Who's Who 2019 - The Cape Town International Jazz Festival by Who's Who

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FOREWORD

THE PRESIDENCY REPUBLIC OF SOUTH AFRICA

MATAMELA CYRIL RAMAPHOSA PRESIDENT OF THE REPUBLIC OF SOUTH AFRICA The 20th Cape Town International Jazz Festival (CTIJF) represents another moment of pride on South Africa’s calendar of transformation and integration into the global community during 25 years of freedom and democracy. This celebration of artistic excellence is a highly anticipated showcase of South Africa’s creative diversity and the contribution of our creative industries to our national identity and our economy. Most importantly, the international nature of this two-day event is a manifestation of the enduring capacity of music to bring not just a nation together but to bring humanity together, whether as performers or enthusiasts. In the course of two decades, the Festival has not only left a legacy of great moments made on stage but it has developed a footprint of sustainability in the economy of the Western Cape and greater South Africa to which visitors return year after year to appreciate all our country has to offer. The Festival has also spawned music development programmes that have unearthed new performance talent and developed new generations of skilled producers,

stage managers, designers, marketers, sound engineers, riggers and other behind-the-scenes artists who can hold their own — not only in Cape Town but across the world. On behalf of the government of South Africa and the warm and hospitable people of our beautiful country, I wish all visitors to the 20th CTIJF a memorable, exciting weekend that will inspire many happy returns. Congratulations to our hosts, espAfrika, on this special milestone in which you are supported once again by the Department of Arts and Culture. May your next two decades be equally melodic and successful. His Excellency, Mr Matamela Cyril Ramaphosa, President of the Republic of South Africa

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FOREWORD

EMMANUEL NKOSINATHI “NATHI” MTHETHWA MINISTER OF ARTS & CULTURE South African jazz is hard to define. It has taken on various forms over time, constantly reflecting the state of South African society. The development of South African jazz can thus be seen to have stages that mirror South Africa’s history. South African jazz therefore creates a complex continuity between the contemporary jazz artists of today and the legendary artists that were active during the struggle against apartheid, whether in exile or within country. Jazz is a means with which we tell our stories. We believe that events like the Cape Town International Jazz Festival (CTIJF), where the living legends of jazz rub shoulders with younger local artists, play an important role in providing for a cross pollination of knowledge, skills and talents. We are a nation that loves jazz music and our love of jazz is striving for an interplay of individuality with the collective, which also characterises our struggle for freedom and our efforts to achieve sustainable economic and social development in the present. Jazz today has grown in popularity over the years, bringing South Africans and the rest of the continent to this much-loved event. This Festival creates a space for engagement and enjoyment, and also increases the economic contribution of the arts to the City of Cape Town. Many of South Africa’s most talented jazz musicians have performed on the stages of the Cape Town International Jazz Festival — some of which are now departed from this earthly realm, like Miriam Makeba, Hugh Masekela, Dorothy Masuka and the son of Southern African soil, Oliver “Tuku” Mtukudzi. These jazz icons acted as representatives of the struggle to an international audience, creating music that portrayed the beauty and courage of African culture. While artists in exile were able to continue developing South African jazz from afar, their work was always within a context of their forcible displacement from their homeland and families, and from the local music industry itself. The release of Nelson Mandela and the end of apartheid in 1990 signified the hope of new beginnings. The largely

peaceful revolution that ushered in democracy brought with it the notion of the "Rainbow Nation" — a new South Africa that offered equality and freedom for all. A creative boom ensued during the first years of freedom, with music embracing and celebrating the country’s new-found unity. The last 25 years has seen a flourishing of the creative economy in general and of music in particular. Much remains to be done to achieve sustainable livelihoods for artists but tangible progress has been made in unleashing the economic power of the arts. As we kick off the 20th Annual Cape Town International Jazz Festival, on behalf of the Department of Arts and Culture, it is my pleasure to welcome you to the City of Cape Town with these words: “Oh! Come all ye faithful jazz enthusiasts! Let us, joyful and triumphant, partake in 'Africa’s Grandest Gathering' and be regaled with the most gifted local, continental and international acts in this special and historical genre of music in these next two days of festivities.” Emmanuel Nkosinathi "Nathi" Mthethwa Minister of Arts & Culture, South Africa

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FOREWORD

KHALID ABDULLA AEEI CEO & ESPAFRIKA ACTING CEO Welcome to Africa's Grandest Gathering. "Jazz is not just music, it’s a way of life, it’s a way of being, a way of thinking." — Nina Simone I cannot imagine a world without music, which is why global events such as the Cape Town International Jazz Festival (CTIJF) is an essential element for preserving the longevity of music and the arts. 2019 sees the celebration of the 20th staging of the spectacular CTIJF which is a significant milestone in the Jazz Festival’s journey, and an annual highlight in the calendars of festinos far and wide. We have proudly seen the CTIJF grow into a national icon in the international jazz market. The CTIJF is positioned as “Africa’s Grandest Gathering” and is also voted as one of the World’s Best Festivals by FEST 300. At CTIJF, we honour the stalwarts and artists who have recently passed on. They played an instrumental role in changing the narrative of South Africa when the country was fighting apartheid. Legends like Hugh Masekela, Miriam Makeba and many others used their music to raise support against apartheid and provide hope to audiences. Still today, Abdullah Ibrahim, Ladysmith Black Mambazo and others continue to express themselves through music. The spirit of the music translates into unity for South Africa — it is also important to the social fabric of society as it enhances self-esteem, improves dialogue, creates a sense of community and belonging, and ultimately facilitates building our nation. AEEI is proud to have, over the past 12 years, invested into the arts and culture as well as many other social investment programmes adjoined with the CTIJF. The CTIJF runs sustainable training and development programmes that offer free annual workshops, skill transfer initiatives and cover a range of musicrelated topics. We believe that music is one of the cornerstones for building our future nation. Not only is 2019 an election year, but it also marks the celebration of 25 years of democracy in our country. This period comes with hope and renewed aspirations for all South Africans, especially those in the arts and culture industry. Music and the arts has a huge potential to improve our economy through additional job creation.

However, our greatest hope as responsible leaders is that all South Africans do their utmost to build a nation that is supportive of each other, united in its goals and unified in restoring the economy of our country! The CTIJF already contributes meaningfully toward job creation, generating increased economic gain and facilitating sustainable nation building in South Africa. It also contributes significantly to the gross domestic product (GDP) of the Western Cape and the country, as well as increases revenue directly into the national travel and tourism sector. All credit goes to you, our festinos, sponsors and partners for supporting the Festival. Your support each year ensures that a vibrant industry can contribute to the economy and livelihood of several thousand people who, each year, benefit from the CTIJF. On behalf of espAfrika and the AEEI group, I wish to thank all our local and international festinos for your loyalty, as it guarantees the longevity of the entertainment sector of our economy. I am especially proud of the achievements of espAfrika, who with its service providers and all other stakeholders, will be staging the 20th edition of this jazz event with local and international artists, and promises to deliver a joyous weekend for all. Come celebrate with us! Khalid Abdulla Chief Executive Officer, AEEI, and Acting Chief Executive Officer, espAfrika

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Get Going Visit www.myciti.org.za

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FOREWORD

BILLY DOMINGO FESTIVAL DIRECTOR Twenty years on... Who would have thought? Not in our wildest dreams did we think we would reach one decade, let alone two. Not because we did not have faith in ourselves but because the music industry is known to be fickle. Twenty years on, what have we achieved? Our training and development programmes have thrived, young artists and technical teams have emerged. To this end, the espAfrika YoungLegends competition has ensured fresh talent find a stage at our Festival every year. Some trainees who have come through our training and development programmes now head up divisions at the Festival. That makes our Festival special. We’ve nurtured from within. And we’ve stayed true to what we envisioned for this wonderful journey. It was never going to be based on anything other than the talent God gifted our musicians. The nostalgia of artists of the past also has to be acknowledged because it is where the fundamentals of our music come from. Our Festival has always been able to recognise a vast range of contributions to the arts, and the loss of so many iconic African musicians in the last decade has pained us. But the music of Bra Hugh (Masekela), Tuku (Oliver Mtukudzi) and the Miriams (Makeba) of the world have helped create a strong

platform from which the latest music draws. The next generation grows from this base. When we called this Festival “Africa’s Grandest Gathering”, we were talking to Africa and its diaspora. There are so many artists from Africa performing at our Festival. It’s a great privilege to be able to host them and showcase local stars such as multiple Grammy Award winners, Soweto Gospel Choir. Our Festival remains a platform where we can show Africa’s talent. Embracing Africa and its musical genres is important and will continue to be. I’ve heard sounds from Angola to Zimbabwe, from Abuja and Mozambique to Delft and Soweto. And I’ve heard the same drum being played, the same beat, which means that Africa is truly united by our rhythms and sounds. Twenty done, many more to come! Billy Domingo Festival Director, Cape Town International Jazz Festival

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SPONSORS

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FESTIVAL DIRECTOR Billy Domingo FESTIVAL MANAGEMENT Khalid Abdulla Sooren Ramdenee Eva Domingo Charmane Creamer MARKETING & PR Carenza van Willingh Bianca Fernandes Thandekile Majeke Ayesha Toyer Rifqah Abrahams Paul Goliath Maxine Teixeira Shannique Hodman

TALENT & PROGRAMMING Billy Domingo Lindsay Ann Rhoda-Cupido LOGISTICS Anthea Thys Thalia Erwin Rashieda Ismail Davids Clive Newman Isabella April TRAINING & DEVELOPMENT Craig Parks Corinne Becker Pumeza Zibi GOLF DAY Karen Denman

PRODUCTION

FASHION & ALL THAT JAZZ

Henlene Barends Amelia Baird Grant Pleming Ziyanda Gxothiwe

Wayne van der Rheede Alison Dixon

TECHNICAL Hassan Sonday Philip Beardwood Ian Florence

SPONSORSHIP Alroy Oliphant ACCOUNTS Nicoline Segers Nadia Ariefdien

CORPORATE HOSPITALITY

OFFICE SUPPORT

Janine Slingers China Dyira Spokazi Kala Samantha Pienaar Patricia Kitson Jessica Schaffers Sandra Scarlett Trishanta Hari-Priya Raman

Hadjiera Ramjam Jabaar Nazlie Samuels Thina Dyira

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Who’s Who magazine is produced and published by African News Agency (ANA) Publishing. Reproduction without

Cover photography Mgcina Nyoni

permission is prohibited. anapublishing.com

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2019 Artists 20

Tuku Music: A Celebration of Oliver Mtukudzi’s life through his music

Keyon Harrold

Knower

African Time Meeting Legends Over Time ft Herbie Tsoaeli, Sydney Mnisi, Feya Faku, Andile Yenana & Ayanda Sikade

The Lady Day Big Band

Mahube

Alfa Mist

The Mike Rossi Project ft John Fedchock

BCUC

The Mill

Ben Volpeliere-Pierrot of Curiosity Killed The Cat

Bickram Ghosh Quartet

Morris Goldberg

Chaka Khan

Cory Henry & The Funk Apostles

Craig Lucas

Don Laka

Moonchild

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Ndako Yo Wiñi

Nicole Mitchell's Black Earth Ensemble

Ntsika

Nubya Garcia

rePercussions ft Moses Boyd, DJ LAG, Tiago Correia-Paulo, Nonku Phiri & Mandla Mlangeni

Reza Khota Quartet

Don Vino Eliane Elias espYoungLegend 2019 winner: Edgar Muzah & Friends French Kiwi Juice (FKJ)

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Richard Bona Sekunjalo Edujazz Big Band

Gipsy Kings ft Nicolas Reyes and Tonino Baliardo

Shekhinah

GoGo Penguin

101

Ibraihm Khalil Shihab

103

100

Sho Madjozi

South Peninsula High School Band

Soweto Gospel Choir

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John Scofield’s “Combo 66” ft Vicente Archer, Gerald Clayton & Bill Stewart

Steve Kekana

Jonathan Butler: Home coming

Vuma Levin

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CON TENTS

espAfrika and the Cape Town International Jazz Festival (CTIJF) would like to extend their gratitude to the following organisations for their contribution to the success of the 2019 Festival: • 2 Ocean's Computer Consumbales • 4 Kids Party Hire • Airport Companies South Africa (ACSA) • Al Hambra • All Access Crew • All Fire & Marine Services • Ankerdata • Artscape • Avis Film • Avis Van Rental • Babcock Target • Bhejane Special Events • Bidvest ExecuFlora • Cape Executive Tours • Cape Medics • Cape Sun • Cape Town Magazine • Catch Media • CaterKid • CFC • Charles Lazer • Chattels • Ciltec / Inspection • City Flags • Colibri • Computicket • Consultmech • Container World • Corpmedia • Cotton & Stitch • CP Events • CP Security • Crisis Couriers • CT Med & Trauma Care • Cape Town International Convention Centre (CTICC) De Villiers & Hulme • Delphisure • Digi Graphix • Digicape • Digiplus • Digital Express • Dynamic Events • Eastern Acoustics • EB Inglis Music • Econ-O-Loo • Ecosafety • Edries Events & Logistical Support Services • Entertainment Express • Event Solutions • Eyona • Fedics • Frank Mallows • Gearhouse • Generator & Plant Hire • GL Events • Go Cabs Shuttle & Tours • Golden Circle • Golf Car Worx • Goscor • H20 International • Hadiya Li Africa Tours • Havaseat • Howler • Ian-Burges Simpson • Inhouse / IVTM • Inn On The Square • IVTM JRW Lift Services • JT International • K & A Marketing • Katanga • KM Controls • Kulula • La Vita Café • Lazer Communications • LED Vision

Behind Africa's Grandest Gathering

An ode to Africa's icon

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Centre stage

118

Capturing the music

119

Changing tides

Magical Parties • Matex • Merrypak • Mikkel Projects • Move Media • NorthWest University • OBECO • Onyx Cape Town • Open Field • Pantsula Events • Party Design • Planet Production • Popcorn Post Production Rhythm Workshop • Rola Volv Cars Somerset-West • Rondex • SA Backline • ScanShop • SiteWise • Something Different • SoundSpectrum • Sphere Solutions • Spotlight Music • Sunroom • Superior Vision Tentickle • The Events Collaboration • The Southern Sun Cullinan Hotel • Tone Media • Toyota Forklift • Tractor Outdoor • Trans 2 Logistics • Trees • Tripos Travel • TST • University of Cape Town (UCT) South African College of Music • Zenzeleni

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2019 Artist programme

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AFRICA’S GRANDEST GATHERING Since its inception, the Cape Town International Jazz Festival (CTIJF) has left its mark on the Mother City, the nation and the world

billion

For 20 years, the Cape Town International Jazz Festival has brought some of Africa’s — and the world’s — most prominent artists to Cape Town. It has been a platform from which stars, both rising and those already at the height of their fame, have showcased their talents for audiences from far and wide to enjoy. Not only has CTIJF pulled off “Africa’s Grandest Gathering” every year since 1999 but it has also created enriching training and development programmes for aspiring youth wanting to get a footing in the music industry. Recognised as the fourth-largest jazz festival on the globe, the CTIJF stages have been graced by world-class performers such as Earth, Wind & Fire (United States), Miriam Makeba (South Africa), George Benson (United States), Cassandra Wilson (United States), Hugh Masekela (South Africa), Cesária Évora (Cape Verde), Dorothy Masuka (South Africa), Oliver Mtukudzi (Zimbabwe) and many more. CTIJF is greater than just an annual event, however; it even precedes that of a social movement: It is about mobilising sustainable differences in society with an impact that spans beyond the music industry to include arts, culture and the economy.

