Interviews with Carol Martin

Carol chats with local and international jazz musicians

Mateo Mera Band – Rocking over Bridges, Heights, and Continents at SBNAF 2016

Mateo Mera sits cross-legged on a mat, resting his Sitar on his bent leg, as he opens the set with a Sitar solo, sung in his best gentle voice.

Matea Mera playing Sitar. Photo: (Cue/Dani O’Neill)

Matea Mera playing Sitar. Photo: (Cue/Dani O’Neill)

What followed was a raucus few songs in not-so-light rock with his quartet’s three guitars blazing. While this seemed like a quirky and unlikely contrast with the viewer’s expectation, the group rather skilfully switched tempos, as well as instruments as they moved through Uruguayan, Indian, the 1970s/1980s American pop rock. Their second concert at Grahamstown’s Standard Bank National Arts Festival 2016 on 6 July drew sold out crowds again, thanks to the group’s sponsorship by the Uruguay Embassy in South Africa, Nikki Froneman Arts Management in partnership with NAF 2016,  and hosting in Johannesburg by UNISA who provided workshop and performance opportunities to these zesty young musicians. I particularly liked their inventive interpretation of a BeeGees song, “You don’t know what it’s like to love somebody” as they swung into American-styled rock. Their concerts pulled songs from their first album, “Sobre los Puentes y Las Alturas” (Over the Bridges and Heights) cut in 2013 but published in 2015.

Matea Mera on lead guitar. Photo: Cue/Dani O'Neill

Matea Mera on lead guitar. Photo: Cue/Dani O’Neill

Full of humour in their performance, the members pranced around the stage, taking sips from their water bottles and swopping instruments and places. Mateo’s highlight was playing guitar and harmonica simultaneously while kicking (backward) a drum with attached cymbal suitcase for percussive effect. Here he excelled in delivering a soft ballad. This was followed by a Beetles’ song by George Harrison, “Here Comes the Sun”, played with a ukulele, after which Mateo jumps around to the piano and vocalizes with the band a heavy rock song (unfamiliar to my otherwise jazz ears). This was mostly a rock concert, and the Sitar was, unfortunately, forgotten after the first song, but the bands versatility in delivering different fusions of rock was appreciated. The set ended with the drummer swopping his drums for the mic as he swung the band into an exciting and physical rap. This ‘rappatoire’ brought instant whistles from a rock-oriented audience, along with a standing ovation.

I caught up for a chat with the band before this performance. Matea puts me at ease immediately as he enters the room and offers me a sip of Uruguayan tea with a chuckle. As I looked down at the greenish brown herbal mush in a brass pot and sipped from a brass straw, Matea enthusiastically remarked, “This is for energy!” Indeed, they had it. This group of 30-somethings chuckle throughout their encounter, each calling out answers to any questions and volunteering information freely.

Drinking tea with Matea Mera band, 6 July 2016 at NAF 2016

Drinking tea with Matea Mera band, 6 July 2016 at NAF 2016

CM: What is special about South Africa?
The Group: There are great musicians. They don’t make one mistake. They were really professional, like Roland Moses and Sakhile Moleshe, the singer. He is like a Uruguayan rapper. We all have a lot in common.

CM: You seem playful and also serious at the same time. What social issues concern you in your music?
The Group: We are goofy and laugh a lot. We’re a sun of another time. But we talk about violence against women, the street life of gangs, and people in difficult circumstances, in our songs. The world has no borders now and I can be anything in the world. We are not just from a country but live in the world. We would like to spend more time in South Africa working with musicians and learning more about your history, particularly those aspects of colonialism and apartheid which were similar in Uruguay.

CM: You say you are a fusion band.
The Group: We call ourselves a rock band, but we actually would like to do more jazz and improvisation. We love fusion, and mix everything. We travel to other countries and find out how to mix our music, like using flute of Bolivia. We love to do special things so we are identified as doing special sounds.

CM: Where did you study or learn your instruments?
The Group: In the house of a master – there’s not a structure for studying in institutions. It’s private study. There are limited numbers of students. You don’t have to go to school to be a good musician. In Uruguay, everybody plays guitar. The government has funding to enable a student to study with a particular professor.
Mateo – I learned my sitar in India with a master. I take several trips to India in order to learn and buy the right instruments. It’s hard to find Indian players in Uruguay.

