Singer Florence Chitacumbi /Percussionist Mino Cinelu cause sonic bangs in Cape Town

They flew in and wowed the crowd at Langa’s Guga S’Thebe Cultural Center with their authentic fusion of African, Creole, Euro-pop, and Afro-soul . Sitting on his box drum, renowned French percussionist Mino Cinelu rattled his various arsenal of sonic weapons, standing and emoting over his hand-held triangle when he wasn’t furiously tapping out a myriad of beats on his 25 year old plus wave drum.

Mino Cinelu at Langa, Guga S’Thebe: credit Terence Visagie

 

Florence Chitacumbi at Guga S’Thebe,Langa: credit Terence Visagie

 

 

 

 

 

 

 

 

Keeper of melodies, Swiss-Angolan singer Florence Chitacumbi, and leader of this Reunion Tour in Southern Africa, added soulful and jazzy tunes which come from several of her albums with Cinelu. This duo, along with the versatile Swiss Guitarist Christophe Bovet, were ‘encountering the other’ as they shared their musicality with South African and Lesotho audiences during their intensive one week tour to conclude a dazzling International Jazz Month of April.  Multiple thanks go to local organizers, Jazz in the Native Yards and the South African Association for Jazz Education (SAJE), for these April performances. 

Credit: T. Visagie

The last concert on May 4 was properly framed in Cape Town’s beautiful Peninsula suburb of Kalk Bay which reaches another local area known for its artistry, Navy home, and calm waters facing a circle of mountains. Again, the Olympia Bakery shoved its machines to the side and made concert room for the trio, this time with an additional two South African guests: jazz pianist Nduduzo Makhatini based in Port Elizabeth; the other, Cape Town’s own legend, accordion/traditional bow/guitarist Tony Cedras who worked with percussionist Cinelu back in those 1980s New York City days. Another story!   The beauty of spontaneity in the moment meant that Cinelu could invite Cedras to the reunion at the last minute.

Tony Cedras

Both South Africans added flavour and transformed the Chitacumbi/Cinelu Afro and Creole rhythms with their own jazz subtleties, the likes of Bheki Mseleku, Nina Simone, and a host of others.

The colourful, sold-out concert saw people still inching into the venue, even sitting on the piled up flour bags ready for use by the Bakery the next day.

Chitacumbi, who led the band, boasted a wide repertoire of music, thanks to Cinelu’s rhythms that included Congolese soukous, Portuguese Fado (folk music) , West African influences, funk, blues, and jazz Standards. She has toured with a host of notables and cut three albums featuring well-known African and European artists seeking to build those sonic bridges between the two continents. But it was former Weather Report’s (and Miles Davis, and Sting) master percussionist, Paris-born Mino Cinelu, whom the whistling audience eyed non-stop. Cinelu was also reuniting with his old pal, Tony Cedras, known for his exiled days in New York arranging songs and touring with Paul Simon’s Graceland album. This visiting duo maintained an exciting and vibrant stage presence right to the standing applause end.

Thanks go to the people involved in promoting/producing and sponsoring this concert, namely Arte Viva Management, Slow Life Music Promotion, Pro Helvetia, Ville de Neuchatel in Switzerland, Foundation SUISA, and Loterie Romande without whom the show and its success would not have been guaranteed.

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Several histories were revealed in my interview (CM) with Florence Chitacumbi (FC) and Mino Cinelu (MC). Both have fathers from Africa or the Diaspora, and both were raised in Francophone/European cultures which explains Cinelu’s love for the Fado folk music of Portugal where his grandmother’s roots lay. Also, his interesting explanation on why the drum and percussion reigned more in Francophone Africa/Diaspora – read more below:

CM: Tell me how you guys linked up as a duo, since you both had lots of experience with other bands and tours over the decades.
FC: Yes, I had a band while living in Paris and I gradually felt there was still something missing. I knew Mino and liked his musical approach and rhythms, so I called him. We started collaborating in 2005 and we produced and album, Regard Croises.
MC: I’ve performed with many artists so feel at ease in both seats – with duos and larger collaborations. I just try to keep an open mind when meeting a new collaboration. And now Florence and I have a duo project that we were looking for.

CM: With South African jazz, what is so different to you personally compared to other African influences, such as the music of Francophone northern Africa?
FC: In Senegal, you find a lot of percussion or guitar, and in Cameroun, you find a good bass player, but not so much the piano or saxophone. But here [South Africa] , there’s a jazz tradition which mixes American jazz with their own sounds – the rhythm , the patterns, the scales, and different types of melody.
MC: Also, as you go north from here, there was less of the English influence which had strict rules about the use of the drum, but the French ex-colonial areas of central and west Africa allowed for the indigenous beats and rhythms and harmonies of those singers . In South Africa, the Africans under colonialism found a way to preserve their music, for example, in the boot dance of the miners. The same in Trinidad under the English when the people developed the steel pan and rhythms to go with it. So in the ex-British areas, the drums are not that well developed but there’s something else. So the non ex-English areas were allowed to develop the drums, and the singing, and other expressions.
FC: I find South African jazz really inspiring; they have something special – the melody, the styles of Bheki Mseleku, and Hugh Masakela… I saw Mkize and Washington’s gig in Langa yesterday, and I like the way they play that scale… it’s unique to South African jazz here.

CM: ….then you get to the Western Cape with the ghoema, and the Malay rhythms, and the Khoi instruments. … I wish the South African students could hear you, perhaps on your next tour here….
FC: It seems that maybe they are afraid of knowing their culture and roots….
CM: There is a trauma…. A psychological stress and anti-colonial phase students are going through presently, often not well understood by them. Whereas, African countries have been independent for long…
MC: People find a way to eventually express themselves…..

CM: You both have lots of African influences in your musical approaches, but you haven’t experienced much collaboration with Africans as such on the African continent, I mean in terms of performances. Why is that?
MC: You can hear in my first album many songs from Ivory Coast and Senegal. You have the talking drum, and the udu from Nigeria – I was the first to bring this instrument into rock music in Europe. I was music director for Saif Khaita, and was the drummer with Chris McGregor in Paris where I also met Dudu Pukoane.
FC: I was in Burkino Faso and Senegal, and last year I was at Jazz a Ouaga in Burkino Faso. Then we came here to South Africa last year….
MC: After touring with Sting, I just took the first plane out of New York, and spent one and a half months in Senegal and played with the drummers every Sunday. Just jamming. There was no TV at the time, or Internet…. I also went to the Ivory Coast to see the top guys there, and we started to jam a lot…

CM: We are more global and digital now so we don’t always have to be physically ‘there’ to collaborate. Yet you are doing a ‘reconnection tour’, not just with yourselves, but as you said in another interview, you (to FC) want to “encounter the other”. So, this means you want to be there physically, right?
FC: Yeah, one can’t stay in their comfort zone in home areas all the time. But when I say ‘meet the other’, I also mean to bring one’s own music to another audience, or another culture. We need to make the unknown interesting. When I meet up and work with Nduduzo [Makhatini] , I look forward to sharing our music with him.

CM: Why have you chosen Nduduzo? Of all the South African artists…
FC: I had met several artists, of course, like Zenzile Makeba. Then, last year I began talking on Facebook with Nduduzo and watching his page, and that’s when I contacted him about collaborating. I also know Afrika Mkhize very well… Then in 2004, I had contacted Darius Brubeck…

CM: Let’s talk about your audiences. What did you think of the audience yesterday [in Langa]? Their reaction was so different between your performance and Mkhize’s. You are perhaps used to revving up European and American audiences. What did you feel was different with the Langa crowd?
MC: Nice. People came out. It was good. People share the same passion and they were very thankful that we came. We don’t take that lightly or for granted. That humbles us. They were really listening and hearing something different. I like that. They didn’t want to miss anything. Our band was different to what they hear – we had no bass or piano, just a guitar, singer, and beat. In ours, there’s no safety net, no frills, just acoustic….

CM: [To MC] There are so many sounds from your percussion toys…. Back in the days of Miles Davis, the technology was different from now with a range of electronica…particularly the wave drum….Any comments?
MC: My wave drum is over 25 years old. I wish they still made this model, because the newer one is smaller and doesn’t fit my style as well. Zawinul [of Weather Report] asked me to join his new project and I was happy to be able to play with Weather Report, and to play with drummer Omar Hakim before the group broke up. Also, I have to rent my percussion instruments when I travel. I’ve got some made of wood – hard to find – to give that sound – like the shoe clogs people used to wear in Holland, or the stomping on wooden floors of verandas in old houses in the American South.

CM: Often, visiting musicians are flown in and out again, giving little time for making important connections with local artists and cultures. How could this be improved so that you are given time to workshop with students and others, and share your skills?
MC: It’s often the case. Promoters don’t realize that the hardest part for a musician is not the playing, but the traveling. Sometimes my conferences take a long time, and I go very deep in the discussions. This is all tiring. You have to open to people and cultures you’re visiting. I like to immerse myself into others’ cultures as much as possible when I’m visiting a place. We have to share our music with musicians we visit. This takes time.
FC: Definitely. At home in Switzerland, I teach at a music school in Geneva called ETM which is part of the government program – students can choose music as a subject with ETM . We also have a professional section for 3 years. Students study a 1st and 2nd instrument.
MC: I mostly have private students. I’d like to do more masterclasses in different countries, but I just don’t have the time. A dear friend of mine, Tony Gray, a bassist who is nephew of John McLauglin, and I are working on a collaboration to do a video program so I can share that as much as possible.

Catch both artists on a number of YouTube videos!

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Jazz Singer Ziza Muftic dazzles in her “Shining Hour” album and Life

Croatian-born Ziza Muftic stepped into an ambitious musical journey in South Africa when her parents migrated from a war-torn Croatia in 1992. It was terribly cold in Johannesburg that August, as she left her teenage sandals behind in the summery North. Her academic and professional success as a jazz vocalist confirms her gutsy approach to creativity, as she explored what she felt was still missing in her own Balkan musicality: a South African musical expression. Subsequently, she has performed with some of South Africa’s top Jazz musicians like Johnny Fourie, Reza Khota, and Marcus Wyatt. She was also asked to sing a finalist piece at the SAMRO 2018 composer’s finals, where the composition won in category.

Muftic is now feeling her shining hour. Shining Hour (2019) is her second album, entitled from songwriter, Jonny Mercer’s ‘My Shining Hour’ song of hope and high expectations, and follows on her first album, Silver Moonbeams (2015), with its Balkan rhythms, lyrics, and melodies. Her stories shine in delightfully pleasing and thoughtful ways as she handpicks from known songs and her own compositions.

She adds the spoken word to such standards as Bheki Mseleku’s ‘Homeboyz’ and the Beattles’ ‘Norwegian Wood’ which continues in a sullen mood started by the opening Mseleku piece. Her low voice register breathes a kind of soft whimsical lullaby sound with inflections from her able band members that make this jazz album enticing and moving. She says on her album cover: “Music and thoughts collected on a journey from Bosnia and Croatia to South Africa. These tunes found this band and have become a part of our standard repertoire.”

Muftic searches with questions put to English lyrics: in the moody, sometimes sassy ‘what’s the colour of my Heart’, and in how ‘Love is the Drug’ tells about something familiar and is skilfully supported by Sydney Mnisi’s wailing tenor saxophone and pianist Roland Moses’s runs. Then, inventive mixes of Croatian lyrics and Balkan-style vocals with a South African context in ‘Kwela/Gontsana (Milena)’ reveals hints about the next song, ‘Unfinished Story’, where drummer Peter Auret holds a steady fast beat while Muftic scats her unfinished story. It seems clear how Muftic’s interest and research into Balkan styles are transposed with South African ethnomusicality, a theme she is pursuing presently.

Her skills in arranging come through interpretations of the Latin swing, as in the popular Corea/Jobim ‘Chega de Saudade’, and in her own composition, ‘Blue’, influenced by Pat Metheny, which has Mnisi’s flute solo querying Muftic’s unending searching and wondering.

The album ends with an inventive taster for what’s to come in the future: ‘Bosnian Flute Jam’ is just that, Balkan dance mixed with South African marabi rhythms. With a cross over voice the likes of a Carmen McCrea and Balkan mixes which would excite the Bombshelter Beast’s mixed bag, Shining Hour guarantees to hold the listener ‘s heart and ears in a tight embrace.


An interview with Muftic explains herself:

CM: You have absorbed so much of the South African experience, from being a teenage immigrant who quickly adapted to the local artistry back in the 1990s.
ZM: As I grew in this country, I realized that I had much more similarity with the way of living of Black people in townships than the squeaky clean middle class –both black and white – that live in the suburbs of JoBurg . This thing of community living, of not locking your door, and going next door to your neighbour if you needed some salt – we used to live like that in Croatia. There, we lived in flats with only one key, and my neighbour was always in my lounge. But now in JHB, we have several keys which we are always having to sort out which is for what……and there’s an alarm button, and a code for a lock, just to get into your own house! It’s like phases, you know…..

CM: You came to South Africa after your matric in Croatia, right? And was able to study music right away here. How did you manage with English?
FM: I had music credentials from my Croatian high school and a respected music school in Zagreb called Vatroslav Lisinski, and studied under one of Croatia’s well known divas, Lidija Horvat. It was then that I won a third place at a singing competition amongst young singers from all over Croatia. So when I arrived in JoBurg, I could enter university here right away. It was hard as I had to learn English just from living, so I just learned as I went along. I completed my BA in Music in 1996 focusing on Classical Vocal studies, and my Masters in Music in 2013, both degrees from Wits University. My Masters was in Performance and Research. My two recitals were late classical to contemporary, a program which covered music from Stravinsky to Django.

CM: You seem to enjoy mixing your Balkan musical heritage with the South African sounds. Can you tell me more? Particularly about that last song ‘Bosnian Flute Jam’ on your album.
FM: FM: I started the ‘mixing’ during my Masters studies. It was then that I picked up a well known Bosnian folk tune, ‘Ne klepeci nanulama’. Everybody knows that song in the ex- Yugoslav countries and everyone in my family sings it well. I added to it a standard South African jazz progression, and you know, long before I performed that song, I would just sit and cry in my studio. Because there was this soul thing I found with South African jazz, it filled something in me that I was missing from my Croatian side. So I put the Bosnian flute jam at the end of this album as a signal of what was brewing inside me and what will come next in future albums.

CM: You wrote your Masters thesis about Balkan music in South African music. Explain more.
FM: I used to go to Balkanology parties in JoBurg ages ago, where I heard this music that sounded like something from home. I was completely bewildered hearing this in Newtown in JoBurg , and found two DJs from Capetown!! So I chatted to the people that I was trying to find a theme for my research, so I just went back to that. There was no ‘soul’ connection as such, but there was definitely something like a ‘fun’ thing in these parties, and their dance was fun. It reminded me of these raucous weddings you’d see in the villages back home in Bosnia and Serbia with that familiar um pah n pah n pah. So going to these parties helped me decide about what I could write for my thesis.

CM: So how did you conduct this research from the parties?
FM: My Professors were so keen to do research on this because there is so little written about Popular music in South Africa (academic writing in particular). So I focused my ethnographic research on these parties. I took two different parties where you dress up in costumes and then dance to this crazy music of that period around the time of the war. The whole thing was actually a movement. So right about the time of the war, there were a lot of immigrants to – it started in Germany, I think. They displayed this nostalgia thing where they started playing a Romani music and a kind of Serbian cheezy pop that you would hear at 4 o’clock in the morning from people who were drunk-drunk from the wedding parties. So it became like a trend, you know. And then ‘Borat’ came out – you know with that Sacha Baron Cohen actor and his character from Eastern Europe who is a bit naïve. So I had these influences growing up. Then there was the film, The Underground , that turned the eyes of the world towards our country and culture, some of it ridiculing how naïve people from the village seemed as they carried themselves awkwardly into the city or whatever. You know how it is when people from the Western world will always look for something new to spice up this doof doof doof they have in clubs.

CM: What do you mean? You mean how the Bombshelter Beast emerged as a popular band…..
FM: What Marcus [Wyatt] has done is genius because that sound is Joburg right now, if you had the energy and it wasn’t so dangerous to walk around , like in Braamfontein, to absorb all the sounds . I enjoyed going to the Bombshelter beast gigs because of the experience …I mean every time I go to his gig [Bombshelter Beast] and hear that guy that raps in Sisotho and isiXhosa and other languages, and the girls that rap, and then there’s the umpah umpah umpah that comes out of the songs, and the band all running around in those onesies…..

CM: Yes, they are quite entertaining. So what was your thesis title?
MF: It is entitled, “Hopa!: Exploring Balkanology in South African Popular music culture”.

CM: Let’s talk about your voice. You’ve got a pleasing timber and register in your voice. Who has influenced you in your voice production?
ZM: I don’t listen to vocalists that much, but when I do, I examine things like sound and breath, and how they blend into music and how they phrase. Often, I get disappointed because the singers tend to over-sing those things, you know, instead of really interpreting the phrasing that is what the music is about. I find beautiful voices that aren’t doing enough with the music, and then I get a little bit bored. Today, take someone like Cecile McLorin Salvant, and the technique and the colour she has and the attention to the music – you don’t always get these details today in musicians. So when I listen to my own recordings, and I see there’s a little too much there, too much excitement, then …. But I would say people like Billy Holiday, Joni Mitchell , Janis Joplin, and Carmen McCrea are some of my favourites.


Ziza has performed with some of South Africa’s top Jazz musicians like Johnny Fourie, Reza Khota, and Marcus Wyatt. She was also asked to sing a finalist piece at the SAMRO 2018 composer’s finals, where the composition won in category. See the YouTube promotion of Shining Hour:  https://www.youtube.com/watch?v=ud0QSNZkdW4&feature=share

The album features: Sydney Mnisi on tenor saxophone and flutes;  Roland Moses on piano;  Peter Sklair on electric bass; and Peter Auret on drums

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“My Miriam Makeba Story” Resonates a Language of Truth for Simangele Mashazi’s own life story

This is a story, a collage of charming impressions about Miriam Makeba’s own life in song and politics-in-exile which have resonated with the young singer and song writer Simangele Mashazi’s own life journey, particularly after 1994 when Makeba could return to South Africa.

Simangele Mashazi

‘Sima’, raised in Newcastle, KZN, learned her vocals and groomed her  talents firstly during her church choir years with strong gospel roots.  She followed up with private classical vocal training sessions, but only studied music in a Ministry school when she moved to Stellenbosch. After experience on stage providing backing vocals to South African and European artists during European tours, her breakthrough came when casted to play the then late Miriam Makeba in the popular musical Mama Africa, a collaboration between the University of the Western Cape (UWC) and the University of Missouri (USA).  A stage career was developing.

BARCELONA, SPAIN – JANUARY 17: Miriam Makeba, January 17, 2008 at Palau de la Musica, credit Jordi Vidal/Redferns

The bug had bitten her: Sima became inspired, if not spellbound, by the wealth of talents and history Makeba passed down, and in particular, how Makeba spoke truth through her lyrics. However, in 2017, Sima chose to leave the cast to pursue teaching and further studies at Stellenbosch University in Linguistics.  But this hasn’t stopped her musicality. She delved into replicating that truth-through-lyrics by starting to compose My Story which introduces her as a songwriter and storyteller.  It also enabled her to write her own songs which are performed in the show: ‘Bashadile ‘ (Zulu for “They are married”) and ‘Still Miss You’, along with other known gems like ‘Phatha Phatha’, to lesser known popular songs, like ‘Suliram’, an Indonesian lullaby. For ‘Bashadile’, Sima says she was inspired by a childhood game where children would all stand in a circle, and then children in the centre would pick a partner to “marry”. “The ones left in the circle would then sing ‘Kusele mina ngedwa nje’, which means ‘I am the only one left, “Bonke bashadile” – they are all married.” The song wants to take you on a journey and let you fall in love with life.

Her backing band excels as one of the Cape’s most popular jazz bands, made up of Ramon Alexander on piano, Annemie Nel on drums, Bradley Prince on guitars, Chadleigh Gower on bass, and Muneeb Hermans on trumpet. Some might query why she chose a Cape jazz band, even though highly successful on the local scene, but which is ethnically removed from the type of music Makeba wrote.

Sima and Ramon with KKNK 2019 Award

Sima had known the band-leader and pianist, composer, and producer Ramon Alexander, also living in Stellenbosch, for some ten years, and experienced not only mentorship from him, but the band’s versatility with genres of music. Together with Ramon, Sima could comfortably mastermind her next passion: to produce her own show, ‘My Miriam Makeba Story’, about Makeba but from her own perspective. It worked. Both she and Alexander received the award for Best Music Production at the recent 2019 Klein Karoo National Arts Festival (KKNK).

Preparing the show became essentially a learning journey for this stage-seasoned singer about an icon’s struggle with politics and life, in general. As a student of Linguistics, Sima had learned in Mama Africa how language is a symbol of power, and how Makeba in exile spoke truth to power. In this regard, Sima’s humour and engagement with the audience started early in her performance, when she asked what was the name of the song she had just sung (the ‘click song’). Soft clucking sounds buzzed around the Artscape’s sound-perfect auditorium, imitating click sounds found particularly in isiXhosa. It seemed so natural; this was an African audience who understood these linguistic dynamics, at least functionally, and why Makeba sung the ‘click song’ to European audiences while she was in exile. Sima’s background in Linguistics enabled her to point out the differences between her isiZulu clicks and isiXhosa ones, making this aspect of her presentation quite entertaining. The music became a background to her story, however.

“We must re-imagine a multi language society and view multi-lingualism as a norm in South Africa,” Sima emphatically stated in our interview. ”Ideologies are attached to language which is why I’m eager to study Linguistics and understand the power of language for social change. This is why I liked the way Makeba spoke her truth. I can do also. She used her voice to instigate social change.”

For example, during her performance, Sima did not shy away from the pain of loss which Makeba had experienced, the latter unable to visit her dying mother because apartheid barriers would not allow Makeba to return to South Africa from exile. Sima had also suffered loss, of her two sisters, and was inspired to sing her own tribute song to that, honestly and reflectively. Also, in keeping with the themes of carrying the South African ‘sound’ to world corners, she honoured the renowned Capetownian musician, Tony Cedras, (who had sculptured and arranged Paul Simon’s songs before and during their Gracelands album tour) and his efforts to spread the Cape musical histories far and wide.

Sima says she’s not a social activist per se, or a jazz artist, but she believes in the power of the message and entertaining through musical stories. Audiences won’t find intricate musicality and technique in My Story, but a melodic voice well controlled, at times spicy, and one that can emote and engage feeling about her sonic journey. Be prepared to have an intimate evening of relaxing moods tainted with a storytelling charm.

On 11 June, 2019, the show will run at the Fynarts Festival in Hermanus  http://www.hermanusfynarts.co.za; in Pretoria at the Pierneef Teater on 13 July and in Johannesburg at the Foxwood House & Theatre) on 14 July. In September, the show will run at the Aardklop National Arts Festival in Potchefstroom.

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April International Jazz Month brings Cape Town Jazz Mania, festivals and marathon hysteria

Is there festival fatigue?

Cape Town became festival city as the month of April, worldwide set as ‘International Jazz Month’, wound its way around major holiday periods of Easter, South Africa’s Freedom Day, and May Day celebrations. It started with the annual popular and globally applauded Cape Town International Jazz Festival at end March which brought in a myriad of talents and music genres, including exploring jazz styles outside of the conservative mainstream box. Then the Marathons – for bicyclers and runners – through the beauties of the Cape Peninsula terrain. The announcement that UNESCO has designated Cape Town as the site for next year’s ‘Global International Jazz Day 2020’ events brought awe to key stakeholders who were invited to start thinking about their events, alongside empathetic supports (but no money, yet) from the South African Department of Arts and Culture and Department of Tourism.   The 2020 Global Host City event theme befittingly applies to an African city like Cape Town:  “Tracing the Roots and Routes of African Jazz.”

But it was this past week in April: Cape Town, which is fast becoming a traffic jammed, stadium-attired, marathon- mania hub on Africa’s culturally rich continent, exploded with jazz talents: some international, some returnees, some surprises, and many stalwart locals who hold the jazz fort . The main issue at stake, in order to please and cater to the varieties of music lovers, is getting the live performance schedules out into the public awareness so that lovers can choose. Other than social media platforms used by artists and their promoters alike, the Cape Town Jazz Gig Guide https://www.facebook.com/capetownjazzgigguide/   tells pretty much what’s happening in and around town. The caveat is that artists and promoters must send in their listings for publication….. but many simply do not. Scheduled clashes occurred, especially when the annual South African Association for Jazz Education (SAJE) Jazz Festival was scheduled way in advance – for scholars and public alike. Stunning lineups happened; but with shockingly poor turnouts. Has Mania turned to Burn Out of public ears and wallet pockets, one wonder? Or was it the venue….at a Boy’s High School which some might think underrates the quality of the artists presenting, or…..?

Who’s On Top?

Promoters such as Jazz in the Native Yards (JiNY), Slow Life, Iluminar Productions, Arte Viva Management, SAJE, small schools of music, venue presenters, and radio presenters on community and internet stations, such as Bush Radio, Fine Music Radio, All Jazz Radio, and MetroFM, and many others, all have vested and honest sympathies to ‘spread the music’ to the wide varieties of patrons in this growing city and globally. Everyone is in the same boat, scrounging around for funding and venues; there’s no hierarchy amongst us; we all must work together! But sometimes, artists ‘pop up’ in our midst, at the last minute, without proper forewarning or marketing, for whatever reasons.

It makes sense that Artists in town for, let’s say one week, are slotted into various venues over the time period to avoid date clashes. A case in point was a gig at The Alma Café, centrally located in Rondebosch and popular for presenting a variety of live music through the week. Thursdays host its jazz night. The scheduled band of Muneem Hermans generously accommodated, at the last minute, a visiting artist, singer Ziza Muftic and her two other musicians, as it added uniqueness to hear this remarkable Johannesburg-based Croatian singer and South African-schooled artist launch songs from her just-released album, Shining Hour. That is a true collaboration in giving space —but where was the audience for this very worthy double-bill?

What Jazz lovers might have missed….