The amount CTIJF has contributed to the Western Cape’s economy from 2007–2014

3 313 Students who have attended the CTIJF Master Classes since 2006

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2 371 11 031 Learners who have participated in the Music and Careers workshops over the past 12 years

People who have completed the CTIJF Training & Development programme since 2006

630

6 1 148 2 4 People who have attended the free community concerts over the last 12 years

Children from orphanages who have attended Gigs For Kids over the past 12 years

2 321 34 018 South African musicians who have performed onstage at the Festival

Direct and indirect jobs created by CTIJF since 1999

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A celebration of Oliver Mtukudzi’s life through his music

If there ever was a man who emulated the true spirit of Africa, it was Oliver “Tuku” Mtukudzi. A man who not only poured his soul into making music but who also had a reach in philanthropic missions and activism on the continent. Born in Zimbabwe, a young Oliver grew up in a poverty-stricken neighbourhood called Salisbury. His parents were not readily supportive of his music career despite being choir singers themselves. However, this did not hinder him from pursuing his dream of becoming a world-renowned artist. Oliver’s first step in his musical journey was when he joined the band Wagon Wheels in 1977, along with musician Thomas Mapfumo. The band’s first track, “Dzandimomotera”, went gold upon release. Soon after, Oliver went on to form his own band called Black Spirits, who have accompanied him throughout his career. The band would prove to make significant commentary on Zimbabwe’s socio-political issues come Independence Day in 1980. Their album, Africa, put the band — and Oliver as a home-grown musician — on the map.

Up until 1997, Oliver worked tirelessly on his music career, going as far as producing two albums per year. This unwavering diligence and commitment to his art form established Oliver as one of Zimbabwe’s, and soon to be Africa’s, leading producers, songwriters, vocalists and guitarists. He was undoubtedly a quadruple-threat. So much so that the Zimbabwean music scene has even recognised Oliver’s productions as Tuku Music as his innovations, and awarded them with a distinction from other forms of music produced in the country. Oliver’s witty ability to incorporate lyrics that touched on socio-political issues in his music is what made him particularly unique and popular. The everyday citizen could relate to his commentary, positioned as a voice of reason. The artist ventured into the movie industry with this politically-charged mindset, playing the lead in the firstever all-Zimbabwean casted film, JIT. Released in France, Denmark and the United Kingdom in 1993, the film revolved around a young boy in the 1980s pursuing a love interest. The

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film spurred on another career avenue for Oliver, one where he could continue to make a positive impact on society. In 1995, Oliver wrote and directed the musical Was My Child for which he was recognised by the Zimbabwe Writers’ Union. That same year, without putting his music career on hold, he was asked to perform at the Southern African Development Community (SADC) Music Festival held in Zimbabwe’s capital, Harare. His popularity as an individual artist skyrocketed. This newfound fame in the creative industry prompted the artist to concen-

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trate his efforts on building his personal brand. Along with the support of French label, Label Bleu, Tuku Music was well on its way to being established as a trademark on the continent. This saw the artist produce the album Tuku Music along with close friend, and South African musician, Steve Dyer in 1998, which was also released in Europe through Label Bleu. One year later, the album arrived on new shores in Australia, the United States, South America, Canada and the East. From then, international tour requests started pouring in. Oliver

went on to perform at the Rudolstadt Festival in Germany, Street Carnival in San Diego, Seattle’s Bumbershoot Festival, the Perth International Arts Festival with Black Spirits, and more. Fast forward four years to 2002: Oliver’s music career started soaring. Along with Black Spirits, he performed at the London Jazz Festival and the New Orleans Jazz Festival, made an appearance on the infamous David Letterman Show and released an album called Vunzhe Moto. In 2003, he became the first musician from Africa to grace the cover of TIME

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Photography: Johan Samuels

Africa magazine and performed at the BBC World Services Aids Awareness concert in London, aired to 150 countries. Each of Oliver’s albums is a masterpiece in its own right. He has produced a total of 60 original albums, including Nhava, his 48th album, released in 2004; Wonai (2009) and Sarawoga (2012), an album that commemorates his son Sam who passed away in a car accident in 2010. As Oliver has matured, his outlook on society — and his contributions towards it — have evolved with him. In 2011, he was named a United Nations International Children’s Emergency Fund (UNICEF) Regional Goodwill Ambassador for Eastern and Southern Africa for his advocacy for the rights of women and children. The International Institute of Philanthropy bestowed an Honorary Doctorate Degree in Human Letters (DHL) on Oliver in 2014, that recognised his invaluable contributions to music. When the world bore witness to his passing earlier this year, a deep sadness rippled throughout the music industry. In spite of this, it is important to remember that such a man will continue to live on in the hearts, minds and ears of everyone and anyone who encounters his life’s work, who took heed from his wisdom and prospered from his activism. Forever will Tuku be immortalised in his music — for legends never die.

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zimbabwe – south africa

In honour of Oliver Mtukudzi, various artists, including Mbeu, Berita, Vusi Mahlasela and Maduvha, will play a special tribute show at the Cape Town International Jazz Festival (CTIJF)

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STAGE Kippies

BERITA

Pioneering the Afro-soul genre, Berita is known for her impeccable vocal range. At just 27 years old, Berita has already hailed praise from the likes of Chaka Khan, Mama Africa and even the late Oliver Mtukudzi himself, to name a few of her admirers in the music industry. Her latest album, Berita, explores the emotionally twisting journey of love, revealing a new side to herself as an artist.

Photography by Johan Samuels

AN ODE TO AFRICA’S ICON

DATE 30/03/19

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MBEU

Mentored by the late Oliver Mtukudzi himself, Mbeu (real name Ashton Nyahora) is a young Zimbabwean guitarist and musician fresh on the music scene. In his short career, he has already performed alongside Steve Dyer, Ringo Madhlingozi and more. Last year, Mbeu released two 10-track albums called Hatizvimirire and Hatikendenge, both of which showcases his unique take on the Afro-fusion genre.

VUSI MAHLASELA

Hailing from Mamelodi, Pretoria, Vusi Mahlasela utilised his gift for music to reflect the societal injustices imposed by Apartheid. He released a track called “When You Come Back” that spoke directly to his friends forced into exile. Vusi’s career as a musician flew from there, with the musician going on to play alongside reputable artists such as Ladysmith Black Mambazo, Hugh Masekela, Sting and more. Rhodes University in Grahamstown awarded Vusi with an honorary doctorate degree in light of his contributions to the arts.

MADUVHA MADIMA

Passionate about music since the age of four, Maduvha Madima has taken the music scene by storm. Her albums Maduvha and Africa were each nominated for South African Music Awards (SAMA) in 2007 and 2010, respectively, and in 2014, she won the Best Video for her track “Your Mercy” at the Gospel Crown Awards. Maduvha has gone on to expand her creative reach to include acting and is currently working on a TV gig called The River.

Other notable artists playing at Oliver Mtukudzi’s Tribute concert are Samantha Mtukudzi on backing vocals, Rodwell Roda on guitar, Charles Njekesa on bass, Theodora Fiona Rumbidzai Gwena on backing vocals and hosho, Prosper Mashipe on keyboard, Eric Kasamba on percussion and vocals, Edgar Muza on bass (read more on page 52), and Jeremy Olivier and Norman Masamba on guitar and vocals.

SA artists proudly funded by the National Lotteries Commission

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SA artists proudly funded by the National Lotteries Commission

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AFRICAN TIME MEETING LEGENDS OVER TIME

ft Herbie Tsoaeli, Sydney Mnisi, Feya Faku, Andile Yenana & Ayanda Sikade Herbie Tsoaeli celebrates jazz with his talented ensemble, fusing the album African Time with the music of jazz legends of the past

DATE 29/03/19 STAGE Rosies

South Africa

Herbie Tsoaeli, a bass player and vocalist from Nyanga, South Africa, steps into the limelight from his previous artist-supporting roles, at this year’s Festival, where he brings together a group of talented artists who blow apart modern-day jazz, honour past jazz legends and celebrate the roots of Africa. Known for his abilities as a composer, Herbie won the 2013 South African Music Awards (SAMA) Best Jazz Album for his debut album African Time. Nicknamed “uMalume” by fans, the album contains the hit song “Hamba No Malume”, a seamless fusion of jazz and South African melodies. The late Hugh Masekela even dubbed Herbie a “gifted composer and generous ensemble player”. Accompanying Herbie at this year’s Cape Town International Jazz Festival (CTIJF) is Sydney Mnisi on the tenor saxophone, Andile Yenana on piano, Feya Faku on the flugelhorn and trumpet, and Ayanda Sikade on drums. There is a spiritual atmosphere around the ensemble’s music, which Herbie describes as an ethereal experience — “Jazz Moya” or jazz that is influenced by spirits. “The band who plays with me, or whoever plays with me, has to have an understanding of the music I’m trying to put through,” he told SABC Digital News in 2018. And it seems he has found that band in this ensemble, whose music juxtaposes their influences from the past and present, and tells the post-modern story of South Africa.

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Growing up in Newham, East London, Alfa Mist is not an artist prone to blowing his own horn. Despite numerous skills as a blossoming musician, he simply describes himself as a “producer/composer” on his Bandcamp page. With a number of releases to his name, including the short EPs Nocturne in 2015 — which featured the likes of Tom Misch, Jordan Rakei and Barney Artist — and the neo-soul-driven Epoch with vocalist Emmavie, Alfa’s taste has recently taken a turn toward jazz. “A huge part of hip hop is sampling so I just used to dig around and learnt about so many genres,” he explained in a 2016 interview with NME. “I discovered jazz and started to listen to that.” True to his sampling roots, his music is worthy of a soundtrack. His sound is soulful and packed with heady emotion. “I’m pretty dark as a person, I guess, so everything ends up sounding melancholy and reflective. I want to make people feel something.” Having started his musical journey as a grime and hip hop producer, the self-taught pianist and occasional rapper soon found himself drawn to the genre, after discovering it on film soundtracks he was sampling at the time. Combining melancholy jazz harmonies with alternative hip hop and soul beats provides a distinct “Alfa Mist” sound his fans have come to expect and that can be heard on his 2017 EP, Antiphon. “I just wanted to put out something that I wanted to do and I didn’t care who liked it but it just took off,” Alfa tells LeftLion. “It’s had a lot of hits on Spotify and there’s a YouTube video with over five million plays.” The album acts as a gateway to jazz, a genre many of Alfa’s fans have not otherwise been exposed to. “Antiphon has been mentioned around hip hop albums and live music so it makes people who listen to beat tapes listen to live music and think ‘What’s this?’”, he says. “I’ve had my brother say ‘This is a good beat, what beat’s this?’ and I’d just be playing him jazz stuff so it’s great that this album has helped introduce people to the genre who otherwise wouldn’t listen to it.” At this year’s Cape Town International Jazz Festival (CTIJF), he will be accompanied by Kaya Thomas-Dyke on bass, Peter Adam-Hill on drums, Jamie Leeming on guitar and John Woodham on trumpet.

M I S T

Photography: David Muggeridge

Sampling from hip hop and soul has proven a winning combination for this East London producer-slash-composer

2019/03/15 09:57

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United Kingdom

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BCUC

BANTU CONTINUA UHURU CONSCIOUSNESS Outspoken and unapologetic, BCUC gives a voice to the voiceless, proving modern Africa is rich in tradition

Hailing from Soweto, South Africa, Bantu Continua Uhuru Consciousness (BCUC) is a band who aims to connect with their spiritual ancestors. As such, they classify their music as hedonistic trance that possesses an element of political and spiritual liberation that defined South African township life from more than two decades ago.

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The band chose their unique name right before booking their first performance. “We were just a couple of guys who were poets, musicians and rappers, and who used to do jam sessions at our local park. From our lyrics, ‘Bantu’ would constantly pop up. ‘Aluta Continua’ would also just pop up

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n o si is m m o C es ri te ot lL

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and ‘not yet Uhuru’ would be thrown in the mix. While, as a collective, we were just conscious brothers,” they said in an interview with Underground Press in 2016. BCUC consists of seven talented musicians, namely Zithulele “Jovi” Zabani on lead vocals, Kgomotso Mokone on backing vocals, Thabo “Luja” Ngoepe on marching drums and backing vocals, Mosebetsi Nzimande on bass guitar, Skhumbuzo Mahlangu on the marching drum, rapper Letlhogonolo “Hloni” Maphunye on percussion and nose-flute, and Thabo “Cheex” Mangel on congas.

Described as “artistic heirs” by Nyami Nyami Records, BCUC ramp up the modernism of their ancestral inspiration by replacing late-1900s jazz sounds with hip hop and punk-rock influences. “We draw from the blues, funk and psychedelia. So for us, the question is not who but what era of music influences us,” the band says. Their new album Emakhosini, released last year by Buda Musique, is a testament to their outspoken nature and commitment to portraying a modern Africa through controversial yet inspiring views. The album aims to give a voice to the voiceless, those who may not have much in terms of possessions but are rich in tradition and beliefs. Their high-energy performances and indigenous beats have earned them global recognition and solidified them as one of SA’s most successful musical exports. With their background in theatre and dance, their on-stage personas are built from different experiences. “We used to collaborate and tour with international theatre companies. Also, we are from Soweto and, in Soweto, generally, people are crazy and animated. So we do not draw our inspiration from anywhere in particular; we are just us, doing our thing like we always do — all day, every day. With the amount of drums and drive that comes from our relentless bass lines, one cannot help but get carried away.” Nonetheless, BCUC remains committed to social issues no matter the vibe of their performance. “Our message is the same: We are a band dealing with social issues and some of those issues are the same throughout the world.” They describe their role in the music landscape as one of a unifier and healer. “We can’t take a political or a religious stance because what the country needs now is a unifying voice. In our journey of that unity, the language should be respectful, accommodating and understanding whilst we do not run away from our problems as a country,” the band says. “What other musicians have been doing, especially after meeting us, is contributing towards that same unifying pot.”