CM: What kind of groups would you want to work with here in South Africa, if you had an opportunity?
The Group: Percussionists. All of our Uruguayan percussion came from Africa. Our ‘cueros’ percussion is special, too, and goes like this (demonstration).

CM: Why do you want to move more into jazz?
The Group: On stage we are always improving. If we are excited, we absorb the energy of the audience. People loved our first show in Grahamstown. They told us we should play in a theatre without chairs so people can dance.

&*&*&*&*&*&*&

And yes, their rocking music is danceable! I hope this zesty group returns to RSA soon. Huuummm…..funding………

Mateo Mera – voice, sitar, guitar, keyboards, bass suitcase
Gonzalo Díaz – voice, bass guitar
Rogelio Lago – drums
Rodrigo Baeza – voice, guitar, sax

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

Toon Roos Quartet’s rag doll effect – a highlight performance at NAF 2016

Here’s a Dutch saxophonist who really made me just melt away like hot putty in my seat! At times, I wondered if I had died and gone to heaven. Toon Roos and his band looked like ordinary chaps who might play ordinary jazz. Nope. Roos’s own aura reverberated around the stage as he pulled off inventive, and sometimes quirky, arrangements to certain tantalizing American jazz standards that spoke about the important…..love…..

Toon Roos at NAF2016: CuePix/NAF2016

Toon Roos at NAF2016: CuePix/NAF2016

Known for playing lyrical and funky jazz that grooves to the moment, Roos took us on an escapade into unfamiliar twists and turns. “I Fall in Love Too Easily” spoke reality; Dutch bassist Hein van de Geyn, now an implant on South African soil, slid his bass lithfully into what seemed as hopelessness. I came out as a wobbly rag doll. “Straight No Chaser” displayed masterful arrangements, but “Body and Soul” turned a sleepy ballad on Roos’s tenor sax into another blanket-hugging rendition, again with Hein’s double bass solo exuding the mellow, the expressive, and always the gentle. As many musicians do, Roos wrote “Fading Star’ for a relative, his mother long passed, and offered a beautiful slow ballad in tribute. My dollishness was awakened with the last song by Roos boasting a happy and melodic Brazilian beat. Could improvisational jazz be any better?

Toon Roos Quartet: CuePix/NAF2016

Toon Roos Quartet: CuePix/NAF2016

Roos has played with the greats of Joe Zawinul, John Scofield, Toots Thielemans, Steely Dan, Ravi Coltrane, and Art Blakey. The list is endless. No wonder he’s also a funk master, having a vocal project with drummer Manu Katche who also plays with Sting and Joni Mitchell. Eleven years ago, Roos and his Quartet performed at Capetown’s North Sea Jazz Festival. The man has credentials, as do current band members. He’s been compared to Saxophonist Wayne Shorter by contemporaries, but Roos is really beyond comparison. I would fly to Europe to hear this man again, but more credentialed and less raggedy dollish.

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

Ancestral routes in jazz – a journey with Siya Makuzeni, Standard Bank Young Artist 2016 for Jazz

This Standard Bank Young Artist for Jazz 2016 started her first concert with an epic vocal scat, the likes I hadn’t heard from her previous songs (by others). Thirty three year old Siya Makuzeni, who hails from East London, skillfully fused her Xhosa sounds with some basic other roots of bebop and improvisational contemporary jazz. Her appearance at Grahamstown’s annual SB National Arts Festival 2016 offered her a first opportunity to present her own songs, constructed in careful refrains that cut across musical harmonies and genres. Hard to describe, but her adept band of three horns, including her own trombone, and rhythm backline including the talented Thandi Ntuli on piano seems ready to boom boosters into the South African jazz cosmos. I was relieved to see another female artist on stage, too.

Siya Makuzeni on trombone: NAF2016 CuePix/Aaliyah Tshabalala

Siya Makuzeni on trombone: NAF2016 CuePix/Aaliyah Tshabalala

I caught up with Siya for a chat on 1 July. I wanted to know what internal juju had been working on her creativity, and I think I got some insights.

CM: Your primary school teacher he told me that you were not very musically inclined or active in those young years. Perhaps it was the people you were working with later who gave you a boost. What was that spiritual bone that sparked you internally to blossom?
SM: I knew something was there, but I’ve never figured out what it was. Music has always been about how I understood life. Even before and during primary school, I was in choirs and learning the recorder. Music was always milling around me at home. My parents had introduced me to such a diverse arrange of music at home. It wasn’t called ‘folk’ or ‘rock’, but just a variety of music. Maybe that inspired me as a child, wanting to emulate my parents. They were a huge influence on me then.

