey Rae recorded Coldplay’s The Scientist for the opening title sequence for Universal Pictures’ FIFTY SHADES DARKER. The track is also featured on the Fifty Shades Darker Original Motion Picture Soundtrack, which has peaked between number one and 40 in 33 countries on iTunes and elevated her to one of the top artists in the world on Spotify.

Most recently, Bailey Rae was one of 13 models chosen by fashion designer Sophie Theallet’s New York Fashion week Spring campaign, representing a message of world diversity.

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The Feya Faku Feya Faku is one of South Africa’s legendary jazz musicians and composers, immensely respected for his dedication to Jazz as an evolving art form. His music balances an evocative and delicate sensitivity with his quietly firm confidence, profound human empathy and spiritual connection, and an openness for jazz to express his vision.

In South Africa, he has played with Bheki Mseleku, Abdullah Ibrahim, Barney Rachabane, Makhaya Ntshoko, Thandie Classen, Duke Makasi, Pat Matshikiza and Basel Coetzee. He was the youngest member of Winston “Mankunku” Ngozi’s quintet. He “returned” to university in 2012 when he was Artist in Residence at the opening of the International Jazz School of the University of South Africa.

He has ongoing international partnerships with artists such as Paul van Kemenade in the Netherlands, American drummer Jeff “Siege” Siegel and Swiss drummer, Dominic Egli. In 2016, he toured South Africa and Switzerland with Egli’s band Plurism, promoting their latest album More Fufu! He also toured the US with Siegel’s Sextet promoting their album, King of Xhosa.

His next project will see Boston-based pianist John Kordalewski arranging some of Faku’s compositions for a performance and recording by the Makhanda Project, a big band featuring several of Boston’s leading jazz musicians.

Faku has a long-standing relationship with Switzerland and has spent time there teaching and performing. He has worked with many Swiss musicians, recording and

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releasing the album le Ngoma with his Swiss Quintet.

Faku has worked with international musicians such as Dave Young, Gustavo Begalli, Larry Ridley, Colin Vallon, Andy Sherrer, Eric van der Western, Brice Wassy, Malcolm Braff, Samuel Blaser, Frederic Ljungkvist and Paul Hanmer.

He has released a number of his own albums: Hommage, Tacit, The Colours They Bring, Hope and Honour, and the live recorded Feya Faku & the Spirit Jazz Orchestra.

The Faku Faku Spirit Unit is a project close to Feya’s heart and draws from a small evolving group of South African artists that have played together in many

configurations over the years. For the Cape Town International Jazz Festival 2018, the Feya Faku Spirit Unit will feature Bokani Dyer on piano, Shane Cooper on double bass, Keenan Ahrends on guitar and Ayanda Sikade on drums. The band comes together on a deep level of connection and understanding, with Faku’s compositions taking a very open approach to a “destination unknown”.

©PIC GREGORY FRANZ

From humble beginnings in New Brighton, Port Elizabeth, Faku was one of the first musicians to study Jazz at the University of Natal with Darius Brubeck and has gone on to play with some of the most revered names in the world.

Who’s Who 2018

©PIC GREGORY FRANZ

Spirit Unit

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Billy Monama:

Graz Roots Project

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This exciting and much needed project, sets out to revive history and re-connect with the South African musical heritage in order to give birth to a new soundtrack that will carry into the future.

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Following research that was conducted by Billy Monama (performing artist, composer, arranger and guitar teacher), the birth of the GRAZ ROOTS Project had to happen, as Monama realised the legacy of our uniquely South African guitar styles was fast disappearing.

The GRAZ ROOTS Project revisits old South African classics and celebrates past South African composers and musicians.

The presentation is vibrant and engaging, making sure the music is suitable for all types of audiences. Every performance will have a surprise guest artist or two in order to keep the performances fresh and unpredictable.

Billy Monama and The GRAZ ROOTS Project has already performed at a number of important events such as The Standard Bank Joy of Jazz Festival, Moshito Music Conference and Exhibition, African and Jazz Nights at the State Theatre, Eldos Jazz and Arts Festival, Kaya FM Unplugged on the Art of Sunday, Zimbabwe Independence day and Jazz on the Cradle.

In the words of the upbeat and highly inspired Billy Monama, “We want to recreate that authentic sound through a fresh and a young energy.”

BILLY MONAMA began his journey with the guitar in his hometown of Mokopane, Mahwelereng in Limpopo, South Africa. The childhood soundtrack that combined traditional ethnic sounds, African gospel and jazz is what inspired the young man who has now become a force to be reckoned with in the professional music scene.

Monama spent time at the Central Johannesburg College studying music theory, harmony & ensemble work. He also researched and transcribed guitar masters such as Wes Montgomery, Tal Farlow, Marks Mankwane, Jimmy Dludlu and many other musicians.

Billy Monama now leads his own band that performs his own compositions and arrangement. He has become one of the highly sought after guitarists, working with artists that include Themba Mkhize, Abdullah Ibrahim, Andile Yenana, Sibongile Khumalo, Thandiswa Mazwai, Sipho “Hotstix” Mabuse, Mbongeni Ngema,

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Not only was it the voice of the guitar that was dying away, but a whole generation of musical culture stood a chance of being completely wiped out. This is the sound that touched the world and gave us a voice through trying times in our history.

This is the sound of Mbaqanga, Mgqashiyo, Maskandi, African Jazz and more.

In going back to our roots and digging out the inspiration that nourished the people on the ground, Billy Monama invited some well established and respected musicians to collaborate in reviving and preserving this musical art form that kept the people singing through the difficult socio-political times in the history of South Africa.

Collectively these musicians have vast experience as band leaders, session musicians, composers, arrangers, music

educators and collaborators.

On the guitar is Themba Mokoena, while the saxophon and flute are manned by Cape Town born McCoy Mrubata, Lwanda Gogwana is on the trumpet and flugel horn, Mduduzi Mtshali plays the Piano, the bass guitar is played by Concord Nkabined and Paki Peloeole is on the drums.

Who’s Who 2018

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Dorothy Masuku, and many others.

Monama’s music arranging skills have also spilled into the dance and movement industry, as he has repeatedly been musical director on productions by the internationally acclaimed Vuyani Dance Company.

Billy Monama sees himself as part of the new generation of South African musicians that want to take music of the African continent to greater heights.

McCOY MRUBATA, saxophonist & flautist, was born and raised in Kwa-Langa Township in the Western Cape. He grew up with the sounds of Xhosa traditional music, the soulful hymns of the Zion Church, the Jive brass sounds and the chants and rhythms of traditional healers’ music.

Mrubata studied informally under KwaLanga greats, such as Madoda Gxabeka, Winston Mankunku Ngozi , Ezra & Duke Ngcukana and others. He began playing in cover bands around Cape Town.

In 1987, through the help of Sipho “Hotstix” Mabuse, Mrubata moved to Johannesburg where he also performed

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THEMBA MOKOENA, originally from Pietermaritzburg in Kwa-Zulu Natal, is often referred to as an “Institution” of South African guitar styles. He initially learned from his older brother, Jotang “Joko Tea” Mokoena. Mokoena was also highly inspired by Jazz Giant, Wes Montgomery.

In the 1960s, he was part of the generation of musicians that developed the sound of Marabi & African Jazz. After moving to Johannesburg in 1972 with the band “Durban Expressions”, he worked with successful bands of the time such as Gibson Kente, Jacob “Mpharanyana” Radebe, The Peddlers and performed at the then famous Soweto Club and The Pelican. He played guitar on many top recordings under Mavuthela Records, a black subsidiary of

Gallo Records that recorded influential artists like West Nkosi, Makgona Tsohle Band, Mahlathini & Mahotella Queens and many more.

Themba Mokoena is still active today, performing & recording locally and internationally with different projects, mainly with songstress, Sibongile Khumalo.

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with many top artists of the time including PJ Powers.

McCoy recorded his debut album, Firebird, assisted and produced by the veteran recording producer, Koloi Lebona.

In 1989, he formed Brotherhood, which featured guitarist Jimmy Dludlu and later pianist Moses Molelekwa. McCoy toured extensively with some of South Africa’s greatest musical exports, including Lucky Dube, Hugh Masekela & Stimela.

To date, McCoy has released almost 20 recordings as a band leader & collaborator.

He has received countless music awards and continues to tour the world, working with musicians from across the globe.

Gogwana graduated with a B.Mus degree in Composition & Arranging from the University of Cape Town and furthered his studies in Norway. He also holds an Honours Degree in African Musicology.

Gogwana has and still continues to work with countless established Artists across different musical genre.

These include, Jimmy Dludlu, Marcus Wyatt, Judith Sephuma, Morris Goldberg, Buddy Wells, Freshlyground, Tete Mbambisa, Bokani Dyer, Kyle Shepherd, to name just a few.

Gogwana also gets involved with community development projects with the youth and has passion for jazz education.

LWANDA GOGWANA, East London born, in the Eastern Cape, South African.

Gogwana, a Jazz trumpeter and composer, already has had a number of nominations for the South Africa Music Awards. His Jazz compositional sounds are very much influenced by his isiXhosa cultural roots.

MDUDUZI MTSHALI is a highly acclaimed South African pianist, composer, arranger and producer from Kwa-Thema, East of Johannesburg.

Mtshali studied and completed his Jazz Performance Diploma at the University of Cape Town. During his studies, he was already writing big band arrangements and also performed with the UCT Philharmonic Orchestra. Mduduzi continues to study and currently towards a Master’s Degree in Orchestration.

It is his work as a pianist that keeps him constantly on the road & in-demand.

His services have been utilised by artists such as Sibongile Khumalo, Mimi Ntenjwa, Selaelo Selota, Bheki Khoza, Themba Mkhize, McCoy Mrubata and countless others. He has also performed with international artists who visited South Africa, such as Phil Perry and Rahsaan Patterson.

As an arranger, composer and musical director, Mtshali was involved with music for the opening & closing ceremonies of the 2013 Africa Cup of Nations Football Tournament, working with the likes of Oumou Sangare, Lira, Siphokazi, Ringo Madlingozi & Micasa.

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CONCORD NKABINDE received the Standard Bank Young Artist Award for Jazz in 2006. He began his musical career as a kid in his hometown of Soweto. Later, he completed his Bachelor of Music degree in Jazz Studies at the University of Kwa-Zulu Natal, majoring in the bass guitar and went on to work as a full-time music teacher.

Working as a live performer led him to collaborate with highly respected musicians such as Johnny Clegg, Abdullah Ibrahim, Zim Ngqawana, Darius Brubeck, Ray Phiri, Ernie Smith, Andy Narell,Vusi Mahlasela, Magnus Lindgren, Ladysmith Black Mambazo, Joyous Celebration and many more. He also leads

Who’s Who 2018

his own Solo Project & other Collaborative Projects.

Today, Nkabinde is a well-travelled and an in-demand musician as a bass guitarist, musical director, composer and arranger, who runs his own record label, Drocnoc Music, through which he has commercially released two albums and a live DVD, which was nominated for a South African Music Award.

Nkabinde is also involved in programmes that empower young musicians with industry & music business knowledge.

Nkabinde is Vice-Chairman of CASA (Composers Association of South Africa) and has served on the Board of POSA (Performers Organization of South Africa) for six years.

PAKI KGOSIETSILE PELOEOLE hails from Taung in the North West Province. Paki is one of the most versatile drummers around. He also skilfully doubles as a percussionist.

At a young age, Paki began his journey with the drums by playing during traditional diviners’ ceremonies. The strong rhythmic force inside led him to exploring other fields of drumming. Soon he became wellknown by semi-professional and eventually professional bands.

Unlike many of his peers, he saw this as a sign that he needed to go and study music full-time. That search for knowledge and hunger for growth landed him in Durban, where he studied music full-time at the University of Kwa-Zulu Natal.

During his studies in Durban, Paki became a highly in-demand session drummer, working with local musicians, as well as many from out of town on tour around Kwa-Zulu Natal.

His versatility, overall musicianship and a great ear for music make him the kind of drummer everyone wants to work with.

Paki boasts a long list of musicians he has worked with on many different performances and recordings. These artists include, Hugh Masekela, Busi Mhlongo, Salif Keita, Johnny Clegg, Jimmy Dludlu, McCoy Mrubata, Paul Hammer, Andile Yenana, Madala Kunene, Salim Washington, Feya Faku, to name only a few. Working with many different projects he has toured across the African continent, Europe, Nordic Countries, the Caribbean and the US.

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Incognito This British acid jazz project with deep roots in the 1970’s jazz, funk and soul world, The band Incognito was formedby Jean-Paul “Bluey”Maunick and Paul “Tubbs” Williams in 1979.

Maunick and Williams were both original members of the late 70’s disco funk group Light of the World (L.O.T.W).

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Maunick had formed Freeez with Jonny Rocca and Peter Maas, but throughout the time that they worked on other projects they would meet at Bluey’s house in North London to play music in a makeshift bedroom studio, for they both had a musical affinity and an undying love for funky jazz.