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UNITED KINGDOM

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BEN VOLPELIEREPIERROT The Eighties’ blast from the past is gearing up for a major comeback

of Curiosity Killed The Cat As the lead singer of British pop band Curiosity Killed The Cat, Ben Volpeliere-Pierrot played a pivotal role in the band’s popularity and infamy. Formed in the Eighties, the group had a funky pop sound and exuded a bad- boy repertoire. It was only after collaborating with pop artist Andy Warhol on their music video “Misfit” in 1986 that Curiosity Killed The Cat caught the attention of the media. The following year, their album Keep Your Distance topped the UK Albums Chart at number one and the band signed with record label Mercury Records. “Andy was a real part of my childhood. I had posters of his work on my bedroom wall,” Ben told Daily Star. “He was really passionate about our music. It was a real privilege to work with him. We had an amazing week filming our “Misfit” video in New York even though it was really low budget.” After a second album, Getahead, in 1989, the band officially parted ways in 1992 with Ben continuing to perform under the Curiosity Killed The Cat moniker. He has performed at several Eighties’ revival concerts and events, including Retrofest and 80s Invasion Tour. “I’ve been celebrating the Eighties for a long time but now I’m ready to make new music,” Ben told Metro in an interview last year. “I’m putting a band and album together — I think music is about to get exciting again. Young people want something new.” Helping him kick off this new era of music will be Tommy Claydon on drums, Robbie Webb on keyboard, Mike Pratt on bass, Phil Brown on tenor saxophone, Emlyn Francis on guitar, and Tabitha Webb and Sophia Ragavelas on backing vocals, who all join him on stage at the 2019 Festival.

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BICKRAM GHOSH QUARTET Comprising a mix of Indian and Canadian influences, this quartet delivers authentic jazz with melodic oriental undertones

Led by Bickram Ghosh, the Bickram Ghosh Quartet includes musicians Abhishek Mallick (electric sitar), Arun Kumar (drums) and Jonathan Kay (saxophone). Bickram is a pioneering force in the world of experimental fusion music and his very successful classical-fusion band Rhythmscape, and resultant experimentations within the genre, ensures his spot as one of the influential tabla jazz musicians of his time. Born in Kolkata, West Bengal, his first claim to fame was as the son and disciple of Pandit Shankar Ghosh, tabla maestro extraordinaire, and mother Sanjukta Ghosh, a popular vocalist. An eclectic mix of mentors have helped Bickram along his musical journey, including maestro of mridangam, Pandit S Sekhar, who taught Bickram the secrets of Carnatic percussions, and Ravi Shankar, who helped him hone his accompaniment skills. He also accompanied Ravi Shankar — known as a great master of the tabla — in live concerts for more than a decade.

DATE 29/03/19 STAGE Rosies

India

38 Who’s Who 2019 / Cape Town International Jazz Festival Bickram.indd 38

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DATE 29/03/19 STAGE Kippies

UNITED STATES

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CHAKA KHAN An icon who knows no bounds, Chaka Khan is just getting started

Chaka Khan is a music legend. With 10 Grammys under her belt plus a fanbase in the millions, Chaka is no doubt a “oneof-a-kind, premier vocalist” — as Aretha Franklin puts it. Her scope as a musician spans more than seven genres, from R&B to classical, that demonstrates her depth as an artist. Of the 22 albums Chaka has released, 10 of them have bagged number one status on Billboard charts. Seven of her singles reached gold certification by RIAA plus 10 of her albums have been certified platinum. This list of accolades is merely a testament to Chaka’s popularity and resounding success locally and abroad. “I am honoured and blessed to celebrate 40 years in music and entertainment,” says Chaka on her personal website. “I am so humbled by the love, support and gracious spirit of my fans worldwide and the continuous support my peers have shown over the years.” In 1978, Chaka broke away from Rufus, a popular 1970s’ American-funk band, to go solo. She debuted with her well-known song “I’m Every Woman”, which blew audiences away. Gaining momentum, in 1984, Chaka collaborated with Prince on the single “I Feel For You”, which sky-

rocketed her career. The track made history with its rap component by Grandmaster Melle Mel as it was the first R&B song to do so during that time. From a musical performance debut in London’s West End in 1995 to featuring in Oprah Winfrey’s broadway show, The Colour Purple, in 2008, Chaka has smashed the glass ceiling as an allrounded, talented performance artist. After 12 years away from the microphone, Chaka’s new album Hello Happiness, featuring her latest single “Like Sugar”, oozes funk yet demonstrates her continuous growth as an artist. Music, however, is only one of Chaka’s many facets as an individual. In 1999, she founded the Chaka Khan Foundation, which helps uplift local communities and supports women and children when it comes to exercising their rights. As an activist, Chaka campaigned for the voices of previously-disadvantaged communities to be heard and the success of her philanthropic mission earned her a 2012 365Black Award from the McDonald’s Corporation. Nothing is set to slow Chaka down, despite being a seasoned authority in the industry. “Throughout my 40year career, I have been through the fire a few times over and I’m still here as a living testament to God’s love and grace,” she says. “Next year, I will be celebrating 40 years in the business and 60 years on earth, which equals 100-percent Chaka.” Joining Chaka on stage at the 2019 Festival are Melvin Davis (bass and musical director); Jerohn Garnett (drums); Jesse Milliner (keyboard); Rob Bacon and Ricky Rouse (guitar); and Tiffany Smith, Toni Scruggs and Audrey Wheeler (vocals).

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CORY HENRY

United States

& THE FUNK APOSTLES Renowned for their specific talents and improvisational abilities, Cory Henry & The Funk Apostles have mastered an incredibly unique and funky music style

Originally from Brooklyn, New York, Cory Henry made his debut at Harlem’s legendary Apollo Theatre at the age of six. Since then, he’s gone on to crack the Top 10 on Billboard’s Jazz charts with a pair of solo albums and two Grammys for his work with Snarky Puppy in 2012. Cory has an unparalleled talent when it comes to playing the electric organ, gaining him a global fanbase. And his fanbase has grown even more with his band, The Funk Apostles. The line-up of talented musicians each brings a unique sound and quality to the band: Brenton Lockett on drums, Sharay Reed on bass, Nicholas Semrad on keyboard, and Denise Stoudmire and Tiffany Stevenson on vocals. The Funk Apostles’ debut album, Chapter 1: The Art of Love, showcases

a fusion of music and storytelling. “Every influence that I could think of growing up is in this record,” Cory details on his personal website. “I’m trying to break the barriers. The word ‘funk’ is in our name but I want people to know that this band is bigger musically than any one genre.” Going forward, the types of songs fans can continue to expect from the band will be rich in intricate arrangements, just like their debut album, which predominantly explored love — its best bits, its worst bits and the hypocrisies inherent in its various forma. “In The Water” decries love, relying on synthesisers to provide a piercing melody and marrying to the lyrics that beg “When you ride away, sometimes you get swept away”. “Our Affairs” is a staccato and percussion-led piece that reveals “if she stays persistent and admits her mistakes, my resistance is bound to break”, while “Love Will Find A Way” is a groovy and soulful ode to the strength of love and is the perfect, uplifting song for a band with such chemistry.

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CRAIG LUCAS Fresh out of university, with a degree in politics, economics and philosophy, Craig Lucas decided to enter The Voice South Africa. With no formal training and plagued by stage fright, he rose through the ranks and proved his voice was something special. Before appearing on the show, Craig entered open mics to practise singing. “It was frustrating that I couldn’t do that in front of other people.” After being discovered, he sang on the radio and was then approached by the Expresso Morning Show — all within 25 days of starting his singing career. After releasing his debut pop single “I Said This” on Universal Music South Africa, which reached number one on iTunes, the musician followed it up with “Smother” featuring Idols South Africa Season 13 winner Paxton Fielies. “The inspiration behind the single stems from being so in love with someone that you ignore the fact they are hurting you,” Craig told People magazine. “It comes from being in a toxic relationship, when you build your life around someone and you are willing to accept all the sh**t as long as you can be with the person.” The track, which showcases the musician’s ability to sing across different genres, is one of Craig’s favourites as he feels it shows fans a different side to him. “I am very excited about it being the second single so people can see this darker, more alternative, side to me.” At this year’s Festival, Craig is accompanied by Matthew Fischer on drums, Simon Van Harte on bass, Jordan Lee Simons on keyboard, Bradley Prince and Keanu Harker on guitar, Keegan Steenkamp on trumpet, Duncan Johnson on tenor saxophone, Tamzyn Freeks on trombone, and Miskah Geduldt, Monique Herold and Caleb Joseph Herold on backing vocals.

DATE 30/03/19 STAGE Bassline

Since winning The Voice South Africa in 2017, this former pop star has changed his tune

south africa

SA artists proudly funded by the National Lotteries Commission

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2019/03/15 12:43

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A South African jazz legend, Don Laka was born in Pretoria in 1958 — a much different time than today. Don experienced first-hand the oppressive nature of the apartheid system: “When I was refused entry [to university] because of my [skin] colour, I went and taught myself classical guitar,” he says. Obtaining a tertiary education did not hinder him, however, and he later went on to form his own independent record label, Kalawa Jazmee, with Bruce Sebitlo and Oskido Mdlongwa. Don’s contributions to the South African music scene have been manifold: He has written many orchestral arrangements and produced albums for various artists, including Ray Phiri, the acclaimed mbaqanga musician, and Afro-pop singer Brenda Fassie.

DON LAKA With an innovative take on sound, this legendary artist is taking South African music to new heights Yet it is his major influences on the jazz scene — the ability to fuse together genres, for one — that sees him held in high esteem amongst his peers. Additionally, he helped pioneer the kwaito genre and further developed a genre called kwaai-jazz — a fusion of kwela, marabi, soul, jazz and classical music. “It is a fusion of all types of music and, over the years, it has completely moved to become more African,” Don told IOL in 2018. “And that has been the base of my music, accompanied by the kwaito rhythm.” But it was his fusion of hip hop and traditional African rhythms on the album Destiny in the mid-1990s that shot his career into the spotlight. His most recent album, Afro Chopin — a combination of Chopin’s melodies, South African marabi and kwaila — displays his rather innovative musical thought process and harks to his mission to promote South African music to the masses. So much so, that his years-long battle for ninety percent of music on radio stations to be South African was finally won in 2016. This year, Don will appear on stage at the Festival accompanied by Oupa Makhubela (guitar), Patrick Mokoka (bass), Percival Mbonani (saxophone) and Walter Kotu (drums).

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SA artists proudly funded by the National Lotteries Commission

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DON VINO Still a church-going kid at heart, award-winning saxophonist Don Vino continues to enthrall jazz enthusiasts across the globe Born and bred in Cape Town’s Elsies River, jazz musician and philanthropist Don Vino says religion and the church were integral in his upbringing, forming the roots of his journey to music stardom. His formative years were spent under the stringent supervision and care of his mother and grandmother. “We were raised to respect the elderly at all costs. We couldn’t backchat or give lip when we were scolded. My granny would sand-knyp us (rub sand between her fingers and then pinch them),” he shared with the Daily Voice in 2018. At age 15, Don joined local jazz and gospel bands, including the Christmas choir and church band. It was with these bands that he developed an

affinity for the soulful character and rhythmic nature of jazz. He recalls how, when deciding to follow a career in secular music, his kerkmense (church folk) were not willing to accept it. “The church was not very happy with this idea but they supported me in the end,” he says. In fact, the church gifted him the first saxophone he ever owned. An exceptional saxophonist, Don’s repertoire of jazz, gospel, R&B and even Afrikaans music has taken him to all corners of the globe, including the United States, Sweden and Dubai. He has toured with various bands, is a member of Jonathan Butler’s South African Band and TopDog SA, and has been featured on many an album yet

DATE 29/03/19 STAGE Basil “Manenberg” Coetzee

only released his debut single “Worried” in 2018. His most recent production, “#SaxyVibes”, allowed fans an intimate encounter with the musician, which told his personal story as a saxophonist, showcased vocals by Elwira Standili and featured students taught by him in the brass section. His sought-after stage presence has seen him entrance crowds at various events including the Festival, where he will be joined in 2019 by Keagan Links (drums), Jason De Laney (guitar), Craig van Willingh (bass), Bryan Bailey (keyboard and synth), Jason Ward (percussion), Kyle Daniels and Carlton Adams (trumpet), Miles Steward (trombone), and Forte Harmony and Severiano Felix (vocals).

South Africa

SA artists proudly funded by the National Lotteries Commission

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DATE 30/03/19 STAGE Rosies

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ELIANE ELIAS

Brazil

This musical phenomenon’s multi-dimensional jazz melodies continue to resonate from coast to coast

Born in São Paulo, Brazil, musical sensation Eliane Elias was born with the rhythm of samba flowing through her veins. Her musical talents emerged at an early age when she started studying piano at age seven and, by age 12, was transcribing solos from the great jazz masters. She began teaching piano and improvisation at one of Brazil’s most prestigious music schools before receiving her professional break working with Brazilian singer-songwriter Toquinho and legendary poet Vinicius de Moraes while still a teen. In 1982, she moved to New York where she took the American jazz scene by storm. With a career spanning 26 albums and 2.2 million album sales as well as multiple Grammy Award nominations and wins, Eliane has successfully pioneered a sound that melds her exceptional ability in jazz, pop, classical and Brazilian music. Her body of work not only showcases her talent as a world-renowned pianist but also her unique gifts as a composer, producer and alluring vocalist. Her 2017 album, Dance of Time, debuted at number one on iTunes in seven countries across the globe and earned her the Latin Grammy for Best Latin Jazz Album at the 18th Annual Latin Grammy Awards. The album features guests artists such as pianist Amilton Godoy and guitarist João Bosco, who played an integral part in her early journey. The album is also a celebration of the 100th anniversary of “Pelo Telefone”, the first samba track ever recorded. “Samba is the most authentic and contagious dance rhythm of Brazil, and there is no better place in the world to capture this music,” she says on her personal website. “Dance of Time also represents the spectrum of my career from the very beginning until now.” Eliane’s latest album, Music from Man of La Mancha, is another standout work. Recorded in 1995, the album was only released in 2018 and features nine individualised

interpretations of music by composer Mitch Leigh written for the 1965 broadway musical Man of La Mancha. Eliane says of the process of working with Mitch: “[He] and I had a meeting in my music studio. With him seated on the left side of the piano, I played the first arrangement, ‘To Each His Dulcinea’, and I was very happy to see his excitement, his enthusiastic approval, joy and delight. Speaking from the arranger’s chair, it is the highest praise when the composer is enamoured with the reimagining of his work. I was, and still am grateful for the opportunity Mitch gave me to arrange his music, and for the artistic freedom to present it in this way.” Eliane’s discernible musical style has transcended language, geography and culture, and nowhere is this more evident than in the extent of success she has garnered in Japan. Her 1998 album Eliane Elias Sings Jobim earned her the Best Vocal Album award in Japan and held the number one spot on the Japanese charts for more than three months. Something For You, her personalised tribute to the late music legend Bill Evans also won her the Gold Disk Award in Japan. Then there is Bossa Nova Stories. Recorded to mark the 50th anniversary of Brazil’s Bossa Nova musical genre in 2008, the album marries Eliane’s romantic vocals with distinctive rhythmic beats in reinterpreted productions of some of Brazil’s most landmark songs and American pop classics. It was an instant hit, obtaining accolades from across the world. In 2019, Cape Town will experience Eliane’s magical stage presence with a live band that includes Marc Johnson on bass, Rafael Mendes Barata on drums and Rubens De La Corte on guitar.