SAJE’s annual festival kicked off at the Reeler Theatre, a centrally located pleasantly acoustic space at the Rondebosch Boys High School, with a fantastic evening double-bill of musicians who would normally draw large crowds both domestically and overseas.

The Paul Hanmer (piano) and McCoy Mrubata (saxophones), both originally from Cape Town, are celebrating their 30+ years of friendship and jazz.
Seems hardly fair to enjoy only 1 hour of their vast repertoire, but their workshop interview about their brotherhood in jazz the following day tantalized one to run out and listen to their songs, at least digitally.

The Friday double-bill then featured a more international set of visiting Italian saxophonist, Emanuele Cisi, performing with Capetown-based Dutch bassist, Hein van de Geyn, and local wizards, David Leadbetter on piano, and Jono Sweetman, all expertly following Cisi’s own compositions, with a few Standards thrown in. How powerful is that for quality jazz? The patronage turnout was shockingly dismal.

Saturday evening at Reeler found music lovers swooning to some popular jazz Standards performed by the American duo of Darius Brubeck (piano) and Mike Rossi (saxophone). But it was that last song which Brubeck eloquently introduced: when he and the legend, Winston Mankunku, played in Durban in the 1980s during apartheid years, Mankunku chose to play the African-American spiritual song, “Nobody Knows the Trouble I’ve Seen”, a commentary on what he, himself, was living through, his musicality cut off by discriminating elements of the day. Brubeck was remembering.

Afrika Mkhize & Salim Washington at Reeler

Their moving tributes were followed by a higher tempo of saxophonist Salim Washington’s Quartet which swung into zesty South African tunes and highly emotional piano chordal flings of the otherwise shy Afrika Mkhize, himself a popular subject for the portrait photographers. Since the day, 27 April, celebrated Freedom Day in South Africa, it was appropriate to play Eddie Harris’s “Freedom Jazz Dance” with spoken word reminders by Washington that Freedom has to reign amongst all.

A Township Venue Comes Alive

This concert was one fine example of collaboration between SAJE and the JiNY who handled the Washington Quartet’s travel arrangements to the Jazz Festival as well as offered one of its venues.  They performed again on Sunday afternoon, the last day of the SAJE Jazz Festival, their sounds resounding with an eager foot-stomping, whistling and whooing crowd of enthusiasts at the popular Guga S’Thebe Cultural Center in Cape Town’s oldest Township of Langa.

Florence Chitacumbi & Mino Cinelu: credit Terence Visagie

Rhythms sang throughout this packed hall, starting with the Afro-European group led by vocalist Florence Chitacumbi, with her percussionist supreme, Mino Cinelu, excelling on his wave drum, and French guitarist, Christophe Bovet. That double-bill requires its own separate entry, including this writer’s interview with Chitacumbi and Cinelu to follow. The afternoon went into evening, closing after 7pm with the Washington/Mkhize band rapturing the crowd for two sets. Happy patrons wobbled home exhausted, imbibed with such unique fanfare of sounds of that day.

One wonders if afternoon performances bring more patrons closer to jazz than evening concerts. It’s a mystery. Yet Saturday evening, May 4, sees Chitacumbi’s trio perform with South African pianist, Nduduzo Makhatini, at Olympia Bakery in Kalk Bay thanks to another willing collaborator, Slow Life. One expects there will be a full house of locals stalking these different Afro-soul and rhythmically gifted musicians to wallow in their eclectic mix of African jazz. Tickets at quicket.co.za for Saturday, May 4, 2019; 8pm or contact 082-892-0350 (Paul Kahanowitz).

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Jazz Trumpeter Keyon Harrold talks Black experience at CTIJF 2019

Two American artists of notoriety drew audiences wanting diversity, style, and message in the music. Both spoke to the Black condition in contemporary American society; one wooed the younger fans with his pizzaz which elegantly matched their heartthrobbing outbursts of “Cory, I love you!”  The other musician hailed from Ferguson’s steaming racial struggles. 

Briefly, a major draw card for the festival was New Yorker organist/rapper Cory Henry who ignited a packed-full Masterclass room of some 500 loving youthful fans, whistling and wooing in awe when Henry breathed one word or played one chord. Then complete utter silence when he opened his mouth to speak. Henry wanted to chat with this audience, and rightly so. His kinetic energy prevailed. We heard only one song performed at the end. But he made us all feel young again with his youth appeal, his experimental musical audacity on the organ, and his friendly acceptance of all. No attitude in this vibrant man!!  But he then disappeared….from press interviews. 

Keyon Harrold March 2019

Trumpeter Keyon Harrold, another jazz-hip hop cross-over draw card performed at the same time as Henry, both closing the 2nd day of the Festival in the wee hours of Sunday morning. Not only did Henry not show up for his press conference and scheduled one-on-one interview with me, but I missed his performance. A downer for this writer, indeed! But I had to choose. And choose I did…..

Keyon Harrold – one of 16 siblings, a brother drummer with Gregory Porter, a policeman grandfather who worked young Keyon into music education projects with hundreds of others, a policeman father who carried forward this young talent, to calm and educate the Black kids who were viewed as potential threats to the ‘established order’ of urban St. Louis and Ferguson – rose in ranks with such positive backing amidst horrors of being a Black male in middle America……

I interviewed and watched the performance of this soft spoken trumpeter, who hails from the civil strife in his home town of Ferguson, Missouri, known for its extensive police brutality. Coming from a musical family, Harrold has articulated his stance against injustice with truthfulness. His unadulterated views on police brutality (followed by questionable judiciary proceedings) towards African Americans and other Blacks from the Diaspora, shone through a surprising musical gentility during his performance. Harrold is humble, yet savvy with the ‘celebrity’ world, having befriended and doubled with actor Don Cheatle in the memorable (Hollywood) film, Miles Ahead, about jazz trumpeter, Miles Davis. Harrold played the music; Cheatle mimicked on camera.

During his performance on the Moses Molelekwa stage late Saturday night, Harrold’s melodies and songs, backed by a stellar set of musicians including pianist Gerald Clayton (no stranger to Capetown stages), produced both memory and emotion: some wailing, joyful runs, pensive and sometimes mournful moods from bassist Burniss Travis, and other mixes of improvisation, rock and blues.

Gerald Clayton

His opening song set the mood for honouring memory: his mother’s voice message left on his phone applauding him for being strong in the struggle led into a soft blues ballad remembering her; she had passed on in December 2018. But when popular rapper Pharoahe Monch came on stage towards the end of Harrold’s moving episodes from his album, Mugician, the audience was set alight. The hip hop rap pounded on serious themes of injustice, warnings, and call for unity. The fans were on their feet, many seeming to know the rapper better than Harrold himself.

Pharoahe Monch

Harrold’s press conference revealed his experience and knowledge of the truth behind what it’s like to live, learn, and walk as a Black man in American cities. When asked about his social activism, he replied, “When I’m moved by something, I must write about it…. That’s my calling.”

When asked by Cheatle and producer Robert Glasper to play Miles Davis (who also grew up in St. Louis) behind the scene, Harrold quipped: “Technically, the music of Miles was in my DNA. I already knew it. I was already transcribing Miles and listening to so much of his music as part of my own development.” Harrold knew the technicalities of playing trumpet. In the comforts of his home studio, he played and recorded: “With only three valves to play on, I watched Don’s fingering, and had to go through some 7 types of possible fingers to get the right sound.”

Harrold’s social activism revolves around musical attitude and youth development. “I’m lucky that I’ve had such opportunity to learn, and that I try my best to give back as much as I can, whether it’s working in schools or in a community center.” He doesn’t shy away from telling the true story: “I’ve been blessed in life with a story (police brutality) that requires me to talk about it. My parents encouraged this. I’m touched by certain things so I feel I have to tell it and write it in my music. If something is going on, like the refugee crises or the Michael Brown killing, I have to write about it. “

What is it like to be invited to a festival in Africa? Harrold expressed his yearning as an African American, living in the United States, that something was ‘missing’. “But when I come here, I can find a way to complete what my psyche is missing. It’s such a pleasure to perform on this continent. Africa gave birth to the root of jazz, the soul, the rhythm, the intensity. The heart of jazz, for me, comes from the Black experience. It’s a homecoming to me, so coming here is very very special.” In a careful and calculated way, Harrold admits he will continue to fight against the “global matrix of anti-black sentiments”, and to be part of the solution, “to advance culture and the majesty of Black people”.

So how would you define your music, I asked Harrold sheepishly, knowing full well no one likes to be asked that question. Keeping to his polite demeanor, he shared: “ My music is not traditional, with trumpet, bass, etc. but sometimes rap, sometimes beats from the machine. It’s everything. That’s why I brought my man, Pharoahe Monch, with me. His music is a living kind of thing, so I use it.” Monch had brought the final performance of the Festival on that one stage to an utter frenzy, as security mustered up their wits to prepare for a jovial crowd of over 1000 people to exit the hall en mass, down the narrow escalators, almost single file, to exit the Center at ground level.

But I can’t stop here…. There’s more to tell about this creative thinker and grassroots activist. Wanting to look right into the soul of this artist, I asked: “What really moves you?”  Appropriately, he quickly replied: “You said it – ‘move’ is key. I like to use the word,’ vibration’. Blowing the horn, there’s a vibration for every note. So everytime I play the trumpet, I get moved, I can’t explain it. I just like to send out those vibrations, in the spirit of love and peace.”

Keyon Harrold is determined to return to South Africa, and is ever ready to workshop with youth, something he’s used to doing for several decades, with grace and a giving spirit. We were blessed to have his presence, even though short.  Watch this delightful video:;

https://www.youtube.com/watch?v=l_Yx-cWkYWo&list=RDEMjtGg6C4kL0ghpt3y2va-6A&start_radio=1

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BLACK EARTH, BLACK IDENTITIES, AND AFROFUTURISM ring messages at CTIJF 2019: Flautist Nicole Mitchell and the Black Earth Ensemble.

There are particularly moving and important themes in this year’s Cape Town International Jazz Festival offerings which attracted this writer immediately after assessing the artist lineup. Telling, indeed, about our increasingly destabilising contemporary world and how music is becoming reactive. Various artists from Black identities brought ancestral histories and current struggles for equality and justice to the fore, not just in their sound – we’re talking music, right? – but in their message.

Giving voice to the unheard profoundly resonated a truth, but with a sense of love and inclusiveness. ….cause we’re all in this together…… Particular focus, I found, was on the Black female, the feminine in nature and spirit, the Earth as being the root of soul that Mothers all, and on her-stories about chained freedoms. African American flautist Nicole Mitchell’s Black Earth Ensemble breathed message and emotion into her flute as her two female percussionists led the rhythms which detailed African rootedness, torture of separation from a motherland, and resolve in making the new land listen and take note of beautiful identities which honour spirit, tradition, and caring for all humanity to better sustain Mother Earth.

photo credit: Lauren Deutch

Collectively, Mitchell’s purpose with poet/pastor/singer husband Calvin Gantt was to convey messages of peace, hope, and courage to the downtrodden, or what she refers to as ‘Afrofuturist fantasies’ wedded with social activism.

During her press conference, Mitchell giggled about how her teenage journaling was influenced by African American futurist and science fiction author, Octavia Butler, whose works had also attracted Mitchell’s mother to paint about futuristic fantasies, like black mothers with their babies sitting on Saturn. Butler’s stories inspired three of Mitchell’s music projects, one dealing with a black woman on a space ship who wakes up, and then must deal with extra-terrestrials she encounters. “ So my music reflects all aspects of life – the horrors, struggles, joys, etc. – and is not always at ease with sound,” Mitchell admits. Another off-putting moment for her band was their performance a day after the USA elections of 2016 and how the band had to stay focused after the shock announcement that D. Trump had won the Presidential election. Their audience was seeking refuge and the band felt it must not become overwhelmed by the heartbreak and distain of their fellow Black and white communities brought about by this result. As Mitchell explained, “I feel instrumental music isn’t enough for me; I feel I have to make lyrics about what’s going on in our humanity in order to provide some hope.”

Regarding the question of the worthiness of music technologies and how it affects creativity, her points again addressed social justice issues. “We focus too much on technology which is geared to making money. Rather, we should focus more on our humanity and the way we treat each other, recognize our human suicide, and support communities with ecological sensitivities.” This resonates with why she chose the flute: “As a child, I related to birds, bugs, and nature. The flute embodied this nature. My voice is the same range as the instrument, so using my voice is a way of leaving evidence that a woman was here, in music that doesn’t always celebrate women as it should.”

Continuing with her take on tech: “I try to embody or model in my music how we can bond together better, with different musical languages co-existing together. The Western way of doing things is coming to an end. Very few people benefit while many suffer. In this regard, I have explored electronics and am working on a CD as my first electronics venture.”

Likewise, jazz education at university level can be a bit exclusionary: “I think if you have a conservatory method, then you are automatically closing access to a lot of great talent which can offer other skills. You have to bring in the jazz musicians as teachers, and not just those who have academic credentials. I have seen students who audition for music school; some will prefer to show their improvisation skills; others will read their scores. Many schools will take the student who can read. This is a privileged position which many great musicians don’t have.”

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Mitchell’s Master class revealed talent galore in her 9 piece band, several being multi-instrumentalists and well educated in the industry. Mitchell herself boasts a number of awards and leadership service, including being the first Black female president of the Association for the Advancement of Creative Musicians (AACM) in Chicago. But ‘leadership’ is not what she intended; rather creative messaging to get the truth out there.

In their festival stage performance, her Black Earth Ensemble presented some ambitious, highly rhythmic self-composed songs in their festival performance, filling the stage with their energetic repertoire. The band concluded with a highly emotional incantation in gospel style by singer Avery Young in “Save the Children”. The singer was actually in tears and received consolation from fellow singer, pastor Calvin Gantt, who proceeded to preach how we must save the street children of Capetown. While one can applaud such a noble message, it also strikes of typical American arrogance known too well to hosting audiences, especially coming from a first-time-visitor to Capetown, or for that matter, to ‘Africa’. Well, as I listened, I was always looking for the music amongst the messaging. Percussion (bongos, congas, and drums) can easily overpower vocalists and instruments. I’m afraid this is what happened. Yet, Mitchell’s mastery of the flute is jaw-dropping, as is her laudable attitude to make right what has gone horribly wrong in our world. 

Nicole Mitchell’s Black Earth Ensemble 2018 album, Mandorla Awakening II:Emerging Worlds can be heard at https://www.youtube.com/watch?v=zP7FRucsNKc

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Vocal chants and silent noise: jazz vocalist Gabisile Motuba evokes profoundly deep sonic themes and bends rules

Artists who invoke the philosophies of Franz Fanon or saxophonist Zim Ngqawana, and search for spiritual content in artistry in our otherwise violent contemporary world, resonate with an admirable depth for exploration. Young vocalist, Gabisile Motuba, supported by her drummer husband, Tumi Mogorosi, is a sound enthusiast who has delighted our Capetown stages with hauntingly alternative music which defies definition.

I think about the silence that occurs in violence, and how to survive staying silent while the scream that occurs on the other side is heard under this veil of silence.

Launching her new album, Tefiti – Goddess of Creation, this being her and her husband’s second album after Sanctum Santorium which was a product of her Swiss residency with ProHelvetia, Motuba presents a rare ‘classical’ feel to her musical idiom which is more choral ancestral chant than rhythm and blues. She has creatively wedded the string instruments of violin, viola, and cello in slow melodies with a voice that breathes out its message in unconventional ways. One listens and absorbs spirit-like sonic tones and pitches influenced by chanting, with softer and more mellow lower register strings harnessing this vocal repetition. Several songs on Tefiti have Tswana and English lyrics.

Completing her jazz music degree in 2013 at Tshwane University of Technology (TUT) in Pretoria, Mamolodi-born Motuba embarked on an experimental journey to find her own voice. She doesn’t consider herself a singer, per se, but sees a range of soundscapes possible with breath, voicing, and strings. For instance, she explores ‘silent noise’, referring to how slaves sang their songs in quiet tones so as not to appear rambunctious or defiant to their owners. But their messages were stark.

Motuba draws inspiration from such vocalists as Gretchen Parlato, Esperanza Spalding and Concha Buika, and South Africans such as pianist Nduduzo Makhatini, trombonist Malcolm Jiyane, and saxophonist Mthunzi Mvubu. Her and her husband’s European residency with Swiss musicians spiralled this young couple into unknown and continuing sonic journeys in experimentation within the ‘jazz’ idiom, begun during their studies at TUT. She admits:

Knowledge I gained wasn’t always through a conscious pursuit of what jazz is; rather, it was music I ran into or was introduced to by friends. A lot of us gravitated collectively towards the spiritual, into African spirituality. Not in a literal sense, but evoking a need to go deeper, an excavation of what this music is about, and not just performing for the sake of performing. This is why I gravitated towards the chanting style.

Thirsty for more insights, I caught up with Gabi between her various Capetown gigs.

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CM: Why strings? And why the cello in your compositions?

Gabi: I love the timber of the cello and viola with their alto sound I had been listening a lot to the strings compositions by John Shaw at the time, and also the British cellist, Jacqueline Mary du Pré, in her classical performances, and I was thinking of how to use these stringed instruments…. You know, how to navigate this ‘other world’ of the classics. I was focusing on sound, and realized why the viola is paired so well with the cello and violins. The cello has this warm and rich sound along with the voila’s lower register warmth, compared to the higher nervous pitch of the violin. The cello is a bit more sound-friendly for my vocal range.

CM: You trained in ‘jazz’, but your style and approach to music is not improvisational. It’s more like traditional chants, like a connection with the spiritual pursuits you hear in church, and also amongst First Peoples’ music, like the American Indian’s music with their ancestral male chants. You did mention that you’re not into voice techniques so I’d like to understand your thinking here.

Gabi: I don’t think initially it was intentional. The jazz department at the Tshwane University of Technology really allowed artist to experiment so I never felt I was trapped in the traditional aspects of jazz and their formations. My peers and I were able to explore music together beyond the jazz idiom, even when intensively studying jazz music. You can really plant little seeds and let the collective discussions happen. This is what I’m interested in.

CM: There’s a term we can use when trying to describe or go deeper into that spiritual realm, and that is exploring consciousness. That seems to be what you are doing, exploring deeper levels of consciousness and awareness of being, of existence. And sound allows us humans to go deeper, doesn’t it?

Gabi: Yes, tapping into awareness – the jazz idiom allows us to understand that this jazz music doesn’t only exist within the jazz idiom, but can bring friends with different expressions together to produce music. This has enabled many to look outside of jazz to connect and search deeper into narratives. For instance, going into academia, or fine art, or literary art, it allows us to find jazz outside of the standard stage.

CM: I’m intrigued because it’s all about sound, and what sound evokes in our being. You’re not coming with a message that I need to listen to. Rather, I’m led to find out what that message is, through your sound.

Gabi: Yes, exactly. It’s not pointing to a particular thing, but giving us an idea in a very subtle way, and in a way that the listener can really engage within their own parameters and understanding, with a sense of freedom.

CM: So who has offered you inspiration?

Gabi: Well, my husband……. Haha….. he’s, of course, my inspiration! I grew up with and watched Siya Makuzeni, and her approach to vocals and scat music, sound technique, and her sound. She helped me a lot with my own artistic mapping. I listen to a lot of people — particularly the generation ahead of me – those jazz practitioners like Nduduzo Makhatini, Zim Ngqawana, and that age group. They had better access to their older peers, like Zim Ngqawana, Andile Yenana, Herbie, and Mholo. I found landmarks to use for navigating and thinking through my kind of sound, along with my peers.

CM: Tell me more about ‘The Wretched’ project – what tonality and instruments are you using because you’re focusing on violence in the world?

Gabi: I’m excited to be with this collective which includes my husband improvising on drums, and Andre van Vyk on electronics soundscaping, and then me on voice. We are concerned with the chapter on violence that Franz Fanon talks about in his book, The Wretched of the Earth. We are reinterpreting his text through the sonic, looking at violence and how it manifests itself in our dark spaces. I think about the silence that occurs in violence, and how to survive staying silent while the scream that occurs on the other side is heard under this veil of silence. My voice in this collective is bizarre. The music will not be ‘enjoyed’; it’s loud and poses uncomfortable sounds because the topic of violence is not pleasant. This narrative is brought home ….. referring to violence in S. African society.

We’ve already recorded the project. Now, we’re deciding how to present it.

CM: It sounds like you and Tumi are musical activists in that you want to pursue the deeper themes, having compassion about our world, but want to bring forth the message that violence must be confronted.

Gabi: Yes, it’s this idea of violence against the ‘other’, the violence of ‘othering’ bodies, that we’ve allowed this ‘otherness’ to take up space occupied by people of Black decent. So it’s a very intensive and crazy subject and demanding….

CM: Well, it’s not crazy when you see how this ‘otherness’ is growing globally and coming under fire – with all this white supremacy raising its ugly head.

Gabi: By ‘crazy’ I mean that this condition [of violence] is unfathomable, and allowed to become possible. So we are addressing this, thinking through in The Wretched this idea of the ‘possible impossibilities’ of Blackness, and these impossibilities being violence in its different forms.
So the music becomes an artistic piece and engages with one’s imagination and opinions about what’s going on. It allows you to also expand your own thoughts, and be open to receiving this other uncomfortable message.

Motuba’s quest to deploy meaning in her music appears noble, gutsy, and perhaps unnerving, but ultimately transformative for our own soul-scapes.

Catch her upcoming gigs in Capetown organized by Jazz in the Native Yards at The Drawing Room in Observatory on Friday, 22 March (7pm), and at the Alliance Francaise on Friday, 29 March (7pm).

She and husband plan to tour their Tefiti album in Africa soon, then in Frankfort and Berlin in May.

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Pianist Ibrahim Khalil Shihab revives a musical era in Essence of Spring (2018): CD Review

Listening to Essence of Spring (2018), a remake from its 1969 debut, is like experiencing an intergenerational revival, as the Elder Legend performs with his younger proteges, but without copying the past. It’s a musical history of an era in which composer Ibrahim Khalil Shihab, formerly Chris Schilder, performed with the popular Pacific Express band. Fifty years onward, Shihab, now in this 70s, has resurrected those popular songs, fusing them in this album with more contemporary jazz compositions.

Album producer and fellow pianist and protégé, Ramon Alexander, joins in this stylistic revival, moving Shihab’s songs from a swing era, including favourite American Standards, to present-day Cape ghoema rhythms.

Ibrahim Khalil Shihab and Ramon Alexander

Shihab’s Quintet is performing Spring this March, first at next week’s Woordfees at Stellenbosch University, and then at the Capetown International Jazz Festival (30 March on Rosie’s Stage) . The album is a celebration of style, but not necessarily story. The listener enjoys a mixture of motown, dance swing and blues, Latin, some improvised free jazz, and of course, the local Cape ghoema so richly conserved by the Schilder family generations.  Key, here, is Shahib’s satin piano solos, rich and graceful.

There’s electric and acoustic which provide moods with textures along with Shihab’s pentatonics that suggest the bluesy-ness of an era. His famous “Give a Little Love” is, according to Gary van Dyk writing in the album notes, “one of the anthems” of South African music. Van Dyk’s ‘notes’ are themselves an enlightening review of the album, telling us about the ‘Why’.

The younger musicians shine, while staying true to the legendary: The subtle yet pleasantly rhythmic inuendos of drummer Annemie Nel feature throughout, particularly in the last piece, Shihab’s remake of a classic, “My Funny Valentine”. Hear a soothing Shihab piano interpretation with Nel’s drums and the slight touch of delicacy by Lionel Buekes’ acoustic bass. Saxophonist Zeke Le Grange fires through the opening song, ‘Spring’, with a bossa feel and runs, followed by Shihab’s piano solo. The sax harmonies continue with trumpeter Marco Maritz accompanying the vibrant ghoema drums in ‘BoKaap’, as Shihab celebrates contemporary Cape jazz styles. Le Grange’s imitative stance holds well with Shihab’s fast paced keyboards in the liquidy “Cancerian Moon”.

Different vocalists interpret other Pacific Express songs: in “Angel of love”, Heinrich Frans’s familiar vocals and scats offer convincing emotions along with Alexander’s piano supports; Deon Manchess croons out lyrics in “I Hear Music”, suggesting just relax and let the music take you far and away to find that dream and never be without a song!

Shihab is not afraid to wander across the ‘free jazz’ modalities, thanks to guitarist, Reza Khota, known for his improvisational voicings, as “In Pursuance”, and where Asia meets Latin in Shihab’s unsuspecting ‘Jing’an Park’ with a surprising but cute ending. 

See the IK Shihab Quintet at the Weltevreden Restaurant Theater in Stellenbosch on 2 March at 13:00 and on 3 March at 19:00

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Trumpeter, Vocalist Mandisi Dyantyis emotes stories in ‘Somandla’: a CD Review

Trumpeter, vocalist, composer, arranger, director, Mandisi Dyantyis, has birthed his first jazz album, Somandla, which spellbounds. This lyrical album contains not your ordinary love themes, but queries, confusions, dark spaces conveying loneliness and searching for acceptance, from family, a loved one, even from God.

A deeply emotional story, Somandla (which means ‘the all-powerful’, a reference to God) calls us to try to understand laments in relationships. While a few songs are just instrumental, mostly in ballad form, highlighting the talents of the Quintet, most sung lyrics by Dyantyis with his voice-overs effectively displaying multiple harmonies that skillfully weave messages of forlorn or crass warnings to parents to wake up and behave! Remarkably, Dyantyis has chosen to sing in isiXhosa which adds to the authentic nature of his stories, and, indeed, adds diversity to the South African jazz repertoire.

Band members add dimension to Dyantyis’ sometimes troubled horn and lyrics: Established tenor saxman Buddy Wells and pianist Blake Hellaby match well with the younger hopefuls, drummer Lumanyano Unity Mzi and double bassist Sean Sanby. No electronic instrumentation exists in this very moving album, acoustically recorded in the Capetown Milestone Studios in 2018. Other guest pianists are Andrew Lily and Bokani Dyer.