They decided to take a couple of their homemade jams into the studio, and so it is that Incognito debuted with the single Parisienne Girl (which also featured another L.O.T.W member Peter Hinds) and released the 1981 LP Jazz Funk. The planned second album Behind The Mask in 1983 went into a jazz rock fusion direction and came out under another name (The Warriors).

Throughout the 80’s, Maunick continued to write material for his group, even while working with Maxi Priest, Total Contrast, Steven Dante and others.

Tubbs went on to work with George

Michael and Rosie Gaines and later moved to the Netherlands. By the beginning of the 90s, DJ legend and early Incognito fan Gilles Peterson had founded the Talkin’ Loud label and he made Incognito one of his first signings. The 1991 single Always There (with vocals by Jocelyn Brown) became a Top Ten hit as part of Britain’s booming acid jazz scene, prompting the release of Incognito’s official second album Inside Life.

It was largely a studio affair, with Maunick and engineer Simon Cotsworth directing a large cast with many of the best musicians in Britain’s fertile groove

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Who’s Who 2018

Masters At Work, David Morales, Roger Sanchez and Pete Rock, 1998’s Tokyo Live, and 1999’s No Time Like the Future which featured the hit Nights Over Egypt.

The group’s next two albums were again made without Leak, 2001’s Life Stranger Than Fiction and 2003’s Dome / Edel debut Who Needs Love, which featured Brazilian vocalist Ed Motta, Joy Rose & Kelly Sae. More releases on Dome records followed with Adventures in Black Sunshine in 2004 featuring the late George Duke on the cut Minding My Business. The Aptly named eleventh album Eleven featuring Imaani and Tony Momrelle followed in 2005.

Bees + Flowers + Things appeared at the end of 2006. The album was a mix of cover versions along with stripped down re-recordings of four Incognito classics. In 2008, Bluey and company released Tales from the

Beach and More Tales Remixed.

In 2010, they issued two albums, Live in London: The 30th Anniversary Concert and the studio set Transatlantic R.P.M., featuring guest appearances by Chaka Khan, Mario Biondi, Leon Ware, Al McKay, Christian Urich from Tortured Soul, Ursula Rucker, and Maysa among others.

A cover of the classic Boz Scaggs’ Lowdown saw the band international status grow more and more popular.

Surreal in 2012 featured Vanessa Haynes and two newcomers, Natalie Williams and Mo Brandis, with the addition of new, younger musicians in the rhythm section, and once again the band took on a fresh direction on an old musical theme and provided their fans with unforgettable live shows.

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community. In 1992, they released Tribes, Vibes and Scribes.

Maunick added American vocalist Maysa Leak and a cover of Stevie Wonder’s Don’t You Worry ‘Bout a Thing became another hit for the band. The album ascended Britain’s pop charts and went on to feature in the America’s contemporary jazz charts.

The third album, Positivity in 1993 became the group’s biggest album success, with much attention across Europe as well as Britain.

That album also spawned Deep Waters which would become their biggest radio hit in the US to date. The band toured relentlessly and Pamela Anderson and Joy Malcolm were brought in as featured vocalists on their 1995 world-wide hit album 100° And Rising.

Leak returned though, appearing on the following year’s luscious and warm sounding Beneath the Surface.

Incognito later expanded their discography with 1996’s Remixed, which featured the dons of the dance scene

Who’s Who 2018

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espYoungLegend 2018

Jarrad Ricketts Bold, fresh and dynamic are just some of the words used to describe South Africa’s hottest new vocal talent, Jarrad Ricketts.

He has been wowing crowds nationally and internationally with his slick pop delivery and captivating performance style.

On the coast of Spain, Ricketts has led a six-month solo show on Menorca Island, where he performed at various theatres and hotels.

Ricketts also performs shows regularly on the Baltic Sea between Sweden and Finland on the Tallink Silja Cruise Ship, where he provides musical entertainment as part of the main show attraction.

Ricketts has set the tone at many corporate events by performing a combination of his original music and covered material with a live band.

Cape Town venues such as The Fugard Theatre, Baxter Theatre and Artscape Theatre have seen him perform in various shows.

He has performed popular hits from the biggest boy bands in history, when he was part of a show “Boy Band Mania” for 3 months.

Who’s Who 2018

He performed a solo show called The Standard at On Broadway, where he sang renditions of famous love songs throughout time.

He performed a six-month residency at Cape Town Comedy Club owned by Kurt Schoenraad, where he sang a mixture of covers and originals.

He has also performed in musical theatre, having performed on the stage of the Fugard Theatre as part of the cast of Orpheus in Africa, directed by internationally celebrated playwright David Kramer, which ran for six months.

Ricketts created and directed his own show called The Cape Town Crooners, which was performed at District Six Museum Homecoming Centre as part of Afrikaans arts festival, Suidoosterfees.

He also facilitated an aspiring artists workshop, where he mentored singers in Cape Town alongside other established musicians, and now sits on the board of trustees of the African Musicians Trust. He is now the youth ambassador for the Cape Mental Health Society.

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Rakei

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An often overlooked but nonetheless powerful sign of an accomplished musician is the point at which, upon listening to a track or entire body of work, we struggle to pin down the age, place, and time of the artist behind it.

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Who’s Who 2018

©PIC CREDIT

ith a fistful of highly praised releases under his belt and a soulful, jazz and hip-hop-driven sound that recalls his predecessors The Roots and peers The Internet, Nick Hakim and Hiatus Kaiyote, 25-year-old multi-instrumentalist, vocalist and producer Jordan Rakei is a rare talent whose artistry transcends the confines of age.

Rakei was originally born in the quiet town of Hamilton, New Zealand but moved to Brisbane, Australia at the age of three.

Though he spent the majority of his life in Australia, he identifies as a New Zealander and attributes the country’s music - along with classic pop and R&B from the US - as a major influence in his own sound.

His mother (New Zealand born) and father, a Pacific Islander hailing from the Cook Islands, played an important role in shaping Rakei’s musical DNA, often playing vintage Motown, Bob Marley, Frank Zappa, and Pink Floyd in their family home when Rakei was a child. Such exposure led him to the piano and later to beat-making, two elements that would become touchstones for his career as a producer, songwriter and instrumentalist.

Aged 18, Rakei self-released his debut EP Franklin’s Room in 2013 via Bandcamp.

Getting his start as a “bedroom producer”, he spent most of his days fine-tuning his production and song writing skills, but quickly outgrew the humble moniker as he began to establish himself as a diverse artist able to effortlessly blend soul, jazz and hip-hop.

The more time he spent in Brisbane, however, the more he found himself “stuck in a bubble”, burrowing deeper into his natural lean toward introversion and struggling to connect with others socially.

It wasn’t until the release of Groove Curse, the 2014 EP that garnered strong support from North America and Europe, that Rakei felt the pull away from Brisbane and decided to make the 10 000 mile journey to London.

With his feet on the ground in London – a city three times smaller in size than Brisbane but far more congested in population – Rakei had no choice but to throw himself into London’s music scene and he made efforts to connect with everyone he could. “I had no idea what I was getting myself into,” he explains.

“When I moved to London I had to deal with my introversion through ‘exposure therapy’. Every day I met new people for

Who’s Who 2018

a whole year. I met every producer, songwriter, and musician I could.You have to improve as a person to improve as an artist.”

Serendipitously, Rakei’s introversion and social exposure was the kindling that resulted in his 2016 release Cloak, the debut album that shifted his entire song writing and musical approach, stripped back his tendencies to keep others out of reach from his creative process, and saw him tour the record across sold out venues in Europe, the UK, Asia, Australia, and dates at Pitchfork Paris and Annie Mac’s AMP. Already having furnished a name for himself collaborating with Taku, Tom Misch, FKJ, and lending vocals on Masterpiece from Disclosure’s 2015 album Caracal, Jordan’s new perception of himself and his music caught the attention of an even wider peer audience.

He became close with many of the figures in the South London scene including Bradley Zero, founder of the dance label Rhythm Section, who encouraged him to try his hand at a collection of dancefloor driven tunes.These tracks became the EP Joy, Ease, Lightness, released by the label in late 2016 under the alias Dan Kye and which received support from the likes of Bonobo, Mary Anne Hobbs, Gilles Peterson, Mixmag and more.

Though he’s enjoyed the kind of success and respect many artists spend the length of their careers building, Rakei isn’t resting on his laurels. Signing to Ninja Tune, he travelled to the US for a sold-out debut headline tour and released his second LP Wallflower in September 2017, a genrebending and personal exploration of ego and anxiety, which sees Jordan edging beyond the peripheries of the often sun-flecked sound his fans have come to know him for. That he can radically shift his approach in both lyrical style and musical aesthetic is a testament to his sheer talent as a musician with seemingly limitless room to grow.

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n a n e Ke ds

n e r h A intet u Q This Cape Town born artist and University of Cape Town (UCT) graduate is a jazz guitarist and composer who started playing at the age of fifteen.

Keenan Ahrends completed his jazz performance studies at UCT and the Norwegian Academy of Music in 2009, and studied with Jon Eberson, Wayne Bosch, Eckhard Baur, Alvin Dyers and Andrew Lilliy.

Ahrends is a regular participant in the Joy of Jazz Festival, Standard Bank Youth Jazz Festival, Cape Town International Jazz Festival and the Edge Wood Festival.

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He recently relocated to Johannesburg, a move hailed by The Orbit Home of Jazz as “an important injection of fresh talent and perspective into the local scene”.

Described as “technically ... a dazzling guitarist” by Gwen Ansell, he has collaborated with established musicians such as Louis Moholo, Feya Faku, Malcolm Braff, Andile Yenana, Carlo Mombelli, Afrika Mkhize, Herbie Tsoaeli, Buddy Wells, Mark Fransman, Shane Cooper, Sony recording artist SOMI, Salim Washington and Kevin Gibson.

In 2017, Ahrends released his debut album Narrative. He describes the album as, “capturing of emotional images, personal experiences, inner and outer battles which I attempt to express sonically”.

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©PIC CREDIT

Keenan Ahrends is a Jazz Guitarist and Composer who started playing at the age of fifteen.

s t

Your kindness is killing me.

The cute cubs you pet could grow up to be killed for trophies. Keep our lions wild.

SMS “SAVE” to 31913 to donate R15

ENDANGERED WILDLIFE TRUST

Louis Moholo Born in Cape Town, Louis MoholoMoholo formed The Blue Notes with Nikele Moyake, Chris McGregor, Johnny Dyani, Mongezi Feza and Dudu Pukwana in the early 1960s.

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Who’s Who 2018

©PIC LERATO MADUNA

Moholo presents 5 Blokes 1 Doll

After migrating to Europe, and an eventful trip to Argentina, he stayed on in London where he formed part of a South African exile community that made an important contribution to British/European jazz.

With more than a hundred recordings in a discography stretching from 1962 to date, his appreciation as a leader and collaborator exemplifies the respect and adulation his peers and younger generations of musicians have for him and the great demand for his masterful skills as a composer, arranger, orchestrator and innovator.

In the words of former manager and longtime friend Hazel Miller, “Louis makes other musicians go to places they would not have thought possible”. Among his many awards is a 2004 South African National Honour – the Order of Ikhamanga Silver, granted to him as part of the Blue Notes by the President of South African for “Excellent achievement in the genre of jazz music, contributing to the development of music in the South African townships and defying apartheid laws by forming a multi-racial group.”

He was a member of the Brotherhood of Breath, a big band comprising several South African exiles and leading musicians of the British free jazz scene in the 1970s and is the founder of Viva la Black and The Dedication Orchestra.

His first album under his own name, Spirits Rejoice on Ogun Records, is considered a classic example of the combination of British and South African players. In the early 1970s, Moholo was also a member of the afro-rock band Assagai. In recent years, he has regularly collaborated with pianists Alexander Hawkins and Kyle Shepherd (in the UK and Cape Town respectively) as well as playing with his band 4/5 Blokes.

Through the years he has played with numerous musicians including Steve Lacy, Evan Parker, Enrico Rava, Roswell Rudd, John Tchicai, Irène Schweizer, Cecil Taylor, Archie Sheep, Derek Bailey, Peter Brötzmann, Mike Osborne, Keith Tippett, Elton Dean, Harry Miller, George Lewis, John Edwards, Jason Yarde, and Shabaka Hutchings. In 2005, Moholo returned to South Africa, where he continues to live with his wife, Mpumi, in KwaLanga. ©PIC LERATO MADUNA

Band line-up: Louis Moholo-Moholo - Drums Kyle Shepherd - Piano Brydon Bolton - Bass Siya Makuzeni - Vocals and Trombone Nhlanhla Mahlangu - Saxophone Abraham Mennen - Saxophone

Who’s Who 2018

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MABUTA MABUTA is the new live band offering from award-winning bassist and composer Shane Cooper.

©PIC ALEXIS DOMINGUEZ

Formed in 2017 by Cooper, the group features some of South Africa’s top musicians, including Bokani Dyer (piano and synths), Sisonke Xonti (tenor sax), Robin Fassie-Kock (trumpet), Marlon Witbooi (drums) and specia l guest Reza Khota (guitar).

MABUTA’s sound draws from jazz, world music and electronic music influences, and their debut album was released in February 2018.

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Who’s Who 2018

Manny Walters His voice is soothing, oozes soul and proclaims his place in the music industry.