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ESPYOUNGLEGENDS 2019 WINNER

EDGAR MUZAH & FRIENDS The winners of this year’s coveted espYoungLegends 2019 title are an eclectic, self-described “multi-brand musical project” that aims to promote African music to the world

A modern jazz collective inspired by music from across the globe, Edgar Muzah & Friends was formed by Edgar Muzah, a bass player hailing from Zimbabwe and who now calls Port Elizabeth, South Africa, home. Along with Mthokozisi Mabuza and Mvuzo Mnyaka on keyboard; Norman Masamba on guitar and vocals; Tavern Solomon on drums; and vocalists Willis Kachambwa, Andiswa Ndlazilwana and Thandisile Gulwa, Edgar’s mission is to bring African music to the world stage. “I would call our genre world music but we’re pushing to get the African side of world music to be heard,” Edgar told the Weekend Post in February 2019. The collective’s song “Amai”, meaning “mother” in Shona, shows their penchant for playing and promoting African music. This mission helped seal their win in the espYoungLegends 2019 competition, an online talent search competition initiated by the producers of the Cape Town International Jazz Festival (CTIJF), events company espAfrika. The annual competition is aimed at finding unsigned jazz-inspired bands and providing them with the opportunity to play on one of the largest stages in the jazz music industry. “Winning the competition has been a great opportunity for the work that we’ve put in to be heard,” Edgar says. As a self-confessed lover of western-Afro contemporary jazz, he is excited by the intricate melodies he creates with his band.

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South Africa

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SA artists proudly funded by the National Lotteries Commission

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France

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FRENCH KIWI JUICE The one-man-show known as FKJ pushes the boundaries of jazz and electronic music

Hailing from Paris, France, new-age artist French Kiwi Juice (FKJ) is renowned for his fearless improvisation of combining electronic sounds with jazz instrumentals. Born Vincent Fenton, FKJ grew up feeling inspired by a range of genres that spans across soul, gospel, blues, funk and — of course — jazz. As a teenager, he experimented with different genres and music tools on his computer while holding down a job as a sound engineer at a cinema. All of the skills he has acquired as a musician are self-taught, including playing the piano. “When I started, I learnt to play the piano by listening to jazz and artists like Monty Alexander,” FKJ told Montreux Jazz Festival in an interview in 2016. “One of my favourite tracks ever is Nina Simone’s ‘I Loves You, Porgy’. I started listening to jazz way before listening to electronica.” After signing to the French music label Roche Musique, he released an EP in 2013 called Time For Change. The album showcases FKJ’s artistic scope and paved the way for his self-titled album French Kiwi Juice, released in 2017. His exceptional talents — dubbed the

“French touch” — ranges across both instrumental and sound engineering. “I didn’t need to have a full recording studio,” he says. “I could do it all with a machine, on a small computer. It’s not the ‘French touch’ that has taught me how to play all these instruments or how to compose.” When it comes to playing sets at events, the artist is not afraid to improvise either. “I can play my tracks the way they are since I have control over all the elements on each song,” he says. “If I have the time, I can remove the melody and keep the rhythmic part only. Then I can just improvise. I have even performed at private shows for people who weren’t familiar with my music and where I could improvise all the time as people didn’t expect a particular song.” This was proven true at 2017’s Coachella festival, where FKJ’s cinematic pop sound blew away audiences and sees him invited back in 2019.

DATE 30/03/19 VENUE Basil “Manenberg” Coetzee

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ft Nicolas Reyes and Tonino Baliardo The royalty of flamenco and salsa heads to Cape Town for a jazz-fuelled performance

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france

Once a modest troupe performing on the streets of Cannes, the Gipsy Kings now have a list of hit songs, television performances and a Grammy win to their name. With songs that are known worldwide, the band — comprised of lead singer Nicolas Reyes, singer Jean Samuel Rey, singers and guitarists Georges Reyes and Yohan Reyes, Toninno Baliardo on lead guitar, Benji Baliardo on guitar, Jean Abardonado on keyboard, Quentin Boursy on drums, Rodolfo Pacheco on percussion and Thomas Potrel on bass — were originally called “Los Reyes”. Having graduated from living like gypsies and playing at weddings and parties, the band later adopted the name Gipsy Kings. Their sound is distinctly home-grown: Their flamenco roots are present on every album though their fusion with jazz is inspired. Their track “Bamboleo”, from their third album released in 1987, shot them to fame, with the album spending 40 weeks on the United States album charts. Gipsy Kings’ mission with their music is to “process it and send it back out in a way that we feel comfortable with”. And their comfort is to the listener’s excitement. Fusion is in their blood and they are not afraid to experiment with various styles of Latin, Cuban and Arabic music as well as reggae and jazz guitar. The band’s move to independent label Knitting Factory Records has granted the group more independence and room to follow their own musical aspirations. With their latest album entitled Evidence, Gipsy Kings keep one “foot in the past and a foot in the future”.

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france

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GOGO PENG UIN Blending electronica, jazz and rock, this jazz-piano trio serves up a bold, contemporary sound

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With an already cult following in the United Kingdom, Manchesterbased GoGo Penguin — comprised of pianist Chris Illingworth, bassist Nick Blacka and drummer Rob Turner — adds a 21st-century spin to classic jazz. Often described as acoustic-electronica, the trio’s unique sound draws heavily on classical performances, rock and minimalism. Their creative process is to balance instrument-specific songwriting with electronic production. The success of their first album, Fanfares, in 2012 quickly led to the release of v2.0 just two years later, earning them a Mercury Prize nomination. And in 2016, after moving to Blue Note Records earlier that year, they released Man Made Object. “Right from the start, when we begin developing a track, we tend

to have a pretty clear idea of where we’re going musically and what we are trying to say. This is not usually something we talk explicitly about; it’s just something we all seem to pick up on and subconsciously agree upon,” Chris told Project Revolver in March 2018. “The inspiration for each track can come from anywhere; not just music but literature, dreams, places we’ve visited and experiences we have had. And we use whatever is necessary to say what we want to say with our music.” Listeners will be hard-pressed to distinguish between GoGo Penguin’s songs as the trio often favour instrumental dominations on their tracks. Yet, despite the perceived repetition, each song still possesses what can only be described as an emotional power that can be likened to a recurring sugar rush. In an interview with Crack Magazine, Chris opened up about the band’s sound, which, when listened to intently, highlights each musician’s strength. “Hopefully, when people hear us, they hear a unit more than three separate parts,” he said. “As individuals, we each bring something different to the group and it’s that mixture that makes GoGo Penguin sound the way it does.”

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IBRAHIM KHALIL SHIHAB Despite constant opposition, this songwriter and pianist’s beloved tracks have stood the test of time Born Chris Schilder, Ibrahim Khalil Shihab is a South African jazz icon who started his musical career at the age of 14, playing piano at the Normandy nightclub in Rondebosch, Cape Town. At 22, he recorded his first album, Spring, a record that still enjoys legendary status today. Ibrahim has an important place in history as the primary pianist and songwriter for The Pacific Express, a 1970s South African band. Hailing from the Cape Flats, the band enjoyed a cult following with its blatant defiance of the apartheid regime but also suffered professional aggression for breaking contemporary rules against having a racially mixed group of performers. It was then that Ibrahim wrote the band’s most popular song, “Give A Little Love”, a ballad that shot them into the mainstream, despite discrimination from apartheid laws and the South African Broadcasting Corporation (SABC), the state broadcaster, removing the music video from television for breaking rules for local artists in the performance industry. After a 49-year, ground-breaking career, the musician released Essence of Spring in 2018 alongside fellow jazz artist, Ramon Alexander. On the album, he reprises tracks from the original Spring and covers well-known Pacific Express tunes. Ibrahim’s performance at the 2019 Cape Town International Jazz Festival (CTIJF) will be a celebration of a beautiful and dramatic career, backed by Bradley Prince (guitar), Chadleigh Gowar (bass), Annemie Nel (drums), Gary Grainger (percussion), Ramon Alexander (keyboard and musical director), Zeke Le Grange (saxophone) and Ruby Truter (vocals).

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SA artists proudly funded by the National Lotteries Commission

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2019/03/17 11:26

#IAMTHEFLAG

Raising our flag Celebrating 25 years of freedom and democracy

Let’s raise our flag high with pride as we celebrate 25 years of freedom & democracy.

arts & culture Department: Arts and Culture REPUBLIC OF SOUTH AFRICA

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Let’s raise our consciousness as we listen to the music of our country & the wider world. Let’s raise the bar as we continue to tell the South African story & build our country together. The Department of Arts & Culture - a proud sponsor of the Cape Town International Jazz Festival.

2019/03/17 09:04

ft Vicente Archer, Gerald Clayton & Bill Stewart John Scofield brings together a new group with 12 original compositions to showcase his 66 years of talent

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JOHN SCOFIELD’S “COMBO 66”

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United States

John Scofield is a versatile veteran of the jazz scene. Forging a love for music with guitar lessons at age 11, he was recording with Chet Baker by the time he was in his twenties. He mixes jazz, rock, funk and soul to create a patchwork of American jazz sounds. His eclectic sensibilities have won him three Grammy Awards and nine nominations. John is predominantly recognised for his ability to improvise and successfully play with an ensemble, and, in 2017, he tried his hand at a complete acoustic album. “You’ve always got to keep it fresh,” he told Sweetwater of the album. “And that’s a challenge for me, as it is for everyone.” Joining John on stage at the Cape Town International Jazz Festival (CTIJF) in 2019 is Grammy-nominated Gerald Clayton

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(Netherlands) on piano; co-leader of the critically-acclaimed trio Bernstein/Goldings/Stewart, Bill Stewart (Iowa, United States) on drums; and Jazz at Lincoln Center Orchestra player, Vicente Archer (New York, United States) on bass. The group exudes a type of inter-generational magic with a representative from the sixties, fifties, forties and thirties. An apt leader, John has previously led musical groups in bebop, jazz-funk, acoustic chamber jazz, electronically-tinged groove music, jam-band style and orchestral ensembles. His hallmark is that of constant change: He loves to take genres from his youth and make jazz out of it. Country For Old Men [his album] samples country tunes and reworks them into jazz tracks. Says John: “I use elements of blues and jazz”. Multi-talented and highly recognised, John has previously toured the world with musical legends Miles Davis, Tony Williams, Jim Hall, Ron Carter and Herbie Hancock, to name a few. His talent has seen him grace the stage at the legendary Blue Note jazz club in New York, including producing songs on the Blue Note Records label. Constantly sharing his skills, John is committed to producing “music that makes you feel good”.

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JONATHAN BUTLER

HOME COMING

Intent on mobilising the youth through music, this South African stalwart proves why he remains a musical icon

Photography: Yvonne Schmedeman

SA artists proudly funded by the National Lotteries Commission

Raised with 12 other siblings in Athlone, Cape Town, during the apartheid era in South Africa, a young Jonathan Butler explored his musical side with singing, songwriting and playing the guitar. He never allowed the strain the political system imposed on him to crush his musical spirit. “I was born poor but richly blessed with talent and the gift to make music,” he says on his personal site. “I can’t dismiss where I’ve been or where I’ve come from. I’m a proud South African and I came from nothing.” At age 12, Jonathan released his debut album, bagging a Grammy Award for Best New Artist in South Africa. As he reached his teens in the mid-1970s, he became the very first black musician to have two gold hits at once — namely “Please Stay”, which went gold twice, and “I Love How You Love Me” — whilst having singles aired on the then all-white South African Broadcasting Commission (SABC) radio station. Turning his sights to the international stage,

Jonathan moved to the United Kingdom (UK) where he signed with Jive Records and released his first eponymously titled international album. Upon its release, the album went to gold in the United States and the UK, and the tracks “Lies” and “Going Home” were nominated for Grammy awards in the categories of Best R&B Song and Best Jazz Song, respectively. Jonathan’s latest album, Close To You, released last year, features composers such as Burt Bacharach, Marcus Miller and George Duke. The album is a testament to Jonathan’s African roots. “Listen to it, hear your South African brother interpret American music from a local perspective and know that his identity is intact. He has not changed his ways,” he tells IOL. Inspiration for the album did not come easily, however. “I didn’t have any inspiration to write a new record with all-original songs. That’s why you’ll see there’s only one original song called ”Cape Town” because I didn’t have any inspiration going through all the things I had to

go through, and endure the difficult and unsettled times,” he says. The artist believes he has now reached a good place in his life. “This is a happy place in life right now. I am living the best life. God has blessed me with someone who is truly my best friend and makes me really happy every day.” Giving back to the community also plays a big role in Jonathan’s life. In 2013, he formed the Jonathan Butler Foundation, which hosts music workshops and lessons to impoverished youth throughout South Africa. Through his passion for music, Jonathan uses his art form as a way to guide aspiring youngsters to strive further than their immediate circumstances — just like he did. Joining Jonathan at the 2019 Cape Town International Jazz Festival (CTIJF) are musical director and bassist Dan Lutz, Arlington Jones on keyboard and Ron Otis on drums.