CM: You were blessed with supportive parents. And what about now? Any other relatives or ancestral spirits that pushed you into some spiritual realm?
SM: Oh gosh! Wow! I’m sure that has existed. I haven’t tried to interrogate that. I remember going home where my family had a ceremony. One of my older aunts mentioned that I’m on the ‘right path’, that what I’m doing is like a vessel, healing as I go forward on my journey as a musician. For me personally, I’m still trying to figure that out. I definitely draw from that ‘right path’ and use music a lot to draw inspiration in terms of grounding myself, being on stage……

CM: It would be interesting to pursue that, and draw out from the archives of culture the influences on you. Let’s talk about your own music which is rooted to your own cultural background. There’s something primordial and ancestral about it. What is influencing your choice of song, lyrics, rhythm of your own making? You’ve performed others’ pieces, but with your own voice and interpretation. Now, you’re on your own journey.
SM: I really have to think about it. Many different factors are influencing me. Start on the musical level. Look at my loops: They’re very rhythmic and polyphonic and extremely Xhosa-centered harmonically which has helped me to choose which harmonies I want. I studied jazz, but when I was here at Rhodes, I studied ethnomusicology and this spurred me on to adopt a non-western approach to music. So since 2001, I don’t believe that this approach has left me.

There was also a sense of needing constant change, pursuing something that keeps going forward, that keeps the reel rolling. If the pathway becomes stagnant, then I become frustrated. Because of that, and as I try to grow my career, I look at collaboration as a huge part of my creativity. It has enabled me to do my own stuff. This ties in to finding and mixing genres that have common grounds, trying to flip things up on their heads.

Siya Makuzeni on vocals:  NAF2016 CuePix/Tamani Chithambo_30JUNE16

Siya Makuzeni on vocals: NAF2016 CuePix/Tamani Chithambo_30JUNE16

CM: Speaking about genres, there is melody, refrains, and lyrics. There were two songs you performed last night that you were singing which sounded like ….there was a fine line between scatting and the language. I found that quite intriguing. Also, you do a lot of scat in your songs. Few singers want to scat. You’ve pursued different types of scat and the language fused with it. Where does that come from? Was that deliberate?

SM: Probably. Also, I might not be aware of it because I’m in a space where it’s so natural. When I decided I wanted to be a jazz vocalist, I was listening to Ella Fitzgerald and Sarah Vaughn. These were my biggest surprises; I’d never heard a voice being used like that before, and I found it completely fascinating. I was also dumbfounded to see how they used their voice like an instrument. This was completely new to me. At that point, as I was transitioning from the trombone to vocals, I could see the similarities between the instrument and the voice. And then discovering these women!

CM: That’s what you’re doing, going beyond lyrics and into the instrumental voice.
The machine you were using – the vocal lyrics pedal – what has enamoured you about that little box? Why are you using that?
SM: Possibilities! Possibilities! Endless possibilities! And as someone who needs constant change, I use it because it allows for this change. I had used a foot pedal for a number of years. I found myself in situations, also, where it was difficult to collaborate with other vocalists on the same song. I had used it in “Prisoners of Strange” band of Carlo Mombelli and the pedal allowed me to explore more with vocals. I listened to other avant guard women singers who were pioneering the use of vocals in different ways, like screams and seagulls and that kind of thing.

It was already an interesting journey, but when I realized there is so much to add harmonically, in terms of using modulation for effects, things you might not be able to do with your own voice, that’s where these explorations happened. So I just said, “I can back my own vocals.”

CM: I guess backing vocals and choirs are traditional in some older jazz forms. That little box gives you different ranges of the same note, harmonically.
SM: It gives a six part vocal harmony so you can really go crazy. You also have the opportunity to put it into the key that you’re working with.

CM: Have you thought about a collaboration with Lwanda Gogwana (trumpeter) since he has pulled from his ancestral roots also?
SM: That would be quite interesting as we both are revisiting the Xhosa traditional songs.
CM: I think of jazz as being improvisation on folk music in a society. Everyone has songs.
SM: Totally.