Manny Walters is a South African singer-songwriter with influences rooted deeply in rhythm and blues, rock and soul music.

Walters describes his music as “electric rhythm and blues” and alternative soul.

His musical influence comes from the likes of Richie Havens, Prince, Nina Simone, Marvin Gaye, Tracy Chapman and Curtis Mayfield.

He delivers his socially conscious and intelligently poised lyricism with the kind of passionate, soulful intensity that is as timeless in its ambition as it is inspirational in its contemporary appeal.

The grit-flecked raw soul of his commanding voice is profoundly resonant in its ability to captivate the fans.

Having released his debut EP Anecdotes and a new album currently in production, Walters is the kind of emerging artist who will readily find favour with those who desire music that appeals to the conscience just as easily as it satisfies the soul.

Who’s Who 2018

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Masego Masego’s music is described as TrapHouseJazz, He is often reffered to as the fusion of Pharrell, Michael Jackson, and Jamie Fox. His journey in music began of on YouTube when he put 10,000 hours in live looping with his saxophone, beat machhine and keyboard.

His soulful singing and his jazzy personality colored every track and heart and caught the attention of many producers such as Kaytranada, Sounwav, KRS and Medasin.

The Pink Polo EP with Texas Producer Medasin was the result of his SoundCloud antics.

Their song Girls That Dance launched Masego and the TraphouseJaZZ band on a world tour, he toured Japan, France, England, Germany and several other countries.

His unique live show, “Girls that Dance” found its way to Jazzy Jeff who later reached out and invited Masego to his modern day XMen Mansion school for the gifted.

Masego nurtured his superpowers in Jazzy Jeff’s pool house, where legendary musicians and singers were constantly pouring in. Inspiration was high and the spirit of collaboration was high.

Jazzy Jeff’s experience inspired him to work on hundreds of records.

Masego decided to drop another project, he called it “Loose Thoughts”, a project full of energetic singles, more developed song writing and his beloved saxophone.

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Masego assists company Roland, designs an electronic saxophone, garners the respect of fellow live loopers like, Kimbra, Wayne Brady and Ed Sheehan, travels the world once again selling out venues and demoing new music.

Who’s Who 2018

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Who’s Who 2018

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Mi Casa Mi Casa is a South African live soulful dance trio with live horns, vocals, keys, combined with deep soulful grooves, this trio is making some noise and it sounds good.

They have an energy on stage like no other.

Since 2010, they dominated charts in South Africa with a total of eight number one singles, including their smash hits Jika and Don’t Wanna Be Your Friend, which both went multi-platinum and were the most played songs on national and continental radio platforms.

The trio has hosted countless sold out shows in 31 African countries as well as in Portugal, UK, Netherlands, Italy, and Canada.

What makes this band unique, besides the music, is their persona and values that are deeply rooted in making music that carries positive vibes and a good uplifting energy.

Mi Casa performed at former US President Barrack Obama’s Inauguration, they were also nominated for an MTV EMA for Best African Act and Best Group in 2016.

They were nominated as Artist of the

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Who’s Who 2018

Year, Best Group and Song of the Year by MTV Africa Music Awards.

Mi Casa have won five South African Music Awards including that of Best Duo Group, Best Dance Group and Record of the Year.

Judging by their mind-blowing collaborations with the likes of C4 Pedro, Eddy Kenzo,Yemi Alade and Kenyan favourite Sauti Sol, it is evident that the band are in tune with the musical pulse of Africa, and 2018 will see the group embarking on the long-anticipated “Legacy Tour” which spans the African continent.

This tour aims to invigorate the continent with as much positivity and philanthropy as Mi Casa can muster, all with the power of their glorious music.

“We are nothing without people. All we want to do is spread that good energy and make people dance. Looking forward to growing the familia across the globe,” said J-Something, lead singer of the band.

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Atwood-Ferguson: Suite For Ma Dukes 54

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Miguel

This Los Angeles born artist wears many hats as an arranger, composer, producer, DJ and is also a multi-instrumentalsit.

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Miguel Atwood-Ferguson is recognised as a community leader in California and has organised several uplifting events throughout the US. The depth and range of Atwood-Ferguson’s work is vast, having contributed to over 500 recordings, and thousands of live concerts.

He has the ability to connect with music of all styles, forms and traditions that sets him apart.

Atwood-Ferguson’s interests are varied and he performs, tours and records with ensembles ranging from electronica, avantgarde, jazz, classical, hip-hop and pop.

Years of practice and study prepared him for what is now a life of constant composing, conducting, performing, improvising, and producing.

The child of two musical parents, his mother a special education teacher, his father a multi-instrumentalist, composer, and accomplished recording artist.

Currently working on various solo, duet, ensemble, and concept records where he is the lead artist, he also makes time to write and perform arrangements for a wide array of artists and bands as well as leading his groups Quartetto Fantastico, The Miguel Atwood-Ferguson Ensemble and specialised orchestral configurations.

It is his goal “to build toward having an orchestra that plays music from across the globe with international musicians of Peace and Love.”

As a violist, Atwood-Ferguson appeared with Big Boi (Outkast) at the 2004 Kid’s Choice Awards on Nickelodeon, with Rihanna on the Jay Leno Show and at the 2007 American Music Awards, with Christina Aguilera on her 2006 MTV special Back to Basics, and with John Legend and Kirk Franklin at the 2008 BET Gospel Celebration.

He also played with Shakira, Wyclef Jean and Gnarls Barkley at the 2007 Grammy

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Awards, with Hall & Oates on Jimmy Kimmel Live, Extra, and The Megan Mullally Show, and with Pink at the 2008 American Music Awards. In 2009, Miguel was on the season finale of America’s Got Talent, backing up Susan Boyle.

Atwood-Ferguson returned to CBS studios again to perform on American Idol backing up Lana Del Rey and to Warner Bros to perform with both Father John Misty and Mikal Cronin on The Conan O’Brien Show in 2014 and Robert Glasper in 2016.

He had the honour of playing violin on stage with Lady Gaga for her career breakthrough performance of The Sound of Music at the 87th Annual Oscar Awards in 2015.

In orchestral settings, Atwood-Feguson has joined the likes of John Williams, Esa-Pekka Salonen, Michael Tilson Thomas, Zubin Mehta, Emanuel Ax, James Galway, Sarah Chang, Feist, Roy Hargrove, Francisco Aguabella, Quincy Jones, Stevie Wonder, Wayne Shorter, Ray Brown, Brad Mehldau, Guru (Gang Starr),Vince Mendoza, and Henry Mancini among many others.

In 2013, through an NEA grant, he was commissioned to write a concerto for Flute,Viola, and Jazz Orchestra which was premiered to great acclaim.

As a studio musician, he has recorded for Jay Z, will.i.am, Dr. Dre, Flying Lotus, Anderson, Paak, Raphael Saadiq, Seu Jorge, Heath Ledger, Lianne La Havas, John Cale, Swizz Beatz, Eddie Murphy, No I.D., Barry Manilow, Kimbra, David Foster, Joss Stone, Bilal, Michael Bublé, Marisa Monte, Common, Randy Jackson, and on Ray Charles’ Grammy winning album Genius Loves Company.

As a one-man orchestra, he composes for violin, viola, cello, and sometimes basses, piano, keyboards and percussion, and plays all of the instruments.

An organiser of the London Jazz Festival remarked that Atwood-Ferguson’s performance was “one of the best performances in the history of the London Jazz Festival”. In 2017, Miguel AtwoodFerguson’s debut record Les Jardins Mystiques was released on the Los Angeles indie label Brainfeeder.

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Miles

Hailing from California, jazz musician Miles Mosley wears different hats as an upright bassist, vocalist, producer, composer and arranger.

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Music has always flowed in Mosley’s veins. As a student, he was selected to play for the Grammy all-American high school jazz band and choir, and was acclaimed as a “techinical virtuoso” by the Los Angeles Times jazz critic, Don Heckman.

He received his classical training at the Colburn School of Music in Los Angeles. Mosley studied with jazz legends such as John Clayton, Ray Brown, and Al McKibbon, and

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received his undergraduate degree in music at UCLA. Since then, he has expanded his repertoire, mastering the bass and a vast array of other instruments, deftly blending jazz with rock, pop funk and R&B. Mosley has successfully combined bow work, effects, and “in-your-face” dexterity to give his instrument his own signature sound.

The last few years have been the busiest of Mosley’s career. In the spring of 2017, he signed to Verve Records, one of the most celebrated and historic imprints. His album UPRISING was released on Verve on April 2017. He has been featured in Bass Player Magazine (US, Brazil, and Japan), Bass Gear Magazine, Player Magazine, Japan, and was named one of Vanity Fair’s Rising Stars.

He recently co-designed his signature line of upright basses for Blast Cult, and has a line of signature pick-ups.

He has recorded, toured and collaborated with artists including Andra Day, Christina Aguilera, Jason Mraz, Chris Cornell, Lauryn Hill, Mos Def and Avenged Sevenfold.

He co-produced, composed, arranged and performed on actor Terrence Howard’s debut album Shine Through It. He appeared on the Grammy Awards telecast with the Gnarls Barkley Orchestra, at the Greek Theatre with Jeff Beck, at the Staples Centre with Rihanna, and headlined his own project at The Alex Theatre with the Glendale Pops Orchestra.

He recorded three tracks on Kendrick Lamar’s Grammy-winning album To Pimp A Butterfly, and is the upright bass player for long-time bandmember Kamasi Washington’s The Epic triple album release, named one of Rolling Stone’s and Pitchfork’s Best Albums of 2015.

Mosley is a founding member and upright bass player for the acclaimed Los Angeles-based group, the West Coast Get Down (WCGD), a collaborative group of musicians born and raised in Los Angeles.

They are some of the most sought-after musicians in the world, together they are uninhibited innovators moving effortlessly through multiple genres of music.

The first single Abraham was named one of NPR’s Top 100 Songs of 2016, the album received critical acclaim from publications including The Los Angeles Times, who featured the song in their California Sounds section. Rolling Stone US, France and Russia named him one of the “Top 10 New Artists You Need to Know”, and it has received worldwide radio airplay, including BBC Radio and Apple Beats 1.

In addition to performing and producing, Mosley is an accomplished composer, scoring for film, TV and video games. His compositions have been used by numerous entertainment companies including DreamWorks, Warner Brothers, Capcom and Activision.

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Mulatu Astatke Mulatu trained in London, New York City, and Boston where he combined his jazz and Latin music interests with traditional Ethiopian music and became the first African student to enrol at Boston’s prestigious Berklee College of Music, from where he received an honorary degree in 2012.

Astatke led his band while playing vibraphone and conga drums — instruments that he introduced into Ethiopian popular music — other percussion instruments, keyboards and organ. His albums focus primarily on instrumental music, and Astatke appears on all three known albums of instrumentals that were released during Ethiopia’s Golden ’70s.

He collaborated with many notable artists in both countries, arranging and playing on recordings by Mahmoud Ahmed, and appearing as a special guest with Duke Ellington during a tour of

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Ethiopia in 1973. His Western audience expanded even further when the 2005 Jim Jarmusch film Broken Flowers featured seven of Astatke’s songs.

Hip-hop artists have also sampled Astatke’s songs extensively, for example in the works of Nas, Damian Marley, Kanye West, Cut Chemist, and Knaan. He toured with US band Either/ Orchestra in 2006 and in 2008 recorded an album with the Heliocentrics and completed a Radcliffe Institute Fellowship at Harvard University, where he worked on modernisations of traditional Ethiopian instruments and premiered a portion of a new opera, The Yared Opera.

Mulatu has performed for ecstatic crowds at the “Filed Day”, in Hackney as well as in Primavera in Barcelona. His album Ethiopiques Volume 4 brought Astatke’s music to a new international audience, perhaps the largest in his career.

His band included the cream de la cream of London jazz scene such as Alex Hawkins, John Edwards, Byron Wallen and Tom Skinner.

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Born in the western Ethiopian city of Jimma in 1943, Mulatu Astatke is popularly known as the father of Ethio-jazz.

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He considers Cape Town as his second home and has even penned a song titled Cape Town towards the end of 2017, collaborating with Grammy awardwinning producer Andre Harris and song writer Carmen Reece.

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N8N is a soulful international recording and performing artist who counts himself amongst the fortunate few who get to do what he loves most – entertaining.

He acknowledged his passion for performance at a young age and dedicated his life to honing his craft – a move that saw him travelling the world and preforming alongside musical greats such as Macy Gray, Simply Red, Kool and the Gang and Seal, in New York, London, Europe and Cape Town.

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Nduduzo

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Makhathini: Inner Dimensions Collective

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This 34-year-old was born and raised in uMgungundlovu in South Africa’s Kwazulu-Natal province.

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Nduduzo Makhathini is also the head of music department at Fort Hare University in the Eastern Cape, he is also studying for master’s degree with Stellenbosch University.

The award winning Makhathini is always in demand as a headline act on the international jazz festival circuit.

He wears several hats as a educator, pianist and a composer.