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KEYON HARROLD United States

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Rooted in empathy and imagination, this musician’s interpretations of modern jazz takes listeners on a musical journey

As one of 16 children, American jazz trumpeter, vocalist, songwriter and producer Keyon Harrold grew up in a family that saw music and community as an integral part of their upbringing. His grandfather, a retired police officer, founded a drum and bugle marching band for local youth, both of Keyon’s parents were pastors and most of his siblings have music careers today. Although he initially wanted to be a drummer, this desire was put on hold on the advice of his grandfather, who required all his grandsons to learn how to play the trumpet first before being allowed to play any percussion instruments. “My grandfather was about harmony in the music sense,” Keyon told Essence magazine in 2017. Ultimately, this turned out to be the propeller that set him on the path to his destiny. Keyon fell in love with the trumpet, its sound and the symbolism behind it. “The trumpet complements arrangements so well, it inadvertently changes its lead nature,” he says. “Historically, the trumpet is a call to action, like the bible story of the Battle of Jericho — the beauty, majesty and strength of the trumpet were used to bring down the walls.” At the age of 18, Keyon moved to the Big Apple, where he enrolled at The New School’s School of Jazz. His career took flight when he made his professional debut in a trumpeting gig for rapper Common, an experience he says that help diversify his musical horizons to R&B, hip hop, Afrobeat and funk. Since then, he has worked with a multitude of bigname artists that include Jay-Z, Beyoncé,

Eminem and Rihanna, and released his first album as a solo artist, Introducing Keyon Harrold, in 2009. In 2017, he gained global acclaim for his jazz performance in Miles Ahead, the Don Cheadle-directed biopic of legendary jazz artist Miles Davis. Not only was this a career-defining moment for him but also one that he holds close to his heart. He said of his role: “Trumpeters like Louis Armstrong and Miles Davis are artists that personally inspired [me] and also became embedded [in] world culture. They have used the trumpet in a way that speaks to people, which is ultimately what I aspire to do with my horn.” His most recent work, The Mugician, is a culmination of Keyon’s experience growing up around the racial tension and unrest in his hometown of Ferguson, Missouri. His sentiments of activism shine through on the album as he tackles the world of politics, referencing, in particular, the spate of police brutality towards people of colour occurring in the United States, on his song “When Will It Stop?”. On the musical front, the record pushes beyond the traditional boundaries of jazz trumpet and instead melds together Keyon’s range of hip hop, soul and R&B. This is evident on the track “Voicemail”, where a raw, unedited, inspirational sound clip from his mother is set against orchestral harmonies. This also lays the foundation of the album, which celebrates the importance of family, perseverance and optimism. As one of the most sought-after trumpeters of this generation, Keyon was once hailed as “the future of jazz” by trumpeter-veteran and jazz-purist Wynton Marsalis. His unique sound serves as the tool through which he asserts his social commentary and protest while providing an outlet for issues experienced by his audience. Above advocating for equality and highlighting issues of identity, Keyon seeks to create an escape — where his music can elevate, heal and be a source of euphoria for his listeners. “Sometimes you just need to get away because of all the real stuff that happens in the world,” he told CBC News. Both politically charged and exhilaratingly subdued, this is the atmosphere fans can expect at the 2019 Festival, where Shedrick Mitchell (piano), Nir Felder (guitar), Burniss Travis (bass) and Charles Haynes (drums) join him on stage.

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KNOWER

Out-of-the-box and unconventional, this American jazz-funk group provides music lovers with a new direction in sound Electronic music duo Knower rose to fame in 2010 when they began uploading their music online. Consisting of two core members, drummer Louis Cole and vocalist Genevieve Artadi, the full jazz-funk group includes Sam Wilkes on bass with Jacob Mann and Nick Semrad both on keyboard. Louis and Genevieve’s first video, a cover of Britney Spears’s “3”, became an internet smash hit after being shared by Jack Conte, the Chief Executive Officer of artist-subscription platform Patreon. This was followed by a string of viral videos that eventually

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led to the release of their debut album Louis Cole and Genevieve Artadi that same year. By the time their second album, Think Thoughts, came to fruition in 2011, the group had established a unique signature sound that melded electro-funk grooves, synthetic chords and deep melodies. The genre, achieved through a combination of live instruments and digital samples, is brought to life through their self-produced videos that play with elements of animation and cyborg-like accents. “We just made a storm in the studio and that just became our aesthetic,” Genevieve told LA Weekly about the album. As Knower’s international fanbase expanded, they released their fourth studio album, Life, in 2016 and, by 2017, were performing almost monthly at gigs across the globe, including as the opening act for the Red Hot Chili

Peppers. Additionally, they continued to permeate the independent music scene, playing at numerous venues and showcasing their live-performance installations. “When it’s just the two of us, we bring a projector and it’s this insane light show with visuals,” explains Louis. “It’s really three dimensional, and there’s, like, exploding pizza and stuff.” The duo still have regular fixtures as writers for high-profile artists and movie soundtracks while their digital presence is stronger than ever. Their Live House Band Sesh garnered over 3.5 million views in one week and their song “F*** the Makeup, Skip the Shower” was featured on video game Grand Theft Auto’s FlyLo FM. Whether through their interesting sound, fascinating videos or otherworldly live shows, Knower has managed to cultivate a stylised aesthetic while still maintaining a traditional pop-music structure.

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THE LADY DAY

BIG BAND The Lady Day Big Band, South Africa’s very first all-female big band, comprises 20 talented instrumentalists, each truly passionate about modern jazz. Founded by three industry leaders — Singer Lana Crowster, trombonist Kelly Bell, and pianist, vocalist and conductor Amanda Tiffin — the band consists of a multitude of artists who write the majority of the music the band plays. These include Annemie Nel (drums); Tracey Johannes (bass); Rousanna Coxson (piano); Ariana

DATE 30/03/19 STAGE Basil “Manenberg” Coetzee

Carini (guitar); Claire De Kock and Ashley Laity (alto saxophone); Carla Stokes and Chloe Rezant (tenor saxophone); Georgia Jones (baritone saxophone); Christin Rohl, Hayley Joorst, Robyn Murning and Zanelle Kroukamp (trumpet); Imke Muhr, Tamzyn Freeks and Danielle Midgley (trombone); and Leah Adams and Anathi Mobo (backing vocals). For Lana, starting a contemporary big band comprising only women has always been on the cards. “I have always dreamt of starting a band that would provide a platform for professional women musicians to showcase their talents in a safe space,” she says. With both a degree and a post-graduate diploma in Jazz Vocal Performance from the University of Cape Town (UCT), Lana has

Making waves — and history — in the world of contemporary jazz dominated the jazz music scene since a young age. As the band’s composer and Head of Jazz Singing and Acting Head of Jazz Studies at UCT, Amanda has a keen sense of what is trending in the local music industry, rendering her a critical component to the group. “Watching these musicians come together in such a short space of time — and really own the music and their space — has been a truly powerful experience,” she says. The third and final founder of the band, Kelly, is a natural virtuoso with years of experience in the industry. As a freelance performing artist, she ensures her schedule also includes time to manage her very own band, the Kelly Bell Band, teach jazz and conduct music for youth bands.

SA artists proudly funded by the National Lotteries Commission

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Mahube, meaning “New Dawn” in Setswana, adapts traditional music to make new-age beats. The 10-piece band has a diverse pool of talent from across the continent in its ranks, making them a unique ensemble with a flair for rhythm. Band members include band director Bokani Dyer on keyboard; Sthembiso (Innocent) Bhengu on trumpet; Mbuso Khosza, Onesia Muholove and Siya Makuzeni on vocals, Joshua Meck on bass; Hope Ruvimbo Masike on vocals and mbira; Stelio Zoe on drums; and John Hassan on percussion. Each musician is a virtuoso in their own right, bringing forth a creative vision from different regions of Africa. Led by founder, director and saxophonist Steve Dyer, Mahube has won several accolades, including

a KORA All Africa Music Award for Best Traditional African Group, and have performed in South Africa, Zimbabwe, Botswana, Zambia, Mozambique, Swaziland, Holland, Belgium and Germany. Audiences from all walks of life respond to Mahube’s authenticity. Their wide fanbase is due in part to their raw talent but also because of their genuine appreciation of African sounds. “It is amazing,” Steve tells music.org.za. “Wherever you go in Africa, you find that we have similar rhythms. They differ in beats and are influenced by various instruments. Zimbabwean music is based on the mbira while South African rhythm is more urban. We have to break the barriers and fuse the rhythms. Then it becomes a common language.”

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MAHUBE Since its inception, this multi-generational ensemble still rocks stages around the world with reworks of traditional African music SA artists proudly funded by the National Lotteries Commission

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Photography: Siya Makuzeni

STAGE Basil “Manenberg” Coetzee

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Building our nation through investing & supporting the Arts Industry Multi award winning African Equity Empowerment Investment Limited (AEEI), is one of South Africaâ&#x20AC;&#x2122;s largest, successful Black Economic Empowerment Companies and is listed on the JSE.

One of the key reasons why AEEI invested in espAfrika was because of the in-depth social development and training programmes, as well as job creation, that the company deploys in the arts, culture and entertainment sectors. This builds a foundation for tomorrow and safeguards the legacy of our older musicians. EMPOWERING YOUTH THROUGH FREE WORKSHOPS We aim to nurture talent. We want to help them grow. We believe that music is the key to building our future nation.

As a nation builder, look no further than the Cape Town International Jazz Festival 2019, where the world will once again unite through great music and entertainment! espAfrika is evolving to appeal to a diverse clientele looking for more experienced based events. Fulfilling this mandate, it has created exciting new companyowned initiatives which have been well received.

AEEI is proud of espAfrika and looks forward to a remarkable 20th Cape Town International Jazz Festival!

AEEI holds operational investments in Fishing and Brands, Technology, Health and Beauty, Events and Tourism, Biotherapeutics and strategic investments.

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2019/03/18 14:58

THE MIKE ROSSI PROJECT ft John Fedchock With an ever-evolving line-up and roots in musical theory, this eponymous band is headed by a true jazz intellectual A professor of Jazz and Woodwinds at the South African College of Music, University of Cape Town (UCT), Michael Rossi has a musical trajectory that is not only steeped in performance. While he regularly appears with his band, named The Mike Rossi Project, at jazz clubs and festivals, he is also deeply ensconced in the educational aspect of jazz and music. Mike has authored four books on improvisation, published by Advance Music and translated into various languages, and has released a vast number of albums with his band, which features an ever-changing line-up. The most recent iteration of The Mike

Rossi Project includes Andrew Ford (piano), Wesley Rustin (bass), Kevin Gibson (drums), William Haubrich (trombone) and Lorenzo Blignaut (trumpet and flugelhorn). In addition to his published works, including original compositions and various albums such as The Mike Rossi Project: Journey; The

Mike Rossi Project: Take Another Five and The Mike Rossi Project: Trespassing Permitted, he is the first recipient of the Doctor of Musical Arts in Jazz Studies from the New England Conservatory of Music in Boston, United States. Mike has also served as the president of the South African Association for Jazz Education (SAJE) from 2012 to 2016 and he has taught at the Arcevia Jazz Feast in Marche, Italy, every year since 2011. This year, visitors to the Cape Town International Jazz Festival (CTIJF) will enjoy the sounds of American trombonist John Fedchock alongside The Mike Rossi Project.

south africa â&#x20AC;&#x201C; united states

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SA artists proudly funded by the National Lotteries Commission

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Switzerland – South Africa

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THE MILL

By blending two separate jazz-loving cultures, this Swiss-South African collaboration delights listeners with a varied mix of European- and African-inspired melodies Like all great collaborations, diversity in creativity is the driver for success. The same can be said for music. In 2019, the Swiss Arts Council and the Cape Town International Jazz Festival (CTIJF) will prove how two separate musical bodies, when collaborating, can create an eclectic yet melodic mix of jazz. Known as The Mill, the collaboration consists of musicians from the Swiss Arts Council as well as South African jazz favourites Yonela Mnana on piano, Siya Makuzeni on trombone and vocals, Vuma Levin on guitar (read more on page 108), Kesivan Naidoo on drums and

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Mandla Mlangeni on trumpet. Swiss musicians include Marco Müller on double bass, Matthias Tschopp on baritone saxophone, Fabian Willmann on tenor saxophone, and Florian Egli on alto saxophone, clarinet and flute. The Mill’s music has an easy-going flow yet remains rooted in the jazz genre. A blend of booming and hearty horn collections, combined with expressive piano and guitar conversions, provides a one-of-a-kind sound that audiences will savour. The band’s sound is reminiscent of the Baptist church but is also laced with unique African melodies. This type of multi-layered collaboration between musicians of various backgrounds is breaking the mould and marries two worlds through their links to jazz.

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MO O N C H I L D Musical honesty combined with funk-pop brings a new edge to this trio’s brand of jazz

Hailing from Los Angeles, California, Moonchild comprises three talented artists: Amber Navran on vocals, saxophone and clarinet; Max Bryx on keyboard, saxophone and clarinet; and Andris Mattson on keyboard, trumpet and flugelhorn. Inspired by neo-soul in their college days, the trio has a unique funk-pop sound that pervades their 2017 album Voyager. The band’s songwriting process is interesting as they each compose the songs separately. Voyager, however, was one of the few albums where the band worked together in the same space. The album features a variety of string instruments, including the guitar and harp, soothing vocals and an alternative beat that showcases their capabilities as artists. “We made this album by trying to be as musically honest as possible,” Max tells SounDarts. “We wanted to present to our audience an album that was real and not trying too hard to be anyone.

“We all love such a wide range of styles. Making any music that lives purely in one genre wouldn’t really interest us.” Towards the end of 2018, Moonchild released a single called “Get To Know” that focuses on the process of coming to terms with the unpredictable and learning to accept it as a part of life. “The song is about uncertainty and how you have to get comfortable with it,” the band tells Hype. “The future will always be uncertain. The faster we learn to love the feeling, the easier we can rise. It’s about thinking of uncertainty as a friend instead of running from it. Jump into the feeling and get to know it.” Impressively, Moonchild has played alongside some reputable artists, including jazz-man Kamasi Washington, toured with The Internet and opened for Stevie Wonder. The band has also played sold-out shows in New York, Los Angeles, Chicago and more — a testament to Moonchild’s increasing popularity as artists — and will be joined on stage at the Festival by Efa Etoroma Jr on drums.

