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Anat Cohen and Her Jazz Clarinet –

Anat Cohen and Her Jazz Clarinet

Anat Cohen and Her Jazz Clarinet

In search of some live Brazilian music a few months ago, I found my way to Dizzy’s Club Coca-Cola, in the Time Warner Center, where the Brazilian percussionist Duduka Da Fonseca was leading a quintet. I can’t say I knew much about Mr. Da Fonseca before I heard his band that night, and among the things I didn’t know was that his quintet’s regular reed player was a 38-year-old Israeli woman named Anat Cohen, who has lived in New York since 1999.

On the first few tunes of the set — mostly the kind of fast-paced, Brazilian-tinged jazz I’ve always loved — Ms. Cohen played the reed instrument most closely associated with postwar jazz: the tenor saxophone. It was immediately apparent that she was a terrific musician, fluid, full-throated, with a knack for creating beautifully crafted, even eloquent solos. Around the fifth song, however, the quintet began playing “Chorinho pra Ele,” a simple, infectious samba by Hermeto Pascoal, the great Brazilian multi-instrumentalist. And that’s when Ms. Cohen did something you rarely see a jazz reed player do these days. She took out her clarinet.

As good as her saxophone playing was, Ms. Cohen on the clarinet was a revelation. Using the clarinet’s upper register, she could evoke infectious joy. In the lower register, her playing could conjure a deep, soulful melancholy. On up-tempo numbers, her improvisations weren’t just bebop fast; they had a clarity and deep intelligence that is really quite rare. She made it look effortless, even as she was playing the most technically difficult of all the reed instruments. She only played a handful of songs on the clarinet that night, but every time she did, she took my breath away.

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International Jazz Day 2013 | United Nations Educational, Scientific and Cultural Organization

International Jazz Day 2013

International Jazz Day 2013

Spurred by the success of the first celebration, UNESCO, in partnership with the Thelonious Monk Institute of Jazz (TMIJ) will be organizing the second International Jazz Day on April 30th, 2013. This day is destined to raise awareness in the international community regarding jazz’s virtues as an educational tool, as a vehicle for peace, unity, dialogue, and for enhanced cooperation between peoples.

The year 2013 marks the beginning of the International Decade for People of African Descent, consecrated to the theme, “Recognition, justice and development for people of African heritage.” This constitutes yet another highlight of the event that the United Nations will surely support. Africa, whence jazz draws its origins, will thus be doubly honoured this year.

Istanbul is the official host city for 2013. Turkey has an age-old tradition of jazz. Munir Ertegun, Turkish Republic’s first ambassador to Washington in the 1930s, opened his embassy’s parlors to African American jazz musicians, who gathered there to play freely in a socio-historical context which was deeply divided by racial segregation at the time. Inspired by this legacy, the ambassador’s sons, Ahmet and Nesuhi, went on to establish the United States’ first jazz and gospel label in 1947 – Atlantic Records – which was seminal in spreading the beauty of jazz music around the world.

Read more at International Jazz Day 2013 | United Nations Educational, Scientific and Cultural Organization.


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Jazz Articles: Free All-Star Brubeck Tribute Concert Set for NYC – By Jeff Tamarkin — Jazz Articles

A multi-artist tribute concert, “A Celebration of the Life and Music of Dave Brubeck,” will take place May 11 at 4:00 p.m. at the Cathedral Church of St. John the Divine, 1047 Amsterdam Avenue in New York City. The unticketed event is free.

Artists scheduled to perform include Chick Corea, Paquito D’Rivera, Branford Marsalis, Randy Brecker, Jon Faddis, Roy Hargrove, Roberta Gambarini, Bill Charlap, Renee Rosnes, Rufus Reid, Bobby Militello, Hilary Kole and Darius, Chris, Matthew and Dan Brubeck. Other performers and speakers will be announced as soon as information becomes available.

Jon Faddis at CareFusion Newport Jazz Festival - Ben Johnson

Jon Faddis at CareFusion Newport Jazz Festival – Ben Johnson

Information on the Cathedral Church of St. John the Divine can be found at St. John Divine or by calling 212-316-7540. Public inquiries regarding the Dave Brubeck celebration can be directed to and will be answered when further details become available.

via Jazz Articles: Free All-Star Brubeck Tribute Concert Set for NYC – By Jeff Tamarkin — Jazz Articles.


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Jazz Great Hugh Masekela, Fresh Because He’s Fascinated: NPR

Hugh Masekela

Hugh Masekela

“I was a good boy,” South African jazz legend Hugh Masekela assures NPR’s Michel Martin. But still, he says, “as a kid, I was whipped on a slow day at least three times.”

Still Grazing

Still Grazing

Eventually, Masekela told his chaplain, “If I can get a trumpet, Father, I won’t bother anybody.”

His wish came true.

Within a few years, Louis Armstrong, who’d heard of a talented kid in South Africa, sent the boy his own trumpet. Photographer Alf Kumalo captured Masekela’s joy at receiving that gift in an iconic photograph. But Masekela says he has always hated that image: “I lost a girlfriend through that picture,” he says. “You know, we were very cool at that time, so that was a very uncool picture.” She told him she couldn’t be seen with him.

“Barefootin’ with your pants rolled up — I mean, how country can you get?” he says.

Read more at Jazz Great Hugh Masekela, Fresh Because He’s Fascinated : NPR.

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Cape Town International Jazz Festival Day 1 | Ottawa Citizen

It’s just after 6 p.m. on the Friday night that tens of thousands of music fans from across South Africa and beyond have long been looking forward to.

In the Cape Town International Convention Centre’s largest and most cavernous meeting room, several thousand people, all primed to party, are on their feet, waiting to hear the tremendously popular Afro-pop group Mafikizolo open the Cape Town International Jazz Festival.

Fan fever is growing by increments. The group has been announced, the backing musicians have begun playing, but the group’s stars — singers Theo Kgosinkwe and Nhlanhla Nciza — haven’t yet emerged from back stage. They milk the moment for all it’s worth, appearing at last and one by one to raucous cheers, only after three backup singers and a foursome of dancers, all sharply dressed with glamourous, retro appeal, have preceded them.

Read more at Cape Town International Jazz Festival Day 1 | Ottawa Citizen.

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Jazz Reviews: The Laura Nyro Project Mark Winkler – By Christopher Loudon — Jazz Articles

Mark Winkler - The Laura Nyro Project

Mark Winkler – The Laura Nyro Project

When Mark Winkler, a quintessentially West Coast swinger, filled an album with Bobby Troup tunes a decade ago, it was a blissful marriage of hipster sensibilities. Winkler and Laura Nyro seem stranger bedfellows—California cool meets East Coast boho—yet Winkler, a gifted writer himself, makes the union work equally well. Nor was Nyro all dark-basement angst. Less hard-edged than such contemporaries as Dylan and Paul Simon, she, like Joni Mitchell, tended to float beyond category, blending a heady potpourri of folk, pop, jazz and show tunes. When that crazy mélange is filtered through Winkler’s laidback aesthetic, the results are quite magical.

Winkler draws exclusively from Nyro’s first four albums, spanning the years 1967 through 1970, when many of the songs became best known via Top 40 cover versions from the likes of Blood, Sweat and Tears and the Fifth Dimension. Ably supported by a shifting cast that includes pianists Eli Brueggemann and Eric Reed and guitarist Larry Koonse, all of whom also contribute arrangements, he follows the lead of those long-ago pop groups by making each of these 11 tunes distinctly his own. So, “Time and Love” is reinterpreted as a dreamy ballad; “He’s a Runner” emerges as an intensely personal tale of betrayal; the wine-steeped “Sweet Blindness” erupts as a riotous party worthy of Louis Prima; and the jaunty post-Kennedy politics of “Save the Country” become a salve for various postmillennial malaises.

via Jazz Reviews: The Laura Nyro Project Mark Winkler – By Christopher Loudon — Jazz Articles.


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Feed The Pack [Gavin Minter Benefit Concert]

Feed The Pack

Feed The Pack – Gavin Minter Benefit Concert

Bookings have opened –

On the 10th March Gavin Minter entered his first Argus. 24km from the finish line – at the bottom of Chapmans Peak – a cyclist pulled out in front of him. He was doing over 40km/h and after braking went over the handle bars and landed on his elbow.

He shattered his elbow in 6 places and dislocated his shoulder. On the 18th he underwent a successful 4 hour operation and has started physio to get his mobility back into his arm and fingers. Unfortunately it will be months till he picks up the saxophone again and a lot longer till he plays percussion.

There is a den of wolves camping outside his door with a healthy litter ready to be fed [hence “Feed The Pack”] and this concert is to benefit and help with growing hospital and doctors bills. Gavin has created and provided work for countless musicians over the past 20 years and is overwhelmed by the support and commitment he has received for this concert.

The concert will be on the 30th April at 19h30 to 01h00 at The Mercury Lounge. The night will feature many of South Africa’s top jazz and blues artists and include people like Arno Carstens – Albert Frost – Melanie Scholtz – Richard Ceasar – Rus Nerwich – Kevin Gibson – Natasha Meister – Gerald Clark – Schalk Joubert – Andrew Lilley – Tina Schouw – Amanda Tiffin – Kevin Floyd – Doc John – Lee Thomson – Alvin Dyers – Gorm Helfjord – Simon Orange – Richard Pryor – Charles Lazar – Lee Gold – Bobby Minter – Vuyo Sotashe – Kesivan Naidoo – Jonno Sweetman – Reg Edwards – Romy Brauteseth – Marlon Witooi – Shaun Johannes – Mike Horn – Benjamin Jephta – Justin Bellairs – Adam Coolset – Heinrich Goosen – Mike Laatz and a few more to be confirmed.