The lyrics strain the ear with unexpected messages. [For non-isiXhosa speakers] Our society remains stagnant and needs to improve in ‘Kuse Kude’; don’t pretend you’re not having pain in ‘Inzingo’; are we producing a nation of moral cripples in ‘Esazalwwa Sinje’; the orphan is vulnerable in ‘Ingoma Yenedama’; a prayer to the All Powerful One in ‘Somandla’; a longing for that beautiful lady to be my soulmate in ‘Molo Sisi’; how love is unmeasurable in the love ballad, ‘Ndimthanda’; and I cry for your love until my eyes bleed in ‘Kobe Kube Nini’. Rarely has a jazz album evoked such emotion, from Dyantyis’ voice inflections and mellow controls to the instrumental tightness and loyalty of fellow musicians who so expertly understand how music and emotion work together. You will too.

Although this is his first jazz album, Dyantyis boasts an impressive work history composing for musical theatre, scoring plays, and traveling worldwide with drama troupes. Now resident in Capetown, Dyantiyis and his Quintet perform on Sunday, 24 Feb, at Langa’s Guga S’Thebe Community Center starting 4pm.  Another exciting sponsorship by Jazz in the Native Yards and ConcertsSA. 

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Cape Jazz Piano, Vol 5, says it all: a CD Review

For anyone wanting to learn more about, or just listen to the tried and tested tunes from the Cape jazz legends, this album guarantees without disappointing. It’s perfectly listenable, even for those inevitable urban traffic jams as delightful tunes and rhythms spew forth from the comforts of your car’s (no doubt) excellent sound system. Designed and produced by Paddy Lee-Thorp and recorded at Milestone Studios in Capetown in 2018, rarely does an album harness the clear articulations and different styles of key pianists known to also ‘cross over’, from the Cape ghoema and musical inflections unique to this part of South Africa into other ‘genres’ of songs made popular by their highly melodic, soulful, and danceable content….yet stay true to ‘Cape jazz’. Let’s explore.

Jazz pianists were asked to play songs rated as ‘standards’ of the Cape. Most played at least one of their own creations which will have you melt away into their enticingly simple stories, even with reinterpretations.

Hilton Schilder, known for both his love and mastery of Khoisan instruments, teases with his two piano-crafted Khoisan Symphony pieces – the listener at first hears a familiar ballad-style which breaks out into rhythmic ghoema, and returns to the melodic soul. We return to the camp fire after the hunt.

Ramon Alexander stays true to tradition, again with ballad intros that break into a zesty Cape ghoema in ‘Club Montreal’ (written by Tony Schilder, father of Hilton). Alexander has always explored the emotions and musical depths of his musical gurus and this song perks with loving affirmation.

Ibrahim Shihab & Ramon Alexander

In his next presentation, ‘Kaapse Medley; Alexander plays his own piece, ‘Take Me Back to Capetown’, with that love for the rhythmic and soul-lifting Cape sound…yet, with a twist.

Mike Perry, known to have played with local legends of saxman Winston Mankunku and Robbie Jansen, has revived his ‘Green and Gold’ song, a tribute to the new South Africa, and the well-versed ‘Crossroads’ which depicts those township days announcing that freedom-is-here. These tunes are not just copies; they’re expressing something awesomely new about realities 20 years hence. Just listen.

But the real don of this album is Ibrahim Kalil Shihab’s (aka Chris Schilder, uncle to Hilton) medleys.   His popular and reinvented ‘Give a Little Love’, commonly voiced over the years by many Capeys, is refreshingly presented  as its author finds slippery and then defined routes to truthfully navigate this essentially beautiful tune of love, as bluesy as it is. A remarkable interpretation and so listenable. Likewise, his ‘All Through the Years’ continues to push his own sound into that contemporary style of improvising on the theme. Just listen.

This is why ‘Cape Jazz Piano’ is a collector’s item; the songs are ageless, ever storytelling, and ultimately danceable and celebratory…… yet still evoking newer messaging and sound styling.  I wonder in awe what Volume 6 might look like!

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TRC’s “Afrika Grooves” tells artists’ stories: Mlangeni and Mkize discusss

TRC – Tune Recreation Committee – has produced ‘Afrika Grooves’ which rings of collective healing and learnings, attributed to one’s own musical society at large as well as legendary greats who have influenced each musician.         

Even appreciation for a Buddhist teacher and Swedish hospitality are themed in this eclectic album which presents each musician’s composition. Sonic stories pulse with African beats, longings, and memories of what seemed to work well for each musician, like bassist Nicolas Williams’ love for the red colour in “Red Room” which inspired him at one time. Several compositions stay close to the musician’s forte, like guitarist Reza Khota’s ‘Diamond Mind’ with its spiritual and thoughtful bent punctuated by time signature changes ala John McLaughlin which makes this long piece quite interesting.

Pianist Afrika Mkize tries in “Kudala”, the opening piece on the album, to present a traditional Mbhaqanga tune without using the usual Mbhaqanga 1-4-5 progression. Well, he ended up playing that tried and tested progression. Likewise, in his song, “Malume”, one hears his enthralling tribute to fellow musician and bassist, Herbie Tsoaeli, whose influence and guidance steered the younger Mkize. Saxophonist Mark Fransman adds colour and contrast.

Band leader, trumpeter Mandla Mlangeni , brings two very different pieces to this album’s groove: a classical Ravelian piano feel to “Lover’s Reverie” sets a dreamy mood followed by Mlangeni’s slow muted diction. Here, Mkize shows his classical best. Mlangeni’s ending piece, “Abazingeli”, pulls African beats and indigenous percussion and whistles of guest Tlale Makhene into an aural story about how our early hunters survived.

While TRC upholds a philosophy of collaboration with and freedom by artists, one only wonders what threads hold the musical stories together, other than providing a sonic platform for individual voices and styles.

Musically speaking, pianist Mkize holds this album together. I caught up with him and Mlangeni during their Capetown tour end January 2019….

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Trumpeter Mandla Mlangeni grew up as a ‘city slicker’ with urban influences in a politically active family. He boasts a range of skills including teaching, performing, arranging and composing diverse styles of music for which he has secured an Artist in Residence at the University of the Western Cape in Capetown. Afrika Mkize, son of illustrious pianist, Themba Mkize, grew up in rural KwaZulu Natal and home-studied classical piano from an early age. Both musicians formally trained at the National School for the Arts in Johannesburg, and went on to compose and perform with other bands, some in European and American spaces. Both have received the Standard Bank Young Artist Award for Jazz.

As part of the TRC’s collaboration focus, the band joins others at Africa-wide music Festivals, including the Sauti za Busara in Zanzibar early February, and later in May, festivals in Swaziland, at JHB’s Constitutional Hill, and then in Reunion Island and Durban. This festival circuit is given the name, Igoda, a concept which in Zulu means weaving two threads to strengthen a rope. “We call it Igoda because the TRC wants to network with various platforms, musicians, and institutions in Africa to share our talents and push jazz music forward across other musical landscapes,” says Mlangeni. He sees his role as Artist in Residence at the University of Western Cape for these next 6 months: “I’ll be dealing with programming and gaining access to larger communities and establishing networks so that artists can tap into a festival network.” Hence, TRC’s thrust in committing to the Igoda Southern African Music Festival Circuit during 2019.

On the other hand, Afrika Mkize has redirected his energies from performing and composing to undertaking other creative and ambitious projects. His ongoing mastery in transcribing the late pianist Mbeki Mseleku’s songs has impressed enthusiasts, teachers, and students who can now access published materials of this great South African jazz legend. Writing audio scores for radio ads and TV series, such as “Fallen”, keeps him working at home where he prefers to be. “It doesn’t make economic sense any more to just perform,” he admits,” particularly now that the Orbit is closed in JHB.” He continues:

“I produce records, even tune pianos now for an income. I never dreamed I would do that! I’m currently working on producing a record for vocalist Mbusa Khosa from Durban, who has worked with [Carlo] Mombelli a lot. Productions maintain an income and commissions plus royalties from the production. I like the business that prolongs income for my children.”

Mkize is very concerned that performances are perhaps dying out.

“Lots of musicians have been going to school, getting degrees, higher degrees, so in the next 5-10 years, everyone will be wanting to teach. And there won’t be many performers or venues out there to listen to. We as performers are in serious trouble also because there won’t be enough opportunities for teaching as there will be too any of us for the few institutions!”

Mkize continues.

“You know, this ‘Integration’ in 1994 is a weird subject to talk about. In the 70s and 80s, Black musicians were playing in the townships. With the new government of 1994, ‘integration’ was almost like a negative thing. The business of music could move ‘to town’ where ‘integration’ could take place, but where there were fewer venues for playing than during apartheid in townships! And capitalism – whoever was making money during apartheid can make their money in the open now, so the gap of who’s making it, and who’s not making it comes to light…those with money flourished. Others of us – are we going to buy a CD or bread? “

Both musicians believe the whole creative sector needs to come together with musicians to clarify values. Mlangeni expresses hope: “We are activating a movement with more cultural currency; more building of bridges, creating a singularity/a vision that includes everyone. African differences are brought together while sharing commonalities at workshops and on the live stage.”

The Igoda Southern African Music Festival Circuit is certainly one major opportunity to gather artists for sharing and resolving issues they continually face. Patrons are urged to attend.

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ALL JAZZ RADIO REVIEW – The Gin & Jazz Sessions featuring Buddy Wells & Reza Khota

Thursday 17 January 2019 – By Eric Alan

The intimate venue proved to be the right locale for the extraordinary performances we have so far experienced at the Deep South Distillery. Each of the three performance evenings has been totally diverse and unique which bodes well for South African Jazz Blues, Latin and World Jazzat this intimate venue. Best of all it combines well, very well with the inimitable artisanal products available at each of the evenings. 

The Gin and Jazz Session with Buddy Wells, saxophone and Reza Khota, guitar at the Deep South Distillery in Kommetjie last night was sublime expression and a lesson in the fine art of the duo performance. It was an evening of a few totally re-imagined standards, both South African and International, as well as a number of ama-zing original works by both musicians.It was truly a night to remember because each of the pieces played will never be repeated the same way again. Buddy and Reza are remarkable musicians going to places where many would fear to go, and their rapport showed throughout the performance. I believe they really enjoyed performing for the assembled audience who in turn gave them huge respect with enthusiastic applause. Thanks goodness the evening was recorded for later broadcast on All Jazz Radioonce quality checks have been done.

The gin, Deep South Cape Dry and Ruby cocktails were a taste sensation and enjoyed by one and all, but the best kept secret, now no longer a secret was the Marula Madness, developed and expertly mixed by Sandy, and is in all honesty, extremely moreish. I hope it will be added to the growing list of cocktail recipes in the Deep South Distillery’s Secret Alchemists Book of Mysterious & Ancient Mixology,which can then be experienced and enjoyed by all who visit the distillery over the millennia.

The distinctive Cape Cola, which tastes like no other cola product along with the refreshing Lemi-lemi, which is an incomparable slightly sparkling lemon with a tinge of ginger soft drink, yummolicious. Lasses’ passion shines thought when talking about his products.

Chef Rochelle and Andre Coetzee of AndRoc’S Mobile Kitchen & Catering trailer menu was well  received. I say that I really enjoyed the Roll me a Boerie served in a tortilla with a scrumcious piece of great boerewors, with a dollop of excellent homemade chilli relish, rocket and some crumbled Blue Cheese, totally lip-smackin’ good. The Pizza Sandwich, which is another name for a Quesadilla, made with two tortilla flatbreads pressed together filled with a creamy mozzarella cheese, homemade tomato relish and drizzled with homemade basil pesto. I did not try it but those who did were extremely happy. The dessert, a Berry Cream donut which was a new addition to the menu was particularly decedent in a um, ar, er lovely / way depending on ones view, and yet tasty.

Where: Deep South Distillery, Heron Park, Wildevoelvlei Rd, Kommetjie Directions: Take the Kommetjie Road south – drive past Masiphumelele (on the right) – look out for Fish Eagle Park (on the right) – Heron Park is next on the right. Turn right and take the first left into Wildevoelvlei Road. Deep South Distillery is at the end of the cul-de-sac.

Below are the details for the next performance to be held at The Deep South Distillery in Kommetjie

February 2019 Performance Dates
Wed 06th Dave Ledbetter Guitar/Vocals & Ronan Skillen – Percussion – duo is known as Deep South
Wed 20th Hilton and Eldred Schilder – Piano & Bass

March 2019 Performance Dates
Wed 06th Tony Cedras Duo – Multiple instruments (Guitar, Vocals, Flute, Trumpet, Accordian, Piano, Percussion)

Wed 20th Thembelihle Dunjana Duo – Piano, & Percussion

See y’all on Wed 06th February

Thanks,

Eric

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A Blog Supreme – All Jazz Radio’s bits & bobs of this & that about the World of Jazz

I was chided and reminded by our webiter Carol Martin that I’d not written this Blog for quite sometime so here we go with this year’s first edition of A Blog Supreme. Sjoe, but where to begin, ok got it, change is what the New Year is all about, not so?

We have made major changes to the Program Schedule during the week The Jazz Rendezvous Jazz, Blues, Latin, World Jazz, Music & Musicians, Cabaret & Entertainers, Artisanal Booze, Wine & Beer, Cocktails, Pinotage, Coffee, Grub, Sarmie (Sandwich) & Stockvel Radio Show and In Conversation with …. or as we refer to is as, in short, The Jazz Rendezvous Radio Pinotage, Coffee, Sarmie (Sandwich) & Stockvel Show been moved two hours later to the 4pm (16:00) to 6pm (18:00) Central African Time slot to accommodate some of our In Conversation with …. chat show guests from the global village. I am currently setting up new and intersting interviews and will be posting details soon.

The other show affected by this change is Brian Currin’s Vagabond Show which has been moved 2 hours backwards but remains on Wednesdays, and will be heard from 2pm (14:00) to 4pm (16:00) C.A.T.going forwards into this new year.

This year there will be some new voices heard on the All Jazz Radio streamimg waves soon. One being Richard Arends who will be lending his dulcet toned voice the a new and exciting still to be named show on Tuesdays from 8pm (20:00) to 10pm (22:00).

The vision of us at All Jazz Radio is to become South Africa, Africa and the World’s favourite jazz social lifestyle radio station and be the essential broadcaster of the genre mix of Jazz, Blues, Latin & World Jazz in all forms. Our focus is the music of South Africa, Africa and the rest of the global village, thereby enriching the social, cultural, educational and community experience of our listening audience from around the World.

Stalwart friend and collegue Glifford Graham is returning to the “airwaves” once again after a short break and will be presenting his show Take 5 and Then Some. in his previous time slot of Mondays from 6pm (18:00) to 8pm (20:00) C.A.T.

Klutz in the Kitchen

The Klutz in the Kitchen has been fairly quite over the festive period and is now re- energised and is beavering away to find some wonderful new quick, easy and simple tasty recipes for you to create mayhem in the kitchen and prove to one and all you can do it, yep you know you can, so watch out for the first to be posted soon. The Klutz has been pretty good this week by cooking some really nice mutton shanks so I’ve invited my 91 year old mom over for lunch to share this dish, it’s going to be good, I know because I’ve sneaked a wee taste, shh, don’t tell the Klutz, neh.

The Gin & Jazz Sessions in association with The Deep South Distillery in Kommetjie, The Jazz Connection and ourselves and has got off to a good start and so far have shown growth over the past performance. We’ve showcasing great original and re-imagined music by local Cape based musicians. I hope we’ll see you at the next one on Wednesday 16th January when Buddy Wells and Reza Khota will be sharing their music with the audience.

The Deep South Distillery in association with All Jazz Radio and the Jazz Connection presents an exciting series of Solo and Duo origiGINal and spontaneous compositional acoustic music performances at least twice a month.

On Wednesday 16th January Buddy Wells and Reza Khota will start playing at 19:15 (7:15pm) a total of 90 minutes of music with a 15 minute break halfway through the performance.

Muizenberg, Cape Town based saxophonist, bandleader, sideman, composer, and arranger Buddy Wells has over the years, since college days, built an enviable reputation as one of the finest saxophonists the Cape and the country has to offer. He has performed and recorded with many well known South African and international music legends.

He is currently involved with his own band, The Buddy Wells Quintet, and performs regularly with The Reza Khota Quartet, Offshore Jazz Quartet, Andreas Loven Quartet, Breakfast Included, Tucan Tucan, The Frank Paco Art Ensemble, John Hassan’s Hassan ‘adas and The Adamu Trio.

Reza Khota is a guitarist with a distinct voice and performs with a musicality and technical facility that recalls the rich history of the instrument. He is equally comfortable performing composed and improvised music and has performed at festivals such as the Joy of Jazz Festival and the Cape Town International Jazz Festival. Reza has also collaborated with people in the world of fine arts, most notably in performance pieces by William Kentridge and Nicholas Hlobo.

He currently plays with the cream of young SA Jazz musicians in bands such as: Kesivan and the Lights as well as the Shane Cooper Quintet who’s album “Oscillations” received widespread praise from local and international press. In addition to being a sideman in these bands Reza has his own quartet featuring Jonno Sweetman, Shane Cooper and Buddy Wells recently released album Liminal the follow up to his highly acclaimed 2014 debut album Transmutation. He was an artist in residence in Bern, Switzerland from Oct – Dec 2013, and is currently an artist in residence at UWC’s Center for Humanities Research. He recently composed music based on Derek Grippers Kora transcriptions for classical guitar maestro John Williams.

Please do come early to enjoy the ama-zing imaGINative Deep South welcome drink drawn from the Deep South Distillery’s Secret Alchemists Book of Mysterious & Ancient Mixology. The book, kept in the family, under strict eyes only security measures for centuries and handed down over the  to family head and the current Master Wizard of the Ancient, Sacred Mixology and Distilling Arts distillery owner Steve Erlank. There is also a cash bar for any further libation.

Come early to meet the Distillery team, organisers, partners and musicians. One can enjoy a bite to eat prior to the start or after the show. The meals are expertly prepared by local Kommetjie caterers Rochelle and Andre Coetzee from their AndRoc’s Food Trailer.

The Bridge of Hope Wines will be available for sale and provided by label owner and distributor, Rosemary Mosia.

Lasse Presting, owner of the new and every exciting cola and a lemon with a tinge of ginger cool drink products, Cape Cola, will also be on hand and have his products available for tasting, mixing and sales,

The price of admission for adults is R170 (pre-booked) or R210 (at the door) per person, which includes an inGINious, invigorating welcome boozy liquid concoction. Tickets for children under the age of 18 are R100.

BOOKING IS ESSENTIAL– This is an intimate venue and numbers are limited – For bookings please call 076 900 3171 or email hello@jazzconnection.co.za

About the Gin & Jazz Performances

This series of performances is to encourage original Jazz, Blues, Latin and World Jazz works to be presented to a discerning, adventurous audience of music lovers. The chosen performance medium of Solo’s and Duo’s as the format for what will be a very special performance by some of the most talented Jazz, Blues, Latin and World Jazz musicians in the Cape, South Africa and Africa. We wish to encourage and showcase the raw and emotional recitals of new and untried material by a number of musicians who will be invited to perform at the Deep South Distillery. No drum kit will be used; instead percussion instruments will be encouraged. Works of South African composers will also be encouraged with the popular ubiquitous covers being totally discouraged unless they are totally reimaGINed. We further wish to encourage spontaneous compositions at each of the shows.

Where: Deep South Distillery, Heron Park, Wildevoelvlei Rd, Kommetjie

Directions: Take the Kommetjie Road south – drive past Masiphumelele (on the right) – look out for Fish Eagle Park (on the right) – Heron Park is next on the right. Turn right and take the first left into Wildevoelvlei Road. Deep South Distillery is at the end of the cul-de-sac.

For bookings call please call 076 900 3171 or email hello@jazzconnection.co.za

Below are the details for the next performance to be held at The Deep South Distillery in Kommetjie

January 2019 Performance Dates
Wed 16th Buddy Wells & Reza Khota Duo – Sax & Guitar.

February 2019 Performance Dates
Wed 06th Dave Ledbetter Guitar/Vocals & Ronan Skillen – Percussion – known as Deep South
Wed 20th Hilton and Eldred Schilder – Piano & Bass

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We are mobile, take us with you wherever you may go and enjoy the best Jazz, Blues, Latin and World Jazz music from the Global Village any day, all day.

Listen to All Jazz Radio on any of the following;

Stream All Jazz Radio 1 (ND Stream)

Stream All Jazz Radio 2 (On Line Radio Box)

Stream All Jazz Radio 3 (Tune In)

Stream All Jazz Radio 4 (Streema)

All Jazz Radiostreams in the C. A. T. (Central African Time Zone). Please note that Central European Time is one hour behind Central African Time and GMT is 2 hours behind.

Note too that all programs are repeated, eg. Today’s programs are repeated tomorrow evening from 18:00 and the previous days programs are repeated at 2am the following morning.

Please would you do the following;

FOLLOWus in the Twitterspher @AllJazzRadioZA

LIKEAll Jazz Radio Cape Town ZA Streaming daily from the African Jazz Capitol, Cape Town FB Page

JOIN our JOIN the All Jazz Radio Facebook Group

LIKE The Klutz In The Kitchen’s Grub n’ Cooking News, Reviews, Interviews & Recipes FB Page

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Please send music for airplay consideration to music@alljazzradio.co.za and use the WeTransfer (https://wetransfer.com) file transfer service, which is the simplest and easiest of all services of a similar nature. Note too that we prefer MP3s over any other format due to slow download speeds currently available in our country. Please include an EPK and album cover jpeg and biog martial as well. Please note to that we are an A.O.J. (Album Oriented Jazz) Station, our presenters are free to make their own choice for their shows and therefore we play all tracks from the albums we receive, please send full album with all details soonest. We add only full albums as we believe that as an artist you are telling a story though the thread of the entire album, after all an author does not write one page and call it a book.

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‘Gin and Jazz’ – oriGINal musical concoctions at Deep South Distillery

Why visit an artisanal gin distillery on a Wednesday evening in Heron Park in the sleepy Cape Peninsula village of Kommetjie?

Entertainment, gin tasting, and …. a different experience for a change. Why not? Deep South Distillery in partnership with All Jazz Radio is hosting delightful ‘Jazz and Gin’ Wednesdays (two per month for now) this 2019 featuring musicians in duos playing their acoustic oriGINal compositions for a listening audience eager to also sip away on a welcoming cocktail.

Steve Erlank, Owner Deep South Distillery

This ginnery converts its tasting room by day into a quality and intimate music venue by night – and quality it was. The room is decked out with a variety of gin bottles using different botanicals accompanied with colourful garnishes including juniper berries, dried orange slices, almost transparent cucumber slivers, and bottles of rum which is becoming a popular commodity as well.

Last Wednesday, 2 January, kicked in the New Year with style: The duo of guitarist James Kibby who thrives on Rhythm ‘n Blues, and the zany let-your-hair-fling vocalist Charles Summerfield who crosses over everyone from Sting to Marley to…..well, the list is long. Their presentations and tempo stayed true to the name they call themselves – The Outlaws. Since they started bending musical rules in 2012 in Capetown, The Outlaws incorporate spontaneous composition during their performances, something akin to Theatre Sports or the TV show, ‘ Whose Line Is It Anyway’.

Charles enjoys surprising listeners with his lyrical gymnastics that are twisty and spontaneous, a technique which he has used also with his animal rights awareness projects, particularly regarding rhino conservation. Those messages are serious, but this Wednesday eve, his style was playful and teasing, keeping pace with the audience’s mood. James brings his own magic, creating exciting musical composition groove combinations on his guitar and loop station, while creatively driving the rhythms. The duo played two sets, with intervals to allow listeners time to explore the different drinks at the cash bar, or munch on an affordable smoked rib or burger sliders from the Hungry Bear food truck parked outside. Deep South plans to showcase local craft food and beverages, the latter which offered delicious tastings from the Ginny Fowl Gin varieties and creative sodas made by Cape Cola.

The Outlaws’ music touches on acoustic disco, a bit of jazz, and Manu Chao style World Music, all mostly improvised. They continue to grow their oriGINal material in wild and wonderful ways for audiences in the Cape area, and will be welcomed to return again to Deep South in another six months.

Upcoming duos will feature:
16 January: Buddy Wells Saxophone Duo
6 February: Dave Ledbetter (Guitar/Vocals) & Ronan Skillen (Percussion) from Deep South
20 February: Hilton and Eldred Schilder Piano & Bass
For bookings, contact hello@jazzconnection.co.za or +27 (0)76 900 3171

Arrive 6.30pm for a bite to eat; music 7-9pm.

For R170 entry which includes a welcome cocktail and the music, this is a Wednesday evening of rare experience, a unique and intimate vibe, creative libations, and inventive sonic concoctions. Stay tuned on the Jazz Connection or All Jazz Radio Facebook pages.

Or just visit Deep South Distillery at 53 Heron Park, Wildevoelvlei Road, Kommetjie; Contact +27 (0)21 783 0129 or admin@deepsouthdistillery.co.za or https://www.deepsouthdistillery.co.za/
53 Heron Park, Wildevoelvlei Road, Kommetjie
Contact: 021 783 0129 or admin@deepsouthdistillery.co.za

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Bassist Carlo Mombelli spells out encounters with Angels and Demons: CD Review

This is a story about a search and an encounter, a wandering to find a bio-soul betwixt the angelic and demonic offerings in life. Mombelli’s compositions, heard on a vinyl recording released in December 2018, are haunting because of his findings which are emotional mixed with sensitivity, resolving to the sadness of displaced people’s uprootedness, yet suggesting there’s a mutual belongingness that we all can find and build amongst us. His creativity has wrestled with these anomalies for years, as he has travelled, educated, and co-created in many lands and institutions of Europe, America, and South Africa, his motherland.

Now based in Johannesburg where he also teaches at the University of Witswaterand and mentors students in Switzerland, his like-minded core band members help provide a framework for discovery in Angels and Demons: pianist Kyle Shepherd who frequents Mombelli’s sonic haunts; guitarist Keenen Ahrends; and whispy drummer Jonno Sweetman The pace is set in the opening song, ‘In Search of the Holy Grail’ with Shepherd’s Bach-ish piano runs and Mombelli’s eerie vocals behind Ahrends’ guitar conversation. Then the ear moves from this spiritual groove to ‘Pulses in the Centre of Silence’ which continues an emotional exploration of sound. It is also the title of Mombelli’s new book which presents how he has created his compositions.