DATE 30/03/19 STAGE Basil “Manenberg” Coetzee

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SA artists proudly funded by the National Lotteries Commission

As an early pioneer of Cape Jazz, this artistâ&#x20AC;&#x2122;s travels across the globe are merged into a unique, multi-faceted interpretation of the genre

DATE 30/03/19 STAGE Rosies

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MORRIS GOLDBERG After a brief stint as a pharmacist at the behest of his parents, Captonian saxophonist, clarinetist and vocalist Morris Goldberg moved to England to pursue his true calling of music. Later, at age 23, he enrolled at the Manhattan School of Music in Harlem, New York, where he happened to share a room with iconic musician Hugh Masekela. The two had met four years earlier while precariously navigating South Africa’s music scene at the height of the apartheid regime. “Through music, I got to really understand the racial situation. Cops didn’t like us playing together,” Morris told Forbes in 2018. However, the government’s attempts to segregate had a unifying effect on the country’s community of underground artists. “A black person wasn’t allowed to go into a white person’s house but I used to invite the guys to my house and we would jam for hours. They thought jazz was subversive but it brought people together,” he recalls. Throughout his career, Morris has performed and recorded with various local and international artists, such as Miriam Makeba, Harry Belafonte and Phil Collins. He attained nationwide

acclaim in the United States when he attained a residency on The Rosie O’Donnell Show as a saxophonist and wind specialist. As his star continued to rise, Morris ventured on an extensive American tour with close pal Hugh, playing at major festivals, culminating in a recorded radio special aired on WBGO Newark and WLIU Southampton. Despite taking the world by storm, his sentiments of South African life remained present in his consciousness and abilities as a musician. He collaborated on a project with author Shunna Pillay and David Bravo, writing a musical about life in apartheid South Africa. “I realised that I had absorbed all the jazz things but the fountain, the well of the music, and the sounds that inspired me, all came from South Africa. All the writing I did for the band had its roots in South Africa, combined with the jazz I love,” he told Artslink. In addition to an illustrious solo career — including playing alongside Bill Clinton and composing for films such as box office hit Project X — he spent many years performing with his group OJOYO. While his musical roots were nurtured in jazz, classical, bebop

South Africa

and mbaqanga, he describes the sound of OJOYO as “Saffrojazz” — a unique fusion of South African and American music. Today, he still secures gigs and is currently part of a band called The South African All Stars. His profound love for jazz has been a fundamental factor in the longevity of his career — not to mention his well-earned status as a legend of the game. “You have to keep at it,” he says. “They say if you don’t practise four days, you feel it. If you don’t practise for seven days, your listeners know it!” In retrospect, a colourful career spent in collaboration with A-list stars and touring the globe was definitely a result of following his intuition. “I definitely wouldn’t have done all this if I were a pharmacist,” he says. Playing alongside Morris at the 2019 Cape Town International Jazz Festival (CTIJF) is Cameron Ward on guitar, Donovan Dyers on bass, Trevino Isaacs on keyboard, Anthon Mannel on drums, Jason Ward on percussion, Lorenzo Blignaut on trumpet and flugelhorn, and Zeke Lagrange on tenor saxophone.

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NDAKA YO WIÑI As an ambassador of the Lundongo genre, this Angolan jazz star is creating a musical legacy steeped in culture

Ndaka Yo Wiñi appeared on the African music scene at the end of 2011 with a mission to produce and promote music inspired by his Angolan cultural heritage. Subscribing to the Lundongo genre of music, which orginates from his hometown of Lobito, he traces his trajectory back to a very young age where he attended the traditional ceremonies in his community and witnessed the “styles, dances, rhythyms and rituals of the cultural heritage”. His music can be funky, uplifting or otherworldly. However, it is always authentically Lundongo. During performances, Ndaka uses his voice to create a variety of noises, such as animal and bird sounds, and vocallyproduced percussion. This dismissal of technology in favour of corporal instruments has greatly benefitted his work’s artistic value and plays into his love for the arts (he admonishes “Tudo pela arte!”, meaning “Everything for art!”, on his Facebook page). To ensure his sound remains unique and ethnically true, he brings in key aspects of his work as a cultural researcher to his music. His musical projects — such as “Lundongo no Lwandu” (translating to “Ancestral Rhythm of Cradle”) — are often underpinned by Angolan heritage, including the languages of Kissolongo, Fiote and Kimbundu. The artist’s unrelenting efforts to promote his ancestral roots has led him to enjoy recognition in the local music industry, including winning the Top Rádio Luanda for Afro Jazz award in 2016. In 2018, the artist also released his first album, Olukwembo, to much acclaim, and will be joined at the 2019 Cape Town International Jazz Festival (CTIJF) by Nsagu Andre (guitar), Kristoffer Figueiredo (bass), Francisco Benjamim (percussion and backing vocals), Saka Pedro (drums) and João Lubanzadio (keyboard).

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More than just music, this flutist’s work is a force of activism and Afrofuturist fantasies rolled into one

NICOLE MITCHELL’S

BLACK EARTH ENSEMBLE

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Nicole Mitchell is a woman of many talents. Renowned as an award-winning creative flutist, she is also an educator, composer and multiple band leader. Having initially emerged in the late Nineties from the contemporary music scene of Chicago in the United States, these days, she is consistently awarded the title of “Top Flutist of the Year” by the Jazz Journalists Association (2010 – 2017) and DownBeat Magazine’s Critic’s Poll. As the founder of musical groups Black Earth Ensemble, Black Earth Strings, Sonic Projections and Ice Crystals, Nicole has cultivated a unique — and distinctly recognisable — musical language, steeped in Afrofuturist visions. The ensemble consists of David Young on trumpet, Avery Young on vocals, poet Calvin Gantt, Tomeka Reid on cello, Joshua White on piano, Rashaan Carter on bass, Jovia Armstrong on percussion and Shirazette Tinnin on drums. Nicole, who was the first woman president of the Association for the Advancement of Creative Musicians in Chicago, uses her aptitude for jazz to create virtual worlds through music that “bridges the familiar with the unknown”, as she explained to Jazz Right Now in 2017. Some of her latest

work with Black Earth Ensemble aims to inspire the human spirit and present a reimagined image of the African-American people, one that is positive, prosperous and culturally aware. The name “Black Earth” was chosen as an ode to Mother Earth, a symbol of the feminine force that governs all aspects of life. Fittingly, the female-directed, co-ed, multi-generational group touches on a range of emotional spaces that is rarely referred to in jazz settings. A lover of visual art, her compositional debut, entitled “Procession Time”, was inspired by Harlem Renaissance artist Norman Lewis. She has also recently been experimenting with multi-disciplinary work, such as incorporating mixed-media original video art in her music. In 2018, Nicole was the Artist in Residence at New York’s Winter Jazzfest. She performed four suites of her original compositions including “Art and Anthem”, “Maroon Cloud”, “Pterodactyl” and “Mandora Awakening”, the latter of which was cited as one of the top jazz recordings for 2017 by both the New York Times and LA Times. The record explores the idea of diversity and co-existence by “creating music that brings together contrasting musical languages,” she told the Chicago Reader in 2018. Steadfast in her pursuit of bringing light to AfricanAmerican contemporary art and championing utopian realities for marginalised communities, she says: “I believe in the power of art to give us new perspectives and to envision new possibilities. Imagination is our greatest resource for changing things. And music has a big role in that”.

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NTSIKA

Photography: Fana Ngxanga

A multi-talented artist, this composer-slashproducer-slash-singer is finally going solo

Best known for his part as lead composer in The Soil, an internationally acclaimed acapella group, Ntsika Ngxanga has now taken time away to focus on his own sound. With a full solo album released recently and two singles — “Awundiva” and “Ding Dong” — already gaining airplay across the country, he revealed that “Everything I was doing was preparing me for this moment” in a recent interview with TimesLIVE. Ntsika’s contributions to the African music scene span further than singing: He is a producer, composer and creator for other artists as well. In addition to his work with The Soil, Ntsika founded his own record label, Nomadic Tribe Entertainment. Started as a composition hub, Nomadic Tribe Entertainment made the transition to a fully fledged label. “I believe every generation deserves a golden era of music,” Ntsika told The Citizen last year, “and I want to give it.” The artist channels similar energies from his past projects into his solo ones: The same uplifting spirit of The Soil’s “Joy (We Are Family)” also characterises his song “Ding Dong”. His compositions are divinely interpreted, appearing to him in dreams, and the perfect fit for the artists who sing them. Soulphiatown, Khonaye and Vusi Nova are all artists who have benefited from his work. Now dreaming for himself, Ntsika performs the type of music he deems the world needs most, saying, “We are custodians of golden, genuine music, and I’m going to bring that music back”. He appears on the 2019 Cape Town International Jazz Festival (CTIJF) stage with guest artist Lebo Sekgobela, and joined by Thembi Khumalo, Siboniso Mbhele, Mxolisi Madondo and Xolisile Bongwana on backing vocals; Bongane Mahlaole on keyboard; Nkahloleng Mapalakanye on guitar; Tintswalo Mboweni on bass; and Courage Sadiki on drums.

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THE MIGHTY WILL FALL

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NUBYA GARCIA

United Kingdom

DATE 29/03/19 STAGE Moses Molelekwa

Photography: Adama Jalloh

Proving contrasting genres can come together as one, this modern Renaissance musician provides a new direction for contemporary jazz Based in London, Nubya Garcia is a band leader, saxophonist and composer — and part of a fleet of young artists championing a resurgence of contemporary jazz that is currently permeating the United Kingdom’s music and club scene. Raised by Caribbean parents, the musician graduated from Trinity Laban Conservatoire of Music and Dance, and as a member of numerous collectives, upholds the collaborative spirit and cross-genre pollination that lies at the heart of jazz music. This is evident in her debut LP, Nubya’s 5ive. Released in 2017, it vigorously pushes the parameters of jazz, exploring an untapped musical domain that melds the fundamentals of hip hop, soul and groove-led rhythms. The result? An upbeat sub-genre of progressive jazz reimagined into dancefuelled tracks but always characteristically Nubya. Her latest EP, When We Are, was created as part of the Steve Reid InNOVAtion Award, an initiative by British charity PRS for Music Foundation to celebrate the memory of the late

jazz drummer, Steve Reid. The award gives artists a platform for experimentation and the ability to expand their creativity with the support of solid mentorship. Nubya was one of the first recipients of the award in 2016. Along with her long-term collaborators — Joe Armon-Jones, Femi Koleoso and Daniel Casimir — she began the journey of bringing a new dimension to her art. “I wanted to use electronics because I’ve been interested in the different sounds that can be created through the use of pedals and running them through [music sequencer software] Ableton,” she tells Daily Bandcamp. “I’m also really into delays and looping. So it’s been on my radar to explore this new territory and I’m really interested in what’s possible with my horn.” The record draws on the energy and dynamism she experienced while navigating London’s underground club nights during her formative years. From dub, grime and garage to her lively performances at Steez music nights, she says of that time: “The energy of that space will stay with me forever. It changed our perception of what music could be”. In the midst of this renaissance of jazz, Nubya is certainly spearheading a musical crossover, bringing together audiences from separate worlds into a space that is exciting yet comfortable. While her records may be improvised and fluid at its core, one thing she is sure about is that she wants her music to make people dance. “I knew I wanted remixes because I knew I wanted this to be on dance floors,” she explains. With reworked arrangements and improvisation on her records, which she views as “a beautiful form of expression”, Nubya believes her affinity for intertwining musical genres will lead to new possibilities of sounds and experience.

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REPERCUSSIONS ft Moses Boyd, DJ LAG, Tiago Correia-Paulo, Nonku Phiri & Mandla Mlangeni The ensemble pushing the boundaries of jazz as a genre Consisting of five gifted musicians, rePercussions is the epitome of jazz. The ensemble comprises Moses Boyd, a drummer, producer and composer specialising in percussion; DJ LAG, a producer and electronic disc jockey; Tiago Correia-Paulo, a producer, guitarist and DJ; Nonku Phiri, a singer and songwriter; and Mandla Mlangeni, a trumpeter and composer. Graduating from Trinity Laban Conservatoire of Music and Dance, Moses has won several awards for his immaculate composition and drumming skills, including the Young Jazz Musician of the Year Award from Worshipful Company in 2014, two Music of Black Origin (MOBO) Awards in 2015 and 2017, respectively, and

The John Peel “Play More Jazz” Award in 2016. Moses’ reach as an artist spans across numerous genres, evidenced in his work with Little Simz, Shabaka Hutchings and more. In 2018, he went on to release his album, Displaced Diaspora, through his own label, Exodus Records. “The theme I was exploring was the story of the diaspora,” Moses tells redbull.com. “I’m a second-generation West Indian; from my dad’s side, Dominican; from my mum’s side, Jamaican. For my story, it was about channelling those influences.” Another pioneer in the industry, DJ LAG has expanded the Gqom sound from purely being a local

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in Mozambique and Johannesburg. His diverse talent can be heard on many albums such as Zaki Ibrahim’s Every Opposite and Mangaliso by Bongeziwe Mabandla as well as on The Brother Moves On track, “Good Times”. Nonku first demonstrated star potential at age 17 during her collaboration with the production company Jazzworx. From then on, Nonku has produced projects with world-class artists such as Classix, Branko, Mahotella Queens and more. Her range as an artist has also seen her perform with local heavyweights Crazy White Boy, Jack Parow and PH Fat. Recently, she founded her own music label called Albino Black and released an independent track, “Sîfó”. “I am an independent artist. I don’t create for instant gratification,” she told Sunday World at the time. “So I took some time for myself, to

explore and find inspiration. I took time to travel. I took time to write. I am not on a schedule or restricted to anything that being on a label would mean.” A man of many talents, Mandla is renowned for his expressive trumpet tunes and compositions. As the leader of the band Tune Recreation Committee, whose album Voices Of Our Vision ranked number one on the 2017 New York Times Best Albums list, Mandla has graced the stage along with other reputable artists such as Hugh Masekela, Dizu Plaatjies, Peruvian vocalist Susana Baca and more. As a group, rePercussions pushes the boundaries of jazz and are unafraid to experiment across genres. Their awe-inspiring energy and creative vision as a band continues to propel them to even greater heights.

Photography: Jack McCain, Courtesy

sound produced in Durban to the genre making waves on the international electronic scene, particularly in Europe and Asia. “My consistent experience is that people dance along to my sets because the sound is new and exciting to them,” DJ LAG told the music news website, Noisey. “They connect on a very real level. They don’t know what to expect and often are not able to follow the patterns of the sound so they have to let go and find a very primal connection point. I see people of all ages and backgrounds having the same reaction to it. To me, that is exciting too.” At the age of 21, DJ LAG debuted a set at the 2016 Unsound Festival in Poland, has gone on to perform in New York at Afropunk and has a permanent slot on RinseFM. Not one to shy away from DJing, guitarist and producer Tiago is based

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REZA KHOTA QUARTET

A quartet that is all about taking jazz to another dimension

A talented guitarist hailing from Johannesburg, Reza Khota had a knack for music, specifically rock and classical, from as early as age 10. Reza’s natural abilities earned him a Master’s in Solo Guitar Performance, with distinction, from Wits University yet it was his mentor Faizel Boorany who opened up a whole new world to that of experimental jazz. Making waves in the industry, Reza has performed alongside reputable artists, including bassist Shane Cooper on the album Oscillations, and in multiple bands, namely Kesivan and the Lights. In 2014, along with his own quartet, Reza released the album Transmutation.