There will be 2 stages with jazz and blues being the order of the day. The minimum donation at the door will be R150. Presale tickets available at webtickets – Bothners have donated a Fender Acoustic guitar as a give away – so hold onto your ticket as there will be a draw at 11pm. I would like to thank Kevin Winder and the Mercury, Bothners for the guitar and most importantly all the musicians who have offered their time and talent for Gavin’s cause.

For any of you who cannot make the concert and would still like to contribute – you can deposit any contribution into the following account. Real Wired Productions – Standard Bank – Cheque acc no – 271152052 – Branch code – 036309 – [pls give your name as reference] THANK YOU – Des Kieswetter [For any queries please phone 072-185-1230 or email]

Gavin Minter

Gavin Minter

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Jazz Articles: CMA Announces Grants to Jazz Presenters – By Jeff Tamarkin — Jazz Articles

Chamber Music America (CMA) has announced the recipients of its 2013 Presenting Jazz program, a series of grants supporting concert presenters that engage U.S.-based jazz ensembles.

According to a press release, “A total of $116,875 will be distributed to 11 non-profit presenting organizations to assist with concert-associated costs. In addition, each grantee will receive $5,000 to support general operating expenses related to their jazz programming.” CMA describes itself as “the national network for ensemble musicians.”

Mary Halvorson

Mary Halvorson

The 2013 Presenting Jazz Grantees are: The Brooklyn Conservatory of Music, presenting the Claudia Quintet; Carnegie Hall, presenting the Vijay Iyer Trio; The Flushing Council for the Arts and Culture, presenting Jason Kao Hwang and Edge+4; the Jazz Bakery, presenting the Dafnis Prieto Sextet; Outpost Productions, presenting the Mary Halvorson Quintet; Outsound Presents, presenting Kyle Bruckmann’s Wrack; Roulette Intermedium, presenting the Joel Harrison Group; the Rubin Museum of Art, presenting the Samuel Torres Group; San Jose Jazz, featuring the Vijay Iyer Trio; Stanford Live, presenting William Parker’s Special Edition; and the Walker Art Center, presenting the Craig Taborn Trio.

For a more information, visit

via Jazz Articles: CMA Announces Grants to Jazz Presenters – By Jeff Tamarkin — Jazz Articles.

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Lady Gaga and Tony Bennett Set to Record Jazz Album in June | Music News | Rolling Stone

Tony Bennett. Kevin Mazur/Getty Images For Amy Winehouse Foundation

Tony Bennett. Kevin Mazur/Getty Images For Amy Winehouse Foundation

The hip injury that led to Lady Gaga’s canceled world tour last month will not prevent her from recording a jazz album with Tony Bennett as scheduled, Bennett told Rolling Stone in an interview Thursday in New York.

“We’re working on it from now until June, and then we’ll record in June. She’s phenomenal,” he said during a dinner at the Amy Winehouse Gala and Inspiration Awards, which recognized him with a Lifetime Achievement honor. “I get along great with her. She’s looking forward to it and so am I.”

Inspired by their lone collaboration, “The Lady Is a Tramp” for Bennett’s Duets II album, the pair plan to expand on their relationship when they enter a studio in Astoria, Queens. “Once you have an idea, then you go for it,” Bennett said. While they have not settled on a producer, Dae Bennett and Phil Ramone worked on the 2011 song.

via Lady Gaga and Tony Bennett Set to Record Jazz Album in June | Music News | Rolling Stone.

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Gladys Knight and Jill Scott to play 2013 Hampton Jazz Festival –

Gladys Knight entertains at the 2003 Hampton Jazz Festival. She's set to return for the 2013 edition of the festival. (Dave Bowman, Daily Press)

Gladys Knight entertains at the 2003 Hampton Jazz Festival. She’s set to return for the 2013 edition of the festival. (Dave Bowman, Daily Press)

The 2013 Hampton Jazz Festival will bring popular favorites Gladys Knight, George Benson and Jill Scott back to Hampton Coliseum while elevating local acts Forte and Karla Crump onto the main stage.

“We were able to offer some slots to hometown artists this year,” said Hampton Coliseum Director Joe Tsao. “We’re glad about that. We’re showcasing local talent, supporting our local artists.”

The festival, taking place in Hampton for the 46th year, will happen June 28-30. Tickets, $58.50 per show, go on sale 10 a.m. Saturday, March 23, from Ticketmaster and the Coliseum box office.

Knight has been one of the festival’s most reliable performers. This year’s festival will mark her 15th appearance at the event. Her first show there was in 1974.

If there’s an unspoken theme to this year’s lineup, it’s collaborations. Knight will team with The O’Jays as part of a Friday-night headlining performance called Family Reunion. On Saturday, June 29, Bobby Brown, Johnny Gill and Ralph Tresvant, all veterans of New Edition, will perform together as Heads of State.

via Gladys Knight and Jill Scott to play 2013 Hampton Jazz Festival –


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Jazz Articles: Kennedy Center Announces 2013-2014 Jazz Season – By Jeff Tamarkin — Jazz Articles

Arturo Sandoval

Arturo Sandoval

The Kennedy Center has announced its 2013–2014 jazz season. The jazz program at the prestigious Washington, D.C., venue, now under the leadership of Artistic Advisor Jason Moran, will include more than 70 performances. Featured artists will include Geri Allen, Terence Blanchard, Terri Lyne Carrington, Ann Hampton Callaway, Ramsey Lewis, Kevin Mahagony, Oscar Peñas, John Pizzarelli, Dorado Schmitt, Esperanza Spalding and Cecil Taylor.

Among the themed shows announced by the Kennedy Center is a 75th anniversary celebration of Blue Note Records, a weeklong series of performances that includes Norah Jones, Moran and Cassandra Wilson. Trumpeter Arturo Sandoval will be the focus of a concert titled “50 Years: The Life, Passion, and Music of Arturo Sandoval,” with Chick Corea, Bill Cosby, Doc Severinsen, Andy Garcia and more. Soprano Kathleen Battle will perform “Something to Sing About,” a program of songs by Gershwin, Ellington and Joplin with pianist Cyrus Chestnut.

via Jazz Articles: Kennedy Center Announces 2013-2014 Jazz Season – By Jeff Tamarkin — Jazz Articles.

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Jazz Articles: Playboy Jazz Festival Announces Lineup for 35th Annual Event – By Jeff Tamarkin

The 35th anniversary edition of the Playboy Jazz Festival will take place on Father’s Day weekend, June 15-16, at the Hollywood Bowl in Los Angeles. In addition to announcing the scheduled performers, the festival revealed yesterday that comedian/actor George Lopez will be the master of ceremonies, replacing Bill Cosby, who had hosted the event for over three decades.

Angelique Kidjo | Michael Weintrob

Angelique Kidjo | Michael Weintrob

This year’s lineup reflects the festival’s typically R&B- and world-friendly bent. Among the performers on the 15th will be George Duke with special guest Jeffrey Osborne; Naturally 7 with special guest Herbie Hancock; Angelique Kidjo with special guest Hugh Masekela; “Olé Coltrane” featuring Poncho Sanchez and His Latin Jazz Band with special guest James Carter; Gordon Goodwin’s Big Phat Band with special guest Lee Ritenour; Gregory Porter; Robert Glasper Experiment; Grace Kelly Quintet with special guest Phil Woods; Pedrito Martinez Group featuring Ariacne Trujillo; and the Los Angeles County High School for the Arts Jazz Ensemble.

via Jazz Articles: Playboy Jazz Festival Announces Lineup for 35th Annual Event – By Jeff Tamarkin — Jazz Articles.


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Jazz Reviews: Live review: Miguel Zenón Quartet and NEC Jazz Orch. in Boston – By Bill Beuttler — Jazz Articles

Miguel Zenon, Birdland, NYC, 10-25-11 | Jeff Tamarkin

Miguel Zenon, Birdland, NYC, 10-25-11 | Jeff Tamarkin

Miguel Zenón brought his multimedia project on Puerto Rican identity to New England Conservatory’s Jordan Hall on February 22 for a rare performance by his longtime quartet and a jazz orchestra (others will follow at SFJAZZ Center on June 1 and at Carnegie Hall on December 7) of music destined for a recording session in Germany early next year. Zenón himself conducted the interviews with the several New York-based, second-generation Puerto Ricans featured on the video portion of the program, and he composed and arranged all the music.

“Our conversations,” writes Zenón in accompanying program notes, “can basically be summarized into one single question: What makes a Puerto Rican a Puerto Rican?” The answers he gets—as implied by the project’s title, Identities are Changeable: Tales from the Diaspora—are various, malleable and interrelated. To reflect that, the music Zenón wrote is shot through with interlocking time signatures. “As a means to represent this unique concept of identity (multiple and changeable) in the music itself,” his notes continue, “all of the compositions explore the idea of multiple rhythmic structures coexisting with each other (e.g., 5 against 7, 3 against 2, 5 against 3). In addition, each piece is meant to be a narrative of the different questions and concerns addressed during the interviews.”

via Jazz Reviews: Live review: Miguel Zenón Quartet and NEC Jazz Orch. in Boston – By Bill Beuttler — Jazz Articles.

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Blues Guitarist Magic Slim Dead at 75 – Rolling Stone South Africa

Magic Slim

Magic Slim

Blues guitarist Magic Slim died yesterday in a Philadelphia hospital, The Associated Press reports. He was 75, and had been dealing with worsening health problems, his manager said.