Mombelli likes to creep around the edges. A classical feel emerges as cello strings are bowed in ‘Glissando’ by guest artist, Susan Mouton, behind a head-held-low piano. One listens carefully as this story unfolds oh so slowly and thoughtfully.

Ahrends shows his true grace and style on this album while Mombelli maintains a subtle lower register pace. In ‘Athens’, the piano chips into this repetitive beat held. Mombelli is searching to find his father here, after several decades’ absence. One hears perhaps a hesitancy of encountering, trepidation with the unknown, particularly as his bass maintains a rhythmic drone while Ahrend’s subtle guitar talks throughout.

Keenan Ahrends-credit Gregory Franz

This reunion of father/son becomes a renewal, of capturing without clinging. I found this song one of the most enthralling Mombelli-styled arrangements. It’s also the longest track on the album.

In ‘The Spiral Staircase’, there’s a wailing and yearning as Mombelli’s bass sets a steady repetitive hum. But confusion sets in. It’s like plunging into a long, deep well of uncertainty, enhanced by a rarely heard bass clarinet of guest artist, Janus van der Merwe. Further questioning follows with “Like a Mouse In a Maze” featuring Cartwright playing Bach-gone-mad improvised runs that deliberately hit ‘wrong’ notes, something tolerated in improvised music. Fortunately, that scattered tone doesn’t last long as his piano melts into a soulful ballad-type ‘Children of Aleppo’ with Mombelli’s underlying sad pronouncements about a pathetic world gone wrong for children (and adults). One is surprised by the contemplative nature of technique which, because of the subject theme, would expect to be cacophonic and aggressively unpleasant. Unlike entry of the next songs on the album which are almost immediate, there is a much relieved pause after ‘Children of Aleppo’ finishes, allowing for reflection, deep breathing, and a moment of much needed silence in this expressive album.

Having caught one’s breath, the baroque orchestral feel in ‘In the End We all Belong’, which is a more melodic, less frantic piece, suggests some resolution is finalising Mombelli’s spiritual search for those angels to counter the always pervasive demons.

Loop pedal repeats of the bass cast an illusory image in ‘The Ghost of Norcia’ and its ‘Part 2’ which ends the album. There is a haunting symbolism here as though those demons, seemingly revisited, are finally outcast. But are they?

This album leaves one wondering. Is the spiritual lost-and-found journey of life real or ever final? Listen carefully.

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Sibusiso Mashiloane Moves Jazz Closer to Home: CD Review

I always thought this Durban-based jazz piano composer, teacher, and performer, Sibusiso ‘Mash’ Mashiloane, was already pretty glued to ‘home’ ethnicities from which he derives his pride in studying and presenting South Africa’s musical demography.

In his most recent album, Closer to Home (2018), we hear how each hill that he traverses exudes its own musical dialects and landscape colours. Mash draws on creative spirits like the late greats of Winston Mankunku and Moses Molelekwa, and from other communities with whom he has stayed and shared, himself being a mix of influences among Ndebele, Pedi , Zulu, and Swazi, among others. Heritage and a place for safety and truth is ‘home’, as verbally announced in his first track. One starts with the indigenous longings. The album flows towards deeper identities, breaking any molds for specific types of jazz that has developed from past masters. Mashiloane holds truth with his chordal harmonic fifths, so prominent in the musical landscape.

Mash calls for relevancy and accuracy, which are essential criteria for him to choose the musicians featured on his album. He has done this masterfully, with the likes of spirited Nigerian guitarist, Kunle Ayo, percussionist Tlale Makhene, drummer Paki Peloeole, and bass guitarist Qhubekani Mthetwa. There is the brass section as well: Mthunzi Mvubu on saxophone, Thabo Sikhakhane on trumpet and Thembinkosi Ngcobo on trombone.

Elegance of tempo and message mark the delivery of this composer’s songs. “Naima” simply and softly conveys what’s hopeful and free, through the spoken word. Renditions from pianist Moses Molelekwa are evident throughout, as in “Molelekwa Spirt” and “Ke Mashiloane” with lots of chord structures and traditional sounds. Mash honours the jazz giants, as with Mankunku’s famous “Yakhal’ Nkomo”, and “African Heart” with shades of Zim Ngqawana’s spirit-bending.

It’s Makhene’s percussive presence that hits the heart, as in “Umthandazo”, another spoken word song with Mash’s soft chordal backing, and in “Naima”. Even a twisty “All Blues” honors Miles Davis as Mash uses the higher register of his keyboard to mimic Davis’ trumpet blues, with honesty and pride.

It is no wonder that Mashiloane will soon receive his Doctorate which focuses on South African music, and jazz in particular. His first two albums set the pace for digging deeper into those home roots, as in this third album.  Amanz’ Olwandle (2016) received two Mzanti Jazz Awards as best Contemporary Jazz Album (decided by a jury) and Best Jazz Album (voted for by the public).  His second album, Rotha – A Tribute to Mama (2017) , Mashiloane eloquently combines tradition with more universal jazz styles. What might his fourth album portray, one wonders? The roots wander far and wide, and his music will thus be endless and highly educational.

Album musicians:
Sibusiso Mashiloane – piano & keyboard
Kunle Ayo – guitar
Tlale Makhene – percussions
Paki Peloeole – drums
Qhubekani Mthetwa – bass guitar
Mthunzi Mvubu – saxophone
Thabo Sikhakhane – trumpet
Thembinkosi Ngcobo – trombone
Backing vocals…..

Mashiloane performs at the Muizenberg Jazz Festival on Friday, 16 November.

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Uhadi Traditional/Synth Modern – Lwanda Gogwana Expands Xhosa jazz

Trumpeter Lwanda Gogwana finds identity through his Xhosa roots in his latest album, Uhadi Synth’(2016).

Songs ring in his native tongue of isiXhosa as he probes cultural roots, deeply exhuming the mythical. A non-isiXhosa speaker won’t feel left out when Xhosa lyrics burst out….. there’s excitement in the presentation alone. In this album, the language of jazz is a language of moods, emotions, and joys energized through traditional modalities with twists of unheard-of improvisation. That’s what Uhadi Synth is: the traditional Xhosa single stringed mouth bow, called the ‘uhadi’, made popular by the late Nofinishi Dywili whom Godwana studied at University, juxtaposed with the modern electronic synthesizer instrument.

                     NofinshiDyaiwili

But you won’t hear the actual ‘Uhadi’, just it’s interpretation as story-telling messages by several vocalists, and harmonics by Kyle Shepherd’s piano with a repetitive lower registry.

Composer, arranger and producer, Lwanda Gogwana, has composed for a number of artists and bands in South Africa. But it’s this second album which pegs his own signature to a music he has been exploring since the beginning, starting with his first album, Songbook, Chapter 1, which addressed various influences on this young master’s growth.

Gogwana explains: It’s about finding identity, now that young Black South Africans have the freedoms` to explore, harvest, and proudly spread their cultural expressions through song.

Don’t feel confused why a synthesizer enters: Shepherd is a lover of synths; he has used them concurrently with piano to enforce his love of the indigenous ghoema music of historical slave days in the Cape areas and original Khoisan culture. For Shepherd, synthesizers have a way of ‘bending’ the sounds. For instance, in “Umculo”, Shepherd’s spirit-bending chords and characteristic ghoema twist resonate with gospel nuances. Then, add the influx and settlement of Xhosa people from parts east who settled in the Cape urban centers helps to gel these sounds we hear on this album. The listener gets carried through South African jazz Standards of earlier urban sounds into a melange of more contemporary expressions from youthful inputs: tradition – meets- funk.

Vocalists, like Sakhile Moleshe, offer warm, laid-back, jazzy scats to “Qula Kwedini” with big band swing styles of the classic 1940s urbanized African jazz, and audio pronouncements about stick fighting in the olden days of Xhosa tradition among boys and men.

A stunning piece, “Yibhluz”, and the only song on the album with lyrics, sees history meet the blues: how the sordid colonial history is delivered with a diplomatic wit, which raises issues of whether society now is mirroring its past grievances. Here is a reflective tradition-meets-blues as Gogwana skilfully weaves a dialogue around Zim Ngqawana-influenced pride in culture while youth are pulled towards the secular and mundane. Xonti’s sax brings this sultry mood and sarcasm across nicely, as do the vocalists.

Sisonke Xonti at NAF 2015

Shepherd’s piano and repetitive baseline holds the uhadi form on several songs, while Gogwana’s horn echoes conversations between the rolling Xhosa hills of his homeland in “Maqundeni”. He would call this ‘a swing feel in Xhosa’. This leads nicely into “Ndiyagoduka” (I’m going home), an upbeat improvisational song with lots of trumpet triple tonguing and that uhadi-like piano supported by Amaeshi Ikechi’s bass sound. The penetration by the horns exudes an energy that leaves one quite breathless at the end of this album.

Hear Gogwana perform at the Muizenberg Jazz Festival on Saturday, 17 November 2018 at 18.30 hours.

On the album:

Lwanda Gogwana – trumpet and fugelhorn

Kyle Shepherd – piano and synthesizer
Sisonke Xonti – sax
Amaeshi Ikechi – bass
Lungile Kunene – drums
Dumza Maswana – vocals
Sandile Maleshe – vocals

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CD Review by Eric Alan – Beverley Beirne with Jason Miles Jazz Just Wants To Have Fun (2018)

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Having stated my dislike “covers” in the previous review I must add that Jason Miles has done it once again by lending his considerable production, musical and arranging skills to Yorkshire based jazz vocalist Beverley Beirne who along with Jason Miles foray into the world 80’s pop anthems and turning the tunes into future jazz standards.

I must say on first glance at the track listing before listening to a track I didn’t want to like the album but on listening to it a couple of times it was a breath of fresh air and must state the I really like this album and hope there will be another in the same vain. Beverly has a pleasing voice and the interpretations and arrangements are killer.

The album titled Jazz Just Wants To Have Fun, released earlier this year, is what I believe needs be done when an artist decides to cover the classic pops songs of past generations, ok so these are from the 80’s Brit pop era, I mean after all the Great American Songbook came about because of the pop songs over the aeons. Now we have the beginnings of the Great British Songbook. I am very happy with the track listing and the songs covered, classic pop tunes of that decade, and what a cast of musical talent put together to create this, what I would like to call a tour de force. I don’t think anyone who took to and love the pop music of the 80’s will be unhappy with the treatment given these classics. I further think the songwriters will be exceedingly happy to bolster their pensions with the royalties derived from these wonderful re-interpretations of these 80’s classic anthems. Now that’s what I call a great “cover” album, and are the new standards of tomorrow.

How clever are you? Do you think you can you name the originators of all 12 tracks?

Track Listing:

  1. Cum On Feel The Noize (3.29)
  2. Prince Charming (2.40)
  3. Bette Davis Eyes (4.09)
  4. Ghost Town (3.30)
  5. Deeply Dippy (3.11)
  6. When Smokey Sings (6.58)
  7. Cruel Summer (3.04)
  8. Pop Muzik (4.50)
  9. Too Shy (2.39)
  10. Hot In The City (2.58)
  11. Waiting For A Girl Like You (4.56)
  12. Girls Just Want To Have Fun (2.29)

Musicians:

Beverley Beirne (vocals), Sam Watts (piano), Rob Hughes (saxophone/flute), Flo Moore (double bass), Ben Brown (drums), Romero Lubambo (guitar “Cruel Summer”); Dean Brown (guitar “Girls Just Want To Have Fun”); Jason Miles (Hammond B-3 organ “Deeply Dippy” and “Waiting For A Girl Like You.”)

Label: Nova/Universal.

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CD Review by Eric Alan – Rebecca Angel (Feat. Jason Miles) Album Title: What We Had (EP)

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I haven’t done a review for some while now and today I decided that it was time to concentrate on doing so once again. I hope that I’ll be able to write at least 3 add to our website page today.

Earlier this year I was contacted by Brooklyn born and New York resident, record producer, bandleader, musician, recording artist, composer, jazz pianist and keybordplayer, manic passionate music lover and friend Jason Miles, he asked if we would like to check out two of his latest productions. Naturally the answer was yes and he sent us the two albums, both of which featured two women vocalists who I had not yet heard of. The two young ladies are Rebecca Angel’s What We Had and Beverley Beirne’s, Jazz Just Wants To Have Fun both albums were immediately added to our playlists un-listened to, that’s how much I trust Jason’s work. Our presenters, including myself took immediate liking to both of the albums.

Rebecca Angel (Feat. Jason Miles) Album Title: What We Had (EP) Label: Timeless Grooves Records
Genre: Contemporary Jazz / Smooth Electro Pop & Latin Jazz / Vocals Total Time: 32:58 Year Of Release: 2018

This album comprises of 8 tracks and on first listen captured me as a listener, well, because I do have a penchant for vocals especially female vocals. Rebecca has a wonderful voice and tells each story in a fine and beautiful style through the album. The tunes chosen for this release come for the pens of some of the greatest songwriter’s of the world with one track written by Rebecca in collaboration with her Dad, Dennis Angel and the other with the addition of producer Jason Miles. Look at the list of incredible musicians assembled to perform on the album, just awesome.

There is one thing however I personally dislike with a passion and that is “covers”, now let me qualify that by stating when any musician covers a song and nothing has been done to refresh it and make it their own having just followed the dot’s on the original chart, it becomes boring and plain bloody awful. So leave that sort of thing to wedding bands and singers.

Thankfully this is not one of “those” albums, the production team has taken it to another level totally. I mean just listen to the first track on the album, Winter Moon written by Harold Adamson and Hoagy Carmichael shows the way and how to do a cover, this continues through each track through the album. Each track is has a fresh new feel to it and is a joy to listen to. So far I have listened to and played a multitude of times. Each time I hear something new in each of the arrangements throughout the EP, well done to one and all concerned and that you for creating a wonderful body of work. I can’t wait for the next album, and that it be a full one from this team of highly talented musicians.

Track listing:

  1. Winter Moon (5:13) written by Harold Adamson/ Hoagy Carmichael
  2. What We Had (3:52) written by Dennis Angel/ Rebecca Angel/ Jason Miles
  3. Agora Sim (3:15) written by Luiz Alves/ Luizão Paiva
  4. Feel Alive (3:51) written by Dennis Angel/ Rebecca Angel
  5. Stand By Me (4:04) written by Ben E. King/ Jerry Leiber/ Mike Stoller
  6. Jet Samba (Samba Jazz Happiness) (Radio Mix) (4:08) written by Ronaldo Bastos/ Marcos Valle
  7. Stand By Me (Electro Mix) (Bonus Track) (4:03) written by Ben E. King/ Jerry Leiber/ Mike Stoller
  8. Jet Samba (Samba Jazz Happiness) (Ipanema Mix) (Bonus Track) (4:30) written by Ronaldo Bastos / Marcos Valle

Musicians – Jason Miles keyboards, Fender Rhodes, Moog bass, pads and percussion – Denis Angel flugelhorn – Gotfried Stoger flute – Haily Niswanger soprano saxophone – Sebastian Stoger cello – Jonah Miles Prendergast guitar – Christian Ver Halen guitar – Ricardo Silveira acoustic rhythm guitar – James Genus acoustic bass – Reggie Washington bass – Adam Dorn bass – Mino Cinelu percussion – Cyro Baptista percussion – Brian Dunnie drums

 

 

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Jazz saxophonist/flautist Ivan Mazuze excels with Afro/Latin/Nordic storytelling in ‘Ndzuti’ (2012)

Saxophonist and flautist, Norway-based Ivan Mazuze, has chosen a stellar set of international musicians who journey with him in his 2012 album, Ndzuti, which means ‘shadow’ in the ancient language of Xichangana of Mazuze’s native southern Mozambique.

This album has elements from both southern and West African traditions with Jazz based structures, suggesting how widely Mazuze extends his sounds while fusing northern European tonalities as well. His fellow African and Norwegian musicians reside in Scandinavian countries with guest artists like Cuban pianist Omar Sosa and the bassist/ vocalist from Ivory Coast, Manou Gallo, adding loads of sonic colour.

Mazuze’s other albums on his EM label have met with great success also: His debut album Maganda (2009) brings out his ethnomusicology training, reflecting on an exploratory journey with African ‘worlds’ of music. His articles about music and trance in ritual practices are found in the educational magazine “The Talking Drum”. Maganda was awarded the Best Afro World Group in the Oslo World Music Festival 2009, and the Best Contemporary Jazz Album at SAMA awards 2010 (South African Music awards). Mazuze’s third album, Ubuntu (2015) became highly acclaimed within the Nordic media circles and features Norwegian and South African-based musicians.

But its Ndzuti that grabbed my best ear. It was the recommended album at African Jazz Network 2012 and hailed as a key album by Music Information Center Norway (MIC) in 2012. Besides these cudos, it’s the songs themselves that shine out Mazuze’s careful melodics, zappy rhythms, and ethnic understandings of a society’s musical wizardry. He includes soukous rhythms the Congo, always full of glee and gay, danceable swings, as in “Nwana wa ku kasa” which features his Norwegian sax wife and fellow student during Capetown days, Ragnhild Tveitan, also in backing vocals. Vocalist and bass player from Ivory Coast, Manou Gallo, noted for her ‘Afro-groove’ renditions and for playing her bass like a percussion instrument, enthralls. Born in 1972, Gallo plays the tambour (percussion drums ), normally only reserved and allowed for men to play in the Ivorian culture.

Manou Gallo, vocalist and bassist

Raised by her grand-mother who was looking after her like her own daughter, Manou was rather autonomous from early on. Her newest album, “AFRO GROOVE QUEEN” is a musical love triangle and adventure between Africa, Europe and America.   Gallo helps Mazuze focus his funk, jazz and Afro groove sounds in delightfully lyrical songs that could have a healing quality to the ultra-stressed.

Hanne Tveter, Norwegian singer

One can even hear some influences from raising his two small daughters, and from the Cuban pianist Omar Sosa, or the Latin swing of Nordic singer Hanne Tveter. ‘Celina” is admirably melodious. In ‘Chant des Immigrants’, phrases are heard that come from Norwegian improvisational influences, as per Tveitan’s sax, as well as African beats from Mazuze’s home areas of Mozambique and South Africa. ‘Pe Descalco’ features Tveter’s masterful vocal scat which also provides a breathy and enticing bid in ‘Ritmo de la Vida’, with its distinct Latin salsa and bossa nova. Mazuze’s added boppish sax makes this song one of the most grabbing on the album.

Omar Sosa

Rhythmic Afro and Latin grooves abound. ‘Conversations’ and ‘Nguni’ features Cuban pianist Omar Sosa, the latter song with Nigerian high life rhythm reminiscent of Fela Kuti, with shades of Sosa’s Cuban swing thrown in! This is a bouncy piece, similar to Mazuze’s consistent style of fusing Afro-influenced sounds. ‘Mosambik’ is played in a Mozambique groove characteristic of Mazuze’s usual improv voicings. Another Oslo resident, Trinidadian singer/actor Sheldon Blackman, provides backing vocals with Mazuze’s storytelling sax in ‘Ma’gogo’.

Sidiki Camara percussion

All percussion comes from Sidiki Camara from Mali who plays djembe, doundounds, and ‘talking drums’.

 

So after all these wonderful sonic tonics whirling about, the catchy sing-along tune ‘Satyagraha’ ends the album, with ears aching for more! This is Ivan Mazuze and his crew at their very creative best.

See him perform at the upcoming Muizenberg Jazz Festival on Saturday, November 17, at the Masque Theater with local musicians. https://muizenbergjazzfestival.com/event/ivan-mazuze/

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Unusual Gigs Open Eyes on Exciting Musical Collaborations

A week of not-the-usual-fare of musical offerings from bands which consider themselves of ‘mixed’ influences kicked off with the  launch of Mike Rossi’s ‘Journey’ album, The World, rather, seemed to be depicted sonorously and joyfully by all groups that followed their musical themes throughout the week.

Mike Rossi on flute: courtesy Jazz Connection Kaye

Rossi started the live band wagon with local musicians, some who had featured on his chatty album, like trombonist William Haubrich, drummer Kevin Gibson, and pianist bop artist, Andrew Ford along with Rossi’s multiple instruments, saxes and flute.

Lorenzo Blignaut

But it was the performance of young former-Delft Big Band, Lorenzo Blignaut, on flugelhorn that stole the show. His grooming by former Band leader and trumpeter, Ian Smith, has payed off handsomely from teenage years; Blignaut is dedicated and largely self-taught, mentored of course by the greats. Had the lighting effects been better, photographers would have flocked to this popular bakery-cum-jazz venue to catch various band wizards which Slow Life brings in, consistently and faithfully, in order to grow jazz and its various forms in this peninsular community.

Mid-week, Ancient Agents, a poly-rhythmic, multi-percussive group, performed at the vibey Café Roux’s Capetown branch on Shortmarket Street, before their travel to Madagascar for a popular music Festival.

Fredrick Gille, percussion; Schalk Joubert, guitar

Ronan Skillan’s hand-made slide metal didgeridoo expertly accompanied by Swedish cajon box beater and frame drum specialist, Fredrik Gille, brought eerie ancient and earthy sounds that made drinks rattle. Schalk Joubert’s electric bass foundations often echoed Reza Khota’s guitar conversations, making this evening’s event electric, different, and fulfilling.   http://www.alljazzradio.co.za/2017/09/20/primordial-and-polyrhythmic-ancient-agents-is-a-percussion-delight/

Musicians enjoy Café Roux – it’s obvious. Eat some yummy pizza or light dishes first before the show, then relax back to a sound quality experience and dreamy decorum with an appreciative audience. Although Ancient Agents musicians focus on ‘jazz’, their improvisations cut across ancestral and traditional folk lines that are always pleasing. As is the venue!  Oh, and yes, the venue introduces the band, and softly reminds the patrons to keep chatting volumes low in order to appreciate the musical offerings. Woe to the many other venues who simply don’t care about the music!

By Friday, another Slow Life-sponsored group hit town:  SULP* (Swiss Urban Landler Passion) intrigued music students and fans at a College of Music concert with their enigmatic sounds that draw out folk life in an increasingly urbanizing Switzerland, yet stay true to tradition, the ‘Landler’ folk music. Featuring the concertina instrument, with its diatonic buttons on one side, and chromatic buttons on the other side, and a 4 metre long ‘Alp Horn’ blown, or rather breath-caressed like a didgeridoo with a French horn twist, and several other more ‘modern’ instruments, like the saxophone and double bass, SULP swung into rapturous waltzes and polka moods, reminiscent of music played in the popular film, ‘Sound of Music’.  The alpine terrain comes to life, as did this recital hall with students looking for the familiar.  Homegrown South Africans, Trumpeter Marcus Wyatt, and guitarist Derek Gripper added their individual mixes of African and a bit of Nordic influences.  As SULP says, “Swiss folk music, in its contemporary form, did not emerge in the countryside but was invented by industrial workers in the fast growing urban centers re-imagining their rural origins in the rapidly changing world.”

SULP play at 4 other venues this weekend.

*Simon Dettwiler (conertina), Matthias Gubler (saxophone) and Hannes Fankhauser (Alp Horn, double bass)

 

 

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Tabla rock and Indian jazz fusion by AVATAAR hits Kalk Bay’s Olympia Bakery

They looked oddly rested after 25 flight hours, landing in Cape Town a few hours before their sound check for the evening’s concert at Kalk Bay’s popular Olympia Bakery-turned-jazz –club-at-night.  The Toronto-based AVATAAR sextet arrived for their first African performance, which should not be their last.

Coming from ethnically seasoned backgrounds, including southern India and Italy, these Canadians presented a rare treat of sounds for this peninsula community, a mix of tabla-inspired blues cooked with a sometimes acid-rock guitar groove, then a Coltrane-influenced alto sax complemented  with Indian scat of vocalist, Suba Sankaran.

Sundar Viswanathan: courtesy ratspace

Their jazz fused improvisation with varieties of world sonic motifs, playing off the compositions of sax/flute band leader, Sundar Viswanathan’s debut album, Petal (2015).  Named for flowers that show their beautiful bloom for a short time, then disappear; thus the ephemeral nature of existence,  impermanence.

The generous 100 minute performance was electric – a sitar-sounding guitarist, Michael Occhipinti who carries Sicilian accents of heritage wedded so perfectly with the raga nuances provided by Ravi Naimpally’s tabla and Haiku speaking bassist, George Koller. While one often associates Indian classical music with spirituality, the divine touch heard on this night felt more like a sitar-rock meeting contemporary jazz styles with cross-overs into funk and melodic ballads.  These eclectic band members each boast musical accolades and awards across the Canadian music spectrum, and deservedly, needed to visit the finest of South Africa’s jazz traditions coincidentally during Heritage celebrations.  Or was it a coincidence?  Their three-city tour this week (September 22-30, 2018) takes them to other heritage sites of Durban and Pretoria, besides Capetown.

Ravi Naimpally

Befittingly, talking about ‘heritage’, AVATAAR’s performance cleverly highlighted some of the immigrant musical backgrounds of the musicians, thanks to Viswanathan’s Tamil influences. Such compositions from Petal include reference to South Asian contexts like tsunamis in “Banda Aceh” with staccato taka taka vocals of Naimpally, or storms in “Monsoon”.  Long influenced by Brazil’s Antonio Carlos Jobim, Viswanathan infuses Brazilian rhythms for effect, and has even mastered Portugese in order to explore wider cultural circles.

But unlike the ending song on the album, “Petal (emphemerata)” with spoken word philosophies about the purpose of existence supported by one’s spirituality, AVATAAR chose to honour a South African jazz legend’s composition, Abdullah Ibrahim’s “Mannenberg”.  What ensued was a frolicking jazz rock heightened by tabla and drums as the familiar song swung through its cadences and rhythms in true South African style.  Now that was a highlight of the evening!      https://www.facebook.com/neil.frye.71/videos/10156676818712152/

Their South African tour was made possible by Canada’s Council for the Arts and Paul Bothner music providing the baseline instruments. Event manager Paul Kahanowitz had met Viswanathan a year ago, and managed to pull this group to our shores.  Applause to all.