South Africa

Reza’s current ensemble includes Buddy Wells on saxophone and Jonno Sweetman on drums, each well-respected within the industry, as well as Nicholas Williams on bass. Buddy is renowned for his work across many genres and composes for a band called Tribe. Jonno has been dubbed a natural on the drums and has played alongside opera singer Melanie Scholtz and jazz band Kyle Shepherd Trio.

After four years, the Reza Khota Quartet released a new album, Liminal, in 2018. The project reveals a new side to their sound and creativity, going as far as exploring the space “between two or more dimensions”, in Reza’s words. The album taps into the human senses from a musical perspective and offers listeners a ride through the multiverse. “Musicians are frequently in a ‘liminal’ state,” Reza told IOL. “It’s about being aware of the inward process of music (memory, the body, rhythm, breath, theoretical concepts, voice/melody, feeling and sound) as well as the external elements (band interaction/telepathy, acoustics, instrument, audience and the air).”

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RICHARD BONA Putting to sound the rich heritage of both West Africa and the West Indies, the aim of this artist is to inspire with cross-genre musical prowess

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Considered a musical prodigy by his contemporaries, Richard Bona has been wowing international crowds since he first arrived in New York in the mid-1990s. Born and raised in Cameroon, his graceful voice, impressive mastery of the bass and inspiring songwriting know-how has solidified him as a top African musician. His talents have earned him a Grammy Award for Best Contemporary World Music Album (2006) for his record entitled Tiki. Richard transcends cultural boundaries with his mastery of diverse musical genres that ranges from jazz, funk and traditional to pop, bossa nova and Afrobeat. His albums can be described as art with a purpose, inspired by rich west-African folklore and a shared heritage with the West Indies. In an interview with Music Friendly City in 2018, the artist said all music genres are connected: “I see myself as an eternal music student. I savour those moments when I learn something new. For me, there is only one kind of music and that is good music that affects my heart. If some kind of music affects my heart then I am happy to play it”. His latest project includes his lively Afro-Cuban group Mandekan Cubano, which marries diverse musical roots from

across Africa, South America and, as the name suggests, Cuba. The band (pictured) includes Michael Lecoq (piano), Dennis Hernandez (trumpet), Ludwig Afonso (drums) and Ciro Manna (guitar). Richard describes Cuban music as rooted in Africa. “What do we call Cuban music today? It is a blend of music from Africa, Europe, even Asia, and, of course, of the original inhabitants of the Caribbean. These islands were already occupied when the Europeans arrived. In their music, all these components are mixed together,” he says. “Among other things, the instruments used to tell us a lot. In the traditional Cuban orchestra, you can find the trumpet, originally a European military instrument. The piano also has its origins in Europe. The maracas are originally an Indian instrument while the conga and bongo were brought by African slaves.” Richard’s aim is to deconstruct what African music means and repurpose it within a specific canon. “The label ‘Cuban music’ is thus a simplification. We have to look at it more closely then we can see how sophisticated it is. For that reason, I called my [latest] project Heritage — because it is about the heritage of various cultures and world heritage. The period of colonisation was difficult but even in those tough times people played music and left it to us as our heritage.” With Heritage, he wants to tell the stories of the island passed down for centuries. It is his first foray into Afro-Cuban music but also a culmination of acquired experience that covers various genres and produces a genuine expression of cultural appreciation. It serves as a reminder of the beauty in remaining true to one’s roots while defying the norm by including different narratives.

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DATE 30/03/19 STAGE Basil “Manenberg” Coetzee

South Africa SA artists proudly funded by the National Lotteries Commission

SEKUNJALO

EDUJAZZ BIG BAND The project that is making waves in the lives of young jazz artists Every year since 2001, the Sekunjalo Edujazz Big Band have played live in concert, supported by the Sekunjalo Development Foundation. The concert provides aspiring young artists with an opportunity to play alongside some of Cape Town’s most seasoned jazz musicians. Stemming from a vision to uplift Cape Flats schools through the art of jazz, shared by Programme Coordinator Donovan Witten and Sekunjalo Group Founder Dr Iqbal Survé, the initiative has grown in size and reputation with the likes of Athlone Academy of Music, Muizenberg High School Jazz Band, University of the Western Cape Wind Orchestra and more all having participated in the past. These youth bands have been mentored and have worked alongside some of the country’s most talented musicians from a range of genres, including Jimmy Nevis, Mi Casa and Beatenberg as well as Andre Petersen, George Werner and Sammy

Weber from the jazz scene. Contributing from a musiceducation standpoint, the likes of Frank Paco, Ronel Nagfal, Henriette Weber and more have hosted numerous skills development workshops alongside the Cape Town International Jazz Festival (CTIJF) to support the initiative. The Sekunjalo Edujazz Big Band has even catapulted the careers of many respected artists such as Don Vino (read more on page 48), Lana Crowster and Kyle Shepherd. This year, the band will be directed by the Head of Jazz Singing at the South African College of Music, Amanda Tiffin. Her experience as a musical director, orchestrator and composer has seen her perform in the Royal Philharmonic Orchestra in London as well as on stages in Paris, Taiwan and Japan. The Sekunjalo Big Band members include Anathi Mobo (vocals), Imke Muhr (trombone), Shaw Komori and Bonga Masola (trumpet), Ofentse Moshwetsi (alto saxophone), Jesse Julies (tenor saxophone and vocals), Georgia Jones (baritone saxophone), Rouzanna Coxson (piano), Stephen de Souza (bass), Lilavan Gangen (drums) and Ryan Truter (guitar).

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SHEKHINAH Mzansi’s golden girl is taking over the R&B music scene, one platinum album at a time

A young Durban girl with a big dream, Shekhinah broke into South Africa’s music scene when she entered Season 7 of Idols South Africa. She made it to the top 32 before being eliminated. Relentlessly, she then entered Season 8, making it to the top six and showing off her vocal range as well as courage and persistence in building her personal brand. Her work did not go unrewarded when, in 2016, “Back To The Beach”, a song with fellow Durbanite Kyle Deutsch, became a number one hit. The song was so well received by audiences across the continent that Shekhinah won an MTV Africa Music Award for it that same year.

With the success of “Back To The Beach”, she quickly piqued the interest of local heavyweights Black Coffee and Jesse Clegg. Both artists featured the young star on their respective singles, “Your Eyes” and “Breathing”. “I think Black Coffee is such a beautiful example for all artists in our country,” Shekhinah told SowetanLIVE in 2018. “He expanded and left a territory he was most known in and started pushing overseas and is succeeding. I

really appreciate him and there’s no reason I can’t aspire to be the artist he is as a female.” In 2017, Shekhinah released Rosegold, her debut album, which swiftly rose to platinum status. Her single, “Suited”, topped many radio playlists locally and abroad, and was certified diamond in 2018. Following suit were “Please Mr”, which received gold certification, and her music video for “Different”, which accumulated two million views soon after being released on YouTube. “For me, ’Different’ is about stereotypes and trying to break them, and just challenging the idea of two females being vocalists and their differences but still

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working cohesively in the same world,” she says of the song. “People like to put you in different boxes, like coloured, short, hot or chubby. I wanted to highlight those stereotypes, which is why I broke the video in two halves of black and white, yin and yang.” In 2018, Shekhinah was nominated for six South African Music Awards (SAMAs) and walked away with three titles under her belt: Album of the Year, Best Female Artist and Best Newcomer. “I feel like all these awards and achievements are something you should work towards throughout a longer period in your career so I think it’s pushing me to move at a different speed and pace, which is exciting,” she says.

As a budding artist dominating the R&B and pop genres, Shekhinah is continuing to expand her reach and building her empire, inspiring those around her as she does so. Her set at the 2019 Cape Town International Jazz Festival (CTIJF) — accompanied by Mogapi Michael Morare on keyboard, Tumelo Sithole on drums and Jabulani Bonginkosi Kevin Mavimbela on bass — will be no different. Her biggest achievement? Not losing the essence of who she truly is along the way. “There are a lot of people that I would want to be like, look like and sound like but that’s just not me,” she says. “I try very hard not to fall into that convention. Being myself is what got me to where I am right now.”

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SHO MADJOZI Embracing traditional African culture in her music, this soulful singer is the very essence of Afropunk culture Originally from Shirley Village, Limpopo, Sho Madjozi — whose real name is Maya Christinah Xichavo Wegerif — has exceeded expectations as a young pop culturist in Africa. In 2018, she featured on Okmalumkoolkat’s single “Gqi”, which catapulted her career to an unimaginable height. “Every time, it gets more and more insane. I think it’s because I was not really expecting to be famous so that just makes things even more crazy,” she tells IOL. “Also because no one believed in me from inside the industry.” After the release of her single “Dumi Hi Phone” featuring PS DJz in 2017, bookings for Sho Madjozi to perform started rolling in. The track went viral and, to date, it has racked up more than one million views on YouTube. “The thing is, I want to make music for me, for young people

growing up in the same village I grew up in, who never get to hear our own language on national radio,” she says. “There are so many of us, not only in Limpopo but also in Gauteng. We go to massive gigs and there’s never a single Tsonga musician. Imagine.” The rapper is known for bringing the culture of Xitsonga to the masses in the form of lumo skirts, fashionable music videos and captivating shows. Some of these shows include South Africa’s biggest music events such as Fill Up FNB, Afropunk Fest and Global Citizen. “I’m always trying to replicate Xitsonga fashion of the late Nineties and early Noughties because that’s

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what I grew up around,” she says. “My parents are young so when I was growing up, my mom was in her twenties and I just thought she was the most beautiful person ever.” Upon the release of her album, Limpopo Champions League, she expressed her feelings on her new career, instant fame and an album that expresses what it means to be pan-African and celebrating your roots. “With this album, I also communicate the message that Tsonga people belong,” she says. “Often, we are treated as if we should not be in SA and people think we all need to look a specific way. We belong like everyone else, and this album celebrates that.” Sho Madjozi is joined on stage at the 2019 Festival by DJ Gontse More, drummer Simon Teffo and dancers Nhlanhla Sibiya, Fiona Tembe, Lindokuhle Mnyandu and Tinyiko Khoza.

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SOUTH PENINSULA HIGH SCHOOL BAND The new kids on the block are blazing a fresh trail on the jazz scene Starting out as a youth band, the South Peninsula High School Band has defied all expectations in the music industry. Despite being a young collective, the band’s talent equates to years of experience and shines through in their take on jazz classics. The band comprises Xavier Rhode (bass); Daniel Williams (keyboard); Keenan Majiet (drums); Josh Roelofse and Matthew Fischer (percussion); Kirsten Klink, Matthew Mentor and Bradley Prince (guitar); Janeal Mentor, Sheldon Nefdt, Candice du Plessis and Duncan Johnson (horns); Caleb Meyer, Eryn la Guma, Erin Wilson, Tara

Jurgens and Keashan Carelse (vocals); and Zoe Lemore, Shannon Bester, Jenell Naidoo, Alizwa Dzakwa and Inganathi Sophazi (dancing). What particularly distinguishes them from other bands is not just their age but also their outlook on music as a lifestyle. These unique characteristics have led the musicians to establish themselves at the Grahamstown Jazz Festival, Iziko Museum, Jolly Carp and Baxter Theatre. Under the direction of George Werner until 2014, and since Dianne Gordan and Lenrick Boesack’s takeover, the band have learnt about jazz by playing classics such as “Caravan”, “Night in Tunisia” and “Chameleon”. The South Peninsula High School Band hope to one day become a fully fledged band in South Africa and are no doubt on their way to making this a reality.

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SOWETO GOSPEL CHOIR The songbirds of South Africa who have stolen the hearts of the world

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Seventeen years ago, a talented group of vocalists came together in South Africa to form the Soweto Gospel Choir. Today, they are one of the most famous choirs in the world and have plenty of accolades to prove it. Touring the globe as a musical troupe, the Soweto Gospel Choir won two Grammy Awards in 2008 plus an Emmy Award for their work with Bono and U2. And just this year, they scooped a third Grammy. The Choir also received an Academy Award nomination for their collaboration with singer, songwriter and producer Peter Gabriel on the Disney-Pixar movie WALL-E. Back home, the group have won four South African Music Awards (SAMAs) and have featured as special guests at the MTV Africa Music Awards and All Africa Music Awards (AFRIMA). In addition to the list of awards lining their walls, the

group has performed on numerous stages such as London’s Royal Festival Hall and Sydney Opera House, and for famous fans such as Oprah Winfrey, former United States president Barack Obama and even the British royal family. As a testament to their impeccable talent, big names — from Stevie Wonder to Diana Ross — have collaborated with them. The Choir is comprised of 27 members: Mirriam Chapole, Pamela Hlabangwana, Gugu Mbalenhle Mbongwa, Nersia Mofokeng, Kenosi Jennifer Moshe, Duduzile Patricia Ngomane, Zanele Ngwenya, Linda Sambo, Semangele Mongatane, Hlamarisa Sidumo, Hlengiwe Msomi, Anele Bizane, George Kaudi, Thabiso Molefe, Bongani Bethuel Khumalo, Bongani Meshack Mabaso, Goodwill Mandlenkosi Modawu, Phumlani Cedrick Msibi, Fanizile Jeffrey Nzuza and Cecelia Tshelane Manyama (vocals); Mazwe Hopewell Shabalala, Warren Mahlangu and Thabang Floyd Mkhwanazi (vocals and djembe); Bongani Nkosinathi Ncube (bass); Katlego Khasela (keyboard); Sibusiso Nyirongo (percussion); and Kevin Earl Williams (guitar).