Makhathini plays with a bright lyricism and a full sound pallette that gives him a markedly wide melodic vocabulary. His music is as open as it is invigorating. Makhathini commands the sort of remarkable talent and thematic focus that posits him among an illustrious pantheon of forbears.

The late jazz pianist Bheki Mseleku comes to mind as a musical stylist and visionary who sets a lofty precedence.

Their music shares a comparative searching sensibility along with a keen spiritual focus.

This is a quality that earned him the respect and camaraderie notable peers and elder jazzmen. Makhathini has toured extensively, and recorded with other strongly rooted titans like Zim Ngqawana, Busi Mhlongo, Feya Faku, Carlo Mombelli, Salim Washington and Herbie Tsaoeli to name a few.

Their appreciation of music as something more than beautiful sounds ballasts Makhathini’s commitment to asking deeper questions with his music.

This is not only owing to his virtuosity as a player but what he represents for the music in this part of the world.

Makhathini’s late father, Sibusiso was a singing guitarist.

It’s an occupation that enjoys deep history in Southern Africa.

Sibusiso ploughed music into his family life. It was in one of his isicathamiya outfits that got young Makhathini his first taste of life as a musician; this along with important piano lessons and mentorship he got from his mother, Nomajerusalema. She was also responsible for raising her son immersed in a life of choirs and church music.

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This elegant mix of heritage and modern sensibilities underscores Makhathini’s new project; his first with Universal, iKhambi. The record takes its title from a Zulu word used by traditional doctors and herbalists to refer to a mix or concoction of healing herbs. Makhathini is mindful of music making as a process not unlike a mixing of sonic elements that heal. So, in the context of this record, iKhambi speaks to ‘a projection of a healing energy through a sonic experience’.

Bearing in mind that Makhathini is himself a healer too, it’s possible to conceive of him as a kind of musical activist on behalf of African traditions of healing. He recently delivered a TED-X talk in Gaborone, which looked at “A new look towards ubungoma practices and articulations.” ubungoma is a Zulu word that refers to the gift and practice of healing and divination - the word ngoma means song. Hence music, often drumming and dance are central to the spiritual rituals.

Beyond his proven prowess as a brilliant pianist, Makhathini is also an astute producer with a sharp ear for harnessing the best possible sounds of other creative musicians. The successes of the records bears his contribution. This accounts for his award-winning pedigree.

We count his SA Music Award winner, Best Jazz album and Standard Bank Young Artist Award winner for 2015. He has produced for a number of notable award winners and nominees.

“I believe, during a performance, artists are borrowed synchronicity. It is from God. I don’t think one can take credit for that”.

Makhathini has released seven albums as a band leader, these albums include “Sketches of tomorrow”, “Mother tongue”, “Listening to the ground”, “Matunda ya Kwanza”, “Icilongo the African peace suite”, and “Reflections”.

This rapidly growing catalogue was made possible in part by a creative and life partnership he shares with his wife, Omagugu, who he describes as “my anchor and partner.” Together, they built the platform through which his earlier records were released, Gundu Entertainment.

He recently headlined the National Arts Festival, Standard Bank Joy of Jazz, Cape Town International Jazz Festival, Essence Festival, both in New Orleans and South Africa, and the International Jazz Extravaganza in Durban.

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Nicholas Payton Afro-Caribbean Mixtape New Orleans-born trumpeter, keyboardist, singer, and composer Nicholas Payton is a dynamic performer, steeped in acoustic jazz and post-bop, whose music often finds him exploring genres beyond the confines of the jazz tradition.

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Born in New Orleans in 1974, Payton grew up the son of Walter Payton, a well-known bassist on the Crescent City jazz scene.

His mother also played piano.

Around four years old, he started playing trumpet after asking his father to get him one. Soon, he was accompanying his father to shows at local clubs, where he had the chance to hear many great trumpet players.

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The turning point for young Payton came around age ten, when he heard a Miles Davis quartet album that was in his parents’ record collection. He started performing publicly, working everywhere from jazz funerals to weddings to bar mitzvahs, and even played on the streets for tips.

During this period, he attended New Orleans’ High School for the Creative Arts and studied with Clyde Kerr Jr.; he later studied briefly at the University of New Orleans with pianist Ellis Marsalis. However, his college career at UNO was interrupted by the chance to go on the road with drummer Elvin Jones.

Previously, he had spent time on the road with Marcus Roberts and other touring musicians, but those were shorter stints.

Through the years, Payton has recorded and performed with Wynton Marsalis, Dr Michael White, Christian McBride, Joshua Redman, Roy Hargrove, Doc Cheatham, and Joe Henderson, among others.

As a solo artist, he began his recording career with Verve Records, releasing From This Moment in 1994, followed by 1995’s Gumbo Nouveau. A year later, he gained even more attention, appearing alongside a handful of his jazz contemporaries in acclaimed director Robert Altman’s film Kansas City, for which he also appeared on the soundtrack.

In 1997, he received a Grammy Award for his playing on Doc Cheatham & Nicholas Payton, a collaborative album with thennonagenarian trumpeter Doc Cheatham.

Also that year, he joined bassist Christian McBride and guitarist Mark Whitfield for Fingerpainting:The Music of Herbie Hancock.

He then rounded out his Verve contract with several well-received, tradition-steeped efforts, including 1998’s Payton’s Place, 1999’s Nick@Night, and 2001’s homage to Louis Armstrong, Dear Louis.

In 2003, Payton signed with Warner Bros and marked the move by shifting away from his acoustic-based sound and delivering the ‘70s fusion-influenced Sonic Trance. However, an car accident briefly side-lined his career as he took time to fully recover. He returned with Mysterious Shorter on Chesky in 2006 and Into the Blue on Nonesuch in 2008, both of which found him delving into an eclectic mix of straight-ahead jazz, post-bop, funk, and R&B-influenced sounds.

Increasingly known as a risk-taker, Payton took one of his grandest on 2011’s Bitches, a concept recording that detailed the stages and ending of a romantic relationship. He composed and arranged all 16 songs (which included lyrics), played every instrument, sang, and played trumpet throughout, and produced the entire set as well. Also featured on the album were special guest vocalists Cassandra Wilson, Esperanza Spalding, N’Dambi, ChinahBlac, and Saunders Sermons.

Along with performing, from 2011 to 2013 he held the position of Distinguished Artist and Visiting Lecturer at Tulane University. During this period, he began self-releasing albums on his own BMF label, including #BAM: Live at Bohemian Caverns (recorded at the historic Washington, DC club) and Sketches of Spain (a live re-recording of the classic Miles Davis and Gil Evans album), featuring Simphonie Orchester Basel.

Two instrumental albums followed with 2014’s Numbers and 2015’s Letters, both of which showcased Payton on keyboard and piano. In 2016, Payton returned to more of a full band-oriented approach with the hip-hop and spoken word-inflected The Egyptian Second Line. A year later, he delivered another highly inventive hip-hop and world music-influenced production, Afro-Caribbean Mixtape.

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This lecturer at the University of Cape Town’s Jazz Studies Department, is also a versatile and creative vocalist and composer, whose work has earned her comparisons to artists such as Joni Mitchell, Tori Amos, and Esperanza Spalding.

Nicky Schrire is a familiar face on Cape Town stages and has shared them with South African musicians such as Arno Carstens, Sibongile Khumalo, Card On

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Spokes, and Grammy-nominated pianists Gerald Clayton and Gil Goldstein.

Following undergraduate jazz studies at the University of Cape Town and a Master’s degree from New York’s Manhattan School of Music, Schrire released three critically acclaimed jazz albums; 2012’s Freedom Flight, 2013’s Space and Time, and the 2014 EP To the spring, earning her comparisons to songwriters like Joan Baez, Becca Stevens, and Mary Chapin Carpenter.

With this encouragement, and her jazz stylings borrowing more and more from the folk genre, she recorded a singersongwriter EP entitled An Education.

The recording features her long-time collaborator and

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This lecturer at the University of Cape Town’s Jazz Studies Department, is also a versatile and creative vocalist and composer, whose work has earned her comparisons to artists such as Joni Mitchell, Tori Amos, and Esperanza Spalding.

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“Though her approach has earned her comparisons to Gretchen Parlato and Becca Stevens, Esperanza Spalding.

Schrire has got her own thing, and it’s very much worth listening to” added Jon Garelick of Arts Fuse (USA).

“Vocally surprising and more impressive than Gretchen Parlato, Nicky Schrire is the breath of fresh air that we so need,” said Phillipe Vincet of Jazz Magazine to describe the Cape Town Jazz songbird.

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cellist Ariella Caira (Jeremy Loops, Alice Phoebe Lou, Sterling EQ) and was released on the London folk label Wild Sound Recordings in June 2015.

After this EP, her work with Ariella has seen the duo collaborate with contemporary composer Matthijs van Dijk, Hatchetman’s Jono Tait, and double-bill with Beatenberg frontman Matthew Field.

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R+R=NOW

Robert Glasper and his multi talented friends form part of the newly formed band R+R=NOW. The band consists of Robert Glasper, Terrace Martin, Christian Scott, Derrick Hodge, Justin Tyson and Taylor McFerrin.

Glasper is a multi-award winning, hip-hop inspired pianist and record producer from Texas, with a knack for mellow, yet harmonically complex compositions.

Martin wears many hats as a multiinstrumentalist, vocalist, actor and record producer, his sound encompasses funk and jazz to classical, and soul via hip-hop and a dash of pop for good measure. He is also rapper and saxophone player.

Another member of the band is Christian Scott, who is a Grammy Awardnominated trumpeter, composer and producer from New Orleans. He has been planning the recent release of The Centennial Trilogy to mark the 100-year

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anniversary of the first jazz recording since he was a child.

Derrick Hodge is a celebrated composer and bassist equally adept on upright and electric instruments.

Though best known as a member of the Robert Glasper Experiment, Hodge is an accomplished session musician who works extensively in R&B and jazz.

A talented drummer currently residing in New York, Justin Tyson is a Berklee College of Music alumni who has played for Jesse J and Mos Def, and works as permanent drummer for both Esperanza Spalding and Now vs Now. Also New York based, Taylor McFerrin is a multi-instrumentalist, keyboardist and beatboxer who usually tours as a one man show, relying on sampling and chopping up his live takes.

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Sekunjalo The Sekunjalo Development Foundation has over the years hosted the annual Sekunjalo Edujazz Concert, where young music students share a stage with renowned artists from Cape Town.

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Edujazz Band

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A brain child of Donovan Witten, who, with Dr Iqbal Survé, established the Sekunjalo Edujazz Project to promote the development of Jazz music in township schools across the Cape Flats.

The annual jazz concert serves as a platform for aspiring, young musicians from communities in Cape Town to showcase their talent.

Since the project inception in 2001, music groups, including The Little Giants, Belhar Music Collective, Athlone Music Academy, Alexander Sinto High Jazz Band, Delft Jazz Band, UWC Wind Ochestra

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and Ifidyoli String Ensemble have all participated in the project.

These younthful bands had the opportunity to work with artists such as Tucan Tucan,Virtual Reality, Jimmy Nevis, Mi Casa, Beatenberg, and The Darryl Andrews Jazz Band.

Jazz musos Alvyn Dyers, Andre Petersen, Ivan Bell, Camillo Lombard, Amanda Tiffin, George Werner, Sammy Weber and Shannon Mowday are mentors on the project.

Music teachers such as Frank Paco, Ronel Nagfal, Henriette Weber, Terence Scarr and Andrew Ford have conducted workshops to foster the music skills of these young musicians.

Artists who were showcased in the early stages of the annual Sekunjalo Edujazz Concert include Kyle Shepherd, Darren English, Claude Cozens, Dylan Tabishar, Leanne Fortuin, Don Vino Prins, Lana Crowster, Jamie Faull and S’pha Mdlalose, have all gone on to become established musicians in their own right.

The Edujazz Big Band for 2018 will be under the directorship of Kelly Bell, who is a freelance performing artist based in the Cape Town. Bell tours and performs locally and abroad with artists such as Israel and the New Breed, Sibongile Khumalo and Danish bassists Ida Gormsen. Her albums won a Grammy Award and two Dove awards.

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Legendary trumpeter Ian Smith formed this band back in 2008 after an initiative by the the Department of Social Development and a nongovernmental organasation called the Cape Outdoor Adventure Service and Training (COAST).

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Sekunjalo Delft Big Band

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It was aimed at providing youngsters from Delft, Cape Town an alternative to the anti-social influences around them.

The funding for the band was withdrawn after six months, however, Smith kept working with the band and developing them. He taught them how to read music and exposed them to a performance circuit that generated opportunities.

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Sekunjalo Delft Big Band is enjoyed by musicians and jazz lovers, and has performed throughout Cape Town, Sweden, France, UK, Germany, Hong Kong and Dubai.

The Delft Big Band has performed twice before at the Cape Town International Jazz Festival (CTIJF), in 2010 and 2015.

At the 2017 CTIJF, the SDBB was wellrepresented, with five members playing in the Sekunjalo Edujazz Band, and three members playing on the main stage in

“Camillo Lombard Presents a Cape Town Showcase”.

The band’s founder and music director, Ian Smith, left the project in 2016, as did Adelia Douw, the band’s long-standing female vocalist. David October, whose own career as a vocalist is taking flight, is the band’s lead vocalist now.

