Your transition to the loving world of spirit has left many of us gabbing and cackling about how to keep Cape jazz alive and appreciated, as you so eloquently tried to do. Maybe you have not liked such terms as ‘giving tribute’ or ‘legacy’, attributed to you and your ilk, but applause and celebrations for your contributions to South African and specifically, Cape music, will continue.
We’ve heard many ideas and suggestions flowing during mad chats after your passing about how South Africa must retain and honour its artistry for generations to come. A common theme seems to run throughout: preservation of one’s music through written charts, and archiving written and digital materials for public access. Your close musical friend, Hilton Schilder, said in an interview: “My father was a prolific composer, but I don’t have any charts or anything written down.” Others have commented: There needs to be financial assistance arrangements for musicians while they’re living for emergencies, illnesses, and the like; South African and Cape jazz needs more airtime on the radio and general media in order to counter the ‘dumbing down’ on youth ears of the increasing American–and–other playlists congesting soundwaves through cellphones and other digital media. “The little ones get clouded by a certain mode of thinking, that it’s cool to jive to American music”, Schilder continues. What’s needed is faithful observation, social responsibility, and interaction in both accessing local music, and generating appreciation for it. Musicians must submit their performance sheets and materials to SAMRO in order to be paid for their contributions, cries singer/guitarist Tina Schouw, during a recent music memorial evening. We must be more pro-active!
Dear Errol. You knew all this, and advocated for it. But…are the journalists and responsible social media having their say? Fewer, if any now, newspapers and magazines are carrying articles or pages on the local legacies. All Jazz Radio suggests, along with many others, that a collective blog is needed as a platform for informing, debating, and archiving about our Cape jazz legacies. Arts journalism has now morphed into ‘celebrity’ journalism, as very well pined by journalist, Ryland Fisher: “We need good quality and thoughtful journalism at all levels and in all media forms to which people can contribute. In social media, it’s about numbers. But blogs can be updated as more like-minded people contribute. There’s value in community strength.” The same has been echoed throughout the years by jazz journalist, Gwen Ansell, in her wordpress blog. Lack of acknowledgments to local artistry IS a worrying trend. A few community radio stations, like Bush Radio and Fine Music Radio, based in Capetown, and a scattered few in other parts of the country, do sponsor worthy programs that offer local and international jazz. But that vast majority of terrestrial stations subsidized with profits choose the obvious – the marketing of income-generating brands of artistry, regardless of quality or intention.
You were adamant about the importance of musicians choosing record labels that were truthful to the cause of artistic mastery and cultural expression. And schools of music – all must offer a healthy balance that favours , and flavours, local heritage – Cape music – South African Standards – over the aping of American music, no matter how good. Stories! You cried. It’s about hearing those indigenous stories, and learning from them!
Dear Errol. We know that even a dog danced at your Muizenberg concert – ‘Sugar’ shaked with your Cape ghoema jazz, and spread the word, as featured in your first album, ‘Sonesta’. What musical memories you have left to us today will stimulate more dancing and celebrations to make your legacy remembered, revered, and pushing artistry forward in these new times.
With love and great respect,
All Jazz Radio team of presenters and fans
30 July 2017