CM: Regarding your performance last night, I noted in the 6th song that you seemed to deliver a sense of anger in your voice, in your presentation. You show emotion……I felt there was a protest, a pulse you wanted to get across, maybe a sadness or disappointment you wanted to get out.
SM: Not really. It was a moment, when spontaneity took place, and I guess I seized that moment.
I was emoting, yes, but I was having fun. I think what was interesting about that moment was ….right at the end I was doing the vocal percussive thing…. After the growling….. and thinking, geez, I haven’t done that [type of vocal] since “Prisoner of Strange”. This was just a revisit to what I had done before, but this time with my own music.

CM: That’s great, then. To take that moment and go with it! That’s creativity.
Where do you go from here?
SM: Huuummm! Good question. We’re all trying to build dreams. I’m excited, but I can’t say I ‘know’ what’s going to happen. I do hope to tour with my new sextet as much as possible.
We’ll release an album before the end of this year. But really build on the sound, and use those opportunities, like at festivals, to go and visit other musicians. Or find a way to link up with other musicians around the world as a stepping stone for this band to be around in years ahead. The band is like family; we are all committed. This is my first jazz band.

Thandi Ntuli at NAF 05July 2015:  CuePix/Tamani Chithambo

Thandi Ntuli at NAF 05July 2015: CuePix/Tamani Chithambo

Another band I’ve had is more of cross over rock. Now, this is my first jazz band and one where I don’t have to fight musically and where people are personally committed. I’m excited for that and we’ll see what happens.

CM: Do you still collaborate with Carlo Mombelli and Marcus Wyatt as you were doing?
SM: I had to take a break. I just didn’t have time. Of course, we’re all family, but I needed my own time and space to create. That was a very tough decision to take a break from them.

CM: How could you encourage more women to find their creative talents in jazz?
SM: It’s very subjective and personal. To excel in this industry, you have to have balls. I learned this at a young age by being thrown in to the experiences, like with this Festival which I’ve attended for a long time. So because of this, coupled with my determination, it has worked out for me.

But you have to seriously have guts for these live performances!
I also think that if girls are encouraged at early childhood development stage, you would see a difference, and more activity from them as they grow older and enter the industry. More confidence. There’s simply not enough going on to make music accessible to kids at such a young age, so if we could fix that, we’d see a lot more active females.

&*&*&*&*&*&*&*&*&*

Let’s watch this young lady flourish with future events, festivals, and live gigs! HAVING THE EXPERIENCE/DEEP END + DETERMINATION AND GUTS = success.

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

NAF2016: A Bassist stole the show…..Trio Corrente from Brazil

Always smiling bassist Paulo Paulelli stole the show, only half way in, with his tongue-in-cheek clicks, hisses, boofs and other oral sputters and percussive grunts  on his willing double bass at Grahamstown’s National Arts Festival. He was left alone.  It was only the second show which kicked off the NAF’s annual, vibey, and highly successful Youth Jazz Festival, as some 350 music students from various educational institutions around South Africa descended on the Diocesan Girls School facilities.

Trio Corrente from Brazil

Trio Corrente from Brazil: right – P. Paulelli

The Brazilian jazz ensemble, Trio Corrente, blessed the DGS Hall with highly entertaining offerings, from soulful bossa nova to funky, clickety-clack choro rhythms, to just plain improvisational frolics that brought laughs, cat-calls, and a standing ovation at the end.

This Sao Paulo-based trio, two times Latin Grammy Award winners, displayed utter perfection in coordinating, not only their eye contact and internal laughter with each other, but their rhythmic, staccato sounds. Their repertoire ranged from the almost classical renditions of Brazilian songs to solo emotions to funky and whacky conversations between the instruments. The musicians talked a lot, musically. It was an unforgettable 75 minutes of pure aural fun ringed with lots of groovy humour and immense talents. This is their first visit to perform in South Africa, and definitely should not be their last! As their other collaborator and saxophonist band member, the renowned Paquito D’Rivera, has said: “Um trio maravilhoso”!

SOUL HOUSING PROJECT

Trio Corrente followed the opening act of the Youth Jazz Festival, a zesty bunch of youthful  South Africans headed by suave hippy hop singer, Sakhile Moleshe, who belts out danceable rap jazz that inspires the youth watching him. Supported by talents such as keyboardist, Bokani Dyer (nominally also an inventive jazz improviser), Soul Housing brings all sorts of familiar rhythms put to unconventional waves of sounds, such as mixed soul and rap, urban funk and ballads. Sakhile put the heat on when he switched to Xhosa rap, with identifiable messages to the largely Xhosa-speaking audience of students and other Eastern Cape ticket holders.