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South Africa

SA artists proudly funded by the National Lotteries Commission

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STEVE KEKANA

DATE 29/03/19 STAGE Kippies

Credited with more than 45 albums since his first single released in the 1970s, Steve Kekana continues to make his mark on the music industry Although glaucoma left Steve Kekana (real name Tebogo Stephen and born Modidti Steven in 1958) blind by the age of five, it did not hinder his love of music which was nurtured very young. At a school for the blind in Thogwaneng in the south of Polokwane, South Africa, he was a core member of the school band. After a chance encounter with the record producer Tom Vuma as part of the amateur band Hunters, Steve recorded his first album Mumsy in 1978. The following year, he was awarded the Black Music Award for Best Male Vocalist by the South African Broadcasting Corporation (SABC), followed by the Top Male Vocalist Award on Radio Zulu. Yet Steve’s success has not stopped there. Now, with more than 45 albums under his belt, he continues to release new music, the most recent albums

being Ubuntu and Siwelele, both released in 2018. Many of his songs have been featured in motion pictures and he has famously collaborated with artists of all ilks, including PJ Powers on the song “Feel So Strong” and vocalist Nana Coyote, who he sings alongside regularly. Music is not his only passion, however. The artist is the Chairman of the Southern African Music Rights Organisation (SAMRO) Retirement Annuity Fund, the Chairman of the Johannesburg Society for the Blind and holds BJuris and LLB degrees, focusing specifically on intellectual property law for songwriters. In 2018, Steve was awarded the South African Music Awards (SAMA) Lifetime Achievement Award, only the second musician hailing from Limpopo to receive this high accolade in the music industry. Audiences at this year’s Cape Town International Jazz Festival (CTIJF) will see Steve perform alongside his band, comprising Nomazizi Mkhwananzi and Neo Maphaka (lead singers); Nomasamto Khumalo (alto singer); Nelly Boyi (soprano singer); Dennis Gumede and Dumazile Magwaza (tenor singers, with the latter also an alto); Tebogo Saohatsi (drums); Mangaliso Nhlapo (bass); Blackie Sibisi (guitar); and Vusi Twala and Lombard Maripane (piano).

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VUMA LEVIN For this artist, jazz — and all its political possibilities — is his weapon of choice in exploring cultural identities

The Vuma Levin Quintet is a multi-cultural band that originates from the Conservatorium van Amsterdam. Led by South African Vuma Levin on the guitar, loops, samples and effects, the band consists of young musicians who met abroad. Bernard van Rossum, who has his own quartet, joins on the tenor and soprano saxophone; international pianist Xavi Torres Vicente joins from Spain; award-winning Italianborn Marco Zenini on bass; and Joan Terol from the Netherlands plays drums. Whilst Vuma uses music to culturally comment on his past, he is conscious of the changing landscape of contemporary music and wants to express that through jazz. “The people I play with are young, dynamic and incredible musicians. People should just come for that alone,” Vuma told the Mail & Guardian in 2015. “Over and above that, the music is an attempt to reflect upon what it means to be South African in the here and now, and I would like to share my vision of that with people.” Vuma ingeniously fuses South African traditional melodies with components of jazz, pop and electronica. The end result is a unique blend of “cultural artefacts” that speak to who Vuma is as an artist. “Jazz, as with all other forms of cultural production, is fluid, dynamic and everchanging,” he says. “It changes as society changes, to accommodate the stories that people want to tell and the ways in which people want to reflect themselves and the broader contours of society.”

QUINTET South Africa

DATE 30/03/19 STAGE Rosies

SA artists proudly funded by the National Lotteries Commission

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In 1999, the first Cape Town International Jazz Festival (CTIJF) was born. Since then, the event has grown from strength to strength, featuring artists of all ilk with ties to the jazz genre and from across the globe. Yet, its essence remains true to that very first festival: Celebrating the joy of jazz music. In 2019, the 20th anniversary of this world-renowned event, the aim is no different. And while the music world mourns those jazz legends lost over the past year, it also celebrates the raw talent and exceptional melodies of the artists gracing the stages at CTIJF. In commemoration of the past 20 years, and looking forward to what the next 20 will bring, Whoâ&#x20AC;&#x2122;s Who takes a look at a few beautiful moments of artists at the Festival., captured gracefully by past and present Duotone Gallery photographers Shadley Lombard, Johan Samuels, Brent October, Hugh Mdlalose, Roderick Taylor and Shelley Christians. Read more about the photographers being showcased at the 2019 Duotone Gallery on page 118).

Miriam Makeba, fondly known as Mama Africa, performed at the CTIJF on numerous occasions before her passing in November 2008.

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This page A stolen moment of recently deceased Zimbabwean-born South African legend Dorothy Masuka. Opposite page The late Hugh Masekela doing what he did best: Enthralling crowds with his excellent trumpeting skills.

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Opposite page Corinne Bailey Rae raises her hands during her set on the Kippies stage at CTIJF 2018. This page Pianist Tete Mbambisa plays at one of the Festivalâ&#x20AC;&#x2122;s training and development workshops.

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Oliver Mtukudzi during one of his many performances on the CTIJF stage.

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CAPTURING THE MUSIC The 2019 Duotone Photographic Exhibition at the Cape Town International Jazz Festival (CTIJF) looks back on icons of the past and celebrates the talent of the future

The Cape Town International Jazz Festival is well-known for its socially responsible initiatives that include the training and development of not only musicians but artists in various industries. One such industry is photography, and CTIJF is proud to host the Duotone Gallery at the Festival, providing a platform for photojournalists to enter the Festival space and document the various

The Curator: Johan Samuels Hailing from Cape Town, Johan Samuels is a photographer and Director of Corpmedia, his own company that specialises in graphic design and corporate media event photography. Johan has been a part of the CTIJF photography family for the past nine years. In 2019, he curates the Duotone Gallery at the CTIJF.

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Photographer: Brent October Twentytwo-yearold Brent October is no stranger to the world of photography. Currently studying towards his BTech in Photography, Brent also moonlights as a photographer’s assistant on editorial and commercial shoots. His understanding of his medium allows him to connect his subjects’ stories through his visual art.

performances that take place at the event. This year, the Duotone Photographic Exhibition, displayed at the 2019 Festival’s Duotone Gallery, features graduates from the Duotone Class of 2018. The 2018 theme “Shaping the music” highlighted the elements that contribute to the development, identity and signature of the artists photographed.

Photographer: Hugh Mdlalose As a fan of jazz music himself, Hugh Mdlalose’s inspiration for his imagery is not difficult to find. By combining his passion for his medium with his love for the genre, he approaches his subjects through personal encounters and his spiritual connection to the sounds he experiences.

In addition, the Gallery pays homage to music icon Oliver “Tuku” Mtukudzi, who sadly passed away on 23 January 2019 (read his tribute on page 20), and Afro-pop legend Dorothy Masuka, who passed away one month later on 23 February 2019. The CTIJF and Duotone are honoured to have been associated with these amazing artists and humanitarians.

Photographer: Nicholas Felix Born and bred in the Mother City, a town comprised of diverse cultures, Nicholas Felix’s motivation for his photographs is derived from the emotional connection people feel when they view the final visual product. Working mostly in studio environments where he is forced to isolate the extraordinary, Nicholas prefers to capture a scene as it occurs.

Photographer: Ronel Prins A dedicated and highly energetic photographer, Ronel Prins’s career is backed by extensive experience in the entertainment industry as a planner, photographer, baker, caterer and host. Having worked with artists as diverse as TopDog SA, Belinda Davids and Robin Pieters, Ronel’s creativity knows no bounds.

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TRAINING & DEVELOPMENT

CHANGING TIDES To highlight the importance of education, training and development, espAfrika and the Cape Town International Jazz Festival (CTIJF) hosted several workshops ahead of the main event Each year, the Cape Town International Jazz Festival hosts a week of training and development workshops that lead up to “Africa’s Grandest Gathering”. These workshops focus on a range of aspects within the industry, including music, arts journalism, photojournalism, fashion, technology

and public debates. This year was no different and saw 16 workshops conducted in the last week of March 2019. Facilitating these were wellknown industry players and featured artists from the CTIJF 2019 line-up. Here, highlights from some of the most wellattended workshops.

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TRAINING & DEVELOPMENT

ARTS JOURNALISM

The practical workshops for arts journalism were conducted in compliance with national journalism standards and designed specifically for practising journalists, interns and journalism students. The arts journalism sessions helped participants improve their writing skills and allowed them an opportunity to network with seasoned journalists. The photojournalism sessions focused on the technical skills and perspective required for photography of live jazz music specifically.

TECH TALK

Presented by AYO Technology Solutions, a leading information and communications technology company in South Africa, audiences participated in discussions on how technology has influenced and disrupted not only the music industry but almost every other business sector. In addition, AYO hosted a panel discussion with experts and provided spot prizes to participants.

MUSIC AND CAREERS With the objective of providing scholars with an understanding of the basic mechanics of live events, stage production and operations, this workshop included theoretical modules on the basics of business, communication, operations and project management, technical requirements, and rehearsals and performances. A second workshop, broken into various sessions, focused on more practical skills and provided students with on-the-job experiences of various tasks leading up to the festival. These workshops included arts journalism, music technology, fashion and a public debate. The third workshop in this category, aimed specifically at music programmes and schools, prepared its participants for a live performance. This workshop encompassed training in basic skills such as arrangements, stage etiquette, production and operational discipline required for professional live performances.

GIGS FOR KIDS

This interactive workshop for children between the ages of five and 10 years old introduced children to basic rhythm, storytelling, dance and music development through a range of fun activities. Facilitated by Magical Parties, a local company that offers a wide variety of family eventing entertainment, the workshop offered fun for all, with a magician, puppet show, balloonmaking and a face painting station.

MASTER CLASSES

In these fun, interactive workshops that included both skills transfer and mentorship, participants were able to engage with industry experts as well as some of the musicians performing at the CTIJF. From sharing knowledge and ideas to discussing various aspects of the music industry, artists such as French Kiwi Juice (read more on page 54), Cory Henry (page 42), Moonchild (page 79), Nicole Mitchell (page 83) and Ntsika (page 84) engaged students and educators in all things jazz.

CAPE TOWN FASHION WORKSHOP

Specifically geared towards fashion students, this workshop focused on the business of fashion in South Africa. Attendees gained first-hand insight into the dynamics of the fashion industry as well as current issues and trends, all delivered by leading industry professionals.

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PROGRAMME

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25 5 0

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EXECUTIVE EDUCATION GEARED FOR INDUSTRY 4.0 The Johannesburg Business School (JBS) was established in 2017 as part of the College of Business and Economics at the University of Johannesburg. JBS offers a range of innovative executive programmes, expertly designed to develop effective, ethical and enterprising African leaders. With an emphasis on contextual intelligence, leaders are equipped to successfully navigate and overcome the complexities of today’s world, while advancing the evolution of the business environment for the benefit of their organisations and society. All programmes designed and delivered by the JBS are grounded in the African context, with a strong global connection, for disruptors, entrepreneurs and managers alike. Business with purpose and an impact on the community, increasingly part of day-to-day business in Africa, underpins what JBS represents and does. JBS is built around three pillars: • Delivering world-class business education with a focus on the African context. • Designing programmes geared for Industry 4.0 and the future world of work. • Providing a platform to stimulate and inform purpose-driven business practices towards a collective impact across the continent.

WE ARE AUTHENTICALLY AFRICAN WITH DISRUPTION AND INNOVATION AT HEART

At JBS we believe higher education is vital to the Fourth Industrial Revolution and ensuring that Africa becomes ‘future fit’. As such, the JBS partners with entities outside of the conventional business education space, with the idea to innovate and reinvent leadership development and education in an ever-changing business environment. Our Executive Education portfolio provides managers and leaders with offerings that are relevant to the complex and disruptive nature of work, arming them with the skills to successfully navigate the rapidly changing business environment. Our programmes are delivered with best in class faculty who encourage critical analysis and thinking, while emphasising contextual intelligence and conscious learning. The aim of our offerings is to advance the evolution of the business environment for the benefit of organisations and society at large. JBS offers bespoke training programmes aligned to organisational strategic imperatives and people development frameworks. Our short courses are designed to equip entrepreneurs and leaders with functional excellence across the practice of management. The JBS Masterclass offerings is growing in popularity and is available in cross-disciplinary fields, like Strategy, Marketing, Human Resources, Innovation, Coaching and Mentoring, to name a few. These 3-hour interactive sessions provide delegates with the latest insights and a practical view of shifting trends and their impact on business.

Visit www.jbs.ac.za for more information on upcoming programmes

Prof Lyal White, Senior Director of the Johannesburg Business School (JBS) at the University of Johannesburg. Prof White writes and advises on strategic thinking, execution and political economy in Africa, Asia and Latin America relevant to business and policy makers.

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EXECUTIVE EDUCATION AND MASTERCLASS OFFERINGS 2019 PROGRAMMES:

• Every Leader a Storyteller (1 – 2 April) If you are a leader, you are the narrator. Today, more and more organisations are recognising the power of narrative and storytelling as a core leadership discipline. • Negotiation Skills (9 – 10 Apr) Develop your negotiation skills to create more effective partnerships and better results for your organisation. • Fundamentals of Strategy Design (13 – 14 May) Good strategy design is at the core of business success. But developing an effective strategy has become an increasingly difﬁcult process as seismic shifts in competition, globalisation and digitisation have rendered many traditional strategic frameworks irrelevant. • Fundamentals of Strategy Execution (27 – 28 May) The ability to execute strategy is at the core of sustained business success. Even the best strategic plans are of little value if we do not have the right organisational capacity to effectively execute them. • Women Entrepreneurship and Leadership for Africa Programme (19 May – 19 Sep) This Programme is offered in partnership with CEIBS, with study blocks delivered in Johannesburg and Shanghai.WELA is a practical, hands-on programme that examines the issues, challenges and opportunities women face in creating, managing and leading companies in Africa. The programme is specially designed for women entrepreneurs and is focused on enabling them to identify business opportunities as well as maintain viable and sustainable enterprises.

MASTERCLASSES:

• Human Resources Series 1: Shifting the role from HR to organisational effectiveness (5 April) HR has the opportunity to become the “architects” of effective organisational design and behaviour – whether at an organisational or team level instead of deﬁning themselves as the custodians of people, processes and practices. This session will cover a new set of skills and mental models, including the ability to leverage new technologies for all HR practitioners. • Innovation Series 2: Your disruptive advantage in the digital economy (16 Apr) Learn about innovative success stories in the context of Industry 4.0 and how to prepare and future-proof your organisation for this digital revolution. The Masterclass will help you conceptualise, develop and commercialise new and innovative business ideas. It will also guide organisations through their digital transformation journeys. • Megatrends and the future of work (7 May) Megatrends are large global trends that will play out over time, and impact all of humankind. Being aware of these is being forearmed. Join us as we unpack the big 5 Global Megatrends. Understanding these trends will aid in developing your organisational strategy and pave the way to a more successful and sustainable business. • EyeGym Visual intelligence: Making Better Decisions Under Pressure (17 May) The world of work is changing and there is untapped potential in organisations. In the future, the social and emotional skills as well as more advanced cognitive skills will be increasingly important. The EyeGym aims to support people to focus their abilities allowing them to make more insightful and quicker decisions • Leadership Legacy: Madiba’s Leadership Principles (19 July) Nelson Mandela believed in four leadership principles which will be the detailed focused of this workshop. We will further explore as to how these principles can be applied in our day to day lives, in both personal and work situations. For more information and to register, please visit our website www.jbs.ac.za or email us on ExecEd@jbs.ac.za

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