Most of the band members share their musical knowledge through teaching at the Sekunjalo Delft Academy, and a few teach at local schools.

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Seu Jorge

presents The Life Aquatic/ A Tribute To David Bowie

presents The Life A To David Bowie

Seu Jorge is a Brazillian musician, singer, songwriter and actor, born Jorge Mario da Silva in 1970.

Jorge is considered to be one of Brazil’s most talented contemporary singers, and he rose to international fame in the Wes Anderson film A Life Aquatic.

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In his role as Pele dos Santos, a singing sailor, Jorge performed several of David Bowie’s songs in the film. But in a twist, he did it in Portuguese, accompanying himself simply on acoustic guitar.

Seu Jorge’s adaptations in Portuguese of David Bowie’s music underscore the breadth and depth of his compositions and have gone on to have a significant cultural impact.

In commemoration of David Bowie’s recent passing, Seu Jorge performed a special tribute to him while recreating the feel to the film A Life Aquatic on stage.

“Had Seu Jorge not recorded my songs in Portuguese, I would never have heard this new level of beauty which he has imbued them with.” — David Bowie

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Aquatic/ A Tribute

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Sibusiso Mashiloane Sibusiso Mashiloane was awarded twice for the Best Jazz Album at the Mzanzi Jazz Awards. His debut album Amanz’Olwandle (released in 2016) was a first glimpse of a promising jazz career.

In August 2017, his second album Rotha - A Tribute to Mama followed. The album is close to Mashiloane’s heart as it was recorded on the day his mother passed away, and has compositions that were written in 2003 at beginning of his career as a musician.

The album is an acoustic traditional jazz album that radiates South African heritage sound and universal jazz influences. Mashiloane describes it as mostly sharing Coltrane’s harmonic

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movements with African influences within the melody and most notably references to South African tribal and spiritual sounds.

The album is inherently a tribute to Mashiloane’s cherished and influential figures, experiences and memories, but most importantly a tribute to his mother, Rotha.

Mashiloane and his band played not only the main stages of the KwaZulu-Natal circuit, but also many major jazz festivals and his live performances brought him as far as the US. After getting his Master’s degree in jazz performance, his aim is to become an integral part of South African and international jazz scene.

Mashiloane has toured extensively with his Mash Trio of Dalisu Ndlazi on bass and Riley Giandhari on drums.

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He gradutated top of his class at the University of KwaZulu Natal and his academic credentials speak volumes of the discipline and passion he has for music.

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Simphiwe Dana Dana not only promises a sensational performance, but brings with her a special project to the event that is billed to celebrate the 100th birthday of Nelson Mandela.

To celebrate his centenary year, Dana brings an all-woman band to the festival.

It will be the first time that she allows herself free reign to explore and express songs of oppression, pain, survival, triumph and freedom.

She is well known for her writing skills that explore the deep recesses of human emotion, and her ability to knit words together that interrogate pain and express hope. She will be in her element exploring the vast catalogue of South African struggle songs.

Dana has been touted as the next Miriam Makeba. She is also the only artist besides Mirriam to have such a high demand at the Jazz Festival, thus the organisers saw it fit to organise a second performance on the same night of her debut at the Cape Town Jazz stage back in 2005.

Dana is classified as a living legend.

The songbird has a soulful voice that

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feeds the psyche and touches the hearts of many across the globe. Apart from tugging at heartstrings, Simphiwe’s voice speaks words that stimulate the brain into being socially conscious of the challenges faced in South Africa and the world as a whole.

Dana is more than a singer, she is an artist, and her music is a pure and natural art that was introduced to the public when she made her debut in 2004 with her album Zandisile.

From the onset, Simphiwe embedded herself in the soul and hearts of South Africans and the world at large. The artist has received numerous awards locally and internationally and saw her music topping global charts. Dana’s third album Kulture Noir claimed the number one spot on the German World Music Charts and number three on the European Music Charts.

As an artist true to form, Simphiwe Dana strives to stimulate conversation that speaks to awareness and change of socio-economic challenges faced in communities across South Africa, the continent and the rest of the world.

In 2016, Simphiwe Dana saw herself make history as she was named African Woman of the

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Coined as Africa’s Grandest Gathering, the 2018 Cape Town International Jazz Festival sees the return of legendary South African artist Simphiwe Dana.

Year by New African Woman alongside the likes of Esther Mahlangu, Caster Semenya and Lupita Nyong’o. The afro-soul musician is seen as one of Africa’s women who is making an important impact across the globe.

To date, Simphwie Dana has released four studio albums (Zandisile, One Love Moment on Bantu Biko Street, Kulture Noir, Firebrand and a live CD The Simphiwe Dana Symphony Experience) and two live DVDs titled “An Evening with Simphiwe Dana” and the most recent “The Simphiwe Dana Symphony Experience”.

Simphiwe Dana’s music is so profound that it is now part of the curriculum of prestigious institutions such as Oxford University in England. This is to be expected, because living in a world where conformity is the norm, Simphiwe has stood firm in her cultural and African identity.

Simphiwe Dana appears at the Cape Town International Jazz Festival on 24 March 2018, featuring, amongst others, Thandi Ntuli (piano), Siya Makhuzeni (trombone), Tebogo Sedumedi (bass), Catherine Nhlapo (percussion), Linda Tshabalala (alto sax and flute), Portia Sibiya (drums), Titi Luzipho (vocals), and Gugu Shezi (vocals).

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Sisonke Xonti Lawyer-turned-jazz musician Sisonke Xonti started playing the recorder before mastering the saxophone aged 14. He now holds a Grade 8 music qualification in classical saxophone from Unisa, which he achieved with distinction.

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His introduction to jazz came at the age of sixteen (2004) when he joined the Cape Town based band, The Little Giants, led by George Werner and the late Ezra Ngcukana. That same year, he was selected to be a part of the School’s Big Band at the Standard Bank National Youth Jazz Festival in Grahamstown. And later (2007), was also selected for the National Youth Band for the first time under the leadership of Dr Andrew Lilley.

He has since played with an array of highly acclaimed musicians, namely Jimmy Dludlu, Victor Ntoni, Lira, Hugh Masekela, Judith Sephuma, Dj Christos, DJ Vinny DA Vinci, Herbie Tsoaeli, Feya Faku, Freshlyground, Neo Muyanga, Bheki Khoza, Barney Wailer from Bob Marley and the Wailers, Mike Campbell and the UCT Big Band, Abdullah Ibrahim and The Cape Town Jazz Orchestra, CODA, Kyle Shepherd, Bokani Dyer, Marcus Wyatt,

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Goodluck, Lwanda Gogwana, The International Youth Jazz Band, Simphiwe Dana, Andile Yenana and also as band leader in his own jazz project.

Xonti has worked in studio with many artists on their albums, namely Lwanda Gogwana, whose album was later nominated for three South Africa Music Awards (SAMAs), Jimmy Dludlu, Sisa Sopazi who was also a SAMA nominee, GoodLuck, Freshlyground, Bokani Dyer and one of South Africa’s most well-known reggae bands, Azania.

The exposure to these bands gave him a platform to perform at various international Jazz festivals. These include The Cape Town International Jazz Festival, The Standard Bank Joy of Jazz, The Grahamstown Jazz Festival, The Calabar Jazz Festival in Nigeria. He has also performed in China, Mozambique, Angola, Reunion Islands, Switzerland, Dubai and many more countries.

He has recently released his Debut album titled IYONDE and is currently planning a SADC tour.

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Tank and the Bangas All the way from New Orleans, Tank and the Bangas are surrounded by plenty of grand musical traditions.

“It’s music that can’t really be put in a box,” says singer and poet Tarriona “Tank” Ball.

She fronts the band with vivid charisma that helped Tank and the Bangas win NPR’s 2017 Tiny Desk Concert Contest by unanimous acclaim, standing out among 6,000 entrants because of what Bob Boilen called “the depth of their lyricism and the versatility of their players.” Those same qualities also attracted the attention of Verve Records, which has signed the band.

Ball’s lyrical depth has been years in the making. She came up in the strong local slam poetry scene before meeting her bandmates: Merell Burkett on keyboards, Joshua Johnson on drums, Norman Spence on bass and synth keys and, eventually, Albert Allenback on alto sax and flute.

“Growing up, I always could sing, but I wrote better than I sang, so I focused on writing,” she says. After her team won the

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National Poetry Slam Championship two years in a row, Ball turned her full attention to Tank and the Bangas.

What started as a loose collaboration at an open-mic night in 2011 has grown into a mesmerizing musical force that’s only picking up speed.

After a featured set at the New Orleans Jazz & Heritage Festival early in the band’s career, the musicians built a reputation outside their hometown by grinding it out on the road, honing their live show and releasing the 2013 album Think Tank, all the while converting audiences into passionate fans and garnering critical acclaim, from the New Orleans Advocate to The New York Times. “It made us work hard,” Ball says of playing Jazz Fest. “It made us want to feel deserving of it.”

Their hard work is paying off: The Huffington Post says Tank and the Bangas defy description onstage, adding, “It’s music that you have to experience.” The experience is subject to change from one night to the next.

“One show will feel very

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And the five-piece group has a rare knack for combining various musical styles, fiery soul, deft hiphop, deep-groove R&B and subtle jazz into one dazzling, cohesive whole that evokes the scope of New Orleans music while retaining a distinctive feel all its own.

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awesome,” Ball says. “It’s going to be fun, and a little vulnerable at the same time.”

The band’s ongoing evolution involves more than just music: Ball continues to grow and develop as a performer and writer. Even back in the open-mic days, she was a force of nature. “I don’t know if there’s such a thing as too free, but it was totally uninhibited. She was inspired,” Spence says, laughing at the memory. More recently, Ball has become less of a dervish onstage. “I was running around so much I didn’t have time to sing at all,” she says, while finding new ways of expressing herself as a writer.

“I don’t just think about myself when I write now,” she says. “Just being with my bandmates taught me to think more about other people. And when you have an audience of people ready to listen to you, you’re excited to connect with them, you really are.”

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electronic, or hip-hop, and another show will feel slow and vibe-y and jazzy, and then another show will just be poetry and offthe-cuff riffs,” says Johnson. “As a band, we don’t like to hear ourselves do the same thing for too long, so we might change a small thing here or there, and if we change enough small things, it seems like a big change.”

Tank and the Bangas won the Tiny Desk contest with “Quick,” a riotous single they released in 2017 (and soon accompanied with a cheeky, not entirely safe-for-work video). There’s more new music where that came from as the group works on the follow-up to Think Tank. “It’s going to be

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The Liberation Project Acoustic Band The Liberation Project consists of musicians from across the world who have joined forces to celebrate their liberation struggles from various different corners of the world with the focus placed mainly on music from South Africa, Italy and Cuba.

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Musos from France, La Reunion, Guinea, Burundi, USA, Brazil and UK have also contributed.

The triple CD set featuring 69 musicians from 13 countries will be released in March 2018.

The Cape Town International Jazz Festival commissioned The Liberation Project Acoustic Band as a precursor to the big electric set-up due to hit our shores later this year.

The band comprises a number of South African-based musicians who featured on the record, including Sipho “Hotstix” Mabuse, Tony Cedras, Neill Solomon, Dan Chiorboli, Tebogo Sedumedi, Bienvenue N’Seka and Keeran Eshwarlall.

Roger Lucey will feature as a special guest, performing Thabane, a song of his that was banned by the Apartheid authorities.

Music played a key role in both driving change and creating harmony during the Apartheid Regime. Music communicated messages through lyrics that had politically subversive meanings.

It also allowed international audiences a view into the injustices suffered by the oppressed racial groups in South Africa.

It united South Africans at a time where every other aspect of

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Artist Biographies Sipho “Hotstix” Mabuse is much more than one of South Africa’s most admired and respected musicians – he is a living legend.

After nearly 50 years of musical accomplishments behind him, Mabuse’s influence on the industry that gave him his voice continues to grow in leaps and bounds. Fiercely proud and keen to share his wealth of knowledge.

He is passionate about having the youth look, learn and respect the country’s great veterans.

“Our elders, parents and forefathers need to be respected and heard for their contribution,” he explains. “If we look and listen, we can only continue to grow.” In fact, throughout the course of Mabuse’s near 50-year career, he has become a musical ambassador for South Africa, performing in virtually every country in Africa, and touring to places such as the US, UK, France, Germany and Italy.

Tony Cedras was born in Elsie’s River, Western Cape. The last of eight children in a strict household that placed high emphasis on education and religion. He soon became one of the central figures in the Cape jazz scene, performing and recording with Winston Mankunku, Jonathan Butler, Robbie Jansen, Basil Moses and Russell Herman.

He has gone on to perform with Paul Simon, Jonas Gwangwa, Harry Belafonte, Miriam Makeba, Henry Threadgill, Muhal Richard Abrams, Cassandra Wilson, Hugh Masekela, Ziggy Marley, Joan Baez, Milton Nascimento Tony Bird and Gigi. He has also been in every line-up of Paul Simon’s Graceland band since 1987.