Slim, born Morris Holt in Mississippi, helped define the sound of post-war electric blues in Chicago as a younger peer of icons like Muddy Waters and Howlin’ Wolf. Slim’s first instrument was piano, but after he lost the little finger on his right hand in a cotton-gin accident, he switched to guitar, and also played bass with his mentor, the guitarist Magic Sam. Slim moved to Chicago in 1955, but found it so difficult to land gigs on a competitive South Side blues scene that he soon returned home.

via Blues Guitarist Magic Slim Dead at 75 – Rolling Stone South Africa.

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Jazz Articles: Dave Douglas to Release New Album, ‘Time Travel,’ on April 9 – By Jeff Tamarkin — Jazz Articles

Trumpeter/composer Dave Douglas will follow last year’s Be Still with an all-instrumental collection, Time Travel, due April 9 from Douglas’ Greenleaf Music. The recording features saxophonist Jon Irabagon, pianist Matt Mitchell, bassist Linda Oh and drummer Rudy Royston. The album was engineered by Joe Ferla.

Dave Douglas & Keystone at Undead Jazzfest 2010 Greg Aiello

Dave Douglas & Keystone at Undead Jazzfest 2010
Greg Aiello

Douglas will also launch a tour with the intention of performing in all 50 states, to coincide with his 50th birthday. Initital dates are below

Tour Dates

February 15: Austin, TX – University of Texas Austin – Bass Concert Hall *

February 22: Elmhurst, IL – Elmhurst College – Hammerschmidt Memorial Chapel

March 3: Manzoni, Italy – Teatro Manzoni

March 6: Rome, Italy – Auditorium Parco della Musica ^

March 28 – 31: New York, NY – Jazz Standard (50th Birthday Week)

April 4: Laramie, WY – University of Wyoming

April 5: Boulder, CO – University of Colorado at Boulder

April 11 – 12: Denver, CO – Dazzle Jazz Club

April 25: Reno, NV – Reno Jazz Festival

May 4: Cheltenham, UK – Cheltenham Jazz Festival

May 17: Chicago, IL – Jazz Showcase †

May 30: Brooklyn, NY – Shapeshifter Lab

May 31: New Haven, CT – Firehouse 12

June 3: Burlington, VT – Flynn Center

All dates are with Dave Douglas Quintet unless otherwise noted.

* = Dave Douglas/Joe Lovano & Sound Prints Band feat. Lawrence Fields, Linda Oh & Joey Baron

^ = with Rome Auditorium Jazz Orchestra

† = with Columbia College Jazz Ensemble

via Jazz Articles: Dave Douglas to Release New Album, ‘Time Travel,’ on April 9 – By Jeff Tamarkin — Jazz Articles.

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Jazz Articles: Grammy Awards Announced in Jazz Categories | JazzTimes

Big winners include Chick Corea & Gary Burton, Esperanza Spalding, Pat Metheny; Robert Glasper Experiment wins Best R&B Album

Winners of the 55th Annual Grammy Awards were announced on Sunday in Los Angeles. Below is our compilation of the jazz-oriented categories, nominees and victors, announced during the Awards’ pre-telecast program. Musical performances during the pre-telecast included World Music Album nominee Hugh Masekela and band. Yesterday, Charlie Haden received a Grammy Lifetime Achievement Award at the Special Merit Awards Ceremony.

Read more at Jazz Articles: Grammy Awards Announced in Jazz Categories – By JazzTimes — Jazz Articles.

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Grammy Winners

Here are Grammy Winner Jazz and Jazz Related 2012/13

Pop Instrumental Album
“Impressions,” Chris Botti

R&B Album
“Black Radio,” Robert Glasper Experiment

Improvised Jazz Solo
“Hot House,” Gary Burton and Chick Corea

Jazz Vocal Album
“Radio Music Society,” Esperanza Spalding

Jazz Instrumental Album
“Unity Band,” Pat Metheny Unity Band

Large Jazz Ensemble Album
“Dear Diz (Every Day I Think of You),” Arturo Sandoval

Latin Jazz Album
“¡Ritmo!,” The Clare Fischer Latin Jazz Big Band

Blues Album
“Locked Down,” Dr. John

Instrumental Composition
“Mozart Goes Dancing,” Chick Corea (Chick Corea and Gary Burton)

Instrumental Arrangement
“How About You,” Gil Evans (Gil Evans Project)

World Music Album
“The Living Room Sessions Part 1,” Ravi Shankar

Tropical Latin Album
“Retro,” Marlow Rosada y La Riqueña”

Americana Album
“Slipstream,” Bonnie Raitt

Bluegrass Album
“Nobody Knows You,” Steep Canyon Rangers

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Jazz meets Comedy this Fri 8th Feb at Kaleidoscope Cafe

This Friday, 08 February 2013, at Kaleidoscope Cafe, we will be having Dennis Stander with the OneManStand Comedy show with Mark Goliath PLUS The Glenn Robertson Jazz Band sharing the stage!

Time: 7.30pm

Cost: R100pp (this includes a meal – this Friday is Lamb Curry+Rice)

We have a soft drink bar available AND we have added dessert to the menu at R15pp.

Card facilities available.

Please book with Petro on 021-674 5761 during office hours to secure your seat/table.

Looking forward to welcoming you at our venue.

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Robin Auld Trio for De Waal Park – 17th February 2013

Robin Auld Trio

Robin Auld Trio

Robin Auld Trio

Slide guitar, harmonica, African blues guitar stylings and soul vocals all feature in the fresh and vibrant roots sound of Robin Auld.

Born in Lusaka, Zambia to Scots parents, Robin’s childhood was spent alternating between Southern Africa and Scotland; a journey reflected in the African and Celtic influences in his music. He learned to play the guitar by listening to Hendrix, Ry Cooder and Neil Young, also absorbing influences from the various guitarists of Southern Africa. Since starting to produce his own albums, his music has evolved from the pop sound of his earlier recordings to the contemporary mix of his music today.

Currently based in the UK, he has performed and recorded in New York, London, Glasgow and Nashville, opening for and performing with acts such as Lloyd Cole, Angelique Kidjo, Michelle Shocked, Jackson Brown and Seasick Steve.

His latest album, “Fingers in my Pocket”, recorded in London in late 2010, is a collection of roots and blues songs…..Robin describes it as being a ”walkin’, credit card, institutional failure, mean women and a sore head” kind of album.. African influences are never far away though, with a reggae song and even a Cape Town goema tune to pepper the mix!

Playing with him the 17th will be Schalk Joubert and Barry van Zyl.

Schalk is not only one of South Africa’s top bass players with credits with a vast array of artists, but is a bandleader in his own right with his Kayamundi project.

Barry van Zyl needs no introduction as the drummer for Johnny Clegg, and also has a CV of top SA and international collaborations.

As a trio they recorded Robin’s album “Over the Mountain”, where the free- form improvisational spirit of their live shows was captured in a collection of African blues-rock songs, and music lovers can expect a set of uplifting and engaging music on the 17th. .

“Sunkissed and generous of melody” Whisperin’and hollerin’ Ireland.

A genuine and unaffected flowing together of cultural strands. ” Unpeeled UK.

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Jazz Reviews: The Wayne Shorter Quartet and the Orpheus Chamber Orchestra at Carnegie Hall, 2/1/13 – By Jeff Tamarkin — Jazz Articles

Jazz and classical music would seem in theory to be oil and water—one is at its core an improvisatory art form that encourages individual expression; the other characteristically asks its participants to follow cues and reproduce written notation precisely. Nonetheless, jazz musicians have sought, for decades—to varying degrees of success—to find commonalities with their classical peers (and vice versa), and the pairing of the Wayne Shorter Quartet with the Orpheus Chamber Orchestra promised at the very least to be intriguing for all the right reasons.

The Wayne Shorter Quartet

The Wayne Shorter Quartet

Orpheus, currently celebrating its 40 anniversary, is an unusually democratic classical ensemble, eschewing the use of a conductor and instead selecting a revolving core of musicians from within its ranks to lead each particular piece. During the first half of the program, the orchestra, on its own, demonstrated via performances of Beethoven’s “Overture to the Creatures of Prometheus” and Charles Ives’ “Symphony No. 3: The Camp Meeting” both the singularity one expects of symphonic music and a free-spiritedness that was exciting to watch.

via Jazz Reviews: The Wayne Shorter Quartet and the Orpheus Chamber Orchestra at Carnegie Hall, 2/1/13 – By Jeff Tamarkin — Jazz Articles.

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“South African Music Law, Contracts and Business” – 2013 (third) edition of ground-breaking book to be released at Music Exchange

Nick Matzukis

Nick Matzukis

South African Music Law, Contracts and Business” – 2013 (third) edition of ground-breaking book to be released at Music Exchange!

Third Edition of Highly In-demand Music Industry Book Now Ready for Release

South Africa’s only reference book on music contracts and law for musicians was originally written by Nick Matzukis and published in 2009. This was followed by the hugely-successful second edition, “South African Music Law and Contracts” published in 2010. The second edition was ground-breaking in its content and proved so popular that it had to go into two re-prints, and was the subject of some concern when it sold out and copies became unavailable during 2012.