Further information from Sundar Viswanathan at sundar@sundarmusic.com;  +1-416 994 0758

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Musical Influences abound in Saxophonist Mike Rossi’s “Journey” album (2018)

‘Journey’, which follows on ‘Take Another Five’ (2016) dedicated to Nelson Mandela and Dave Brubeck, explodes with a range of musical styles that depict multi-instrumentalist Mike Rossi’s interpretation of country, ethnic, and musical influences over his forty year dance in jazz. It is a compositional delight!

There’s a lot of Italian in this album, from low-highs to happy-sad emotions framed with impressive solos and well-coordinated horn harmonies.  Horns predominate amongst stunning solos of Andrew Ford’s piano and organ, as well as Kevin Gibson’s drums, and Wesley Rustin’s boppish double bass.  I get a bit nervous when multiple horns play in unison, often wah wah-ing over more delicate rhythms or wind instruments.  But Rossi offers mercy as his six  cherished hand-made Rampone & Cassani saxophones  gently flow through sonic themes, as in the masterful composition, Big Sax,  Conversations between  Marco Maritz’s fugelhorn and Rossi’s altello sax delight the ear.  The South African swing in KwaZulu Zam Sam covers pretty much all the talents of horn and rhythm players without overpowering.

‘Journey’ band members

Faithful to his Italian-American background, some pieces were written under the influence: Ciao Roma; Don’t Say Lazio! opens with a wistful alto flute followed by charming Latin beats of Rossi’s tenor sax and expressive drum and piano solos. Alpe Camasca, Italy commemorates a frequently visited area, home to the R&C saxophone factory. Nine movements pull the listener through different time signatures making for unexpected  moods and twists.  A tribute to snails with red wine in Cucciulitti-Snails of Fermo surprisingly features Rossi’s baritone sax and William Haubrich’s trombone, two unlikely sonic registers for such a small animal.

Family and friends are referenced in such American jazz Standard renditions as Star Dust which Rossi’s late mother loved, and to the Hilda’s of Norway in Lars Jansson’s composition, Hilda, where Rossi’s soprano sax speaks kindly about his friendships there.

Rossi stays faithful to his flutes, particularly stylishly overdubbed in the beautiful Chuck Mangione song Land of Make Believe with Rustin’s bass grounding the basic bop mixed with Latin. Never forgetting how early American jazz included the clarinet, the swing classic Shiny Stockings arranged in quartet form pulls melody and rhythm nicely together in true Count Basie style. Ford’s piano  runs are exquisite throughout.

Humour abounds:  if there’s any way to portray nausea musically, Greasy Pan Blues does it! A really fun Rossi piece, indeed.

The album ends with the well-known South African classic composition of the late Chris Ngcukana, Mra, skilfully opened by Westin’s bass which swings the band into that familiar groove, and makes one still calling out for more.  South Africa is home to the Rossi family, and one wonders what the next musical ‘Journey’  will sound like in the next decade.  I wait, enthusiastically!

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CD Review by Eric Alan – Judi Silvano & The Zephyr Band Lessons Learned (2018)

You know this album has been a bit perplexing for me to write about, it has taken me weeks to do and listen to, it has moved my thoughts and memories in countless directions. Judi Silvano’s words awaken so much of a life lived, sometimes well and um, sometimes not so well. I was forced into a corner and felt the need to listen to her very thought provoking lyrics extremely carefully. The album has become somewhat of an intense catharsis on a personal level whilst listening intently. Today, I thought I should read the PR blurb that accompanied the album by publicist Lydia Liebman, something that I don’t usually do before I start listening to and writing a review. After careful reading thought that I could not do any better therefore decided to include the full blurb. All I can say is I like the album and it has now become a permanent fixture on my iPhones playlist.

“Judi’s compositions are like her paintings – Magical!” Sheila Jordan, NEA Jazz Master

Unit Records is proud to release Judi Silvano’s new album Lessons Learned today, Friday, July 13th. Produced by Grammy Award-winning saxophonist and composer Joe Lovano, Lessons Learned features the members of Silvano’s Zephyr Band with an unusual lineup for a jazz singer: two electric guitars.  These are wielded by Kenny Wessel and Bruce Arnold who together provide orchestral settings for the songs. The band is rounded out with Adam Kolker on bass clarinet, soprano and tenor sax, Ratzo B. Harris on bass, Bob Meyer on drums and Todd Isler on percussion. Joe Lovano lends his signature sound on tenor sax to two tracks. Lessons Learned began as a mature musical compilation of personal observations on life and love, but has since developed into a statement that aims to evoke a feeling of universal understanding and respect for others amongst its listeners.

“This is one of the most inspired and fun recording sessions I’ve ever been a part of; it’s full of beautiful, joyous music!” – Joe Lovano

Judy & Joe

Parallel to Lovano’s adventurous arrangements, Judi’s writing varies from tender and spiritual to raucous and whimsical. On Lessons Learned, the vocalist – who is also credited for the painting that graces the album cover – is not afraid to bare her heart and sing of intimacy and she tackles the realities of aging with hilarious candor. There comes a point in anyone’s life that is a place of reflection; a review of a lifetime’s worth of choices and decisions. For Silvano, this point in her life marked the creation of Lessons Learned. This 10 track opus of original songs is a collection of stories from the singer’s life that have accumulated and resulted in lessons she has personally learned. By reflecting upon her own individual experiences, Silvano has been observing the consciousness of society as a whole and hopes her perspective will encourage empathy in others towards their communities.

The album opens with “Round and Round”, which is Judi’s statement of appreciation and wonder at her own life. The song’s canonic structure parallels the cycles of life. While “You Will Know” speaks to the interpersonal connections that can have an impact on how we feel about ourselves with encouragement to remember we are not alone, “Dark Things” is about self-doubt, and how even the most confident people periodically question and re-evaluate their paths. “Acknowledging our vulnerability is key to being able to adapt and grow,” says Judi. “Dust” finds Judi in shamanic mode, singing about the earth, our dependence on it for food and how rhythmic feels connect us all over the globe. Some other stand-out tracks from the album include “Hand and Heart” – a beautiful ballad about a very particular relationship – and “After Love” which, simply put, is a classic love song. The album closes with “The Music’s in My Body”, which demonstrates that Judi’s sense of rhythm and space from her years as a dancer, are always a part of her songs.

“Judi Silvano is an amazing vocalist and improviser who has been a mainstay on the New York Jazz scene for decades! Her communication with guitarists Bruce Arnold and Kenny Wessel on “Lessons Learned” is telepathic and the music they create is fresh and inspiring!” -Vic Juris, Guitarist and Educator

MORE ABOUT JUDI SILVANO
Judi Silvano has been an active presence in the New York Jazz scene since 1976, when she arrived in New York City from Philadelphia with a degree in music and dance from Temple University. Since then the roster of musicians with whom she has collaborated includes Kenny Werner, Joe Lovano, Bill Frisell, George Garzone, Mike Formanek, Gerry Hemingway, Michael Abene, Rufus Reid, Ingrid Jensen, Charlie Haden, Jack DeJohnette, Paul Motian, Manny Albam, Gunther Schuller and Wynton Marsalis. She’s performed at a multitude of festivals and concert houses around the globe including the Montreal, Paris, London, Verona, Perugia, Istanbul, Langnau Switzerland and North Sea Jazz Festivals as well as numerous clubs and concert halls in NYC. Silvano has been writing music and poetry her whole life alongside putting her visions on canvas – one of her paintings is the album cover of Lessons Learned and she has a series of paintings of Jazz Musicians in addition to other subjects.

More information at www.judisilvano.com


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Artist of the Week – Victor Mhleli Ntoni

by Simon Ndlovu

Victor Mhleli Ntoni was born in 1947 in Langa, Cape Town, he grew up in the townships of Cape Town and first learned to play guitar before switching to double bass. As a teenager, he played with McCoy Mrubata in his band The Uptown sextet. He was self-taught before he received a scholarship to study at the Berklee College of Music in Boston in 1976.

As musical director of the musical Meropa Ntoni went on a European tour in 1975. Through the drummer Nelson Magwaza he met Abdullah Ibrahim, on whose album Peace and other recordings he was involved with between 1971 and 1979. He formed a sextet with Kippie Moeketsi, before going to study at Berklee School of Music, and played with Dudu Pukwana in 1978 (Diamond Express) and in 1979 with Hugh Masekela, also writing compositions including “Nomalizo”. Furthermore, Ntoni worked for Mike Ratau Mkhalemele, Iconoblast and Ezra Ngcukana.

In the late 1980s, Ntoni was the musical director of the Carling Circle of Jazz festival.

Ntoni’s album Heritage (2004) received excellent reviews and was nominated in the category “Best Contemporary Jazz Album” for the South African Music Award (SAMA).

He wrote and arranged the music in The South African Songbook -. SA Folklore Music (National Heritage Council, 2012).

In 2014 Ntoni was awarded the Order of Ikhamanga in silver.[ – wikiArtist

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Feeling Really Pekkish Munchie Recipe

Recipe begged, borrowed, compiled and adapted by The Klutz in the Kitchen on The Jazz Rendezvous Jazz, Blues, Latin, World Jazz and Cabaret, Music & Musicians, Entertainers, Artisanal Booze & Beer, Cocktails, Pinotage, Coffee, Grub & Stockvel Radio Show

All Jazz Radio proud winner of the 2018/19 Mzantsi Jazz Award as the Best Radio Station Playing Jazz in South Africa

It’s a good day to celebrate with some melted gooey cheesy goodness today because it’s Welsh Rarebit (Rabbit) Day. We have to thank the Nibble website for a wee bit of the history and recipe for this crowd pleasing munch.

People have been gobbling up melted cheese for a very long time. Fondue, the best-known of Swiss dishes, is probably of peasant origin, but no one knows for how long traveling herders had been combining cheese with wine in their cooking pots and dipping bread into the mixture. Similarly, quesadillas, a Mexican tradition, have been eaten for longer than anyone can say.

Rabbit, Not Rarebit

The once-famous Welsh rabbit (please don’t call it “rarebit”) is a very old formulation. There isn’t much agreement on how Welsh rabbit might have gotten its name, but my favorite story is that sharp cheese melted into ale or beer, served over crisp toast, was a substitute for meat when the men had been unsuccessful in their hunting that day. It was left to the women to fix a meal, and I wouldn’t doubt, some clever woman came up with the name.

Welsh Rabbit Recipe

Welsh rabbit is similar to fondue, except that the melted cheese is poured over toast instead of dipping bread chunks into a pot of melted cheese.

Preparation time: 15 mins

Cooking time: 10 mins

Serves: 2

Stuff to throw it together

2 tablespoons butter

2 tablespoons all-purpose flour

⅓ cup milk

½ cup beer or ale

1 teaspoon dry mustard

¼ teaspoon each cayenne pepper and paprika

1 teaspoon Worcestershire sauce

1½ cups sharp Cheddar, shredded

1 egg yolk

4 slices bread for toast

Optional: sliced tomato Optional garnishes: fresh snipped chives or thyme

How to cook it up

NB You can use any semi-hard cheese, or a blend. Like fondue, Welsh rabbit is a great way to use up scraps of cheese. Preparation

We like rye toast or whole grain toast because of the added flavor; but use whatever bread you have

Melt butter in a sauce pan over low heat; whisk in flour until smooth and simmer roux for two minutes

Whisk in milk, then beer. You can use leftover beer: The effervescence cooks out. The more flavorful the beer, the better the dish

AAdd cayenne, mustard and paprika one at a time, whisking until smooth. Add Worcestershire sauce and whisk to combine

Whisk in Cheddar, 20% at a time, and blend until smooth

Remove pan from flame; whisk in egg yolk for extra richness and body

Place two pieces of toast on each plate. Top with tomato slices. Pour cheese sauce over toast. Garnish with herbs. Who needs a real rabbit: This “poor man’s supper” is delicious!

Pizza

The ancestor the pizza we know and love today, melted cheese on bread was probably being enjoyed by the Etruscans, Greeks or Phoenicians as early as the 700s – B.C.E. (Tomato sauce didn’t arrive until the 1800s.) Clearly, much of the world has had a love affair with melted cheese for many hundreds of years. Food history aside, a melted cheese dish on a blustery, cold day is as satisfying for the soul as it is for the appetite. With a little care, melting
Have a cooking day

Today is also Baby Back Ribs Day Here are five things to know about baby back ribs:

No one is really sure where the term barbecue originated. The conventional wisdom is that the Spanish, upon landing in the Caribbean, used the word barbacoa to refer to the natives’ method of slow-cooking meat over a wooden platform.

In America barbecue varies by region, with the four main styles named after their place of origin: Memphis, Tenn.; North Carolina; Kansas City; and Texas.

In order to be called “baby back ribs” the rack needs to be smaller than a pound and a half.

Pigs have 14 rib bones! They are divided into four popular cuts: spare ribs, St. Louis, rib tips and baby backs.

No one knows who invented the barbecue.

Buon Appetito

The Klutz in the Kitchen

Chief Grub Maker, Recipe Initiator, Adroit Glühwein Fixer and Imbiber, Devoted Coffee Slurpee, Artisanal Booze & Craft BeerQuaffing Enthusiast and Pinotage Aficionada

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Struan Douglas Journeys with Ubuntu Healing through Music

“Towards the Peace on Earth: Projections Manifest” (published by www.afribeat.com, 2018) is an engaging account of one man’s journey of healing, with upfront honesty and attempted enlightenment through a rebirth into Ubuntu Africa from European roots.  Struan Douglas, an arts journalist and musician, portrays a fascinating, yet mysterious, plunge into the spirituality surrounding the music industry in South Africa, and why all is not always rosy in the perceived healing abilities of this  art form.

Douglas’s own contentious struggle with a severe illness in his youth, compounded by insecurities, outrages, and inferiority complexes, found  amazing portals of resolve, as his pathways crossed with innovative and intuitively spiritual music producers.  Shamanic healing brought the light of love onto the Cullinan farm outside of Johannesburg, affectionately dubbed the University of Celebration, where Douglas lived out his post-traumatic syndrome with an eccentric Frenchman, ‘Ananda’, and an inventive Swiss music producer, Robert Trunz.  Together, with  an additional eco-healer and photographer, Lianne, the foursome worked the land as Trunz established a music studio where a host of well-known, predominately African musicians engaged with each other to move their artistry forward.  A healing in music took place through Trunz’s music label, MELT2000, and writer/musician Douglas found a much needed home in this Musical Energy Loud Truth space.

Or so it seems.

Struan Douglas

Unsuspectingly, the story leads into dark passages to reveal truths:  gory outcomes  as some musicians submit to too much stress;  a realisation that jazz may not heal, but do the opposite. Douglas sites examples where the creative wizardry succumbs to devilish forces:  like the deaths of pianist Moses Molelekwa and saxophonist Moses Khumalo, where mental illness, drugs, and other demons can take hold.  Even the central character of this book, the Buddhist inspired ‘Ananda’, born Andre Masset, and raised in a French orphanage, and found his way into a California prison for 14 years for drug trafficking, surprises the reader with his supposed transformation  through African shamanic healing. Here, Douglas becomes his disciple, finding wisdom and healing in his ‘master’s’ spiritual stewardship, until an enormous anger streak  totally absorbs Ananda’s psyche and soul, and leads to the demise of this Osho-influenced self-designed healer.  Trunz on the other hand invents and promotes sound technologies, namely audio speakers, in Switzerland and the UK, and brings them to the Cullinan farm.  When he falls ill, the farm becomes a short-lived ecological experiment with notable outcomes, but is resuscitated as a musical hub when Trunz returns.  During all of these transmutations of energy and purpose, Douglas is still faced with quo vadis issues, and this is what grabs the reader.  Uncertainties circulate through the enigmas of life.

This book touches the unavoidable real by opening our minds to what constitutes the ‘void’, from entering disorientation that can manipulate the mind,  to experiencing the beauties of Ubuntu love and respect found on the African continent.  Douglas uses the metaphorical ‘fifth’ to explain:  “As the fifth in music harmonically divides the octave, so the fifth dimension in Spiritual terms co-creates.” (p. 113)  The Cullinan farm and its various inhabitants provided this ‘nature spirit’ space  where African griots, drummers, trance-dancers of the Kalahari, and other newer students of sound in his Forest Jam project could co-create.  By 2015, Douglas found a new journey, having manifested projections involving a vast healing from this previous trip through the 1980s to the present.

Madala Kunene

 

One of these manifestations was how guitarist Madala Kunene mentored Douglas to revive his trumpet playing skills.   A very readable story, the reader goes away amazed, with a revived spirit that co-creation in music can indeed find causes of illness, and bring joy, growth, and healing to the collective consciousness.

In this lies the enigma of music.

Buy the book online through Lulu or kindle versions, or weblog.

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Pianist Adrian Iaies adds Argentinian jazz pazzaz at NAF Youth Jazz Festival 2018!

Adrian Iaies at Standard Bank National Arts Festival 2018 in South Africa

With a career stretching back more than 30 years, and 25 albums as a band leader, and more than 300 concerts all over the world, Argentinian jazz pianist Adrian Iaies is just plain hard to describe.  His exhausting list of awards and accomplishments would woo any jazz lover to his musical haven.  But it’s listening to his sometimes quirky technique, sometimes mournful and romantic moods, his slow fox trots and ballads, and then bursts of emotional tango beats and all-that-swing, all with an improvisational twist of notes, chords, and harmonics, that intrigues.  Born in Buenos Aires in 1960, Iaies landed (July 2018) in South Africa’s National Arts Festival heartland of Grahamstown, now renamed Makhanda, his first SA visit, to bless patrons with his brand of jazz.

Percussionist Facundo Guevara – FB

 

His Colegiales Quartet was made up of the illustrious percussionist, Facundo Guevara, bandoneon player Federico Siksnys, and young double-bassist Diana Arias who is originally from Colombia.  It was bassist Arias whose performance outranked many seasoned professionals with her very pronounced and fast paced runs and solos with a variety of classical American, South American, and African beats.

Diana Maria Arias atNAF 2018-Standard Bank

Can the Tango have a jazz ‘swing’?  You bet.  This NAF performance proved that the classic tango rhythms can and do manoeuvre into other sound spaces.

Iaies, who is also the Artistic Director for the annual Buenos Aires International Jazz Festival as well as the Director of one of the city’s finest cultural centers, La Usina del Arte, considers himself first and foremost an improvisational jazz pianist. His many albums cut across various genres of ‘world’, including Argentinian folkloric, European classical, and Latin music. From traditional bluesy swing of early American jazz to Strayhorn moods to tango-esque styles to funky rhythms which remind one of Oscar Petersen’s occasional break with tradition to John Coltrane’s broken off-beats, there’s something to please most listening ears.

* * * * * * *

I caught up with Iaies during one of his breaks from workshops and rehearsals which occupied his, and all other illustrious teaching musicians’, time at this bustling Standard Bank Youth Jazz Festival, a welcomed part of the NAF that brings some 350 music students from all over South Africa to study, jam, and perform with another 150 professional local and international jazz musicians.

Tango Reflections

Vals de la 81st & Columbia (2008)

CM:  Let’s talk about how you relate with the South African jazz sound.  What has been your impression about what you’ve heard so far?

AI:   I come from a classical music heritage through my mother but I also listened to jazz artists, like John Lewis and Duke Ellington growing up.  I love the small groups, not the big bands.  I discovered African music later because the first artists I brought to the Buenos Aires international jazz festival was Randy Weston.  I had attended his gig in New York to check out if he was in good health to travel 14 hours to Argentina.  He was in his mid 80s then.  My first pick, however, for that festival, was Dollar Brand.  I have no special approach in African music.  My main teacher has been my drummer, Fecundo, because he has a special interest in the global music.  I’m also now looking at including South African jazz at the BA international jazz festival this year!  I would also love to return back here to record with local artists.

CM:  Piazzolla Escalandrum band performed in Cape Town a while back. Its leader, Daniel Piazzolla, said he was tired of the tango in its traditional form and wanted to move it forward.

AI:  Yes, people talked about Aster Piazzolla’s music like it was a step toward jazz.  His traditional music had nothing to do with jazz.   Juan Carlos Cobian* music is the closest to my favourite composer, Billy Strayhorn.  There’s the same sophistication, harmony, and chromatic sounds, ….   The traditional music has common points with this because the repertoire includes great sounds, great harmony, ….  You can play the traditional Tango in the same way you play songs by Irving Berlin …. Because it’s rhythmic music.

CM:  In South Africa, there is a continual debate about what is “South African jazz”.  It boils down to cultural roots.

AI:  We were just talking about this with Thandi Ntuli.  I told her she has one tight band.  They are patient.  They take their time to reach the climax.  They [South African musicians] are very kind people so their culture speaks through the music.

CM:  When I listen to Brazilian music, with its mixtures, like in Argentina with Spanish and indigenous sounds, etc, I get a sense of the frantic, the dance type of music, that’s very lively.

AI:   In the workshops, the student asked some very smart questions about these mixtures, like how do you learn music. The important thing is the musical form and rhythms, and where the composers come from, like from sub-tropical climates or freezing south pole areas.  In our workshop, we spoke about the three main groups of people in Argentina: one which stems from the indigenous Inca people, then the people in the eastern part of the country stemming from the Europeans, and then the group mixed with Africans.

CM:  That’s quite a variety of influences, then, in your own jazz……

IA: We as musicians need to understand these different regions. That’s why I experiment a lot with my drummer, Facundo, who comes from Mendoza, because he has a wide exposure to different world regions.  Also, how do you learn music?  Through oral traditions. There’s no self-taught musician. We learn from others and traditions, what’s around us.  This is very important.

CM:  Explain further.

AI:  Fecundo is a very good teacher.  When we leave Argentina to perform elsewhere, we notice how people behave in their countries. This is very educational.  But when I return to Buenos Aires, I need some days to get used to BA again.   Elsewhere, I see everyone is smiling, but back in BA, it’s not like that- it’s more black and white, more dark than light.

* * * * * * *

At this point, the piano was being tuned in the hall where we were chatting. Iaies volunteered to test it out, thus leaving our cozy chat, while Facundo and I continued.  Facundo added, “I grew up looking to Africa as I understood this was the source, so this is my first trip to Africa.  With my background in Argentinian folkloric percussion, I understand African rhythms.”  We spoke about how Africans and other South Africans had latched onto American jazz, pop and the Blues during the Apartheid era, and how this has influenced South African jazz compositions.

* * * * * *

The Buenos Aires International Jazz Festival, which Iaies has run as Director since 2007, is scheduled  from 14 – 19 November 2018.

* Juan Carlos Cobián (1888–1942), an Argentine bandleader and tango composer, led the “evolutionary” tendency in tango which was perceived as tending to concert music than to traditional dance music. As a composer, he and Enrique Delfino paved the road for the road for avant-garde tango.  To this extent, Cobián was such an evolutionist that the publishers did not accept his early tangos because they regarded them as ‘wrongly composed’. The truth is that they were far beyond the popular music of the time. (from  https://wikipedia.org/wiki/Juan_Carlos_Cobi%C3%A1n)

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Feeling Really Pekkish Munchie Recipe

Recipe begged, borrowed, compiled and adapted by The Klutz in the Kitchen

All Jazz Radio proud winner of the 2018/19 Mzantsi Jazz Award as the Best Radio Station Playing Jazz in South Africa

Here is the recipe for the G & T Cake furbished to us by Steve Erlank of the Deep South Distillery when he was with us in the studio last Wednesday. He has also said he’s going to try to adapt a cheese cake recipe to make a G & T Cheese cake, looking forward to your attempt Steve. It is somewhat complicated even The Klutz in the Kitchen has some difficulty with baking, not being a pastry chef. Have a go and let us know the outcome of your baking efforts.

Gin & Tonic Cake

Recipe byElena Silcock with acknowledgements to BBC Good Food

Preparation time: 60 min

Cooking time: 45 min, plus chilling time

Serves: 12 to 15

 

Stuff to throw it together

250g Salted butter

325g Caster sugar

4 eggs

250g self-raising flour

75g full cream/double-cream Greek yoghurt

Juice of 2 lemons

100 ml Deep South Ruby Gin (the more aromatic the gin, the better)

For the Syrup

100ml tonic water

1 teaspoon of juniper berries (lightly crushed) (For a deeper G&T flavor)

20ml of tonic syrup, obtainable from most bottle stores

For the icing

200g softened butter

400g icing sugar

2 Tablespoons of milk

Zest of 2 lemons

For decoration

2 limes zested then cut into thin slices (or slices of glazed citrus)

¼ cucumber, peeled into ribbons

1 Tablespoon of granulated sugar

A few juniper berries

How to cook it up

Heat the oven to 180C. Grease and line 2 x 20cm cake tins.

Beat together the butter and 200g of the sugar until pale and fluffy, for around 5 mins

Add the eggs one by one, making sure they are fully incorporated before adding the next one. If the mixture looks like it might split, add a tablespoon of your flour, then fold in the rest of the flour

Mix the yoghurt with the juice of one of the lemons and half the Deep South Ruby Gin, and then add this to the cake mixture to make a thick and silky mixture

Split the mixture between the cake tins and bake for 35 mins until a skewer comes out clean

Make the syrup

This is where most of the G&T flavours are found!

While the cake is baking, dissolve the remaining sugar, tonic syrup (if you have), tonic water and juice of one lime over medium heat in a saucepan, with lightly crushed juniper berries added

Once the sugar has dissolved, bring to the boil and reduce for 5-7 mins until you have a thick syrup

Cool for 5 mins, strain then stir in the remaining Deep South Ruby Gin and set aside

Once cake is baked, allow it to cool for 5 minutes, then prick all over with a skewer and liberally spoon syrup over the cake

Make the icing

Allow cake to cool completely before icing.

Make the buttercream icing by beating butter until soft, then fold in icing sugar a bit at a time

Add milk and lemon zest and lend well

Cover one cake with a third of the icing, and place second cake on top.

Cover whole cake in thin layer of icing and place in fridge for 30 mins to make the final coating easier to do.