Neill Solomon is a multiple awardwinning film and television soundtrack composer, songwriter and musician of Lebanese origin, he is well known for his pioneering work in the rock and world music fields with groups such as The Uptown Rhythm Dogs and The Passengers.

Neill has since scored many internationally recognised films and theatre productions, such as the acclaimed Jock of the Bushveld, Gavin Hood’s A Reasonable Man and John Kani’s award winning production Nothing but The Truth. He won a 2010 Safta Award for Best Composition in Television, and is currently scoring the daily South African soap Isidingo.

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Dan Chiorboli was born in Ferrara, Italy and grew up in Durban, South Africa.

Pursuing his love for music inherited from his mother and grandmother, he received his first taste of performing in front of an audience at the age of fifteen.

He has gone on to perform all over the world and has worked as a session musician on over 200 albums as vastly diverse as The African Gypsies (the group he co-founded with Ray Phiri), Phil Manzanera, Ladysmith Black Mambazo, Kenyan Simba Morri, Sergio Dias from Brazil, Black Coffee and Black Moses Ngwenya. Though, it is his partnership on projects with Neill Solomon from school days that has yielded the best results.

Keeran Eshwarlall was raised in a conservative Hindu home in Verulam. He specialises in singing Bhajans (Devotional poetry), Gazals (Romantic poetry), Qawalis (Urdu poetry), Sufi songs, and the odd Bhojpuri song whilst accompanying himself on harmonium, guitar, santoor, tabla, dolak, shai baja and harmonica.

In 1993, Keeran went to Bombay to learn under the guidance of his Guru, Shri Anup Jalota. In 2005, Keeran based himself in London and travelled all over the subcontinent to perform with many Indian musical icons, and recorded a musical documentary with Anup Jalota for Channel S TV, a UK Bengali Television Channel.

Tebogo “AusTebza” Sedumedi is a young up-and-coming bass player and vocalist whose career began in the music department at the Mmabana Cultural and Arts Centre in Mafikeng. Her perseverance and hard work has attracted some of the most established artists in the South African music industry.

Her talent has also been spotted by production teams that host various TV or Live Music concerts and as a result, has been part of the South African Music Awards and Channel O Awards, and also played her role as an instrumentalist on the TV productions of The Respect Show with HHP on SABC 1 and Afro Café on SABC 2.

Bienvenue N’Seka is one of the DRC’s biggest kwassa-kwassa stars now based mostly in Johannesburg. He has created a dedicated following with his Les Fantastique showband and his emotive French vocals, silky dance moves and distinctive guitar style has added a funky and exotic flavour to the Liberation Project.

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life was dictated by race and culture. This project offers musicians an opportunity to showcase their fight for liberation to the world.

This festival set is dedicated to Ray Phiri, who sadly passed away during the making of the album.

The Louiz Banks Quartet He comes from a strong musical background in India and studies piano at a college in Darjeeling. Louiz Banks’ career began to flourish when he discovered jazz in Calcutta in the late 1960’s.

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He began performing at the Hindustan Hotel, which led to an invite to play at the Blue Fox Restaurant, a popular nightclub famous for its patronage of Western music.

There he began composing advertising jingles and stage musicals, something he continues to do to date.

It is where he met RD Burman, who invited him to join his troupe in Mumbai where he assisted in giving jazz a huge

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following at nightclubs.

Banks formed the Indo-Jazz Ensemble with Goan saxophonist Bra Gonsalves in 1979, they composed music on Indian classical scales and jazz rhythms, and incorporated instruments such as the gatham and thavil.

Banks has scored several films and his 2008 collaboration as arranger/pianist on the Miles Davis tribute album Miles from India was nominated in the best contemporary jazz album category at the Grammy Awards in 2008.

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The Settlers

Under the mentorship of music teacher and musician Tracey Johannes who is a former student of Settlers, and a graduate from the University of Cape Town.

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High School Band

The Settlers High School has for many years been a source of fine musical talent.

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They boast three jazz bands that have over the years, produced some of South Africa’s finest jazz and pop genre talents, who have continued onto the local and international music scenes.

The Dynamix Jazz Band The Dynamix Jazz Band started fresh in 2017 with a completely new band consisting of first-time players, with Jazz on The Lawn 2017 being the band’s debut performance.

Their repertoire ranges from wellknown jazz standards and African music to

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local and international jazz, Latin and pop covers.

They have been invited to participate in ESP Afrika’s Youth Training and Development Program in 2017 as part of the Cape Town International Jazz Festival.

Some have been selected for the All Star Band, who performed at the Cape Town International Jazz Festival’s free concert on Green Market Square in 2015 and 2017.

The band is involved in nearly all the events on the school calendar. Over the years, the band has also regularly performed at private functions, as well as corporate events and music festivals.

The band has been featured on radio and television, with appearances on Good Hope FM radio and Hectic 99, a youth

television programme.

They have taken part in the Cape Town International Eisteddfod as well as the Tygerberg International Eisteddfod, and have consistently achieved excellent results.

They also won the annual V&A Waterfront High School Band Slam Competition in 2014 and 2015.

Band members have been selected for the Standard Bank National Schools Big Band at the Standard Bank National Youth Jazz Festival in Grahamstown in 2014 and 2015.

Senior band members of The Dynamix Jazz Band have gone on to further their studies in Music at The University of Cape Town’s prestigious South African College of Music, and the acclaimed Music Conservatory at Stellenbosch University.

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The group is made up of three members, Buhlebendalo Mda, Luphindo Ngxanga and Ntsika Fana Ngxanga.

The style defined as Kasi Soul, the group’s music features (in a contemporary township style) an eclectic mix of musical genres such as jazz, hip-hop, Afro-pop and Afro-soul. The group’s musical style is evident in its rhythmic vocal bass line, with

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constant beat boxing, a distinct feature in the music, whilst the remaining voices contribute to the choral and polyphonic accompaniment.

Equal and up to the challenge, each of the group members take turns in solo vocal performances to display their most beautiful rendition of the melodic verses embedded in each song.

The Soil strives to fuse their voices to deliver melodic and harmonious messages

that are aimed at uplifting and healing souls all around the world.

The Soil’s career highlights include performing at the National Arts Festival in Grahamstown, touring in Australia and New Zealand, The Sacred Festival in India, Sakifo International Festival at the Reunion Islands, Womad Festival in Chile, Kirstenbosch Summer Sunset Concerts, and Womad Festival in the UK.

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The Soil is an award-winning South African acapella group whose music is a blend of contemporary township style and an eclectic mix of urban contemporary, fusing beat-box and soul.

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The Surge An initiative of the US State Department’s Bureau of Educational and Cultural Affairs in collaboration with the ground-breaking New Yorkbased music Found Sound Nation, OneBeat employs collaborative music creation as a potent form of cultural diplomacy.

The product of this cultural diplomacy is an assemblage of accomplished musicians who have convened as musical change makers from around the world to create and perform new work as part of The Cape Town International Jazz Festival.

More than just a simple exchange,The Surge is an instigator for new forms of musical expression, an excursion into the unknowns in search of novel ways to use music as a tool for the betterment of our communities, and an ever-growing web of interconnected artists and change-makers.

The Surge consists of members from different countries in the world such as South Africa, US, Morocco and Russia, among others.

The members include Mandla Mlangeni from Johannesburg, who is a trumpeter, composer and bandleader.

A superbly talented player, Mandla is a member of the SAMA-nominated group Amandla Freedom Ensemble and has toured extensively as a member of the Cape Town Opera.

Recently, his musical production Oratorio For A Forgotten Youth was premiered by the Artscape Opera House. Mandla is also highly active

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with the Tune Recreation Committee, a group which he founded to teach music workshops and provide healing to disenfranchised communities.

Outside of his performance and education work, Mandla curates Monday Blues at the Bassline and a host of other Johannesburgbased concerts under the presenting banner of Afrikan Freedom Principle.

Abbay Misganaw, better known as Haile Supreme, is a Washington DC-based singer, rapper, percussionist, and founding member of Congo Sanchez, an internationally touring hip-hop outfit that synthesises reggae, dub, and Latin funk.

Equal parts activist and musician, he currently works as a resident MC and community leader of Daybreaker, an international sober yoga dance community, where he empowers people through sober dances, drum circles, group chants and guided meditation to unlock positivity and trust across communities. Recently, Abbay was awarded a fellowship with Arts in Praxis, a project which connects social innovators with local community arts organisations to foster empathy through creative communication and the arts.

Mehdi Nassouli is a Moroccan guembri player whose passion for preserving Moroccan music is matched by his energetic and engaging stage presence. Growing up in Taroudant, Mehdi was immersed in traditional Gnawa culture, a spiritual music of ancient and rich African heritage. Inspired and surrounded by the sounds of Moroccan musical heritage, Mehdi devoted himself to studying deqqa, a traditional form of art from

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The Surge is a product of OneBeat, an incubator for music-based social entrepreneurship, where innovative musicians from around the world launch collaborative projects designed to make a positive impact on local and global communities.

Sergey Balashov is a renowned drummer and percussionist from Moscow, specialising in jazz and improvisational music. After six years as an autodidact drummer, Sergey began formal study in Vienna (Austria) under teachers Herbert Pirker and Joris Dudli.

Rising to prominence as a sought-after collaborator, he has accompanied theatrical productions and performed with numerous local ensembles.

His group, Jazzator, is highly active in the Moscow experimental music scene and has also participated in educational workshops for orphan youth in Sochi. Additionally, Sergey has contributed to various inter-disciplinary works combining music with dance, cinema and visual art, collaborating with renowned musicians such as Sergey Letov and Zulya Kamalova, as well as award-winning theatre directors Ivan Vyrypaev and Kirill Vytoptov.

Aisaana Omorova has been studying the traditional instruments of Kyrgyzstan (including komuz, jaw harp, and choor) since age six, apprenticing with revered instrumentalist Zainidin Imanaliev at the Ustashakhirt Centre of Traditional Music.

A member of the The Folk Ethnographic Theatre Ordo Sakhna, Aisaana has toured extensively throughout Europe and Central Asia.

Her recent collaborative work includes Playing Together and Bandistan Ensemble organised by CEC ArtsLink and the Omnibus

Ensemble from Uzbekistan, supported by the US Department of State. In the US, Aisaana has performed at Asia Society New York, Metropolitan Museum of Art and Pioneer Works, and participated in a residency at Bang on a Can’s Summer Festival at MassMOCA, Massachusetts. Currently, Aisaana studies music at the Kyrgyz National Conservatory Jeremy Thal, co-founder & artistic director of Found Sound Nation, is a horn player, composer, and educator. He studied horn, ethnomusicology, and Chinese at Northwestern University, and continues to work as a performer, playing in major music festivals and obscure bookstores around the world.With fellow co-founder Chris Marianetti, Jeremy co-designed Found Sound Nation’s approach to socially-engaged music creation, and has co-led FSN projects in Haiti, Zimbabwe, New Orleans, Mexico, Indonesia, Italy, and Switzerland.

Jeremy has served as a lead teaching artist at the Weill Music Institute at Carnegie Hall, running innovative music production workshops with incarcerated youth in New York City. A founder of ZeroBit Music, he composes and produces music for film, theatre, websites, and video games. As a horn player, Jeremy has recorded and toured with indie rock heavyweights Jeff Mangum and The National, and leads his own band, Briars of North America.

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Taroudant and spent the better part of a decade learning several traditional musical styles across Morocco.

Mehdi was featured on French guitarist Titi Robin’s album Les Rives (2012) and the two later collaborated on a joint album, Taziri (2015), with both albums yielding extensive international touring. Mehdi has since fused his traditional North African style with jazz and other world styles in his own band and his collaborations with luminaries like Herbie Hancock, Fatoumata Diawara, Nneka, Justin Adams, Hindi Zahra, Andy Emler, Benjamin Taubkin and Alpha Blondy.

Jan Kruzliak is a Bratislava-based violinist.

The son of a flute maker and Slovak folk enthusiast, Jan began his musical journey at an early age and after a turn majoring economics, went on to focus on early baroque and contemporary music at Academy of Performing Arts in Bratislava.

Eventually, Jan re-discovered world and traditional music while studying abroad at Royal Academy of Music Aarhus and began to incorporate looping and other effects into his playing style. A master of many genres including jazz, experimental and classical, Jan has toured across Europe with countless ensembles and accompanied large-scale theatre productions. Recently, his group La3noCubano has led percussion workshops for Roma youth as well as performed free concerts in refugee camps.

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Trombone Shorty Trombone Shorty’s new album opens with a dirge, but if you think the beloved bandleader, singer, songwriter and horn-blower born Troy Andrews

That bit of beautiful New Orleans soul — “Laveau Dirge No. 1,” named after one of the city’s most famous voodoo queens — shows off our host’s roots before Parking Lot Symphony branches out wildly, wonderfully, funkily across 12 diverse cuts.

True to its title, this album contains multitudes of sound — from brass band blare and deep-groove funk, to bluesy beauty and hip-hop/pop swagger — and plenty of emotion all anchored, of course, by stellar playing and the idea that, even in the toughest of times, as Andrews says, “Music brings unity.”