Matzukis says: “To be honest, I was taken a little by surprise at the overwhelming demand for the second edition of the book – I even had a few musicians threatening to report me for attempting to withhold information when I could not provide copies to them! In the meantime, of course, huge changes had taken place in the music industry, especially with regard to the demise of SARRAL, changes in legislation, the Copyright Review Commission and the development of the needletime royalties impasse. I realized that a third edition had to be written, so I finally knuckled down and got it done by the end of January 2013. The third edition carries a new title, namely “South African Music Law, Contracts and Business”, because these three components have become inextricably linked, and this edition carries a greater amount of practical business references. It is very current and even more detailed than its predecessors. I must say that I am extremely proud of my new baby…”

The third edition of the book comes in at 630 pages, whereas the second edition, popular as it was, comprised some 450 pages (in A5 textbook format.) Clearly, therefore, the new edition is extremely detailed and comprehensive. It also, quite remarkably, contains some three dozen more case studies than the second edition, as well as an entire new chapter dedicated to the current state of the South African Music Industry. Very recent developments, such as the arrival of iTunes and Simfy, the formation of a new mechanical rights society, developments in needletime royalties and the report of the 2012 Copyright Review Commission, are covered in detail, and the book is peppered with literally hundreds of case studies, examples, reported cases and real-life music industry scenarios, both local and international. It is the only recognized work on South African Music Law and Contracts, but it is also, without a doubt, the most detailed and highly-practical book ever written about the music industry in this country.

The full title of the third edition of the book is “South African Music Law, Contracts and Business – the smart musician’s guide to how the South African Music industry works, how to negotiate the best possible contracts, and how to make money from music in South Africa and overseas”. When one looks at the topics covered, the title is apt:-

The book gives a thorough and very current analysis of the music industry, both in South Africa and abroad, and describes and analyses all the major players and institutions in the industry. It then goes on to explain in detail the often perplexing topic of the various royalty streams and music copyrights that exist, thereby enabling the reader to come to a complete understanding of how money is made in the industry, by whom, and from which copyright or other source. Much of this explanation is bolstered and reinforced with diagrammes, schematics and charts, in order to simplify certain difficult topics, especially the separation of royalties and income-streams. According to Matzukis, “there is hardly anyone in South Africa, even the most experienced publisher or record company executive, who completely understands the whole picture regarding the various royalty streams. One of my main goals in writing the third edition was to ensure that the reader of this book does acquire that understanding.”

The book then goes on to analyse the legal principles that a South African musician should know, especially those pertaining to contracts, copyright and royalties. After explaining the general principles of contract using examples from the music industry, the book then gives a highly practical clause-by-clause explanation of the contents of major music contracts, all from the artist’s perspective. Included in these are recording contracts, licensing deals, production contracts, publishing agreements, artist management contracts and variants of all these. The reader is thoroughly prepared to know what to look out for as an artist, and what to negotiate, term by term. In particular, the reader is quickly taught what to look out for before concluding any agreement, clause by clause. A series of sample contracts is also provided in the book, in order to enable the reader to test his/her own knowledge and negotiating skills on a practical level.

As one would expect, the Law of Copyright as it pertains to the music industry, is thoroughly dealt with. This chapter is long, detailed and highly practical in content, utilizing many cases studies.

In all chapters, the book bulges with music industry examples, real case studies and practical examples, illustrating each point. It is also written in an easy style that makes the legal principles (even very complex ones) as accessible and understandable as possible for musicians and laymen. “Many attorneys have acquired or requested copies of the book, and the information they need is most certainly there”, states Matzukis, “but I wanted it to be a book for musicians, so it is written in the most colloquial style possible. My mission in writing the book was, and is, to see the end of the days in which advantage is taken of naïve South African musicians, due to their lack of knowledge. Thus, the book has been written in a style designed to be as easy and understandable as each topic allows, and seeks, wherever possible, to make very complex legal principles comprehensible to musicians and other laymen.”

The book, published by ASE Publishing, will be available from March 2013, and is being officially launched at Music Exchange in March 2013. “What better place than my favourite music conference, Music Exchange, to launch the book?” says the author, “I hope you enjoy reading the book and, more importantly, that it gives you the knowledge to attract the income from the music industry that your musical creativity deserves…

About the Author
Nick Matzukis is an Advocate of the High Court and a music industry expert. Although he knows the institutional, legal and business aspects of the music industry intimately, it is important to note that he also brings with him a musician’s perspective. This is because he has also been a very well-known figure in the South African music scene, having played for many high-profile bands, and having been involved in various music projects over the years. He is a founding director of Academy of Sound Engineering, South Africa’s top music production college, and also of AVL Productions, a premier entertainment production company and supplier of music industry technologies.

Having started his education career as a lecturer/senior lecturer at the University of the Witwatersrand’s Law School, Nick won various awards including the Convocation Distinguished Teacher’s Award, following on from his numerous Top Student awards. Nick proceeded to open a respected college group in 1995, which included a Contemporary Music School and a Sound Engineering School, the first of their kind in South Africa, and was then made CEO of the country’s largest private education group in 2001.

Nick now consults to the music industry at large (including entertainment attorneys), presents Music Business and Music Law lectures at the Academy of Sound Engineering and gives high-profile music business seminars to professionals. He has been requested to assist in the re-drafting of the Collecting Society Regulations for Performers’ Needletime Royalties and possible amendments to the Performers’ Protection and Copyright Acts, and has provided pivotal advice regarding the restructuring of South Africa’s music royalty collection system. Importantly, Nick was also commissioned to provide expert legal advice on the settlement of the current Needletime Royalties impasse and pending litigation. His list of clients and referrers includes attorneys, major royalty collection societies, publishers, labels, recording artists, industry associations, aggregators, music retailers and the Department of Trade and Industry itself (in the form of CIPC’s Copyright Department.)

Nick graduated cum laude from Wits Law School in 1984, was awarded the top lecturer prize in 1987, and is the only person ever to have been awarded the APPEDT Lifetime Achievement Award for Contribution to Education. Nick has on several occasions been invited to give seminars at SAMRO and other locations for organizations like the Composers’ Association of South Africa, SAMRO itself, and other key industry players. He was a keynote speaker at Moshito 2010 and 2011, the Nelson Mandela Bay International Music Conference, Talking Heads, Born to be Famous (Artist Management) and twice at Music Exchange, the world-beating international music conference held in Cape Town. He was invited to give the keynote speech at the Hart van Windhoek Music Workshop in Namibia and IP conferences in Zimbabwe and Uganda, and is, in general, a regular presenter on the Southern African music scene. Nick has, in addition to his three books, written various published articles on topics like Needletime, 360 Degree Contracts, Royalty Streams, Music Contracts and other legal and business topics.

Nick’s qualifications, experience, career and passions are combined in music, law, business and education. This makes him one of the few people truly qualified to write his ground-breaking book, to mentor young musicians and music industry professionals, and to lecture on Music Law, Contracts and Business, a topic which is so vital to the development of a dynamic and successful music industry in Africa.

Importantly, Nick still plays the drums and remains an active member of the South African musical fraternity.

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The Great Karoo All In One Guitar Camp

The inaugural Great Karoo All In One Guitar Camp has been conceived to present local and international individuals, music institutions and university students with the opportunity of attending a series of workshops conducted by three of South Africa’s musical legends in the village of Nieu-Bethesda in the Great Karoo. All In One is comprised of Steve Newman, Errol Dyers and Hilton Schilder who first shared the stage in an improvised session at the Ubuntu Festival held to celebrate the 91st birthday of Nelson Mandela in 2009.

These three cosmic travellers have since recorded an album of the same title and have been taking audiences across the country on a musical journey which stretches from the slopes of Table Mountain, to the heart of the Kalahari, via the plains of Argentina; reflecting the quiet refrain of days gone by and touched by strains of joy and reflection.

The camp begins with a performance by All In One on Friday evening which will be followed by a meet and greet dinner of a variety of delicious potjies.
The workshops take place on Saturday and Sunday and on Saturday night the participants will have the opportunity to jam with the pros.

For those who are interested, Steve will conduct morning yoga sessions.

Various packages are available to suit every budget so please contact us on 049 841 1642 or accommodation@nieu-bethesda or

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Jazz Departments: Chuck Redd Remembers Bassist Joe Byrd: 1933 – 2012 – By Chuck Redd — Jazz Articles

Jazz Departments: Chuck Redd Remembers Bassist Joe Byrd: 1933 - 2012

Jazz Departments: Chuck Redd Remembers Bassist Joe Byrd: 1933 – 2012

Joe Byrd was a very savvy, well-read Southern gentleman whose musicianship placed him in a professional universe that I’m sure he never imagined as a boy growing up in the tiny town of Chuckatuck, Virginia. Joe spent most of his career as bassist with his brother Charlie Byrd’s trio and was as at ease as anyone I’ve ever known in any setting. Always dapper and polite, he was perfectly comfortable at a dinner at the U.S. Ambassador’s home in South Korea, onstage at Carnegie Hall or hanging out with old friends and family. Among Joe’s longtime friends were Barney Kessel and Herb Ellis. Joe and I accompanied Herb, Barney and Charlie on many “Great Guitars” tours. Drawing on Joe’s quiet wisdom, we all often asked him to answer questions on a wide range of topics from the mundane to the profound. We eventually joked that Joe should have his own television show: Joe Knows.

via Jazz Departments: Chuck Redd Remembers Bassist Joe Byrd: 1933 – 2012 – By Chuck Redd — Jazz Articles.

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Musician Leni Stern On The Power Of African Music | Radio Boston

Leni Stern performs at WBUR. (Jesse Costa/WBUR)

Leni Stern performs at WBUR. (Jesse Costa/WBUR)

Mali’s troubles began last year. A military coup destabilized the country, which gave rise to a rebellion in the north of the country. Tuareg rebels saw their uprising mutate into an Islamist infiltration. Al-Qaida-controlled groups now rule over an area in northern Mali the size of France.

They have forbidden unwed men and women from mixing in public. They’ve banned smoking and television. And in a country famous for its deeply influential singers and guitarists, Islamists have now banned music in much of Mali.