Coat top and sides of cake with remaining icing

Decorate with sprinkles of lemon zest, lime and cucumber twists

Happy Baking

The Klutz in the Kitchen

Chief Grub Maker, Recipe Initiator, Adroit Glühwein Fixer and Imbiber, Devoted Coffee Slurpee, Artisanal Booze & Craft Beer Quaffing Enthusiast and Pinotage Aficionada

Email: The Klutz in the Kitchen


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The Klutz in the Kitchen’s Drinks, Beverage ‘n Cocktails Recipe to enjoy with Friends

The Pinotage, Artisanal Booze, Beer & Spirits, Cocktail, Beverage recipes to enjoy with Friends begged, borrowed, compiled and adapted by AJR’s lovable rascal the Klutz in the Kitchen

Interesting easy and simple beverage, cocktail and drinks recipes found online by The Klutz in the Kitchen. Listen to the Wingerd Griep en Ander Stories (Vineyard Flu and Other Stories) future which is also known as The Wrath of the Grape, this segment covers Beverages, Cocktail ‘n Drinks Recipes, debunking many of the myths of enjoying and drinking Wine, Spirits and Beer with a special focus on Artisanal products. We talk informally about and tasting Cape wines in an informal and somewhat down to earth irreverent manner with no pretention at all.

All Jazz Radio proud winner of the 2018/19 Mzantsi Jazz Award as the Best Radio Station Playing Jazz in South Africa

On Wednesday last week we had Steve Erlank in the studio talking and tasting their award winning gins that he produces at the Deep South Distillery which is located at 53 Heron Park, Wildevoelvlei Rd, Kommetjie, Cape Town, they do tastings and distillery tours by appointment and one can buy their gins directly from them. Currently they have two products available, they are the Cape Dry Gin and Ruby Gin, which the Klutz and I agree that both are superb and we rate 4⅔stars out of 5 on the great product klutzometer.

Check out their website for all details at Deep South Distillery website

Deep South Distillery website

Email The Deep South Distiller

Or phone them at 021 783 0129

We have included a Simple Syrup Recipe below this recipe

Deep Southside Gin Mojito – The Klutz decided to rename it the Deep Southside Ginito

Deep Southside Ginito (Gin Mojito)

Serves 1

Prep and Create time a few minutes

Bits and pieces to concoct it

50ml Cape Dry gin

20ml fresh squeezed lime

20ml fresh squeezed lemon

25ml sugar syrup,

6-8 fresh mint leaves

Sparkling water/soda

Procedures to rustle it up 

Pour the gin, fresh lime/lemon juice; sugar syrup and the mint leaves into a glass with a few cubes of ice then muddle enough to bruise the mint. Add ice, and top up with sparkling water/soda to taste, stirring slightly to mix. Steve likes it slightly cloudy with the mint and lime still in it. Garnish with sprig of mint.

Variations:  

Also can be served without ice in a chilled martini glass if you shake the ingredients and strain. Garnish with a round slice or two of lime, or cucumber or kiwi fruit.

Basic Simple Syrup Recipe:

Stuff to make it:

3 cups of Cold Water
1 Cup of Granulated Sugar

Note: Decide which type of Simple Syrup (thin, medium, or thick) you want to make to determine how much water and sugar you need to use.  See Types of Simple Syrup above.

Process to rustle it up 

In a high-sided saucepan over medium-high heat, bring cold water and sugar to a boil.

Turn the heat to low and stir constantly until the sugar dissolves completely and the mixture becomes clear, this should take approximately 3 to 5 minutes.  Remember, the longer you boil it, the thicker the syrup will be when cooled.

To test if the sugar is completely dissolved, use a spoon, (warning don’t use your fingers at all), scoop up a small amount of the syrup. You should not be able to see any sugars crystals in the liquid.  If you do, boil a little longer.

Optional: At this point you can add flavourings (see below for ideas).

After boiling, let the syrup cool to room temperature, then pour into a tightly sealed, clean glass jar and store in the refrigerator  (Any clean and sealable container can be used).

Storing Simple Syrup:  Sugar is a natural preservative, so Simple Syrup keeps for a while in the refrigerator.  Eventually mold will begin to grow if stored too long.  You can also stir in 1 tablespoon corn syrup to help ensure the syrup stays smooth.

Skål

The Klutz in the Kitchen Rookie Mixologist

Chief Grub Maker, Recipe Initiator, Adroit Glühwein Fixer and Imbiber, Devoted Coffee Slurpee, Craft Beer Quaffing Enthusiast and Pinotage Aficionada

Email: The Klutz in the Kitchen & Rookie Mixologist


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Feeling Really Pekkish Munchie Recipe

Recipe begged, borrowed, compiled and adapted by The Klutz in the Kitchen

All Jazz Radio proud winner of the 2018/19 Mzantsi Jazz Award as the Best Radio Station Playing Jazz in South Africa

Reason to Celebrate because it’s Burger Day today, and is a great excuse to either head out to the local burger joint or if feeling adventurous then get out the cast iron pan or perhaps fire up the braai (barbecue) I mean, what’s not to like about a fat, juicy burger?

The only drawback – the high risk of food poisoning if not cooked properly!

Quite simply, the best way to ensure the burger is safe is to make sure it is cooked properly!  This means there should be no pink visible in the middle of the patty, and juices should run clear. But don’t rely on the colour alone – always use a meat thermometer to test the core temperature of the burger

Recommended cooking temperatures:

Beef burgers:cook to a core temperature of 71°C (160°F)

Chicken burgers:cook to a core temperature of 74°C (165°F)

Happy Burger Day, let’s be smart and safe, and cook those burgers properly. Even if you’re dining in a restaurant, make sure to specify the same!

Some Burger Day History

Burger Day is a day of appreciation for hamburgers with friends and family. The term hamburger is derived from the city of Hamburg, Germany, where beef from Hamburg cows was minced and formed into patties to make Hamburg steaks.
The origin of the hamburger in the United States remains long debated, although most claim that the hamburger originated between 1880 and 1900. Since then, this beef patty in a bun has become a global staple of the fast-food diet and the backyard cookout. In recent years, these traditional beef patties have been transformed to include other meat and vegetarian options such as, bison, ostrich, deer, chicken, turkey, veggies, tofu and bean patties.

Burger Day Facts & Quotes

Louis Lassen is believed to have invented the hamburger, according to New York Magazine.

One of the most expensive burgers in the world is The Biggest Damn Burger in the World, made by Juicy Foods in Corvallis, Oregon. With a price tag of $5,000, the burger includes 777 pounds of meat and toppings.

Why not try making burgers with alternative toppings such as Mac & Cheese, Crispy Bacon & Avocado, Peanut Butter & Banana, or Shrimp & Styve Pap (Firm Grits),

For a healthier and nutritious take on the traditional burger, try a veggie burger. It’s sacrilegious to my and the Kluzes way of thinking, but if mince is not your thing then try a Lentil and barley patty made from lentils, barley, breadcrumbs and spices including cumin, oregano, chili powder, black pepper and d ry garlic powder. Some options include replacing burger toppings with broccoli and cheese, and replacing potato fries with baked sweet potatoes or replacing the bun with lettuce.

BTW, Just thought you’d like to know, it’s alsoBanana Lovers Day.

The Klutz thought it would be a good call to use this Woolies recipe so one does not have to make the patties from scratch

Woolies Double beef burger with smoked cheddar and sriracha mayo

Double beef burger with smoked cheddar and sriracha mayo

Recipe by Abigail Donnelly

Preparation time: 20 min

Cooking time: 20 min

Serves: 4

Stuff to throw it together

8 Woolies thick beef burgers

1 Tablespoon of butter

1 Tablespoon of canola oil

½ a cup Woolies Clarke’s Kitchen hot sticky plum sauce

8 slices Woolies smoked Cheddar

4 burger rolls, halved and toasted

Sriracha mayonnaise, for spreading

2 Tablespoon of good-quality mayonnaise

1 Tablespoon of creamed horseradish

Lettuce, chopped, for serving

2 tomatoes, sliced

4 Teaspoons of Woollies basil pesto

1 red onion, sliced

4 gherkins, sliced

How To Cook It Up

Preheat the oven to 180°C

Break up the patties and reshape into 4 large patties

Heat the butter and oil in a large ovenproof pan and cook the patties for 5 minutes on each side, or until cooked through. Pour in the plum sauce, transfer to the oven and roast for 10 minutes, or until done to your liking

Top each patty with 2 slices of cheese

Spread the sriracha mayo onto the bottom halves of the rolls. Mix the mayonnaise and horseradish and spread onto the top halves of the rolls

Place a patty on the bottom halves of the rolls, then add the lettuce, tomato, pesto, onion and gherkins and the top halves of the rolls

Cook’s note: The perfect burger is all about the balance between a juicy patty, the perfect texture, crunch and flavour

Buon Appetito

The Klutz in the Kitchen

Chief Grub Maker, Recipe Initiator, Adroit Glühwein Fixer and Imbiber, Devoted Coffee Slurpee, Craft Beer Quaffing Enthusiast and Pinotage Aficionada

Email: The Klutz in the Kitchen


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Jazz Rendezvous Blog Supreme

The Jazz Rendezvous Pinotage, Artisanal Booze, Beer, Cocktail, Coffee, Grub & Stockvel Radio Show 

by Eric Alan – Monday 20thAugust

All Jazz Radio proud winner of the 2018/19 Mzantsi Jazz Award as the Best Radio Station Playing Jazz in South Africa

The musings, ranting’s and mutterings about some tittle-tattle, chit-chatter of this, that and the next thing and maybe some other interesting blather about the World of Jazz, Blues, Latin and World Jazz and a few other things compiled by presenter, compiler, producer, reviewer, webitor, MC, All Jazz Radio Supremo and er, um, ah, ok then creative mastermind Eric Alan


Something new to appear on the All Jazz Radio Website

We are introducing a new page on the All Jazz Radio Website and would like your help with it. The page will be a weekly introduction to any Jazz, Blues, Latin or World Jazz musician from the global village randomly chosen by you, our listeners, please let us know whose biography you’d like to see featured, please send us your choice to us at Musician Of The Week with Musician of the Week in the subject line. Please note that only email suggestions will be accepted and that AJR peeps and will also be making their choices from time to time.


Quote

“People complain about the music industry, but this is a great time to be a musician.” – Walter Beasley

 

 


Many may be aware of my penchant for enjoying a good bottle of Pinotage with friends when sharing lunch, dinner and even at a braai from time to time, though, to my way of thinking I prefer good craft beer at braais or watching Formula 1, Rugby and Cricket. I also thought it a sound idea to share the results of the 22nd annual Absa Top 10 Pinotage competition which have just been announced, congratulations to the winners and they are as follows:

Allée Bleue Black Series Old Vine 2016
Beyerskloof Diesel 2015
Diemersdal Reserve 2017
Fairview Primo 2016
Flagstone Writer’s Block 2016
Kaapzicht Steytler 2015
Kanonkop 2013
Lyngrove Platinum 2016
Môreson The Widow Maker 2015
Rijk’s Reserve 2014

The museum class winner (for wines at least 10 years old):

Kanonkop 2006

Neethlingshof Lord Neethling 2003

Rijk’s Private Cellar 2008

I’d like to wish my Fellow Swiggers and Imbibers of the Squished Berries of the Vine Society a very Happy Tasting


This week In Conversation with ……. Eric Alan chatting with guests of interest on The Jazz Rendezvous Jazz, Blues, Latin, World Jazz and Cabaret, Music & Musicians, Entertainers, Artisanal Booze & Beer, Cocktails, Pinotage, Coffee, Grub & Stockvel Radio Show next week.

Please note that all of our interviews/chats take place from 3 to 4 pm Central African Time.

Tuesday 21 August – Singer, actor, producer, Cabaret, MC, Solo and Musical Entertainer oh! What the heck all round showman known as Mr Showbiz, Alvon Collison, who is now 77 this year, despite major health issues continues to bring joy to people of all ages by living to his creed, the show must go on. Alvon is a flamboyant and expressive person who loves life to the fullest and is known for his huge heart and generosity. He has been in show business for some 56 years and has done and fulfilled most of his dreams to date. Alvon and his partner of 26 years Faried Swartz will be joining me, live in the studio for a chat about life, loves, experiences what is currently being planed and what the coming years of good fortune may bring.

Wednesday 22 AugustSteve Erlank will be paying us a visit to chat about his new venture Deep South Distillery that was established in September 2017 and is the most southerly craft distillery In Cape Town. The distillery specialises in making small batch, handcrafted spirits their main currently products being Gin, Rum and Vodka. How lucky are we’ll mean we’ll be doing a live on air tasting of the distillery’s products and Steve will also be mixing up some cocktails as well.

Thursday 23 August– We speak to Kevin Naidoo a partner in the premier jazz club, the Orbit in Jo’burg, who are facing some major challenges and we’ll discuss those and try to assist in finding some solutions to those challenges

Friday 24 August Vocalist, activist, bandleader Vicky Sampson, I remember seeing her years ago on the TV talent show Follow That Star and from the outset knew she was going to be a huge star, and to this day I still believe she should have won. However not winning did not deter herset her on the [ath to the success she has reached today. We’ll find out more about this very talented woman, what drives her and what she still aims to achieve.


Herb Alpert

Nogga (Another) Quote

“Instrumental music can spread the international language.” – Herb Alpert


Laugh of the week

Question– How many sax players does it take to change a light bulb?

Answer – Five. One to change the bulb and four to contemplate how David Sanborn would have done it.


Reasons to Celebrate – Monday August 20th, 2018

Today Lemonade, Bacon Lover’s and Chocolate Pecan Pie Day, damn what a day to make choices of which to highlight, huh! Sjoe, jinna, man ok blerry hell, I’m going with bacon so here are some fun facts about Bacon. `The meaty morsel is one of the oldest processed meats in history. You see the Chinese began salting pork bellies as early as 1500 B.C. More than half of all homes keep bacon on hand at all times. Pregnant women should eat bacon as it is said to contain Choline, which is found in bacon, helps foetal brain development.

As a baconmaniac I love this one because bacon is said to cure hangovers, don’t care where it’s true or not. Bacon has been said to be the duct tape of food world because you can wrap it around just about anything, and immediately all problems of the day solved.

Another food fact is that Harry Brearly of Thomas Firth & Sons discovered how to make ‘the steel that doesn’t rust’ by accident and was first cast in Sheffield, Englan on this day in 1913

Ok lets see what lemonade day is all about, because we’ve go some space available to do so.

Lemonade originated in the Mediterranean region in the 13th century, and the recipe eventually made its way to Europe. From here, it arrived in America. The beverage was made and sold as an everyday refreshment and as a tonic, used to treat colds and other ailments. In France, you could purchase a glass from street vendors known as “lemoadiers.”

To celebrate Lemonade Day, it is really quite simple make your own homemade lemonade which can be shared friends and family. Dissolve 2 cups of sugar in 1 cup of hot water. Then stir in 2 cups of freshly squeezed lemon juice and 4 Litres of cold water. Pour into glasses filled with ice and garnish with a lemon slice and a sprig of mint.

Just thought I’d add this pic for fun.

Enjoy!


And Finally

“Listening is more important than anything because that’s what music is. Somebody is playing something & you’re receiving it.” – Carla Bley


Have a great week, stay tuned, more coming your way

You can be part of the discussion by making your live comments on the All Jazz Radio Facebook Group

SUPPORT JAZZ, BLUES, LATIN & WORLD JAZZ MUSICIANS

Go buy their music – Don’t Pirate – Go to their Live Gigs

We are mobile, so you can take us with you wherever you may go and enjoy the best Jazz, Blues, Latin and World Jazz music from the South Africa, Africa and the rest of the Global Village any day, all day.


Listen to All Jazz Radio on any of the following:

http://alljazzradio.ndstream.net/flashplayer.htm

http://onlineradiobox.com/za/alljazzra/?cs=za.alljazzra

https://tunein.com/radio/All-Jazz-Radio-s185300/

http://streema.com/radios/play/88609


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Artist of the Week

We are introducing a new page on our All Jazz Radio Website. We would like your help with it. The page will be a weekly introduction to any Jazz, Blues, Latin or World Jazz musician randomly chosen by you, our listeners, please let us and let us have 3 names for us to chose from which you’d like us to showcase as The Musician of the Week.

Please would you send your list of musician’s names to us at Musician Of The Week with Musician of the Week in the subject line. Please note that only email suggestions will be accepted and that AJR peeps and will also be making their choices from time to time.

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The Klutz in the Kitchen’s Drinks, Beverage ‘n Cocktails Recipe to enjoy with Friends

Recipe begged, borrowed, compiled and adapted by AJR’s rascal, but loveable Klutz in the Kitchen

August 16th is International Rum Day

The Klutz spent a number of hours doing research about the day and by the end of his research he was more difficult than usual to deal with, suffice to say the aches and pains associated with his research was well deserved. International Rum Day is a holiday that celebrates and commemorates the distilled alcoholic beverage that is made from sugarcane by-products. It’s a spirit that steeped in romanticism, thanks to its association with pirates in the Caribbean. While it is considered to be the third most popular alcoholic beverage, after whiskey and vodka, on this day it is number one. So if you’re of legal age, and can enjoy this beverage responsibly, then be sure to try out one of the many drinks that can be made with rum.

A brief history of Rum

No one is currently sure when rum was invented. In fact, it probably dates back before recorded history. Scholars do believe however, that is was probably developed from an early drink known as brum that was made by the Malay people thousands of years ago. When Marco Polo was in Iran, he noted that he was given a tasty wine of sugar that may have been an ancestor of what is now known as rum.

The first known distillation of rum took place during the 17th century on various sugarcane plantations located in the Caribbean. It is believed that the slaves on the plantations were the first ones to discover that the by-product of the sugar refining process could be fermented and processed in a spirit. Over time, these spirits were distilled and refined until the alcohol was raised to a sufficient level to become rum. According to many of the oral traditions of the Caribbean, it is stated that the first rums were created in Barbados. However, new evidence is beginning to emerge that suggests that Brazil and Sweden each had their own versions of rum.

Rum fun facts

Rum with lime was given to Royal Navy sailors

Colonists in the Caribbean consumed 12 million gallons of rum annually

A popular name for rum was Grog

Other names for rum include Navy neaters, Kill Devil and Nelson’s blood

The Klutz, after coming out of his stupor and a box of acetylsalicylic acid (Aspirin) later, decided the recipe to be shared on this day is hot buttered rum, a mixed drink containing rum, butter, hot water or cider, a sweetener, and various spices (usually cinnamon, nutmeg, and cloves). It is especially popular in the fall and winter and is traditionally associated with the holiday season. In the United States, the drink has a venerable history, which dates back to colonial days. Thanks Wikipedia.

Hot Buttered Rum

Serves 6

Prep and Create time 15 mins

Bits and pieces to concoct it

100g unsalted butter

1 cup of brown sugar

½ tsp cinnamon

½ tsp nutmeg

½ tsp vanilla extract

Pinch of ground cloves

Pinch of salt

Dark rum (Swop out the rum for a scoop of ice cream for a non-alcoholic version

Boiling water

Whipped cream (optional)

Procedures to rustle it up 

Place all the dry ingredients including the butter into a pestle and mortar and work all ingredients until they have formed a paste

Take 2 tablespoons of mixture and place into a mug and add 3 tablespoons of Rum

Add boiling water and stir until the butter has melted

Serve immediately

Adding whipped cream on top is optional and sprinkle with a dash of nutmeg.

Skål

The Klutz in the Kitchen Rookie Mixologist

Chief Grub Maker, Recipe Initiator, Adroit Glühwein Fixer and Imbiber, Devoted Coffee Slurpee, Craft Beer Quaffing Enthusiast and Pinotage Aficionada

Email The Klutz in the Kitchen & Rookie Mixologist


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Feeling Really Pekkish Munchie Recipe

Recipe begged, borrowed, compiled and adapted by The Klutz in the Kitchen

Today August 15th – International Lemon Meringue Pie Day

Tomorrow, Thursday August 16th it’s International Rum Day and Bratwurst Day

The Klutz in the Kitchen not being a particulary good baker has decide not to bake a Lemon Meringue Pie therefore he has decided on ………………

COTTAGE PIE as todays recipe

According to Wikipedia the recipe can vary widely. The defining ingredients are minced meat (commonly beef when named cottage pie or lamb when named shepherd’s pie), typically its cooked in a gravy with chopped or sliced onions and sometimes other vegetables, such as peas, celery or carrots, and topped with mashed potato. The pie is sometimes also topped with grated cheese.

The term cottage pie was in use by 1791, when the potato was being introduced as an edible crop affordable for the poor (cottage, meaning a modest dwelling for rural workers). The term shepherd’s pie did not appear until 1854, and was used synonymously with cottage pie, regardless of whether the meat was beef or mutton. In the United Kingdom, the term shepherd’s pie is now commonly used when the meat is lamb.

I’m really partial to Cottage or Shepherds Pie so our grumpy Klutz searched far and wide to find this very simple, easy yet tasty recipe using all shortcuts to create a meal all will enjoy, also thanks to Royco®

Preparation time: 15 min

Cooking time: 35 min

Serves: 4

Stuff to throw it together

Royco® Savoury Gravy

650g Beef Mince

50g Tomato Paste

1 Medium Onion thinly sliced

4 cloves of garlic finely chopped

2 cups frozen mixed veg, defrosted

4 potatoes, cooked and mashed

¼ cup milk

Klutz inspired optional extra stuff

2 chilli’s seeded and finely chopped (must be added to step 3)

1 large cup grated cheese (to be spread evenly over the top of the mash)

How to cook it up

  1. Prepare the Royco® gravy according to packet instructions.
  2. Preheat the oven to 180°C.
  3. In a pan brown the onions add the garlic half way through the browning process once done set aside on a plate.
  4. In the same pan brown the mince when done, add the browned onions and garlic, tomato paste, 1 cup beef stock or water and prepared Royco® sauce, simmer for 10 minutes, stir through the mixed veg.
  5. Mix together mashed potato and milk, season with salt and pepper.
  6. Place mince in an ovenproof dish and top with mash.
  7. Bake for 30-40 minutes or until golden and bubbling.

Buon Appetito

The Klutz in the Kitchen

Chief Grub Maker, Recipe Initiator, Adroit Glühwein Fixer and Imbiber, Devoted Coffee Slurpee, Craft Beer Quaffing Enthusiast and Pinotage Aficionada

Email:klutzinthekitchen@alljazzradio.co.za


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Jazz Rendezvous Blog Supreme

by Eric Alan – Monday 13 August 2018

The musings, ranting’s and mutterings about some tittle-tattle, chit-chatter of this, that and the next thing and maybe some other interesting blather about the World of Jazz, Blues, Latin and World Jazz and a few other things compiled by presenter, compiler, producer, reviewer, webitor, MC, and er, um, ah, ok then creative mastermind of Eric Alan


All Jazz Radio named the Radio category winner at the 2nd Mzantsi Jazz Awards last night in Johannesburg

When I found out that All Jazz Radio had been nominated as one of the six finalists in the 2nd Mzantsi Jazz Awards in the newly added category, The Best Radio Station Playing Jazz it came as a completely unexpected surprise. As it is a public vote category we then followed the instructions issued by the organisers and started calling for votes from our listeners and followers on our social media pages, website and during our shows. Looking at our fellow nominees in the category, Alex FM, CCFM 107.5. Kaya FM, Metro FM, and Veterans Voice Radio we knew it was going to be difficult, undaunted we continued our campaign.

The event, which took place on Saturday night in Jo’burg and we could sadly not attend the event, as we had no resources to do so being a total volunteer operated online radio station. We did not know the results until the organisers emailed us on Sunday afternoon letting us know that A.J.R. had won The Best Radio Station Playing Jazz category. I was completely taken by surprise, more so than when we found out of our nomination. I was gobsmacked and at a totally loss for words. I was expecting either Kaya FM or Metro FM to be the winners, I mean who would have thought that an online volunteer broadcaster would be the winner.

We are humbled by this accolade however it validates what we have always believed, that a radio station playing Jazz, Blues, Latin and World Jazz and promoting South African and Jazz from Africa could work on a daily basis. Though many hurdles remain for us, we can face them with renewed vigour and determination firm in our belief that we are on the right path.

I am reminded of Gary David Goldberg’s quote. ”It takes a lot of people to make a winning team. Everybody’s contribution is important.” Therefore I would like to thank all of our listeners and supporters who cast their vote for us and I must also offer a colossal vote of thanks to our team of local and international volunteer presenters, Brian Currin, James Kibby, Clifford Graham, Wolfgang König in Berlin, Andy Hardy in New Zealand, Rhys Phillips in France, Todd Gordon in Scotland and husband and wife team Jeff Williams and Kari Gaffney in the USA without whose on-going commitment and passion for what we will continue doing, supporting and promoting the wide genre mixes of Jazz, Blues, Latin and World Jazz from South Africa, Africa and the rest of the global village. Also a considerable thanks to our “webiter” as I like to call her but in reality she is our reporter, writer, columnist, reviewer, critic and commentator Carol Martin and to Karen Jordi for her invaluable assistance with the technicalities and changes to our website.

An immense vote of thanks must also go to Chris Grant and his NetDynamix team for and putting up with me as well as keeping us streaming all day, everyday because without them there would be no A.J.R.

I would also like to proffer a massive thank you to all of the independent musicians and the jazz radio promoter’s worldwide who make sure we receive the latest releases by many incredible talented artists many of whom have never been heard on the airwaves of our continent before for inclusion on our playlists.

Sjoe! Still trying to wrap my head around what has happened and what it means to us…….

See the full list of winner below.


Quote

I was lucky enough to grow up in an era when radio was less formatted. It was really special. You could hear a jazz song then a pop song then a show tune then some jazz. Basically, whatever the DJ felt like playing, he would play. He was educating you and exposing you to things you would never hear otherwise. Todd Rundgren


Whats happening on Jazz Rendezvous this week

Very excited to have four big live interviews/chats coming up this week on All Jazz Radio during my show Jazz Rendezvous.

Please note that all of our interviews/chats take place from 3 to 4 pm Central African Time.

Tomorrow, Tuesday 14 August we’ll have Don Vino in studio from three to four pm Central African Time and we’ll be chatting about his debut album release All The Way

Wednesday 15 AugustI have Gaby Le Rouxlive in the studio. Gaby is one of the founders and motivators of TUMSA Trade Union for Musicians of South Africa, which states on their FB Page “We have formed a TRADE UNION to represent ALL Musicians of South Africa. We are 100% Focused on bringing the SA Music Economy under Majority Mzansi Control”

Thursday 16 August Dave Reynolds Steel-pan, acoustic guitarist, composer and bandleader will join us for a chat about his life as a working musician in Africa today.