 

Sakhile Moleshe, Soul Housing Project

Sakhile Moleshe, Soul Housing Project; photo by Mia van der Merve/NAF 2016

The best way to kick off a ‘Youth Jazz festival’ is by a local young, familiar, and popular group of ‘young guns’ who are rocking their way to fame (forget the fortune – it doesn’t exist)!

Soul Housing Project: photo by Carol Martin

Soul Housing Project: photo by Carol Martin

Leave a Comment

Filed under All Jazz Radio Blog, CD & Gig Reviews, Interviews with Carol Martin

Who is bassist Lionel Beukes?

“After many years performing in China, I felt it was time to ‘come home’, join my roots again, and play our South African music and other standards, and maybe to teach the younger ones,” says Beukes as he proudly smiles his way through my interview.  Back to his home town of Capetown for a little over a year, and newly married to a long time sweetheart, Beukes’ desire right now is to promote fellow elder musician, pianist Ibrahim Khalil Shihab, and pull the latter’s compositions out of the closet.  Beukes also has songs penned in China to bring forth.

Lionel Beukes

Lionel Beukes

“I have two upright basses, including the semi-electric acoustic Latina bass, a double bass and two bass guitars.  At the School (Cape Music Institute at Athlone stadium), I teach the students (who can only afford an electric bass guitar) the double bass positions using their own small guitars. I use the Ray Brown book.”

Lionel Beukes & Ibrahim Khalil Shihab at District 6 Homecoming 27 May 2016

Lionel Beukes & Ibrahim Khalil Shihab at District 6 Homecoming 27 May 2016

Just turned 66 years old, Beukes has no desire to ‘retire’.  “Retirement?  When I retire I’ll be in my grave!  I’m a musician and must help grow the music,” he exclaims when asked if and when he will settle into elder comforts.  “Dedication and commitment is what it’s all about, and for now I plan to fully engage with promoting Shihab’s music and artistry after so many drought years he has had.  I am also writing my own compositions, and together, we plan to get those songs registered with SAMRO and continue our business.”  Beukes et al are approaching radio stations like Bush Radio and Fine Music Radio for sponsoring and interviews as well as performing with his older band, the popular Out of Town, at Swingers in Athlone on Sunday evenings.

Beukes sees the need for a business approach in his music industry. “It IS about making money, but also having opportunities to work with the younger musicians as well.  We aim at the concert hall stage rather than the club scene for live performances, where people can come to listen and appreciate, and pay for it.”  Beukes is presently choosing his own band, including saxman Buddy Wells, known to play with everyone to date. Twenty year old Liam Webb, presently a student at CMI, is his drummer who will soon attend UCT’s School of Music.   “Although I’m putting together the project, my acoustic quartet will include Buddy’s group, in order to promote him, and another piano player. We are all like family.”  But sponsorship is key, he says, to finance promotions and recordings. Beukes plans to approach his old manager in Johannesburg to come on board again.

Various collaborators are supporting the concert hall idea, and even recommending using school halls that are well equipped with sound systems.  So the Beukes team aims to present more lively and vibrant acoustic jazz performances in South Africa’s major cities with the young and old timers.

1 Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

Ibrahim Khalil Shihab Quartet exuded history, texture, and good ole acoustic jazz at District 6 Museum’s Homecoming Center last Friday evening, 27 May.

Having cruised the south Pacific Ocean, I find Irving Berlin’s “How Deep is the Ocean” rings a familiar sensation about what ‘unfathomable’ means, like true love, which is what makes this song rich and textured. The brilliant artistry of pianist Ibrahim Khalil Shihab does just that for 24 minutes in his solo piano album, ‘Solo Piano’, cut in 1999. Known as Chris Schilder of Pacific Express in earlier days, and who converted to Islam in 1975, this Capetownian is no less magical in his musical renditions now. With his fellow team members named below, 70 year old Shihab wishes to revive himself with both established and younger musicians in South Africa.

Ibrahim Khalil Shihab. Photo: David Harrison

Ibrahim Khalil Shihab. Photo: David Harrison

Friday’s concert portrayed an extremely gifted and powerfully alert pianist who excels at improvisation and message. His Scarlotti-styled runs in some pieces reverberated throughout the well-packed hall. Even without an acoustic grand piano which he would prefer, his two electric pianos which admirably served for the evening’s performance managed to do justice to his messages.