Jazz musician Leni Stern was living Mali’s capital city of Bamako when the chaos erupted. She could have left. But she stayed. And continued recording tracks for her new album, “Smoke, No Fire”.

via Musician Leni Stern On The Power Of African Music | Radio Boston.

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Jose Feliciano – Live At The 2010 New Orleans Jazzfest

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Up close and personal with Julian Bahula – A drumbeat for freedom – SundayWorld

THE year was 1964. The venue was Orlando Stadium, the country’s soccer Mecca and, in the 1960s, the arena of jazz competitions.

The event was the Castle Lager Jazz Festival. Three young men from Mamelodi, Pretoria, the Malombo Jazzmen, caused a stir and left a lasting imprint on the collective psyche of the 60000 revellers.

They were leader and guitar wizard Philip Tabane, flautist and harmonica player Abbey Cindi, and Julian Bahula on skins.

via Up close and personal with Julian Bahula – A drumbeat for freedom – SundayWorld.

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Beyond the Wall Music presents ‘Life-Spoken’ – Live | Heinrich Frans

Heinrich Frans - Life Stories

Heinrich Frans – Life Stories

Beyond the Wall Music presents ‘Life-Spoken’ – Live.  I will be performing original music off my debut EP, ‘Life-Stories’ (available on iTunes and other digital distribution platforms worldwide as of 24 February 2013) and forthcoming full-length debut album.  In this performance and intimate setting, I will take you on a musical journey that will include material that has shaped me into the multi-faceted singer and songwriter that I am today.  With musical experiences within the classical, jazz, R&B, soul and gospel spheres and participation as a choir-member, soloist and backing vocalist with internationally renowned choirs, orchestras and recording artists, in many ways, this will be a ‘full-circle’ moment for me.  I will be accompanied by a seasoned set of musicians namely, Shaun Johannes (Musical Director and Acoustic and Electric Bass), Dylan Roman (Keyboard), Kevin Gibson (Drums) and featured guests.  This ‘one night only’ performance is set to deliver a unique and soulful experience.

Venue: Kaleidoscope Café (85 Main Road, Claremont (above Tin-Roof), Cape Town
Date: Sunday, 24 February 2013

Time: 18h00 to 19h30 (Doors open at 17h00)
Price: R150 (Unreserved)
Bookings are now officially open via Computicket.

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Jazz Columns: Jazz Is Alive and Will Never Die – By Michael A. Nutter — Jazz Articles

Mayor Michael Nutter, and Thirsty Ear Recordings' Peter Gordon talk music at the Jazz Connect Conference at the Hilton New York, Jan. 2013 | Jeff Tamarkin

Mario Garcia Durham (President and CEO of APAP), Philadelphia Mayor Michael Nutter, and Thirsty Ear Recordings’ Peter Gordon talk music at the Jazz Connect Conference at the Hilton New York, Jan. 2013 | Jeff Tamarkin

Jazz is alive, and will never die.

Jazz is a unique American art form that affirms the noblest aspirations of our nation – individualism, discipline, perseverance, innovation…

As jazz saxophonist Charlie “Bird” Parker said, “Music is your own experience, your thoughts, your wisdom. If you don’t live it, it won’t come out of your horn.”

via Jazz Columns: Jazz Is Alive and Will Never Die – By Michael A. Nutter — Jazz Articles.

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Goldings/Bernstein/Stewart – review | Music | The Guardian

Bernstein Goldings Stewart

Bernstein Goldings Stewart

Hammond-organ jazz trios aren’t supposed to sound tasteful – the default adjectives for this popular 1950s-minted lineup are soulful, sermonising, sweaty, maybe sexy. But though Boston organist Larry Goldings’s trio plays in a more restrained manner than those of such famous predecessors as Jimmy Smith, this widely admired soloist, composer and accompanist (Christina Aguilera, Tracy Chapman and Madeleine Peyroux have hired him) plays a subtler kind of Hammond jazz for a more eclectic musical era.

via Goldings/Bernstein/Stewart – review | Music | The Guardian.

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Montreaux Jazz Festival founder Claude Nobs dies after skiing accident

Claude Nobs. Credit: AP Photo

Claude Nobs. Credit: AP Photo

GENEVA (AP) — Claude Nobs, the founder and general manager of the Montreux Jazz Festival, whose passion for music and artistry introduced generations of legendary musicians to international audiences on the Swiss stage, has died. He was 76.

The Jazz Festival said Nobs, a native of Montreux, died Thursday after sustaining injuries from a fall while cross-country skiing in nearby Caux-sur-Montreux on Christmas Eve. He was taken to the hospital and fell into a coma from which he never recovered.

Nobs worked his way from being a chef and director of Montreux’s tourism office, where he organized charity concerts, to overseeing one of the most iconic music festivals in the world.

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A Historic Jazz Label Gets a New Life –

The major-label landscape hasn’t been hospitable to jazz in recent years, but there’s a bit of good news on the horizon: OKeh Records, the label that released historic early recordings by Louis Armstrong, King Oliver and Duke Ellington, is being revived under the corporate umbrella of Sony Masterworks. The new OKeh roster will feature contemporary artists, including the guitarist Bill Frisell, the saxophonist David Sanborn and the pianist and keyboardist Bob James; its first release will be “A Different Time,” by the pianist John Medeski, on April 9.

Wulf Müller, who joined Sony Classical as a jazz consultant last fall, is overseeing the label revamp. Mr. Müller has nearly 30 years of experience in the music industry, many of them in the realm of A&R and marketing for PolyGram and Universal. At OKeh he’ll work with Chuck Mitchell, who was recently appointed senior vice president of Sony Masterworks (and comes with his own major-label jazz pedigree, having worked as an executive at Verve and eOne).

via A Historic Jazz Label Gets a New Life –


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Jazz Articles: Actress Molly Ringwald to Release Jazz Vocal Recording – By Jeff Tamarkin — Jazz Articles

Molly Ringwald

Molly Ringwald

Actress Molly Ringwald, best known for her starring roles in such hit 1980s films as Sixteen Candles, Pretty in Pink and The Breakfast Club, will release a jazz vocal album, Except … Sometimes, next April. The album, Ringwald’s debut, will be released by Concord Records. It’s described in a press release “an homage to the Great American Songbook,” and will include nine standards plus “Don’t You (Forget About Me)” from The Breakfast Club. Ringwald will also appear on selected tour dates.

via Jazz Articles: Actress Molly Ringwald to Release Jazz Vocal Recording – By Jeff Tamarkin — Jazz Articles.

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Top 10 Jazz albums of 2012 –

Vijay Iyer, "Accelerando" (ACT) ( Getty Images / December 14, 2012 )

Vijay Iyer, “Accelerando” (ACT) ( Getty Images / December 14, 2012 )

A selection of notable releases in another year that found jazz evolving as boundaries and definitions shifted and fell, leaving only the music behind.

via Top 10 Jazz albums of 2012 –

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The best jazz albums of 2012, as selected by Fred Kaplan. – Slate Magazine

Ravi Coltrane.  Photo by Deborah Feingold/Courtesy Ravi Coltrane.

Ravi Coltrane. Photo by Deborah Feingold/Courtesy Ravi Coltrane.

It’s been a solid year for jazz recordings: no truly great new albums (I doubt that any of them will make the decade’s top 10 list at the end of 2019), but all of the ones below are very good.

Read more at The best jazz albums of 2012, as selected by Fred Kaplan. – Slate Magazine.

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Rocking Horse – Soft Rock Country Band + The Glenn Robertson Jazz Band LIVE at Kaleidoscope Cafe on Friday 2nd November 2012.

Rocking Horse - Soft Rock Country Band + The Glenn Robertson Jazz Band LIVE at Kaleidoscope Cafe on Friday 2nd November 2012.

Rocking Horse – Soft Rock Country Band + The Glenn Robertson Jazz Band LIVE at Kaleidoscope Cafe on Friday 2nd November 2012.

Rocking Horse – Soft Rock Country Band + The Glenn Robertson Jazz Band LIVE at Kaleidoscope Cafe on Friday 2nd November 2012.
Butter Chicken + Rice on the Menu – Soft Drinks Bar
Call Petro Schoeman 0216745761 to book!

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De Waal Park Re/Max Free Summer Concerts 2012/2013

De Waal Park Re/Max Free Summer Concerts 2012/2013

De Waal Park Re/Max Free Summer Concerts 2012/2013

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Friends of De Waal Park and Re/MAX Living Concert Series for 2012/2013 – LINEUP ANNOUNCED

de waal park bandstand

de waal park bandstand

Following the success of the inaugural De Waal Park Summer Concerts in 2011/2012 the Friends of De Waal Park and Re/MAX Living are once again going to bring great music to the Park in Oranjezicht.

And the 2012/2013 line-up is bigger and better than ever with some of South Africa’s best, and most popular, musicians and bands in the line-up.

Jimmy Dludlu, The Rudimentals, Mark Haze, Robin Levetan, Arno Carstens, Saudiq Kahn, Karen Zoid, The Glenn Robertson Jazz Band, Steve Louw and Big Sky, Robin Auld, and Hot Water. One of them will be performing every second Sunday from November 4 until March 17. (See programme schedule below)

The concerts are being held on Sunday afternoons in order to be as accessible as possible for the local community, and ensuring that parents with younger children have the opportunity to attend too. Dog are always welcome.