Friday 17 August Saxophonist Dan Shout has a new album that has just been released internationally we’ll find out about the album and listen to a track or two.

Tune in to All Jazz Radio on any of the following:

http://alljazzradio.ndstream.net/flashplayer.htm

http://onlineradiobox.com/za/alljazzra/?cs=za.alljazzra

https://tunein.com/radio/All-Jazz-Radio-s185300/

http://streema.com/radios/play/88609


2nd Mzantsi Jazz Awards all of the winners Sunday 12 August 2018

The Mzantsi Jazz Awards Company is excited to announce the winners for the 2nd Mzantsi Jazz Awards ceremony that took place Saturday night 11 August 2018 in Sandton.

The Jury evaluated the following categories and the following were announced as winners: 

Best Contemporary Jazz Album
Zoe Modiga – Yellow The Novel

Best Traditional Jazz Album
Tune Recreation Committee – Voices of Our Vision

Best Male Artist
Nduduzo Makhathini

Best Female Artist
Thandi Ntuli

Best International Collaboration Album or Song
Aaron Rimbui – Kwetu

 

Best Newcomer in Jazz
Zoe Modiga

The other 5 categories were public vote categories and the following were announced as the winners:

Best Jazz Album
Sy Ntuli – Ibuya

Best Jazz Song
Zoe Modiga – Yaweh

Best Foreign Jazz Album/Artist
Cecile McLorin Salvant – Dreams and Daggers

Best radio station playing Jazz
All Jazz Radio

Best Jazz Venue/Club
The Orbit

Every year the Mzantsi Jazz awards also recognizes lifetime contribution to the Jazz genre and the following four awardees were named:

  • Mme Dorothy Masuka
  • Ntate Mabe Thobejane
  • uBaba Madala Kunene
  • Mr Pops Mohamed

More than the awards, the event showcased a rich tapestry of South African jazz landscape with great performances from Billy Monama, Mpumi Dlamini, Sibusiso Lerole, Bonginkosi Madonsela quartet, Sibusiso “Mash” Mashiloane, Cameron Ward, Sy Ntuli and Vocalist Nia Mo.

“Jazz is alive and well- and we are here to continue to showcase and celebrate the best of South African Jazz” said Dr Mongezi Makhalima, the chairman and founder of the MJA.


Nogga (Another) Quote

The great jazz radio stations have a duty to continue evolving their format just as audiences ask the musicians to evolve. How do you do that with a form of music that has 100 years of recorded history? How do you also keep it contemporary so you don’t isolate your listeners? These are major questions. Jason Moran


Laugh of the week

St. Peter in Heaven is checking ID’s. He asks a man, “What did you do on Earth?”
The man says, “I was a doctor.”
St. Peter says, “Okay, go right through those pearly gates. Next! What did you do on Earth?”
“I was a school teacher.”
“Go right through those pearly gates. Next! And what did you do on Earth?”
“I was a musician.”
“Go around the side, up the freight elevator, through the kitchen…..”


Reasons to Celebrate – Monday August 13, 2018 is Left-Handers’ Day 

Every year on August 13, we celebrate the 10% of the population that is left-handed. This day is also an opportunity to raise awareness about the needs of left-handed children.

If you are left-handed, you know that living in a world designed for right-handed people can be quite difficult. Opening doors, writing in spiral notebooks, and using a computer mouse can be awkward and frustrating. Studies have shown that left-handedness is often associated with intellectual creativity. Famous left-handers include Michelangelo, Mozart, Jimi Hendrix and Jim Henson!

There are several ways you can celebrate Left-Handers’ Day. If you’re left-handed, declare a “lefty zone” around your personal space, where everything must be done left-handed. If you’re a righty, do something nice for your lefty friends. Buy them a left-handed pen or can-opener to make their lives a little easier!

Today is also Filet Mignon Day, The Klutz in the Kitchen si somewhat pissed off because we did not lead with this celebration

This week is Elvis Week


SUPPORT JAZZ, BLUES, LATIN & WORLD JAZZ MUSICIANS

Go buy their music – Don’t Pirate – Go to their Live Gigs

We are mobile, so you can take us with you wherever you may go and enjoy the best Jazz, Blues, Latin and World Jazz music from the South Africa, Africa and the rest of the Global Village any day, all day.


Listen to All Jazz Radio on any of the following:

http://alljazzradio.ndstream.net/flashplayer.htm

http://onlineradiobox.com/za/alljazzra/?cs=za.alljazzra

https://tunein.com/radio/All-Jazz-Radio-s185300/

http://streema.com/radios/play/88609


Have a great week, stay tuned, more coming your way

You can be part of the discussion by making your live comments on the AJR FB Group https://www.facebook.com/groups/alljazzradio/

SUPPORT JAZZ, BLUES, LATIN & WORLD JAZZ MUSICIANS

Go buy their music – Don’t Pirate – Go to their Live Gigs

We are mobile, so you can take us with you wherever you may go and enjoy the best Jazz, Blues, Latin and World Jazz music from the South Africa, Africa and the rest of the Global Village any day, all day.


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Ghanaian Modern Jazz meets traditional Highlife – just barely!

Ghanaian jazz pianist, Victor Dey Jr, wooed audiences at this year’s Standard Bank National Arts Youth Jazz Festival in Makhanda (formerly Grahamstown), with professional musicians on stage and loads of youthful students of jazz in the audience!

Victor Dey, Jr.

The Diocesan Girls School’s large Hall hummed as this pianist fundi, backed by the improvisational wizardry of South African jazz musicians,  spinned through modern jazz tunes with a West African rhythmic twist.

With Ghanaian music always a foundation of his artistry,  this vibrant soul treats piano keys like cotton, with energy, ease, and an uncanny transparency.  His unusual rendition of jazz icon, John Coltrane’s, ‘Giants Steps’ took all by surprise: silky runs reinterpreting familiar melodies with deliberate off-notes and missed beats, all playfully executed. Another composition, “Mr. PK Ambrose”, named for a fellow bassist who featured on Dey’s first album, Makola, thrilled with its fast pace mounted by both Dey and saxophonist Sisonke Xonti whose runs also caused audience gasps.

Romy Brautenseth (bass), Sisonki Xonti (sax), Marcus Wyatt (trumpet)- Standard Bank

This piece gave all players a chance to triple their usual rhythms, with double bassist Romy Brauteseth stylishly running furiously through her strings.   I kept looking for that West African percussive beat of Ghana’s famous ‘High Life’ style, but Dey ran away with more contemporary modalities….or was it that Johannesburg-based drummer, Ayanda Sikade, dubbed in a familial Ghanaian title of ‘Nana Ayanda’,  stole the show with his frenetic drum solos which wowed all?

Afrika Mkize (left),Victor Dey Jr (middle), Ayanda Sikade (far right)

Whatever one was looking for, or not,  this gifted pianist stunned his fellow artists, like pianist Afrika Mkize, whose fits of bowing and ululations later over drinks in the Hall’s cozy outdoor (and heated) bar foyer drew obvious attention.

 

 

 

 

 

Dey’s latest album, Makola (2017), named after Accra’s main busy market, contains zesty Ghanaian rhythms mixed with jazz, funk, and Latin American, representing “the spirit of the market which is diversity, movement and business”, as Dey puts it.

Playing Fender Rhodes and other keyboards, Dey is well supported by ambitious solos of Bernard Ayisa’s tenor & alto saxophones and  trumpeter Nicolas Genest. Distinct blues, ballads, and improvisations characterise this album without much West African punch.  But there’s a reason for that, as Dey and I chatted during afternoon breaks from workshops at the Youth  Jazz Festival.

Victor Dey Jr.,  born in 1980 and being the son of a diplomat,  spent his very early years in the UK and Algeria, learning piano as well as cultural dynamics.  Back home in Ghana, he completed a Liberal Arts education, and became one of the few who delved into the world of ‘modern jazz’, thanks to occasional alignment with Hugh Masekela and Stevie Wonder.  Granted “Musician of the Year 2014” at the Ghana Vodafone Music Awards, and featured on CNN’s  African Voices in 2016, Dey’s uniqueness was secured and followed.

His soft spoken, polite style of chatting set the tone to understand his impressions of South African jazz as he had faithfully listened to different musicians, like Bheki Mseleku and Andile Yenana whom he also met at the Festival.  Recognizing the strong jazz culture in South Africa with jazz roots and a special vibe, he continues to learn what he might want to add to his own music.  “I’m looking at the stylistics, how South African jazz is crafted, it’s mysterious, spiritual, sometimes dark tones, and what it’s telling you – it’s difficult to describe.  Like Mseleku’s “All for One, One for All” song…..

I suggested he talk with Afrika Mkize who had transcribed Bheki’s compositions.

* * * * * *

Dey is working on his second album with his trio.  “I want something more intimate and intricate.”  Maybe some traditional West African beats?  We’ll see. As we  talked about the more traditional Ghanaian highlife of C K Mann, Dey’s voice saddened. “Oh, that is the old highlife. It’s changed now.  I don’t want to say into what!”  He chuckles confirming my worst suspicion.

“The Highlife is more electronic now, which isn’t necessarily a bad thing.  But there’s a totally different feel about it now ….. It’s more like pop with the Akan Twi lyrics, and moving into a more global context.”  He suggested that people are playing around this mode, but are moving away from their traditional roots, while understanding the traditional in other more modern contexts.

“This is interesting because I worked on a project earlier this year, and recorded it, taking older classical songs of Ghana and giving them a more modern jazz twist with a light jazz piano .  That is yet to be released  with a well known highlife lady singer, Kodjoe Aisah.  So,  that kind of highlife is not totally dead yet, thank God!”  But are there other musicians willing to keep the traditional alive, and yet move the music forward as improvisational music?   “There are a few guys who haven’t yet put their tunes out .  They’re in that development phase taking so many things in, but it will come.”

This is an issue, remembering  how stuck musicians like Ethiopia’s Mulatu Astatke were in trying to move Ethio-jazz forward, but the schools of music (and fellow musicians!) refused to do this.  So are there music schools for jazz in Ghana?

 

“No, not yet.  Schools prefer the [European] classical and choral music, and African traditional music.  Once in a while, workshops are organized.  I just did a tour in Ghanaian universities, sponsored by the American Embassy, but that’s about it.  Yes, I’m disappointed, but not surprised.   Jazz culture in Ghana was nicer in the 60s and 70s.  But what happened is that the soldiers took over the country in coups and forced curfews on citizens who couldn’t go out to hear the live music at night.  So the musicians left the country.  This is why I’m on a mission to enlighten:  organize workshops, give private lessons for payment or free.  I’m working on something now at University of Ghana which wants to catalogue my music and start a program  –  that’s in the pipeline.”

Hmmm.  The creative artist struggles with time management devoted to creating, but then the other teaching/learning cycle with society takes up space, too.  “I’ll make the time,” Dey says convincingly. “I’ve done some things with neighboring countries like Togo and Benin. My band may be performing at the Lagos International Jazz Festival in Nigeria, too, next year! But I have loved what I have seen and learned right here with South Africans at this Festival!” His eyes gleam.

Well, it’s reassuring to this writer that jazz, with some roots in tradition, won’t die.  I’m watching Dey Jr. like a hawk!

Catch his Youtube video at:  https://musicians.allaboutjazz.com/victordeyjnr

 

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All Jazz Radio 2018/19 winner in the Radio category at the Mzantsi Jazz Awards

12 August 2018

The Mzantsi Jazz Awards Company is excited to announce the winners for the 2nd Mzantsi Jazz Awards ceremony that took place Saturday night 11 August 2018 in Sandton.

The following categories were evaluated by Jury and the following were announced as winners: 

Best Contemporary Jazz Album
Zoe Modiga – Yellow The Novel

Best Traditional Jazz Album
Tune Recreation Committee – Voices of Our Vision

Best Male Artist
Nduduzo Makhathini

Best Female Artist
Thandi Ntuli

Best International Collaboration Album or Song
Aaron Rimbui – Kwetu

Best Newcomer in Jazz
Zoe Modiga

The other 5 categories were public vote categories and the following were announced as the winners:

Best Jazz Album
Sy Ntuli – Ibuya

Best Jazz Song
Zoe Modiga – Yaweh

Best Foreign Jazz Album/Artist
Cecile McLorin Salvant – Dreams and Daggers

Best radio station playing Jazz
All Jazz Radio

Best Jazz Venue/Club
The Orbit

Every year the Mzantsi Jazz awards also recognizes lifetime contribution to the Jazz genre and the following four awardees were named:

  • Mme Dorothy Masuka
  •  Ntate Mabe Thobejane
  •  uBaba Madala Kunene
  • Mr Pops Mohamed

More than the awards, the event showcased a rich tapestry of South African jazz landscape with great performances from Billy Monama, Mpumi Dlamini, Sibusiso Lerole, Bonginkosi Madonsela quartet, Sibusiso “Mash” Mashiloane, Cameron Ward, Sy Ntuli and Vocalist Nia Mo.

“Jazz is alive and well- and we are here to continue to showcase and celebrate the best of South African Jazz” said Dr Mongezi Makhalima, the chairman and founder of the MJA.

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Drinks, Beverage ‘n Cocktails to enjoy with Friends

Recipe begged, borrowed, compiled and adapted by The Klutz in the Kitchen

August is coffee month and there is nothing nicer to celebrate it with a thick, creamy hot chocolate mixed with coffee, cream and Pinotage. Careful, this one can become quite addictive addsome sugar if you really must or a touch of Pinotage Muscadel if you can find it. Top it off with some whipped cream and sprinkle some crumbled chocolate.Remember too that August 12th Chocolate Milkshake Day

Pinotage Mocha (coffee & hot chocolate)

Serves 8

Prep and Create time 10

Bits and pieces to concoct it

750ml heavy cream (not reduced fat half n half or milk)

6 teaspoons Mazina (cornstarch)

1 cup of semi-sweet chocolate chips I prefer dark chocolate chips

375 ml of brewed coffee

375 ml of Pinotage

Optional

Sugar to taste

Whipped cream for serving

Procedures to rustle it up 

  1. Add the cream and cornstarch to a medium-sized pot
  2. Whisk until the cornstarch is dissolved
  3. Add the chocolate chips and place over medium heat. Heat just until all the chocolate has melted and dissolved into the milk, stirring continuously (about 6-7 minutes)
  4. The heat may need to be reduced to low to keep the liquid from boiling
  5. The liquid will be thick.
  6. Remove the pot from the heat.
  7. Slowly whisk in the coffee and wine about ¼ cup at a time.
  8. Pour into mugs to serve.
  9. Optional
  10. Add sugar to taste.
  11. Top each mug with whipped cream.

The high fat content of the heavy cream, the cornstarch, and the slow addition of the coffee and wine will all help reduce the chance of curdling. Please do not modify these steps.

Slàinte mhath

The Klutz in the Kitchen Rookie Mixologist

Chief Grub Maker, Recipe Initiator, Adroit Glühwein Fixer and Imbiber, Devoted Coffee Slurpee, Craft Beer Quaffing Enthusiast and Pinotage Aficionada

Email: The Klutz in the Kitchen & Rookie Mixologist


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Feeling Really Pekkish Munchie Recipe

Recipe begged, borrowed, compiled and adapted by The Klutz in the Kitchen

Here we have another hearty meal to prep and make Beef Stroganoff according to Wikipedia “Beef Stroganov is a Russian dish of sautéed pieces of beef served in a sauce with Smetana. From its origins in mid-19th-century Russia, it has become popular around the world, with considerable variation from the original recipe”.

The name derived from a French-born Russian aristocrat, Pavel Alexandrovich Stroganov, whose cook, André Dupont, decided to name the recipe of his beef fricassee after the name of his employer. However several other versions exist as to how the recipe was invented. Thanks Wikipedia.

Now as you know The Klutz is all about quick and easy therefore this recipe uses any and all shortcuts to make it so, therefore this was found on the Knorr website.

Beef Stroganoff

Preparation time: 10 min

Cooking time: 35 min

Serves: 4

Stuff to throw it together

6 chives, chopped (optional)

1 pinch fine black pepper

500ml cold milk The Klutz prefers to use real cream or sour cream, your choice

50ml sherry (optional) The Klutz feel this is essential

3m Paprika

1 pkt Knorr Beef Stroganoff Dry Cook-in-Sauce

500g beef strips (for quicker cooking though much more expensive, the Klutz uses the tails of beef fillet or when available and less expensive but no, Scotch fillet)

200g button mushrooms, sliced. Hey I like mushrooms so the Klutz doubled what the original recipe requires

15ml oil

1 medium onion, sliced into rings

1 green pepper, sliced Due to the fact I’m not at all fond of green peppers. The Klutz has used a cup of peas instead.

How to cook it up

  1. Fry beef strips and mushrooms in a splash of oil.
  2. Add onion, green pepper the peas and paprika and continue to fry until the onions are soft.
  3. Add the sherry.
  4. Mix Knorr sachet contents with 500 ml cold milk and add this to the beef mixture.
  5. Bring to the boil, stirring often.
  6. Cover and simmer for 30 minutes or until beef is tender.
  7. Season with black pepper and sprinkle with chives.

Buon Appetito

The Klutz in the Kitchen

Chief Grub Maker, Recipe Initiator, Adroit Glühwein Fixer and Imbiber, Devoted Coffee Slurpee, Craft Beer Quaffing Enthusiast and Pinotage Aficionada

Email: The Klutz in the Kitchen


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Feeling really pekkish munchie recipe

Recipes found and compiled by The Klutz in the Kitchen

Rain and cold weather go together, but not so much for us humans, however our Klutz in the Kitchen has a real comfort food that is really very quick, easy and heart warmingly good. Check the pantry and if you don’t have all of the ingredients go get ‘em quickly before the next cloudburst.

Curried Coconut Mince with Basmati Rice

Preparation time: 10 min

Cooking time: 30 min

Serves: 4

Stuff to throw it together

15 ml 
oil

1 large onion, chopped

1 thumb-sized piece of ginger, grated

1 clove garlic, finely chopped

350 g 
mince

15 ml 
hot curry powder

15 ml 
tomato paste

200 ml 
stock

200 ml 
peas

200 g 
cherry tomatoes, halved

200 ml 
coconut milk

100 ml 
fresh coriander, chopped

200 ml 
peanuts, chopped

Basmati rice to serve

How to cook it up

Fry the onion in oil until glossy. Add the ginger and garlic, and fry for another minute; then add the mince, browning it and breaking it up with a spatula. Then add the curry powder and tomato paste and fry for another minute. Stir in the stock and vegetables, and cook until reduced – about 15 minutes.

Stir in the coconut milk, herbs and peanuts and heat through. Serve with rice.

Words and image: Homemagazine  Home

Buon Appetito

The Klutz in the Kitchen

Chief Grub Maker, Recipe Initiator, Adroit Glühwein Fixer and Imbiber, Devoted Coffee Slurpee, Craft Beer Quaffing Enthusiast and Pinotage Aficionada

Email The Klutz at klutzinthekitchen@alljazzradio.co.za

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Drinks, Beverage ‘n Cocktails to enjoy with Friends

Compiled by The Klutz in the Kitchen

It’s a cold day so the Klutz decided to find a recipe from an area of the global village where people really know how to stave of the winter chill. Chest puffed out with pride and happiness he has found this traditional Scandinavian hot punch for the cold winter months! It is the Scandinavian equivalent of Glühwein and should be treated with healthy respect if one is going to opperate any heavy machinery of any sort.

Glögg combines a selection of warm spices and dried fruit with Vodka, Red Wine and Port, all gently simmered to produce a wonderfully complex and tasty variation on mulled wine. Quantities can be adapted depending on how much you’re making but the below recipe will make a batch of about 1.5 litres. Recipe found of the Top’s Website.

Beverage Recipe – Glögg

Serves 4

Prep and Create time 10

Bits and pieces to concoct it

250ml Vodka

750ml Red Wine

500ml Port

1 small packet Dried Figs

Large handful of Raisins

Orange Peels from 3-4 fresh oranges

Half cup of Brown Sugar

6-8 Whole Star Anise

6 whole Cloves

Handful of Cardamom Pods

8-10 whole Cinnamon Sticks

Procedures to rustle it up 

Combine ingredients in a saucepan or pot, stir and heat until at the desired serving temperature.

Pour into mugs or heatproof glasses.

Garnish with Blanched almonds and Cinnamon sticks.

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Jazz Rendezvous Blog Supreme

A very, very much younger moi

by Eric Alan Monday 06 August 2018

The musings, ranting’s and mutterings about some tittle-tattle, chit-chatter of this, that and the next thing and maybe some other interesting blather about the World of Jazz, Blues, Latin and World Jazz and a few other things compiled by presenter, compiler, producer, reviewer, webitor, MC, and er, um, ah, ok then creative mastermind of Eric Alan


South Africa commemorates Women’s Month in August as a tribute to the more than 20 000 women who marched to the Union Buildings in 1956 in protest against the extension of Pass Laws to women. The Government of South Africa declared August women’s month and 9thAugust is celebrated annually as Women’s Day.


Quote

…it bugs me when people try to analyse jazz as an intellectual theorem. It’s not. Its feeling. Genius Guide to Jazz


The Late Shakier Roberts

Damn really a sad bad news week this has been firstly learning of the passing of Polish trumpeter, bandleader, composer Tomasz Stańko from John Kelmans post early Monday evening, then to hear the news as the week drew on from Billy Kerker of Dr. Brian Nhlanhla Thusi passing on Wednesday 1 August. I had a long chat with him on the telephone some weeks ago. Further the passing of the legendary Winston Ntshona, bassist Mandla Zikala, and the young trombonist, taken too soon Shakier Roberts. Thank the gods that the past terrible week is done. Condolences to all who morn the loss of these talented contributers to the arts and culture scene.


New Jazz, Blues, Latin and World Jazz releases are happening on a daily basis around the global village, and it is difficult to keep up. Yet the record labels say that these formats are only a tiny percentage of worldwide CD sales. Is that a true reflection? What are your thoughts?

I believe this is not the case as it is only a tiny percentage that these major labels release. Multitudes of Jazz, Blues, Latin and World Jazz musicians are releasing their albums independently thereby controlling their own destiny. Just look at the list of albums sent to us, and that’s only a tiny number, there is so much more coming from the global village today. Check out the list we’ve received so far this year and make some exciting new discoveries.

Discover new and exciting music and musicians album releases


Barmy beats of Afro-Balkan ‘beasts’ bring joy to Johannesburg By STRUAN DOUGLAS Article from the BusinessDay 17 JULY 2018 – 05:05

Bombshelter Beast, a 14-piece acoustic-only orchestra, meld a range of genres, including gypsy rhythm and kwaito, to produce wild music. Picture: Supplied

From comical to quirky and weird to wonderful, Bombshelter Beast’s Afro-Balkan sound combines the fast pace of Joburg ubuntu with the craziness of Eastern Europe.

The idea to make a comic film about a buffoonish Joburg soccer team with a Serbian coach, starring Kagiso Lediga and Trevor Noah, propelled jazz trumpeter Marcus Wyatt into a carnivalesque musical space.

Wyatt felt his soundtrack from the resulting Taka Takata movie was a great foundation from which to form an inclusive 14-piece orchestra called Bombshelter Beast.

Read the full story here


What’s Behind the New Jazz Resurgence?

Kamasi Washington Masterclass at CTIJF 2017

From Kamasi Washington’s rise to the effects of #MeToo and Trump, critic Nate Chinen discusses the key players and themes featured in his up-to-the-minute new jazz history ‘Playing Changes’’ By EVAN HAGA

Read the full Rolling Stone story


Elio Villafranca Launches Cinque World Tour! Australia to Mexico 2018 DownBeat Winner Rising Star – Keyboard 4.5-star Review – Cinque! Read the full story


John Scofield

Multiple Grammy Award Winning Jazz Guitar God John Scofield Returns With New Album “Combo 66” Innovative guitarist, visionary band leader, and singular composer John Scofield has been on a serious roll of late. Scofield’s 2015 release, Past Present, earned the New York native not one, but two Grammy Awards for Best Jazz Instrumental Album and Best Improvised Jazz Solo.  Read the whole story


PLEASE VOTE for All Jazz Radio in the Mzantsi Jazz Awards. VOTE NOW for and VOTE LOTSA TIMES.

Please SHARE this post with all Acquaintances, Friends, Jazz Lovers, Followers and Fans Please CAST your VOTE and SHARE this post with all Acquaintances, Friends, Jazz Lovers, Followers and Fans

I’m going the become a bit of posting pest over the next few weeks by posting a few friendly, encouraging reminders to share a NEWS FLASH with all of your Friends, Followers and Fans, so please understand and don’t get too pissed.

ALL JAZZ RADIO has been nominated for The 2ndMZANTZI JAZZ AWARDS 2018 in THE BEST RADIO STATION PLAYING JAZZ CATEGORY.

The VOTINGis now open so PLEASE cast your SMS (TEXT) vote to the number 40439 in the TO line and add the unique code for All Jazz Radio, then in the message body fin the following manor add ZaJazz BR2, please remember there must be a space between ZaJazz and BR2 then hit the send button.

The winners will be announced on 11 August 2018 at The World of Yamaha, in Sandton, Marlboro.

Now we really need your assistance and request that you please encourage all Acquaintances, Friends, Jazz Lovers, Followers and Fans in the strongest most respectful and friendliest terms to vote for All Jazz Radio.The cost of the SMS is R2.00 and closing date for your voters is 11thAugust 2018 at 19:30.

Once again please cast as many votes for AJR as possible, now let your fingers do the talking. Go to The Mzantzi Jazz Awards 2018 Website at https://www.facebook.com/ZaJAzzAwards/

The Mzantzi Jazz Awards 2018 handles are as follows:

Twitter: @ZaJazzAwards

Facebook: Mzantsi Jazz Awards

Instagram: zajazzawards

Hashtag: #MJA2

Should you have an queries about the Mzantzi Jazz Awards 2018 call Peter Mashabane on the mobile number +27(0) 82 393 0026 or on the landline +27 (0) 12 751 7608.