In conversation with double bassist, Lionel Beukes, earlier, even Beukes had to haul out his thin Latina semi-electric bass to match Shihab’s piano that evening. “I’ve returned from years in China, and want to continue to perform our South African music, and to promote Ibrahim who has been too silent for too long,” says Beukes. “I teach at the Capetown Music Institute with its musician head, Camiillo Lombard, and try to match our good students with the jazz dons like Ibrahim.”

Ibrahim Khalil Shihab quartet at D6 Homecoming 27 May 2016

Ibrahim Khalil Shihab quartet at D6 Homecoming 27 May 2016

Indeed, Friday’s offerings (promoted by Classic CT) presented 20-year old drummer Liam Webb, formerly from South Peninsula High School jazz band and soon to attend UCT’s College of Music, in his first jazz gig. A student at CMI, Webb displayed confidence and humility during the performance as he was occasionally mentored by Beukes and Shihab. Webb was allowed a drum solo in a Shihab piece, “Pursuits”, which Webb pulled off in clean pizzazz. Another generation later was Buddy Wells whose tenor and alto saxophones provided impressive, clean, and consistent accompaniment to Shihab’s piano runs. The varieties of songs this Quartet played wooed the audience with classic standards, like the whimsical “When You Wish Upon a Star”, with Buddy’s smooth slides in tone. Shihab originals gave tribute to another legendary don, the late Winston Mankunku, in “Spring”, and to elder Chinese people exercising in a Shanghai park across from where Shihab and Beukes worked at the Hilton Hotel.

Liam Webb, drummer

Liam Webb, drummer

The concert ended fittingly with a fast-paced “Bo-Kaap”, another original, which showed everyone’s skills. Shihab is well on his way to performing and, in the near future, recording his pile of compositions which he let to lay for so many of the rainbow nation years.

We can look forward to more mastery from this legend as concert halls gear up for more acoustic jazz performances. A new era to be launched??

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin, Jazz Music & Radio News

Jazz trumpeter Darren English imagines hope in debut album “Imagine Nation”, with tributes to Nelson Mandela

Capetownian trumpeter, Darren English, kicks off his debut album by Hot Shoe Records (2016) with an original, “Imagine Nation”, a call to youth to make a better day! The first of a three part suite, it’s a melodic song mostly in the minor keys, and shows Darren’s wide range of tones on his trumpet.

imagine-nation-by-darren-english

Nostalgically, I still  ‘imagine’ those Monday night jazz jam sessions at Cape Town’s Swingers when 15 year old Darren, wearing his Beatles hairdo, and always accompanied by his indefatigably supportive father, Trevor,  would silence the packed crowd by his trumpet wizardry. We knew we had another South African catch of a musician who would go places. Indeed he has, 11 years later, cutting this debut album, after having finished his Master’s degree at Georgia State University in Atlanta where he continues to teach jazz studies and perform with various groups in USA. Hence, my affectionate ‘Darren’ reference.

“Body and Soul” presents a rather interesting start with a duo between a bowed double bass and Darren’s muted trumpet. It seems he has deliberately made his trumpet sound flat, confident, no frills technique, no vibratos. A simple rendition of an ole classic.

Smooth runs characterize Darren’s offerings as he faultlessly scales his instrument’s prowess with dignity and pureness. You’d think he’s been playing for decades!

The faster paced “Bebop”, a Dizzy Gillespie classic, displays a fluid trumpet with clean runs and boppish attitude. Drums and bass click away, heralding Darren’s pace, with a lovely solo by bassist Billy Thorton. The even faster paced “What a Little Moonlight Can Do’ introduces Grammy song lark, Atlanta-based Carmen Bradford, who shows off her impressive credentials behind her bebop vocals. I hesitate to compare such uniqueness with other greats, but I must say, her scat, tonation, and jazzy pitch brings about memories of Carmen McRae and Nancy Wilson for me. Her mood control in “Skylark” excelled.

images

The album mellows its pace with a moving and emotional presentation of Nelson Mandela’s wise words from radio interviews, as he brought South Africa’s democracy forward, with advice. ‘Pledge for Peace’, a second Darren original as part of the ‘Imagine Nation’ theme, supports imagining a nation leading a peaceful parade towards responsible freedoms. This song carefully mixes interviews with interplays between trumpet and tenor sax, all which fill the sound space with sunshine and hope, but with caution.