The Friends of De Waal Park was formed in 2008 by group of volunteers, comprised of individuals who live in the area, to assist the city maintain and improve the park for its citizens. They pay for the pond to be cleaned, for some gardening in the park and for the all important ‘pooh packets’ for the dog walkers! They have repaired benches and arranged for the for the toilet block to remain open after hours. They have upgraded the children’s play area and arranged for additional tables and benches to be placed in the park.

The Summer Concerts will be staged in the original Edwardian bandstand which was manufactured by Messrs Walter McFarlane & Co of Glasgow and presented to ‘the corporation’ in Cape Town by the Traders-Market & Exhibition Ltd. London in 1904. It was moved from the original exhibition space in Green Point to De Waal Park some years later.
‘We are privileged to have an Edwardian bandstand and what is a bandstand for if not for music?’ Said Mike Bosazza, Chairman of FoDWP. ‘We get pleasure by bringing music back into the city bowl for the whole community, and we like to encourage people to use and enjoy our wonderful park.

‘ We are also proud that Cape Town is once again right up-to-date with European trends’ Mike continued ‘As, In the past decade, over a hundred bandstands have been restored in England. Plus October is World Architecture Month so it is the perfect time to celebrate our old structures and buildings.’ he said.

The Summer Concerts, which are free to the public, would not have been possible without the generous support of RE/MAX Living.

Gerlinde Moser of RE/MAX Living says, ‘It’s our way of giving back to the community, after all we don’t just work here, we live here too! It is gratifying for us to see the growing support we are getting from the City Bowl homeowners in response to our neighbourhood support policy. Our agents are proud to be supporters of what will be the largest annual community event in the area.

‘And what better way to say this than with a series of outdoor concerts?’ Music brings joy to everybody, regardless of age, and spending quality time with your family in a beautiful and peaceful park, on a blanket with a picnic, is a wonderful way to spend a Sunday afternoon?’ Gerlinde said.


November 4th 3pm RUDIMENTALS
November 18th 3pm MARK HAZE

December 2nd 4pm ROBIN LEVETAN

January 6th 4pm KAREN ZOID

February 3rd 4pm STEVE LOUW AND BIG SKY
February 17th 4pm ROBIN AULD

March 3rd 3pm ARNO CARSTENS
March 17th 3pm HOT WATER

For more information visit the De Waal Park website:

Written by Marilyn Thompson and distributed by Marilyn Thompson and Martin Myers

For interviews and photographs contact Martin Myers : 021 4248850,
083 4484475 or



Triple M Entertainment

Triple M Entertainment

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THE CESH JAZZ COLLECTIVE Every Thursday and Friday at Mr Pickwicks in Long Street, Cape Town

THE CESH JAZZ COLLECTIVE Every Thursday and Friday at Mr Pickwicks

THE CESH JAZZ COLLECTIVE Every Thursday and Friday at Mr Pickwicks

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The Bluestown Sessions | Mercury Live, Cape Town

When: Thursday, 11 October
Time: 21:00

Blues Jams in a relaxed atmosphere with top Blues Musicians on the second & last Thursday every Month.
Cover charge R20.

The format will have four musicians on stage playing sets of classic standards and improvised Jams.

Guests will join them through the night.

The Evening opens with a young up and coming Blues Band.

Anyone who wishes to be a guest or be part of the House Band can contact Charlie King on the evening.

Join The Bluestown Sessions Facebook Group here.

Mercury Live


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SA’s new music revolutionaries | TechCentral

SA's new music revolutionaries | TechCentral

From streaming services to direct download sites, SA has seen a range of new music offerings arrive in recent months. Now there are two more on the horizon, each with completely different models, but each wanting to give SA artists the dues, and revenue, they deserve.

The first, Biblo, was founded by musician Markus Wormstorm (Markus Sutcliffe-Smit to the taxman) and his wife Alison. It’s set to launch on Saturday and will serve as a boutique outlet for advertisers, filmmakers, broadcasters and brands looking to license curated, high-quality SA music.

“We want to create a shelter for local artists so they don’t get messed around and so they get proper fees,” Sutcliffe-Smit explains. “All the tracks are handpicked so the quality is a bit higher. We offer licensing across the board, from public performance, to Internet licences, and licences for television broadcast and film.”

via SA’s new music revolutionaries | TechCentral.

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Table Mountain Blues Summit 2012

Table Mountain Blues Summit 2012

This Year the Summit is coming at you with over 20 bands ready to Rock your Blues out. For the first time since it’s humble beginning at the Tafelberg Tavern in 2005 the Summit becomes an awe inspiring 2 day festival boasting some of the finest acts in the country.

The Cream of South Africa’s Blues Rock Artists will be taking the stage on Friday 30th Nov and Saturday 1st of Dec at Bloemendal Wine Estate and It looks set to be the biggest blues gathering in South Africa’s History. Now into it’s 8th year and with the continued help of Combustion Technology and Paul Bothner Music the Table Mountain Blues Summit has established itself as a top music festival and is ready to kick huge festival mojo in 2012.

With a spirit for real music and a nod to the concerts of yesteryear The Blues Summit is many things but above all it serves as a great coming together of a vibrant almost ‘family like’ Blues Community where the music transcends age, race, gender and class.

It’s going to be an awesome festival and a great way to Blues and Rock your stressful year into Summer Holidays. Don’t Miss This One! Tickets are going to be limited.

See for all bands and festival information.

Where can I get Tickets?

  • Online at search for ‘Table Mountain’
  • Direct booking link here:
  • Call centre 083 9158000
  • All computicket outlets and at Shoprite / Checkers
  • At the Door if tickets are still available

Whats on the Blues Menu?

  • Over 20 top Bands over 2 days
  • Top class quality 30000 watt outdoor sound rig
  • Huge Lighting and a huge 25sq metre LED screen
  • Rolling lawns on the beautiful Bloemendal Wine Estate
  • Huge Marquee that covers half of the action and allows you to see the rest
  • Vibrant food and refreshment stalls, a full restaurant menu and plenty of outside bars
  • Plenty of free and secure off street parking
  • Fender Guitar Giveaway and the Combustion Technology Cash Prize
  • Free entrance for children under 10 (must present some form of ID)

How Much are tickets?


At Computicket:

Friday R140 and entry into the Friday Night Combustion Cash Prize Lucky Draw
Saturday R190 and entry into the Saturday Night Fender Guitar Lucky Draw
Full Festival R280 and entry into both Lucky Draws
Winners must be there to claim their Prize

At the Door: (if available)

Friday R150
Saturday R200
Door tickets are not eligeable for prizes and lucky draws
Full Festival Tickets can only be bought at computicket

Who’s Playing?


Friday 30th Nov (From 3:30pm till 12pm)

Saturday 1st Dec  (From 11:30am till 12pm)


How Do I get There?

Bloemendal Wine Estate on the M13, Racecourse Road, Durbanville

Here is a detailed map

We look forward to seeing you at this year’s awesome event.

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All Jazz Radio is about to burst onto the Internet

It’s about to happen, the long wait is finally over, All Jazz Radio is about to burst onto the Internet and the Social Media broadcasting jazz out of Cape Town, South Africa. AJR will be the very first Jazz Radio station of any kind, broadcasting 24/7 in the country on the Internet, Smart Phones and Tablet Devices.

Do you have a collection of great South African and International Jazz, Blues or World Latin Music? By collection we mean at least 700 or more CD’s falling into the genres categories mentioned. Please give us a list of some of your favorite albums in your collection too.

Now, how would you like to become part of the broadcast team at AJR. Please email us your preferences and tell us about your collection, who your favorite musicians and performers are, and why you have chosen them. Also please tell us what it is about Jazz, Blues and World Latin music you like, what drew you to the genre forms. We would also like a motivation of what you expect and why you feel that you could become a jazz radio broadcaster. We also need to know what you business and working life is about, your experience and educational qualifications equally important too.Email all the above to The Manager AJR at

Please make sure your mails reach us by the close of business on Friday 6th September 2012.

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Free wi-fi hotspots in Cape Town – IOL SciTech |


Cape Town – Whether you’re self-employed and in need of some camaraderie or inspiration, a local or international traveller looking for some bytes and a bite, or you simply like to catch up on e-mails or social media outside the office, here are some of the best coffee shops and delis offering unlimited wi-fi in Cape Town:

via Free wi-fi hotspots in Cape Town – IOL SciTech |

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Radio: the future is multi-platform | The Media Online

Radio: the future is multi-platform | The Media Online

The trend in radio around the world is going hybrid. Franz Kruger, director of Wits Radio Academy, explains what that means and how it works.

“We’re hybrid – let’s move on,” says the BBC’s head of audio, Tim Davie, with some exasperation to people still worrying about the impact of new media on that venerable legacy medium, radio.

New media offers radio stations huge opportunities, and should not be feared, Davie argued both at the recent Radio Days Europe in Barcelona and during his 2011 appearance at Jo’burg Radio Days. But, he says, stations need to go beyond just putting up a half-hearted website and forcing their DJs to blog.

via Radio: the future is multi-platform | The Media Online.

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The Village Bistro Meadowridge

Where does one find the Best Pub Lunch in the Southern Suburbs of Cape Town?


The Village BistroIt wasn’t a good week having learned of the passing of a broadcast colleague and was in Meadowridge to attend the funeral service, I was too early so thought to use my time in the area wisely and not having has breakfast I decided to lunch at Village Bistro, though not a pub or offering pub faire.

The venue had been established way back in 1989, starting off as a small really nice coffee shop, vivid memories come to mind, having a girlfriend living in the area. Over the years the venue transformed into what is now the Village Bistro and run by Chef and Owners Peter and Lindsay Ward whose connections to the place going back years.