Nogga (Another) Quote

A jazz musician is a juggler who uses harmonies instead of oranges. Bill Dobbins


Laugh of the week

Two musicians who haven’t seen each other for some time meet late one night in a jazz club. “Hey, man,” says one, “I hear you recorded a CD.”
“Yeah, that’s right, man,” replies the other. “I released it a few months ago.”
“How much have you sold?” asks the first.
“Ohh…just the house and the car.”


Reasons to Celebrate

August 06, 2018 is Cool Drink Float Day

Between the creamy vanilla ice cream and the frothy cool drink foam, how can anyone resist this sweet refreshment? Today we celebrate this tasty treat.

At the end of the 19th century, a man named Frank Wisner invented the first float. This early version was also known as a “black cow” ‘cause of the colour of the soda used to make one of these delicious beverages, just add a scoop of vanilla ice cream to a tall glass of sparkling soda. (Note: If you reverse the directions and add the cola to the ice cream you’ll end up with a big mess!)

Today, enjoy this delicious tradition and make your own float for Cool Drink Float Day!

August 06, 2018 is also Assistance Dog Day, Wiggle Your Toes Day, Garfiled’s dog friend Odie’s Birthday, Hiroshima Day also known as No Nukes Day. Hiroshima Day marks the anniversary of the day the United States dropped an atomic bomb on the city…


SUPPORT JAZZ, BLUES, LATIN & WORLD JAZZ MUSICIANS

Go buy their music – Don’t Pirate – Go to their Live Gigs

We are mobile, so you can take us with you wherever you may go and enjoy the best Jazz, Blues, Latin and World Jazz music from the South Africa, Africa and the rest of the Global Village any day, all day.


Listen to All Jazz Radio on any of the following:

http://alljazzradio.ndstream.net/flashplayer.htm

http://onlineradiobox.com/za/alljazzra/?cs=za.alljazzra

https://tunein.com/radio/All-Jazz-Radio-s185300/

http://streema.com/radios/play/88609


Have a great week, stay tuned, more coming your way

You can be part of the discussion by making your live comments on the AJR FB Group https://www.facebook.com/groups/alljazzradio/

SUPPORT JAZZ, BLUES, LATIN & WORLD JAZZ MUSICIANS

Go buy their music – Don’t Pirate – Go to their Live Gigs

We are mobile, so you can take us with you wherever you may go and enjoy the best Jazz, Blues, Latin and World Jazz music from the South Africa, Africa and the rest of the Global Village any day, all day.


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Dan Shout – In With a Shout Secret Weapons released by Pathway Records (UK) (2018)

Dan Shout blowing up a storm

By Eric Alan

For me its always an exciting occasion to be contacted by a South African Jazz, Blues, Latin or World Jazz musician from all of the subcategories of our genre mix and told of their forthcoming brand new album release. Rarely does that happen, usually I’m always keeping an eye out to see and find out who’s doing what and when. The social media has been a great help discovering those new albums and those that are often debutants.

Dan Shout is someone who doesn’t let the grass grow under him and makes contact when things are about to happen. As a musician he is one of those rare species who takes his career very seriously. He is an astute business minded musician who conducts himself in a highly professional manner. He has created an environment, which is conducive to success in the music industry; no make that the jazz music business of today, something of which I admire totally.

Secret Weapons is Dan’s fourth album and second under the moniker In With A Shout which is described on his website as a contemporary, African jazz-fusion project led by saxophonist Dan Shout, I must add that he is also a bandleader, composer, arranger and teacher.

The first track grab hold of me from the opening bars, after things just kinda flowed from there. I was caught up in the musical magic coming form the speakers. The recording itself is quite outstanding, well done to the recording engineers. The album cover is a gem too, it reflects the albums title in a kind of steampunk fashion, whoever the designer was, cudo’s.

As with his earlier albums each relflects his journey as a jazz musician in Africa with each CD (Book) release. The story told though Secret Weapons continues the earlier albums narrative with each track telling the listener of his passage to the here and now. I look forward to grander accomplishments with the subsequent CDs. He found his own unique voice in the cutthroat and fickle world of jazz in Africa a long time ago and continues to grow with each album release. Don’t wait another 4 years to release the next one Dan. This is an album that is a must have for any self respecting jazz afficianado and will stand the test of repeated listening.

Secret Weapons will be available for purchase from Friday 3 August 2018 at https://danshout.bandcamp.com  and other social media or go to Dan’s website at http://www.danshout.co.za/in-with-a-shout

Track Listing:

  1. Bennie’s Farm (Soloists: Dan Shout, Justin Bellairs, Michael Bester, Kevin Gibson)
  2. Jou Lekker Ding (Soloists: Marc de Kock, Michael Bester, Kevin Gibson)
  3. Challenge Accepted (Soloists: Andrew Ford, Justin Bellairs, Benjamin Jephta)
  4. Beer Jersey Boogaloo (Soloists: Dan Shout, Michael Bester)
  5. Betrayal (Soloists: Benjamin Jeptha, Justin Bellairs)
  6. Lough Easky (Soloists: Gordon Vernick)
  7. Ready & Waiting (Soloists: Dan Shout)

Personnel:

Dan Shout – Tenor Saxophone, Clarinet (Composer/Arranger)

Marc de Kock – Tenor Saxophone, Flute

Justin Bellairs – Alto Saxophone, Soprano Saxophone

Michael Bester – Electric Guitar

Andrew Ford – Piano

Benjamin Jeptha – Electric Bass

Kevin Gibson – Drum Kit

Gavin Minter – Percussion (Tracks 2, 4, 6)

Gordon Vernick – Trumpet (Track 6)

Ndumiso Manana – Vocals (Track 7)

Recorded, mixed and mastered by Andrew Ford at the Nuthouse Studios, Newlands, Cape Town, April/May 2018.

Discography

In With a Shout – SMC003 (2014)
Serenading Ghosts – SHOUT, SMC002 (2012)
Greetings & Salutations – Dan Shout, SMC001 (2010)


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The ‘Hoods breathe Cape Town weekend jazz

Bassist Carlo Mombelli

Artists and patrons moan that there’s no longer steady jazz ‘clubs’ in Capetown! When Carlo Mombelli took to the Olympia Bakery’s stage, he defied such thinking. “I had the most amazing concert last night…in a movie theatre! The Labia! Smelling all that popcorn. Then, I come here to a bakery (Olympia) and smell the bread…..” The unconventional Johannesburg-based Mombelli, with his eclectic band of merry men – aspiring and inspiring pianist, Kyle Shepherd; his able-bodied faithful drummer, Jonno Sweetman, and young rising star on all stages, guitarist Keenan Ahrends – guarantees performances oozing with meditative qualities, yet packed full of emotion when crescendos shout with rage . Thanks to Paul Kahanovitz’s ‘Slow Life’ brand of musical offerings, the Bakery transforms at night into a cozy listening venue for quality live jazz. Similarly at his other hand-picked venues, such as the Labia movie theatre, which kicked off on Friday with Mombelli’s crew. However, sound continues to be an issue from the Bakery’s flat stage which should be elevated for better viewing of the band. And that piano…..!!

Machine at Olympia Bakery

As the Bakery morphs, Mombelli excels, with a standing audience to tell the story. Like the conflicting colour scheme of his purple and green attire, he works his electric bass with sounds of multiple strings at different registries, then adds his wispy, child-like voicings with alien precision. His awkward looking body molds his bass guitar. At high treble range, the bass cries in other-worldly, unrecognisable sounds. But that’s what jazz is. A basic theme holds him to earth by guitarist Ahrends and pianist Shepherd’s occasional classical comments.

Kyle Shepherd

The audience remains in deep spaces, meditatively moving between spirit-breathing and reality-testing. Fortunately, they knew when not to clap, but to let the refrains finish. Cacophonous outbursts resolve back into joyful harmonies as Mombelli exhibits his new materials. The introspective, closed-eye Shepherd also catches these melodic meditations, which is why the two gents are such a worthy match. Mombelli’s compositions are beyond tribe, self, and country. They hit spirit realms common to all ears – if we would just listen!    

The ending song tells a touching story: Mombelli had not seen his father, who now resides in Athens, Greece, for 36 years. One hears the tender, thoughtful harmonies of this beautiful mellow piece, the peace of reunion and affirmation. And here lies the genius of this bassist – to elicit emotions and a sense of joy….in the living.

——

Jazz in the Native Yards (JNY), which hails as an arts managing agent from Gugulethu, a suburb of Capetown, continued the weekend jive in other ‘hoods’, starting with a 3 course luncheon of cheese fondu at Delheim Wine Estate and wine pairing, all deliciously enraptured by Spanish guitarist Luis Gimenez Amoros and his trio.

Luis Gimenez Amoros

Gimenez works at University of the Western Cape in Capetown as a researcher of the traditional mbira instrument and fuses Spanish musical styles with African rhythms, including the North African Berber, West African Gnawa and Saharawi and soukous, Afro-beats, and Cuban music. And those are the exciting sounds one hears as one sips the delicious and matured estate wines. The Delheim 2016 Shiraz was particularly conducive to the foot-tapping, body-swaying effects caused by the trio.

The Estate is surrounded by rich vegetation and gardens on the north side of Stellenbosch’s mountain range as well as family-reared Jack Russells.  Sunday jazz luncheons operate during this Winter season until end September so don’t miss it!

Sunday Jazz & Cheese Fondu at Delheimer

After wiggling around for two sets of Afro-Latin beats, drive back towards Capetown and stop in another JNY ‘hood, at Gugu S’Thebe Cultural Center in Langa, which is the longest established township in Capetown. Here, another local crowd of listening enthusiasts nestle into the large auditorium, with snacks and wine on offer, for a late afternoon of saxophonist McCoy Mburata with his hand-picked younger musicians. McCoy is familiar to all, having come from these parts, and grown up in the township jazz scene of South Africa. He’s home, and plays like it, with nostalgia, since residing in Gauteng’s Johannesburg has made him a ‘Gautownian’ as musicians flee from Capetown, sadly, to have more lucrative work in Gauteng.

Saxophonist Mccoy Mburata, Marco Maritz trumpet

So ‘native yards’ touches hearts of locals, be they living near or migrating to wine estates, or to other ethnically and financially diverse neighbourhoods. JNY plans to continue its venue sitings wherever the people want jazz, whether it be at the Alliance Francaise cultural center in the city, or out in African townships of Stellenbosch, or in homes such as Kwa Sec house in Gugulethu. Music has no boundaries but pulls us into one.

Check JNY on Facebook: https://www.facebook.com/nativeyards/ and at www.jazzinthenativeyards.co.za

Koko Nkalashe, manager of Jazz in the Native Yards

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Sis Gwen Ansell’s Blog

iPhupho L’ka Biko – dreaming, like Biko, of decolonised culture July 29, 2018 By Gwen Ansell

Bassist Nhlanhla Ngqaqu

June 16 1976 had multiple impacts on South African society. It’s often cited as marking the start of the “youth rebellion” that changed the country’s political landscape – although that minimises the long history of multi-generational resistance that preceded it. (Children had worked in white-owned households, mines, businesses, estates and farms, and formed part of anti-colonial struggles at those sites ever since the colonialists arrived.)

But new kinds of youth formations did emerge from ’76, and those in turn gave rise to new cultural expressions: songs, slogans, gestural language and dances. Those creative expressions travelled into exile, into the camps of young MK soldiers and into cultural collectives in Botswana, Zambia, London, more; into trade union cultural locals as school students became adult workers – and into performance spaces and rallies as artists re-visioned and developed the spirit of ‘76 with fresh creativity throughout the 1980s and into the 1990s.

The flowers from those roots were furiously diverse: the disciplined stage performances of the Amandla Cultural Ensemble; the take-no-prisoners compositions and playing of Dudu Pukwana and Louis Moholo-Moholo in exile; the mzabalazo of the Fosatu Workers’ Choir; Menyatso Mathole and Sakhile at Club Pelican (and that band’s Isililo a bit later); and the joyous defiance of the Malopoets ………..

click here to read the full blog

 

 

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Jazz Rendezvous Blog Supreme

by Eric Alan Monday 30th July 2018

The musings, ranting’s and mutterings about some tittle-tattle, chit-chatter of this, that and the next thing and maybe some other interesting blather about the World of Jazz, Blues, Latin and World Jazz and a few other things by presenter, compiler, producer, reviewer, webitor, MC, and creative mastermind- Eric Alan

Please feel free to Share and Read the latest news and info from the edited and curated by our fearless volunteers.

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Quote

“Blues is to jazz what yeast is to bread–without it, it’s flat”. – Carmen McRae

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Change is very much in the air even here at All Jazz Radio. There is a lot happening with our website and I must thank Carol Martin and Karen Jordi for assisting to make the very necessary changes and for motivating me to continue the forward motion. As volunteers they are showing unbridled passion for what has thus far been achieved. There is still much more to be done given our total lack of any sort of resources. We still need more help to lend us a hand and if you believe you can assist, please contact me or Carol with you offer of assistance and boy would we like it, please email her at seawave@iafrica.com

The name of this blog has also changed and hence forward will be known as Jazz Rendezvous Blog Supreme and we have taken out a few items which will now have their own post categories and will be found in the More Articleson the right hand side of the All Jazz Radio Home pages making it simpler to access the stories. Would you also please check out the All Jazz Radio Website and let us know your thoughts and if there is anything Jazz, Blues, Latin and World Jazz information related you think we should consider including, email us at info@alljazzradio.co.zawith the word websitein the subject line.

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Many are by now aware of the my vision issues, my drivers licence was not renewed due to the problem and am in need of an operation on both of my eyes in order to get back to healthy vision again. There have been a number of ads on FB for a benefit concert arranged to assist with the huge expenses, I would like to thank AJR presenter, long time broadcaster and long standing friend Clifford Graham for putting together the concert at the renowned Barleycorn Music Club on Monday 6thAugustat the Saggy Stone Bar and Restaurant, Villagers Rugby Club, 11 Imam Haron Road Claremont Cape Town. Also, in advance of the event I must thank the following musicians for agreeing to be part of the evening

Tina Schouw is a friend who has been a part of my life in a number of ways throughout my broadcast career, songwriter, musician, vocalist, poet and and all round wonderful person.

High End Blues, a band that celebrates the blues like no other, who recently released their debut album. The line-up of the band consists of Beshara Ornellas (vocals), AJR presenter James Kibby (guitar and vocals), Mark Buchanan (guitars), Ian Buchanan (bass guitar), Mark McDonald (drums) and Lance Allam (fiddle. mandolin, harmonica and vocals).

Another musician who has also played a great roll during my broadcasting raison d’être is musician, prolific composer, bandleader, recording artist, and part of a legendary musical dynasty Hilton Schilder.

Hilton, like Tina were some of the first artists that I played during my show way back in 1994 when my presenting career started at Peace Radio, sjoe, 24 years ago when Neil Johnson and Martin Baillie gave me the chance to be part of broadcast history during that important period on our road to democracy, sjoe, now I really feel part of the Tribe of Eld. Thank you once again to all of the musicians giving their time and effort to help me throughout my broadcast career for without hem there would be no Jazz, Blues, Latin and World Jazz to share with listeners. I look forward to you being there and seeing you there.

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As a critic, reviewer, presenter, writer it is important to keep an open mind when undertaking any of those tasks. There is also an obligation for the reviewer to be honest, truthful, and unbiased when undertaking the task at hand. Much of the media today lives in a good news world, other that when it comes to politics and disaster, but when it comes to the art of reviewing of live shows, theatre, movies, music, albums, books, restaurants and the arts as a whole the rules are just thrown out of the window. I mean how often do you see a review of any sort where the reviewer pulls no punches and tells it like it is without fear or favour?

Is it fair that only the good reviews are published? Is it being fair-minded to the artists/musicians concerned? Most of the unfavourable/bad reviews/critiques are never published at all. Why not? Well, with most commercial media operations it’s the bottom line and shareholders that they are more concerned with, most of all they don’t want to lose any advertising spend. This was something that was told to me by the editors when I reviewed for a few publications a number of years ago; even then I knew it was being dishonest.

I have asked our AJR presenters, reviewers, writers and critic’s to give us their honest and unbiased opinions, pulling no punches when they are asked to write and review any CD’s, live events, restaurants and interviews. Am I right in asking them to do so? I believe I am, because those artists who are being reviewed deserve to know the honest truth about their efforts, not so?. Though that truth the good, the bad and the ugly may sting for a short while, when their mind returns to logical thought they will then understand and will make adjustments to make sure that the mistakes made won’t occur again. It should been seen a constructive criticism and truth to power thereby making for a better project next time. What do you think?

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PLEASE VOTE for All Jazz Radio in the Mzantsi Jazz Awards. VOTE NOW forandVOTE LOTSA TIMES.

Please SHARE this post with all Acquaintances, Friends, Jazz Lovers, Followers and Fans Please CAST your VOTE and SHARE this post with all Acquaintances, Friends, Jazz Lovers, Followers and Fans

I’m going the become a bit of posting pest over the next few weeks by posting a few friendly, encouraging reminders to share a NEWS FLASH with all of your Friends, Followers and Fans, so please understand and don’t get too pissed.

ALL JAZZ RADIO has been nominated for The 2ndMZANTZI JAZZ AWARDS 2018 in THE BEST RADIO STATION PLAYING JAZZ CATEGORY.

The VOTINGis now open soPLEASEcast your SMS (TEXT) vote to the number40439 in theTO line and add the unique code for All Jazz Radio, then in the message body fin the following manor addZaJazz BR2, please remember there must be a space between ZaJazz and BR2 then hit the send button.

The winners will be announced on 11 August 2018atThe World of Yamaha, in Sandton, Marlboro.

Now we really need your assistance and request that you please encourage all Acquaintances, Friends, Jazz Lovers, Followers and Fans in the strongest most respectful and friendliest terms to vote for All Jazz Radio. The cost of the SMS is R2.00 and closing date for your voters is 11thAugust 2018 at 19:30.

Once again please cast as many votes for AJR as possible, now let your fingers do the talking. Go to The Mzantzi Jazz Awards 2018 Website at https://www.facebook.com/ZaJAzzAwards/

The Mzantzi Jazz Awards 2018 handles are as follows:

Twitter: @ZaJazzAwards

Facebook: Mzantsi Jazz Awards

Instagram: zajazzawards

Hashtag: #MJA2

Should you have an queries about the Mzantzi Jazz Awards 2018 call Peter Mashabane on the mobile number +27(0) 82 393 0026 or on the landline +27 (0) 12 751 7608.

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Nogga (Another) Quote

…don’t think of yourself as a jazz musician. Think of yourself as a human being who plays music. – Charlie Haden

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Laugh of the week

One night, the front man said to his drummer, “When the band starts to swing, I want you to play more on the ride cymbal.” The drummer replied, “When the band starts to swing, will you please raise your hand?”

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Reasons to Celebrate July 30, 2018

Today is Cheesecake Day! Yep, you got it, all day.

Cheesecake is a rich, decadent dessert made with cream cheese, eggs, sugar, and vanilla. Add a crumbly graham cracker crust and a fruit topping for the ultimate cheesecake experience!

There are dozens of different cheesecake varieties. Some of the most popular flavours are strawberry, key lime, and peanut butter cup. There are also many styles of cheesecake. Different countries (and even cities) have their own version of this classic dessert.

To celebrate Cheesecake Day, grab a slice of your favourite cheesecake from your local bakery!

Remember to keep an eye out for special cheesecake deals and giveaways in honour of the occasion.

July 30, 2018 is also Day of Friendship & National Father-in-law Day

Julyis Grilling Month, Ice Cream of any Flavour Month and Hot Dog Month

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SUPPORT JAZZ, BLUES, LATIN & WORLD JAZZ MUSICIANS

Go buy their music – Don’t Pirate – Go to their Live Gigs

We are mobile, so you can take us with you wherever you may go and enjoy the best Jazz, Blues, Latin and World Jazz music from the South Africa, Africa and the rest of the Global Village any day, all day.

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Listen to All Jazz Radio on any of the following:

http://alljazzradio.ndstream.net/flashplayer.htm

http://onlineradiobox.com/za/alljazzra/?cs=za.alljazzra

https://tunein.com/radio/All-Jazz-Radio-s185300/

http://streema.com/radios/play/88609

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Have a great week, stay tuned to All Jazz Radio, more coming your way

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Beverage Recipe – Beergarita

Here is a recipe for an intriguingly named cocktail, which attracted The Klutzes attention immediately. It is one for all Beer and Tequila lovers, and being a big one I felt that this was a vital recipe to add to ones repertoire and share. Now I don’t know Jodean Seniuk who is atributed as the originater of the recipe, but big thanks for coming up with it. Totally lekkerlicious (yummolicious) it is too. Make a large pitcher when next slapping a nice juicy Sirloin or rack of ribs on the braai.

Beergarita

Serves 4

Prep and Create time: 10 mins

Bits and pieces to concoct it

  • 6 cans or bottles beer, brand of your own choice
  • 1 x 350ml can frozen limeade concentrate (such as Minute Maid®) or freshly squeezed lemon or lime juice
  • 350 ml tequila, your choice of brand
  • 6 x cups ice cubes

Course of action to rustle it up

  1. Pour beers into a large jug. Add limeade; stir to combine
  2. Use limeade can to measure out tequila; pour into pitcher and stir well to combine
  3. Serve over ice.

Recipe found on the All Recipes Website

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All the nominees for the 2018 Mzantsi Jazz Awards

Work produced by South African Artist from 1 April 2017 to 31 March 2018.

Entries were evaluated by the following criteria:

  1. Creativity
  2. Technical competence
  3. Contribution to the industry with something new
  4. Popularity within segment/fan bas
  5. Longevity

 

 

 

 

Best Radio Station Playing Jazz

  1. Alex FM
  2. All Jazz Radio ZA
  3. CCFM 107.5
  4. Kaya FM
  5. Metro FM
  6. Veterans Voice Radio

Best Jazz Album

  1. 5th Season Trio – 3 out of 4 (BJ1)
  2. Billy Monama – Re-bounce (BJ2)
  3. Bonginkosi Madonsela Quartet – Live At The Yamaha Theatre (BJ3)
  4. Cameron Ward – Live at the Orbit (BJ4)
  5. Kinsmen – Window To The Ashram (BJ5)
  6. Mabuta – Welcome To This World (BJ6)
  7. Mpumi Dhlamini – Note To Self (BJ7)
  8. Nduduzo Makhathini – Ikhambi (BJ8)
  9. Sibusiso Mash Mashiloane – Rotha (BJ9)
  10. Sy Ntuli – Ibuya (BJ10)
  11. Tlale Makhene – Swazi Gold (BJ11)
  12. Zoe Modiga – Yellow The Novel (BJ12)

Best Jazz Song

  1. 5th Season Trio – “Ayumi’s Journey“(BS1)
  2. Billy Monama – “Soweto Highway“(BS2)
  3. Bonginkosi Madonsela Quartet – “Mzwandile“ (BS3)
  4. Cameron Ward – “Sophia Town/ God of The Universe“(BS4)
  5. J.M-Cornetist – “Via Orlando“ (BS5)
  6. Mpumi Dhlamini – “Forever Always’‘ (BS6)
  7. Nduduzo Makhathini – “Amathombo“ (BS7)
  8. Sibusiso Mash Mashiloane – “Niza“ (BS8)
  9. Sihle Zungu – “Monk Robber“ (BS8)
  10. Sy Ntuli – “Ntsika’s Lullaby” & ”Wela“ (BS9)
  11. Tlale Makhene – “Emabhunswini“ (BS10)
  12. Tune Recreation Committee – “Voices of Our Vison“ (BS11)
  13. Zoe Modiga – “Yawe“ (BS12)

Best Contemporary Jazz Album

  1. 5th Season Trio – 3 out of 4
  2. Billy Monama – Rebounce
  3. Cameron Ward – Live At The Orbit
  4. Sy Ntuli – Ibuya
  5. Tune Recreation Committee – Voices of Our Vision
  6. Zoe Modiga – Yellow The Novel

Best Traditional Jazz Album

  1. Sy Ntuli – Ibuya
  2. Tune Recreation Committee – Voices of Our Vision
  3. Zoe Modiga – Yellow The Novel

Best Female Jazz Artist

  1. Thandi Ntuli
  2. Zoe Modiga

Best Male Artist

  1. Nduduzo Makhathini
  2. Ariel Zamonsky
  3. Billy Monama
  4. Nduduzo Makhathini
  5. Sibusiso Mash Mashiloane
  6. Sy Ntuli

Best Newcomer in Jazz

  1. 5th Season Trio
  2. Ariel Zamonsky
  3. Billy Monama
  4. J.M-Cornetist
  5. Kinsmen
  6. Sihle Zungu
  7. Zoe Modiga

Best International Jazz Collaboration  

  1. Aaron Rimbui – Kwetu
  2. Salim Washington – Dogon Revisited
  3. Sankofa – Sankofa

Best Foreign Jazz Album

  1. Aaron Rimbui- Kwetu (BF1)
  2. Salim Washington – Dogon Revisited (BF2)
  3. Cécile McLorin Salvant – Dreams and Daggers (BF3)
  4. Manu Dibango & Moreira Chonguica – M&M (BF4)

Best Club/Venue for Jazz

  1. Badela Jazz Club
  2. Jazzy Rainbow
  3. Metro Restaurant
  4. Soweto Theatre
  5. The Chairman
  6. The Orbit

Life Time Achievement Awards

  1. Mabe Gabriel Thobejane
  2. Madala Kunene
  3. Pops Mohammed
  4. Dorothy Masuka
  5. Selaelo Selota

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Filed under 2018/19 Mzantsi Jazz Awards - All Jazz Radio Named Winner in the radio category

London Jazz News

Editor/Publisher Sebastian Scotney, used with permission

Beats & Pieces Big Band celebrated its 10th anniversary with a North American tour and is about to play a birthday gig (and a live album/DVD launch) back where it all began, at Manchester Jazz Festival. Ben Cottrell tells Sebastian all about it: Click on the Link to read the full interview; INTERVIEW: Ben Cottrell (reflections on Beats & Pieces’ North American tour plus new album/DVD launch at mjf)

 

 

 

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