As for why it’s taken Andrews so long to follow 2013’s Raphael Saadiq-produced Say That to Say This, the man simply says, “I didn’t realise so much time passed. Some artists don’t work until they put a record out, but I never stopped going.” Truly.

In the last four years, Andrews banked his fifth White House gig; backed Macklemore and Madonna at the Grammys; played on albums by She & Him, Zac Brown, Dierks Bentley, and Mark Ronson; opened tours for Daryl Hall & John Oates and Red Hot Chili Peppers; appeared in Foo Fighters’ Sonic Highways documentary series; voiced the iconic sound of the adult characters in The Peanuts Movie; inherited the esteemed annual fest-closing set at

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the New Orleans Jazz & Heritage Festival in the tradition of Crescent City greats like the Neville Brothers and Professor Longhair; and released Trombone Shorty, a children’s book about his life that was named a Caldecott Honour Book in 2016.

Adding to that legacy, his Blue Note Records debut Parking Lot Symphony finds Andrews teamed with Grammy-nominated producer Chris Seefried (Andra Day, Fitz and the Tantrums) and an unexpected array of cowriters and players including members of Edward Sharpe & The Magnetic Zeros, The Meters, Better Than Ezra, and Dumpstaphunk. Considering Andrews’ relentless schedule, it’s all the more surprising that this LP began with him in a room, all alone, back in New Orleans.

“I had two weeks at home so I went to the studio and set up the ‘playground’,” he recalls. “I had everything in a circle: tuba, trombone, trumpet, keyboard, Fender Rhodes, Wurly, B3 organ, guitar, bass, drums—and me buried in the middle.”

He recorded an album’s worth of ideas and then, well, walked away for a year. Not because he was too busy, but because he wanted to hit the road and see how the music changed on him. When Andrews came back with a full band, the songs came to life.

Take the album’s two covers, a pair of NOLA deep cuts: there’s Here Comes the Girls, a 1970 Allen Toussaint song originally recorded by Ernie K-Doe that here (with

Ivan Neville on piano) sounds bawdy and regal, like something from a current Bruno Mars album; and The Meters’ lovesick It Ain’t No Use, which swirls a vintage R&B vibe with resonant choir vocals and upbeat guitar from The Meters’ Leo Nocentelli himself to transport the listener to the center of the jumpingest jazz-soul concert hall that never was.

The story there is almost too good.

The session band — guitarist Pete Murano, sax men Dan Oestreicher and BK Jackson, and drummer Joey Peebles with Dumpstaphunk’s Tony Hall in for Orleans Avenue bassist Mike Bass-Bailey — were in the studio to lay down It Ain’t No Use. Hall even had the vintage acoustic he bought from Nocentelli years ago, which was used on the original Meters session.

On the way to the bathroom, Andrews saw Nocentelli coming out of a different tracking room: it was meant to be.

But that’s not unusual for a man raised in one of the Tremé’s most musical families.

Andrews got his name when he picked up his instrument at four (“My parents pushed me toward trombone because they didn’t need another trumpet player,” he laughs).

By eight, he led his own band in parades, halls and even bars: “They’d have to lock the door so the police couldn’t come in.”

Promoters would try to hand money to his older cousins, but they’d kindly redirect them to the boy. In his teens, Andrews

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came here to mourn, you got it all wrong.

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played shows abroad with the Neville Brothers.

Fresh out of high school (New Orleans Centre for Creative Arts) he joined Lenny Kravitz’ band.

Across that time, three Trombone Shorty albums and many collaborations since, Andrews nurtured a voracious appetite for all types of music — a phenomenon on fluid display with Parking Lot Symphony.

On Familiar, co-written by Aloe Blacc, they practically mint a new genre (trap-funk?) while Andrews channels his inner R. Kelly to spit game at an old flame. Meanwhile, the instrumental Tripped Out Slim (the nickname of a family friend who recently passed) bends echoes of the Pink Panther theme into something fit for James Brown to strut to.

And if you listen closely to Where It At?, written with Better Than Ezra’s Kevin Griffin, you may even hear a little Y2K pop. “I know it wasn’t cool to listen to *NSYNC or Britney Spears in high school,” says Andrews, “but those bass lines and melodies are funky.” They pair astonishingly well with all the Earth, Wind & Fire that bubbles beneath these songs.

It’s worth noting that Andrews’ vocals sound better than ever (he credits Seefried for that), because Parking Lot Symphony might be the man’s most heartfelt offering yet. The breezy title track, which Andrews wrote with Alex Ebert (Edward Sharpe & The Magnetic Zeros), is as much about walking the Tremé, being uplifted by the music that seems to seep from every surface, as it is about moving on from a broken heart. And the shuffling, bluesy No Good Time reminds us, with a world-weary smile, that “nobody never learned nothin’ from no good time.”

But Andrews is clear that this isn’t some kind of breakup record. “It’s a life record,” he says, “about prevailing no matter what type of roadblock is in front of you.” That message is clearest on Dirty Water, where over an easy groove, Andrews adopts a soft falsetto to address just about anyone going through it — personal, political, whatever. “There’s a lot of hope turning to doubt,” he coos. “I’ve got something to say to them / You don’t know what you’re talking about / When you believe in love, it all works out.” Amen. Now let the horns play us out.

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The

Vijay Iyer

Sextet The Grammy nominated pianist has been voted Down Beat Magazine’s Artist of the Year three times in 2012, 2015 and 2016.

He was appointed as the Franklin D. and Florence Rosenblatt Professor of the Arts in the Department of Music at Harvard University.

Iyer has released more than twenty albums, covering remarkably diverse terrain, most recently for the ECM label.

The latest include Far From Over (2017), the first record from the Vijay

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Iyer Sextet, A Cosmic Rhythm With Each Stroke (2016), a collaboration with Iyer’s “hero, friend and teacher,” Wadada Leo Smith, Break Stuff (2015), featuring the Vijay Iyer Trio, Mutations (2014), featuring Iyer’s music for piano, string quartet and electronics, and Radhe Radhe: Rites of Holi (2014), the score to a film by Prashant Bhargava, performed with the International Contemporary Ensemble.

The Vijay Iyer Trio made its name with two tremendously acclaimed and influential albums. Accelerando (2012) was named Jazz Album of the Year in three separate critics polls, by NPR, the Los Angeles Times, and Amazon.com.

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Vijay Iyer has been described by different media houses as one of the most interesting and vital pianists in jazz, as well as a boundless and deeply important young star.

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Hailed by PopMatters as “the best band in jazz”, the trio was named 2015 Jazz Group of the Year in the DownBeat poll, with Iyer having earlier received an unprecedented “quintuple crown” in their 2012 poll (Jazz Artist of the Year, Pianist of the Year, Jazz Album of the Year, Jazz Group of the Year, and Rising Star Composer).

Historicity was a 2010 Grammy Nominee and was named #1 Jazz Album of 2009 in The New York Times, The Los Angeles Times, the Chicago Tribune, and numerous other publications.

Iyer’s 2013 collaboration with poet Mike Ladd, Holding It Down: The Veterans’

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Dreams Project, was hailed as #1 Jazz Album of the Year by the Los Angeles Times. Along with their previous projects In What Language? (2004) and Still Life with Commentator (2007), Holding It Down rounded out a trilogy of politically searing albums about post-9/11 American life.

Iyer’s compositions have been commissioned and premiered by Bang on a Can All-Stars, The Silk Road Ensemble, Ethel, Brentano Quartet, Brooklyn Rider, Imani Winds, American Composers Orchestra, International Contemporary Ensemble, Chamber Orchestra Leopoldinum, Matt Haimowitz, and Jennifer Koh.

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Who’s Who 2018

Expressions

The 2018 Duotone Photographic Exhibition In the 19th edition of its existence, the Cape Town International Jazz Festival (CTIJF) engraved a footprint where it hosts some of the finest artists Africa has to offer, in collaboration with some international greats of our time.

2018 Curator

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As the CTIJF is celebrated as an anticipated calender event, so the Duotone Gallery forms an integral part of this gathering. A space where it’s visitors can come to experience imagery captured by our festival photographers over the years. For some it’s an exhibition, some a visual experience and some just simply a time of reflection saying; “I was there” The CTIJF has created a platform for new talent in various art forms which includes the Duotone Gallery, that forms part of the Sustainable Training & Development programme, a foundation on which the festival has been built.

This year Duotone pays homage to the vangaurd photographers and future historians who attended the photojournalism workshop in 2017, Meegan Mitchell, Samson Baranga, Zimasa Mpemnyama and JP Crouch.

The gallery theme for 2018 has been framed in “Expressions”. It is indeed the

Who’s Who 2018

essence of capturing of thoughts, feelings, an articulation of emotions which became a trademark for many artists expressing their personal response to their music and various art forms.

The Duotone Gallery pays tribute to Hugh Masekela, a man who expressed his love for the arts through what he was known for at best. Hugh Masekela has always been a headline act of the festival, flying high the flag of SA music even across the world. His expressions and stage performances always came from a very deep place embedded with a rich history of African tales that many could relate to.

RIP. Bra Hugh.

We also pay our respects to Peter McKenzie, whom we sadly lost in 2017.

Peter was one of the first curators and facilitators of the Photojournalism course and Duotone Gallery. A photographer of note, an expert in his field with a great heart of empowering others. His contribution to the arts has most certainly enriched the lives of those he encountered with. Thank you.

RIP. Peter McKenzie.

Johan Samuels is the 2018 Duotone Gallery curator. Based in Cape Town, Johan specialises in corporate, media and events photography, and has been an official Cape Town International Jazz Festival photographer for the past nine years.

He is also the founder of a Non-Profit Organisation - Ripple Network, an online media publication, that focusses on celebratory and positive news,information and the achievements of the ordinary man on the street.

Johan is a self-proclaimed foodie. His love for the culinary arts – mostly baking - was born out of his passion for food photography, and anyone who has eaten at Johan’s table, will attest to his extraordinary talent.

His work graced the walls of the Duotone Gallery in 2016, where many of hisexquisite shots captured at the CTIJF throughout the years were showcased.

His love for the arts stretches further than just music photography. He is also a musician himself and this has added a deeper dimension to what he sees through the lens and has most certainly shed a distinctive light on his craft.

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2018 Duotone Photographers

Her love for this art form increased after she graduated from the College of Cape Town in 2016, where she completed her studies in Art and Design.

She focuses on capturing the emotional nuances of human faces to article the story of our lives and human behavior. Through her attentive observations, she can translate a multitude of emotions into a single, still, moment.

Meegan also believes that her commitment and dedication to the arts will contribute to others hearing the music speak through what she sees.

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Who’s Who 2018

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MEEGAN MITCHELL is a Cape Town based freelance photographer with a keen interest in ‘documenting’ life through the lens of her camera.

South Africa’s Leading School of Specialisation in

Performing

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& Creative Arts

THE NATIONAL SCHOOL OF THE ARTS

Registra>ons to audi>on for 2019 open on 17th April and close on 30th May 2017 at 12:00.

Audi>ons are by appointment only.

The NSA is on the GDE online system for admissions for Grade 8.

Applica>ons for admissions to Grade 9 – 11 can be made at the school.

Who’s Who 2018

www.artschool.co.za admissions@artschool.co.za 011 3396539 x215/305 Hostel Accommoda>on 17 Hoofd Street, Braamfontein, Johannesburg, 2017

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JP CROUCH is a session and touring drummer, working with some of the greatest names in the industry, like Karen Zoid,Vicky Sampson, Neville D, Ernie Smith and more.

Seven years ago, his love for music photography was born. His skills now encompass studio photography, corporate, weddings and events. But, it’s his love for music and his ‘hands-on’ experience that lends itself to a special connection with his camera, translating into his emotive and technicallyproduced imagery.

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Who’s Who 2018

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From the streets of Cape Town, another talented individual has immerged, not just in the art of photography, but also as a keen videographer and muso.

Feeding the future since 1958

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Thanks to the generous and loyal support of our donors, PSFA has for the past 60 years, been able to contribute to the nutritional needs of millions of underprivileged children, enabling them to reach their full potential and grow up to achieve their dreams.

Together, Who’swe Whoare 2018 making a difference!

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Zimasa also holds an Honours degree in Journalism and Media Studies from the University of the Witwatersrand. She has worked and written for Reuters, eNCA, Live Magazine, Red Bull, The Con Mag, Africanah and Culture Review.

Her versatility as a reporter and keen analytical thinking ability honed from daily contact with the business world, have developed a keen eye to spot a particular subject matter now framed in her lens.

Zimasa has strong interests in African history and philosophy, gender studies, popular culture and how these are connected to art.

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Who’s Who 2018

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ZIMASA MPEMNYAMA is an activist, blogger, freelance journalist and photographer working between Johannesburg and Cape Town, with a degree in Human Physiology and Microbiology from the University of Cape Town.

SAMSON BARANGA is an awardwinning photographer who hails from Kampala, Uganda. As one of the pioneers of the fashion industry in Uganda, he started his own online commentary platform in 2011 called Fashion Police due to the lack of space for anything avant garde in mainstream media.

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Since then, the platform has gained significant credibility, evolving into what is now known as ‘Fashion 256.’ In addition to his life as a fashionphotographer, Samson is also a lifestyle journalist for The Observer newspaper.