The place was busyish with what seemed to be many Meadowridgers filling seats. On being seated I perused the menu, which offered a variety of international style dishes and there were a few specials on offer. These were written, rather badly, on a chalkboard above the open plan cooking area, none appealed to me. Then continuing to read through the small uninspiring menu it hit me, a wonderful dish I’ve not had since my restaurant cooking days years ago, Ossobucco that wonderful traditional Milanese speciality of cross-cut veal shanks braised with vegetables, white wine and broth, but wait this was not the traditional Osso Bucco, this was Lamb Shank Osso Bucco in a tomato herb sauce served with grilled gnocchi romaine and garnished with a traditional cremolata. Not wanting a beer as I was going to a funeral after the meal I stuck to drinking a coke.

The Lamb Shank Osso Bucco arrived and was not looking particularly mouth watering in the bowl it was served but was rather drab. I though oh no, problems, though the meat fell from the bone which was great, but I was disappointed that the flavours were lacking. The lamb was tasteless and bland as were the overcooked mushy vegetables in the dish. This was a modern tack on a traditional Italian dish, which did not work for me at all, sadly.

The Village Bistro is currently not recommended by the Klutz in the Kitchen at all at this juncture, and receives ★★ = Better than bad, still not good enough, waste of time and money. Visit at ones own peril. The Klutz in the Kitchen will not write Village Bistro off as of yet, and will visit again in a few months to see if any changes have been made and will again review the venue.

The Klutz in the Kitchen pays for all food and drink consumed when reviewing venues, and all visits are unannounced and never booked at all.

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All Jazz Radio Home Page


To be South Africa and Africa’s pre-eminent Internet Jazz Social Lifestyle Radio Station and an essential broadcaster of good jazz music in all its various forms with blues being part an integral part of the broadcast mix, enriching the social, cultural, educational and community experience of the listening audience.


  • to bring to our listeners and to showcase Cape, South African, African and International jazz talent and music.


  • to partner with, and support those who teach, train and develop talented jazz music students of the genre.


  • to assist in the development jazz music and the appreciation of jazz in the Cape, South Africa, Africa and the World through social interaction on the Internet offering information, education and entertainment.


  • to give new and established Cape, South African, African and International jazz musicians new performing and promotional opportunities.


  • to educate and raise the awareness of the rich diversity of South African and International jazz music by providing new and vibrant listening opportunities on-air, on-line and live at venues to people of all ages who share a common interest in jazz music.


  • to interact and make use of all levels of social media to enhance the lifestyle of all who share a common interest in jazz.

The phrase, “Where Jazz Lovers of South Africa, Africa & The World meet to share in a common social interest and lifestyle on the World Wide Web” demonstrates our commitment to focus on the marginalized music of jazz in all forms and to show an equal commitment to work with the wider jazz music community.

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Jonas Gwangwa – Trombonist, Composer and Bandleader

Jonas Gwangwa - Trombonist, Composer and Bandleader

Jonas Gwangwa – Trombonist, Composer and Bandleader

Jonas Gwangwa (born: Jonas Mosa Gwangwa) has played an influential role in the evolution of South African jazz. A member, along with jazz pianist Abudllah Ibrahim (then, known as Dollar Brand), of the Jazz Epistles, the first Black South African to release an album, Gwangwa has gone on to become an award-winning composer.

In addition to composing the scores of such films as Cry Freedom, Generations and Othello, Gwangwa composed the theme music of South Africa’s Olympic bid in 1997. Gwangwa was one of many talented musicians mentored by South African alto saxophonist Kippie Moeketsi in the early-1950s. Following the disbanding of the Jazz Epistles in 1959, Gwangwa continued to make his presence known amongst South Africa’s jazz enthusiasts. His fame spread to the United States in the mid-1960s.

In 1965, Gwangwa was featured in a “Sound Of Africa” concert at Carnegie Hall, sharing the stage with Miriam Makeba, Hugh Masekela and Letta Mbulu. Two years later, he returned trio the United States to participate in a national tour, “The Main Event”, featuring Masekela and Herb Alpert. Despite his hefty reputation, Gwangwa remained a victim of apartheid. When the South African government passed laws making it illegal for Blacks to congregate, in the early 1970s, Gwangwa left his homeland. After touring Europe in a musical production of King Kong, he continued on to the United States, where he attended the Manhattan School of Music in New York.

With the encouragement and patronage of Harry Belafonte, Gwangwa was able to, successfully break through to American audiences. Continuing to break new ground as a composer and arranger, Gwangwa served ten years as musical director of the ANC cultural ensemble tour, “Amandla”. In 1987 and 1988, he collaborated with George Fenton to compose the score for the Richard Attenborough film, Cry Freedom. In addition to being nominated for Oscar, Grammy and Golden Globe awards, the film received Ivor Bovello and Black Emmy awards. Gwangwa returned to South Africa in 1991. – By Craig Harris of the All Music Group

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SYDNEY MNISI – Saxophonist, composer & band Leader

SYDNEY MNISI - Saxophonist, composer & band Leader

SYDNEY MNISI – Saxophonist, composer & band Leader

Artistic genius, so the popular sentiment goes, always makes manifest of its self at a tender age, born Sydney Ace Mnisi in Edenvale (Dindela) JHB, Tembisa, Very rarely does one get into the game at a relatively advanced age and then fully blossom. But it does happen, once in a while. Ask those who have played with Sydney Mnisi, who have watched him at his most spiritual and possessed and ready to explore every musical note known and unknown to man, and they will tell you that yes, it does happen, once in a while.

Who would have guessed, 20 years ago, that this is the sort of man, the kind of artist that Mnisi would end up being? Because this is the man who waited until he was 28 (trumpeter, Clifford Brown, did not even live to be that old, but he had established himself as a major force in jazz by the time he died aged 26), to decide that his future lay in jazz, and that the tenor saxophone, was the instrument most suited to his unique, mellifluous voice. Today he is an accomplished and respected saxophonist who has played with the likes of Abdullah Ibrahim, Bheki Mseleku, Jonas Gwangwa, and Hugh Masekela, The late guitar maestro, Alan Kwela, and Caiphus Semenya, to name just a few; Recalling how he got into jazz, “it was a calling I could not resist. I mean I used to listen to guys like Sonny Rollins, Ben Webster, and Dexter Gordon – all those giants. and there was always this thing that said I should also one day play this instrument.

When I decided to quit my job in 1988 (Mnisi had been working as a fitter and turner at the giant metals company, Scaw Metals), my family thought I was crazy. I took about R15000 of my savings – a substantial amount at the time – and enrolled at Fuba Music Academy before moving on to Pretoria Technikon”.

At last Mnisi has followed his dream, lending weight to the statement by Dexter Gordon that jazz is music that lives, “A music that since it’s, beginning has expressed the feelings the dreams, hopes, of the people” Elsewhere, the jazz enthusiast, Dudley Moloi, referred to jazz as akin to digging, like your whole life depends on it /You search in frustration /You hit it /But can’t get it /Eventually you get it, But in the meantime, the search continues /And the digging continues” Mnisi knows all about digging. He has been at it for twenty years now, and he feels that it’s About Time he brought out his own album. And hell it is, because time is of essence, Mnisi calls this a 20 years Celebration.

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TUTU PUOANE – Vocalist

TUTU PUOANE - Vocalist

TUTU PUOANE – Vocalist

Vocalist TUTU PUOANE (pictured with proud papa Ewout Pierreux and baby Mpho) Tutu was born May 31st, 1979 in South Africa as Nontuthuzelo Elaine Puoane. She started playing music professionally in 1997 in down town Johannesburg, South Africa. Tutu studied jazz vocals with Jelena Reveshin, Natasha Roth-Scholfield and Rachel Gould. She played concerts in South Africa, Italy, New York, Germany, New Orleans, France, Belgium and Holland.

Tutu has performed extensively in South Africa with many great South African musicians. In 2001, she performed at the North Sea Jazz Festival Cape Town, leading an afro-latino band, Tucan Tucan. Puoane toured New York in 2000 as vocalist with the South African National Youth Big Band of 1999. Tutu is currently the vocalist for the Frits Bayens Big Band of Breda, Netherlands.

Ms Puoane has received several awards from major South African Jazz Competitions. In 2000 she was awarded the Old Mutual Jazz encounters for Cape Region and in 2001 she received a merit award for young promising talent at the Daimler Chrysler South African Jazz Competition. In 2004, Tutu was the recepient of the Standard Bank Young Artist of the Year Award for Music in South Africa. Tutu has shared the same stage with the likes of S’bongile Khumalo, Marcus Wyatt, Jack van Poll, Hein van de Geyn, Hans van Oosterhout, Dre Pallemaerts, Stacy Rowles, Mark Murphy, Madeline Bell, Georgie Fame, Roy Hargrove, John Engels and Toots Thielemans.

Tutu leads her own quartet with Belgian piano player Ewout Pierreux, Dutch bass player Guus Bakker and Dutch drummer Jasper van Hulten.

Nontuthuzelo’s Band – THE TRIO

Pianist EWOUT PIERREUX – 1978 te Halle, Belgium

From a very young age Ewout started playing piano and alto saxophone. He got a traditional training at the music academies of Halle and Gooik, where he graduated in 1996. As from that moment he chose for the piano and continued his studies at the jazz department of the Lemmensinstituut in leuven, where he was taught by great Dutch pianist Ron Van Rossum. He graduated in 2001. During his studies he followed masterclasses of a.o. Brad Mehldau, Bobo Stenson, Kenny Werner, Bruce Barth and Bill Carrothers. At this moment he’s teaching himself at the music academy of Sint-Agatha-Berchem and at the Kunsthumaniora (Antwerp).