Midway in the album is the third song of the ‘Imagine Nation’ theme, “The Birth” which appropriately describes Darren’s longing for a new nation free of the apartheid past. A long piece, almost 12 minutes, it contains impressive trumpet runs, syncopation with rhythmic gaps of sound, off beats, behind beats, etc. Greg Tardy’s tenor sax is electric. This piece is full of conversation, dipping a lot into fast bebop, then softer slower ballad moods punctuated with horn dialogues….signifying no births are ‘easy’ or smooth. A very ambitious original.

Kenny Banks, Jr’s piano in the Frank Loesser song, “I’ve Never Been in Love Before”, provides classic bebop thrills along side Darren’s muted and even accompaniment . This duo piece is a real hit in the album!

“Bullet in the Gunn”, another original and a tribute to another trumpet mentor, Russsell Gunn, features blistering trade-offs between Darren’s trumpet and the wailing sax of Greg Tardy in occasionally frantic conversations.

The last track, “Cherokee”, presents fast runs by each musician, feasting on and sparring with each other’s energies, but they tended to blend into one men-otanous sound piece for me. I’m not one for blaring horns, but I felt these frantic snorts turned a reputable classic into a blah blah race run. On the other hand, having heard Joe Gransden’s trumpet at jazz jams in Atlanta several years ago, which the younger Darren also attended, it is obvious that Gransden’s style and wit has firmly rubbed off onto Darren’s technique. The two men simply gel and Darren knows it, and is proud to have such a mentor.

Darren-English-Harley-sepia

Darren English remains a formidable ‘young gun’ far beyond just South Africa’s jazz scene, and has been blessed with craft and skills to carry him holistically into a successful future. I am also very proud to say that Darren’s success carries with it a notable humility, yet adventure, in learning to be better. Just better! Watch his space!

See my December 2014 blurb: http://www.alljazzradio.co.za/2014/12/04/carol-martin-chat-with-cape-jazz-trumpeter-darren-english/
The album features: Darren English (tpt); Kenny Banks Jr. (pno); Billy Thornton (bs); Chris Burroughs (dms) + Carmen Bradford (vcl); Greg Tardy (tenor sax); Russell Gunn (tpt); Joe Gransden (tpt).

Leave a Comment

Filed under All Jazz Radio Blog, CD & Gig Reviews, Interviews with Carol Martin

“Come Play with Us”: Deep South’s attitude towards artistry; an Interview with songwriter Dave Ledbetter and arranger/producer Ronan Skillan

Deep South, a South African duo who spreads wings wide, travels to the deep northern territories of Europe to harvest fiordic acoustic sounds from Swiss, Swedish, and Norwegian colleagues. “We love what you do and we want your voices to grace our stuff,” invites this duo. Their time is limited, but their zest for inclusiveness is great, with eagerness to explore with fellow artists. “Here’s my composition and you know my sound. What can you add, please?” is the ticket for networking longevity. Guitarist/pianist Dave Ledbetter and percussionist/tabla/didgeridoo maestro Ronan Skillan have been CapeTown friends for long, and meld into each other’s works like happy jelly. They play regularly at Capetown’s popular jazz club, Straight No Chaser, (next gig on Wednesday, 10 February – not to be missed!) and include a handful of illustrious local musicians who add their South African and Cape voice to Deep South, particularly in their first album, “A Waiting Land” (2013).

Deep South’s recent launches of their second album, “Heartland” (2015), have spiralled these innovative acoustic wonders into depths of tonality and expression that cut across ethnic, regional, and even spiritual identities. I lamely attempted a review of this eclectic CD: http://www.alljazzradio.co.za/2015/11/04/acoustically-tripping-with-deep-souths-skillan-and-ledbetter-in-heartland/ and was sorry to miss their November 2015 launch in Cape Town with fellow European collaborators: ECM artist and co-producer of Heartland, bassist Bjorn Meyer from Sweden, bass clarinettist Jan Galega Bronnimann, trumpeter Samuel Wurgler and percussionist Fredrik Gille.

But even better was to chat with the deep souls of Deep South, while overlooking Kalk Bay’s wistful harbour, and find out what makes them tick!