Combining fashion with jazz has opened a whole new avenue for Samson, earning him the top award as blogger of the year in 2015.He is now recognized by CNN African Voices as having the largest fashion platform in Uganda.

Who’s Who 2018

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Education, Training and Skills Development is an important part of esp.Afrika’s Corporate Social Investment policy. Every year, to coincide with the Cape Town International Jazz Festival (CTIJF), a series of workshops and programmes are hosted which cover a range of industry aspects.

The CTIJF training and development programme, provides a range of practical skills development workshops

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via a vast network of mentors, trainers and educators. These workshops allow us to interact with musicians, youth, disadvantaged groups and individuals, professionals, associates and a broad section of the general public.

Workshops take place across the Western Cape and venues include the Artscape Theatre Complex on the Foreshore, Guga S’Thebe Theatre in Langa, the Cape Music Institute in Athlone, and more. They attract people from near and afar and across the generational and cultural divide.

Who’s Who 2018

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2018 Sustainable Training & Development Programme

2018 Workshops include: MUSIC & CAREERS WORKSHOP PROGRAMME Over the past eight years the Music and Careers Workshop Programme has contributed to the development of high school students from more than forty schools in the Western Province. Well over four hundred musicians, students and youth have been empowered with crucial information to understand the mechanics of live performance and the intricacies of the business of event staging and it’s related disciplines.

all the CTIJF events during the official ten-day programme.This initiative provides these young people with an opportunity to gain hands-on experience, learn from the best in the industry; build a network of experts and actively participate in one of the best events in the world.

The Music & Careers Workshop Programme is supported by the Western Cape Education Department and The Department of Cultural Affairs and Sport.

It is managed by the CTIJF Sustainable Training and Development department.

Participating schools in 2018 include: • Chris Hani High School • Bergvliet High School • Kronnendal Music Academy • Mitchell’s Plain Music Academy • Khayelitsha IMAD Music School • Jazz Yard Academy • Eersterivier Secondary School • South Peninsula High School • Chosen Generation Production Project • All Saints Music Project • Parel Vallei High School

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Having tracked their movements since graduating from the programme, we are excited to know that many have successfully progressed into the realm of employment in event production, or chosen to pursue their passion further by studying their craft at exemplary institutions. A significant percentage of these graduates have also made music their career and can now be seen on stages all over the country.

The Music and Careers Workshop

Programme involves Grade 10 and 11 students from a selection of schools from the greater Cape Town metropole. Over a period of four Saturdays during the month of February, these young people from across the Western Cape gain valuable theoretical insights into the business of ‘show biz’. These sessions are followed by practical activities and music rehearsals, culminating in a live performance at The Artscape Theatre. This year, the highly anticipated and always sold out show takes place on 18 March.

On completion of the workshops, students have elementary knowledge of aspects related to public relations and publicity, social media and digital marketing, entrepreneurship, stage production, music business, rehearsals and performance craft, all of which contribute to more holistic understanding of the entertainment and event industry.

The best of the graduating students are selected as interns and trainees, to participate in the official CTIJF ten-day programme. A contingent of the best students is extracted and assigned to work as Production Crew for

Who’s Who 2018

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ARTS JOURNALISM PUBLIC DEBATE The Arts Journalism Public Debate turns its lens on gender – not just on harassment and inequalities in representation and pay, but also on questions of the representation of women and minority groups in music, entertainment, literature and media, and the stereotypes that often govern popular perceptions about the objectification of women in music. The conversation will also explore notions toward dismantling patriarchy within the creative industries.

Panellists for this year’s event will be drawn from jazz, journalism and genders studies, and include: Gwen Ansell (chair), Percy Mabandu, Nomfundo Xaluva and Nicky Schrire and more.

PHOTO JOURNALISM COURSE The Photojournalism course has enjoyed eight years of ongoing success. Now hosted

by Caroline Mwangi - the only student to have completed all the CTIJF’s media related workshops, including Arts Journalism, Mentoring Arts Journalism and Photographic Journalism. This course is credited with producing many of the current official festival photographers. Caroline is a published photographer, with a number of exhibitions under her belt, as well as being a lecturer who brings with her years of practical and teaching experience.

The Photojournalism course focuses on the concepts of perspective, practice and the individual approach to photography, rather than basic techniques. In other words, technical realities will be the visual voice of the Photographer. Participants are encouraged to explore a wider repertoire of possibilities outside of the space of live stage photography.

Each participant presents a portfolio of photographs taken at various festival activities, which is used as the basis for quality improvement and development of the individual’s visual voice. Some sessions are combined with the Arts Journalism course to explore and consolidate the relationship between words and images and the photographer/journalist collaboration. The workshop uses research and its relationship to pre-visualization to complement the practical sessions.

MUSIC BUSINESS The CTIJF Music Business workshop means serious business in 2018. Billy Domingo, the Chief Operating Officer of espAfrika, and the Festival Director of the CTIJF, will lead the panel of industry experts in in their discussion at the Music Business workshop.

Billy, will remind those present that “show biz is a biz” as events entrepreneurs, organisers, suppliers, musicians and even festinos get to grips with the art of professional production. The workshop is aimed at musicians and all other careers within the music industry.

There is no doubt that the live music and events industries are made up of many complex, administrative and practical elements. For this very reason, every event has to scrutinise specific formulas, permissions, certifications, legalities and licences suitable to each event.

This Music Business workshop is intended to bring participants up to speed with the very real aspects and details required to host a successful event in the City of Cape Town.

Facilitator: Billy Domingo (Festival Director – Cape Town International Jazz Festival/COO – espAfrika), with special guests that include; Leonora De Souza-Zilwa (CoCT); Queen Makhubela (SAMRO); Aki Khan (Eastern Acoustics) and Donveno Prins (Leading Musician/Saxophone Player).

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Who’s Who 2018

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ARTS JOURNALISM COURSE The CTIJF Arts Journalism course is the longest running programme within the festival’s Sustainable Training and Development Programme. Participants are carefully selected and cover units of study based on SAQA standards.

The curriculum academically equates to the Level Five National Certificate in Journalism. The course provides a workbook packed with useful tips and practical guidance on the courses’ workshop sessions. Journalists, journalism cadets and interns from any medium wishing to improve their expertise in writing for the arts are encouraged to apply. Students have an opportunity to improve their skills, in addition to working and networking with seasoned journalists and media devotees. Certificates are presented to students on completion of the course.

Many students, who have graduated from this intense programme, have eventually moved on to become successful journalists in the media.

A stringent admission process applies, which includes both an application portfolio and evaluation exercise, all of which collectively limit access into the Arts Journalism programme.

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Who’s Who 2018

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MUSIC TECHNOLOGY WORKSHOP Each year, the CTIJF present a free workshop aimed at exposing musicians to modern technology. This year, the workshop explores the advancement in computers and technology that have irrevocably changed the way musicians approach their craft. Participants will discover how to use technology in songwriting, beat production and arranging music, and can use some of the latest equipment and techniques for themselves. This is a hands-on interaction with the future, that will also answer the burning question - can robots and humans share a stage? This workshop cannot be found on YouTube claims Alistair Andrews.

MEDIA STUDENTS: SKILLS TRANSFER PROGRAMME This programme celebrates the reciprocal relationship between the CTIJF Sustainable Training and Development department and the Cape Peninsula University of Technology (CPUT). Media students (studying Public Relations, Photography and Journalism) from the CPUT, are afforded the opportunity to learn first-hand from a network of experts and actively participate in one of the best events in the world. Participants are both full and part-time students ranging in age, gender, race, background and cultural disposition.

Students are trained to work at the training and development workshops and programmes; as well as the event’s press conferences and on show nights. Training in media protocol, media management, media liaison, an understanding of the media industry and where PR, media and marketing fit into the industry and the CTIJF, are covered. They gain work experience within the fields of media liaison, event management, marketing, public relations, journalism, television and radio production, as well as project management. They shadow international media, performing artists, as well as high level media and marketing professionals from across the world. Many have gone on to take up employment in the organisations they interact with.

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MASTER CLASSES These are interactive encounters presented by some of the top jazz and urban musicians in the world. This is an opportunity to spend quality time with some of the musicians performing at the festival. Topics at these free Master Classes usually include personal insights into each presenting musician’s life, their unique performance techniques, musical genres, compositions, instruments and a myriad of interesting and useful information. Participants are encouraged to ask questions and share their own experiences. This year’s master class artists include: Miles Mosley,Vijay Iyer, Corinne Bailey Rae, Louiz Banks, Nicholas Payton and Mulatu Atzuka.

Who’s Who 2018

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FASHION WORKSHOP The fashion industry is one of the most coveted in the world, so why do so few fashion students in South Africa successfully break into, or innovate, a sustainable career in the diverse universe of the apparel business? This year, the popular fashion workshop aims to offer solutions. A panel of leading fashion figures will focus on the entrepreneurial aspect of fashion while highlighting intrinsically how to craft business and life skills for those who plan to make fashion their future.

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UMCULO WAM MASTER CLASSES Now in its third year, the uMculo Wam Master Classes have expanded to include the Guga S’Thebe Precinct in Langa and the Cape Music Institute in Athlone. As always, the uMculo Wam Master Classes include interactive presentations and performances by local and international musicians. This year’s special guests include South African musicians Mi Casa, The Soil and Amanda Black.

Since many people are unable to travel to the city to experience some of the festival’s many workshops, we bring master classes to the people. This programme provides student musicians with vital information, from key industry figures who share their knowledge and experience with community initiatives and projects based in the Cape Flats and surrounding areas.

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DUOTONE PHOTOGRAPHIC GALLERY Duotone is a photographic exhibition of pictures by young and upcoming photographers. Only photographers who have completed the Photojournalism course are given this festival platform to present their photographic material.

The Photojournalism course is a week-long course that offers a twopronged training programme – theory and practical. Participants learn from mentors about the intriguing techniques of taking photos within a festival environment and then gain practical experience from actual festival activities.

The photographs taken during this course include pictures of musicians, rehearsals, live performances, interviews, workshops and press conferences. Many of these pictures bring out dramatic and diverse photographic content. A selection of the best photographs will be exhibited at the CTIJF’s photo exhibition - Duotone.

Who’s Who 2018

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GIGS FOR KIDS Every year the CTIJF hosts a fun-filled function for young disadvantaged children between the ages of five and ten-years-old. 2018 is no different, participants are treated to an exciting programme, which includes face-painting, dance and interactive activities.

The programme is divided into short activities; each child receives a drum to play for the session and taught how to play in unison with the group. Other interactive exercises include body percussion, vocals and drumming. This year, the hosts, Naturali Catchi Rhythms, will teach children to play in rhythm while creating group cohesion, unity and a sense of being part of group in harmony and rhythmic symmetry.

Since the event is highly specialised and controlled, attendance numbers are limited. Invitations are extended to various orphanages and institutions that care for disadvantaged and underprivileged children.

FILM PRODUCTION: SKILLS TRANSFER PROGRAMME Another project collaboration with the CPUT Media Department, is the newly launched Film Production Skills Transfer Programme. This initiative provides film students with an opportunity to work at ‘Africa’s Grandest Gathering’, as members of the official production crew. Students work with the official production company responsible for producing the CTIJF promotional videos and documentary. They also work at the training and development workshops and programmes; the event’s press conferences and on show nights. This programme provides students with experience in all areas of film making and production, and promotes creative confidence and artistic independence in a hands-on learning environment.

Training in concept development, camera operation, production management, editing, directing and sound design are covered. They focus on the tools and techniques of digital cinematography, the use of aspect ratio, lighting, composition, and multi-camera shooting especially. This initiative exposes students to the technical and creative aspects of motion picture story-telling.

Service Providers espAfrika thanks the following organisations for their contribution to the success of the 2018 Cape Town International Jazz Festival Digital Express Dynamic Events Eastern Acoustics Econ-O-Loo Ecosafety Edries Events & Logistical Support Services Entertainment Express Event Solutions Eyona Gearhouse Generator & Plant Hire Gl Events Golf Car Worx Goscor Havaseat Ian Burges-Simpson In House / Ivtm Inspection Ivtm Jrw Lift Services K&A Marketing Km Controls Lazer Communications Magical Parties Matex Merry Pak

Mikkel Projects Move Media Naturali Catchi Rhythm Networx Pr Obeco Pantsula Events Party Design Picnic Company Popcorn Procom Propstars Rondex Sa Backline Sitewise Soundspectreum Sphere Solutions Stuff Rentals Superior Vision Tentickle The Rhythm Workshop The Sunroom Tone Media Toyota Forklift Tst Zenzeleni

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2 Oceans Computer Consumables All Access Crew All Fire & Marine Services ANA Publishing Avis Babcock Target Bhejane Special Events Bidvest Execuflora Cape Medics Cape Otto Signs Catch Media Cfc Charles Lazer Chattels Chef Daddy City Flags Colibri Computicket Consultmech Container World Corpmedia Cotton & Stitch Cp Events De Villiers & Hulme Delphisure Digiplus

Who’s Who 2018

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Who’s Who 2018

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