He plays piano in the quartet Jazzisfaction and in t-unit 7, a new project of saxophonist Tom Van Dyck. He’s the regular pianist of a new big band project called ‘tuesday night orchestra’. As a leader he has his own trio (ep3) with Yannick Peeters on bass and Steven Cassiers on drums.
He also plays keys in the rockproject Upperlip Orchestra and he’s busy as a sideman in several projects, among which ‘Goddam: a tribute to dr. Nina Simone’. Ewout played concerts with the Brussels jazz Orchestra and the High Voltage Sextet and with a.o. Toots Thielemans, Frank Vaganée, Kurt Van Herck, Bart Defoort, Bert Joris, Philippe Aerts, Dré Pallemaerts, Martijn Vink… He played on major festivals such as the Blue Note Festival Ghent (Joost Zweegers Sings Chet Baker, 2005), Jazz Middelheim (Maria Schneider Big Band Workshop, 2001), Gaume Jazzfestival (Jazzisfaction, 2004), Park Jazz Kortrijk (Tutu Puoane Quartet, 2004) and is named as one of the promising Belgian young jazz pianists.

Drummer JASPER VAN HULTEN – 1981 te Breda, Nederland

Jasper started playing drums at age 7, getting a degree in classical percussion from the local ‘Koninklijke Harmonie Cecilia’ in 1990. After that he began taking lessons at the music school in Breda during, which made him discover a wide range of styles. At home his mom was a classical singer and his father played guitar and sang songs of the beatles and French chansons. All of this made him into an allround drummer, with interests from jazz to pop, latin, brasilian, classical, rock and R&B.

He studied at the Conservatory of Rotterdam, graduating in 2002 summa cum laude. Among his teachers were Hans van Oosterhout, Peter Ypma and Fred Krens. After finishing his studies, Jasper has been playing a lot around the Netherlands, gaining experience with Dick de Graaf, Michiel Borstlap, Bert van den Brink, Lydia van Dam, Harmen Fraanje, Angelo Verploegen and many others.

At this moment he’s the drummer of ‘Sensual’, ‘State of Monc’ and ‘Young Sinatra’s’. He’s playing on a regular basis with great musicians like a.o. Eric Vloeimans, Ad Colen and Jeroen van Vliet.

Bassist GUUS BAKKER – 1970 te Doesburg, Nederland

Guus started to play guitar at age 11 and dedicated himself to the electric bass at 14. In 1989, he started to study at the Rotterdam Conservatory with electric bass as his main subject ànd double bass, an entirely unknown instrument for him at that time. He was taught by Wim Essed, Koos Serierse and Pieter Douma. He graduated in 1996. Ever since then Guus has been active especially as a performing musician, both in the Dutch and Belgian music scene, besides some teaching at SKVR (Rotterdam) and at ‘de Stoep’ (Spijkenisse).

The Netherlands: E.T. (Jeroen van Vliet), Pascal Vermeer 5tet, DTX (a.o. Berthil Busstra, Spencer Croes). As freelancer with a.o. Michiel Borstlap, Eric Vloeimans, Dick De Graaf, Ben Van Den Dungen/Jarmo Hoogendijk.

Belgium: Frederic Delplanq 4tet, Robin Verheyen trio, Quintessence, Pentachrome, Bruno Vansina 4tet. As freelancer a.o. Kris Goessens, Bart Van Caenegem, Kurt van Herck, Tom Van Dyck, Dré Pallemaerts, Mimi Verderame, Teun Verbruggen.

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Though she lives and works in the U.K. she is a South African who is reaching for her own place in the wide world of international jazz. Passionate about music from her formative years, Alison grew up singing and performing in her native Johannesburg, South Africa. From appearing in musicals (and several on-screen appearances) in South Africa, Alison gained a wealth of experience, which in turn focused her interest in carving a career in the music industry. Keen to explore a variety of genres, Alison went on to perform lead vocals with a professional pop band, performing regularly in Pretoria. Alison later joined Johannesburg based “No Surprise” with whom she recorded original material and performed live in South Africa. However in ’93 a trip to Europe lay just around the corner and was to introduce Alison to her greatest musical passion, jazz.

After a brief spell in the UK Alison moved to Switzerland in 1996, it was there she became hooked on jazz. Inspired by jazz legends (including the late, great, Shirley Horn) and determined to learn as much as possible Alison began a formal education in music at the Academy of Contemporary Music in Zürich. She went on to study further with the renowned Zürich Jazz School and enrolled with the St Gallen Jazz School.

Alison then spent a number of years performing with the acclaimed Swiss jazz trio Inbetween as guest vocalist. She then formed her own successful jazz quartet and built up a loyal following in Switzerland prior to moving to the UK in 2005.

In 2006 Alison released her first cd, a five track EP entitled Introducing Alison Dewar. The cd captured a variety of moods and vocal styles from the joyously upbeat Star Eyes to an intensely reflective interpretation of the beautiful Horace Silver ballad Peace. Upon release the cd garnered critical acclaim and entered the Best Sellers list at Ray’s Jazz in Foyles, London steadily climbing to No.7 in their chart. In Europe Alison’s EP was voted cd of the week on Italian radio, and Softly became track of the week and month respectively on Italian and Greek radio, where the cd reached Top 20. Introducing Alison also received airplay in the US, France, Columbia and South Africa. Not one to rest on her laurels, Alison continues to develop and define her craft, always learning from great teachers and mentors including Al Jarreau, BB King, Bobby McFerrin, Jay Clayton, Sandy Patton, Sheila Jordan, Take 6 and The Jackson 5 Gospel Singers.

Jazzwise Magazine Review
This 5-track sampler from the South African-born singer Alison Dewar (the full debut release is scheduled for early next year) features an elegantly phrased version of ‘Softly as in a Morning Sunrise’, the dreamily impressionistic bossa nova ‘O Barquino’, pleasing interpretations of ‘Too Close for Comfort’ and ‘Peace’, plus what is the undoubted highlight, ‘Star Eyes’.

Whether by luck or design the singer has hooked up with a great team for her debut. The EP is co-produced, recorded, mixed and mastered by Derek Nash (unconfirmed reports state that Nash, possibly the hardest working man on the UK scene, hasn’t seen daylight in over a decade), with excellent arrangements courtesy of ex-Incognito and George Benson pianist Graham Harvey. Chamberlain and Skelton are two highly dependable talents to have in the engine room. Dewar’s own talents include her clarity of line and artless approach to the lyric. In what is already an overcrowded field, one can only wish the singer well.

Peter Quinn, Jazzwise Magazine, UK (July 2006)

Vortex Review
If there are, broadly speaking, two types of jazz singer (the Ella Fitzgeralds/Stacey Kents, who prioritise the song rather than their emotions concerning it, and the Billie Holidays/Madeleine Peyroux, who basically do the opposite), then South African vocalist Alison Dewar, courtesy of her crystal-clear diction and unfussily straightforward approach to a lyric, is firmly in the former camp.

On this introductory EP, she is backed by a sparky but discreet band led by the impeccable pianist/arranger Graham Harvey, on a intelligently selected programme of standards (neat versions of Softly, as in a Morning Sunrise, Too Close for Comfort and Star Eyes), a pleasingly languorous bossa nova (O Barquino) and (a highlight) an absorbing visit to Horace Silver’s Peace, the long-held notes of which particularly suit her unaffected delivery.

An ear-catching sampler, Introducing will be followed by a debut CD release in early 2007.

Chris Parker, Vortex, London, UK (May 2006)

Vinilemania, Jazz Italia Review
Review by Fabrizio Ciccarelli

In her recording debut EP, Alison Dewar presents five of the most interesting pieces from the international music scene of jazz standard. Accompanied by instrumentalists of unquestionable calibre, she demonstrates vocal skills that are imbued with personality, marked by delicate and fluid phrasing, pleasing to the ear and beautifully pitched. All this as well as immediacy, a rounded brightness and mellow interpretation and style.

Alison manages to mould herself to the music that she performs without ever losing control, alternating continuously and successfully between tradition and innovation. Aided by the convincing arrangements from pianist Graham Harvey, of Incognito and George Benson fame, the melody’s expression is elevated.

The vocalist’s spontaneous execution thus gets the opportunity to shine through, ably supported by the timing of the rhythm section and the enveloping sax of Derek Nash, an artist who is both talented and capable of underscoring improvisation with a balanced sound, suitably devoid of any self-complacency.

For the rest, the interaction of the band brings out an exceptional sensitivity, revealing not only mastery of the instrument but also eclecticism in covering “evergreens” that are formally so different from each other, from the bossa nova of “O Barquinho” through the lyricism of Horace Silver’s unforgettable “Peace”, to “Softly, as in a Morning Sunrise”, one of the most intense songs from Romberg and Hammerstein and the first track on the CD – in the writer’s opinion the most “composed” and structured in the strictly jazz sense.

So we wait in hope that Alison will continue to nurture her potential and will soon be back with another equally agreeable CD.

CD Wherehouse Review
Just when you thought you were getting more of the same thing in the field of Jazz vocal, in comes Alison Dewar with her beautiful and somewhat bright voice. It’s actually hard to believe this is her debut album with the expatriate South African songbird gliding through a seelction of jazz standards such as “Softly In A Morning Sunrise” with such conviction and intimacy.

Her arranger/pianist (Graham Harvey) laces the cuts with some hard swing and a thin stripe of modern touch. By any standard, a definite world class recording. If you haven’t heard her music, jump at the opportunity. If you have, consider yourself privileged.

Xolani Nxumalo, CD Wherehouse, South Africa (April 2006)

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