Dave Ledbedder loves dogs

Dave Ledbetter loves dogs

CM: How have you attracted foreign artists to migrate towards you, as in your recent album?
Dave Ledbetter (DL): At the moment, the music has taken its natural course. I think the fact that our music is out there allows people to have access to it. Our first album was more home-grown here because we wanted a sound that was acoustically Capetonian and South African with local musicians like Mark Fransman (clarinet/flute), Shaun Yohannes (electric bass), and Shane Cooper (acoustic bass) adding their particular voices. When we branched out to the northern hemisphere, to our networks in Switzerland and Sweden, we had a more collaborative relationship. Compositions which I and Ronan had worked on over a period of time received a ringing blessing from fellow Hearts.

Ronan Skillan (RS): In Europe, we got a different sound to our songs, with intonation and precision. With our local musicians, we got more heart and feeling and intimacy, because we all grew up together. I think it’s also the way Dave and I relate that builds our networks. I’ve always loved Dave’s music – he brings the compositions, I don’t. I help orchestrate and engineer the physical hands-on process, and offer arrangements and ideas about sound and production. I have visions of specific people I know who will resonate with the compositions, and approach them, like our good friend and co-producer Bjorn Meyer who loved our first album.

DL: When we went to Europe, and I remember this very well, we had no idea of how or what it was going to sound like – this collaboration – before we got there. Suddenly, we’re sitting down together, and things started just rolling. Here it is! It went forward from there. In comparison, our first album was a laborious process over a long period of time, but we managed to capture all the nuances of my playing and could spend time rolling them out. This couldn’t happen with our second album recorded in Europe with limited time and budget. But the organic and free flow of spirit and innovation allowed the guys to bring us what they could add.

CM: You are eclectic musicians with Arabic, Asian, and other influences. What stimulates you to be like this? For instance, to play an Australian shamanic didgeridoo?
DL: I think it’s the open hearted spirit of generosity, when we say, “come play with us”, wherever we are, and with whomever we meet. This same open hearted interaction underpins everything we do. And that, essentially, is what we’re all about.
RS: I’ve been travelling to India and studying tabla regularly with one leading Indian percussionist. This has exposed me to a variety of methods and meanings of Asian and Arabic instruments, including the healing qualities of the didgeridoo sounds.

CM: Would you compose or take somebody else’s compositions?
DL: I would write for whoever we book to play on the album, like my good friend, trumpeter Marcus Wyatt. I know his stuff and the way he plays, so would include his voice in what we do, and write specifically for that voice. Same for a bass clarinet or sousaphone player. This is a way to enhance your vision. Just invite them.
RS: Regarding who to involve, thankfully the composition are always very strong. A good song is a good song. Period. It doesn’t really matter who plays it.

CM: Take your song, ‘Forest Road’, written about a road in Nairobi, Kenya. What’s that all about?
DL: My parents and their parents were Salvation Army missionaries, and my grandfather died in Nairobi. My own mother was born in China, and has just turned 89 years old. My grandfather died very young from an allergic reaction to bees. One day, he was walking down Forest Road in Nairobi and collapsed from a bee sting and died on the spot. My grandmother would take walks along Forest Road where he was buried in the cemetery, and would allow herself to be attacked by bees until the ripe ole age of 92. That was in 1942. My mother was traumatized by this loss of her young father as she was only 14 years old then. So the event of his sudden death stood out for me, and I tried to imagine what the reaction might have been to his death, given the environment they were living in, being war-time and in Nairobi. In this song, I imagined the Forest Road funeral cortege carrying the coffin with the brass band wailing. The song just came to me, very easily. I was chatting a while back with Mike Meyer’s guitarist who is a white sangoma, and he told me, “Somebody is looking after you. I can see it; he’s an elderly gentleman with red hair and glasses.” I replied that that must be my grandfather. “He’s looking after you,” the sangoma repeated. “He’s making sure you don’t mess up….too badly!”

Ronan Skillen live

Ronan Skillen live

RS: This story was also touching for me. As I was preparing to visit Nairobi for performances with our local band, Babu, I told Dave I would like to visit the gravesite. Dave gave me a rose quartz crystal and said, “Please put this on the grave for me.” I wasn’t sure I would have time in our busy schedule, but one free afternoon allowed me time at the grave. I asked a taxi if he knew where the Forest Road cemetery was. He looked confusedly at me, a white guy with an accent, and asked “Why??” I said I would tell him the story along the way. The grave was hard to find with all the vegetation growth over the decades (from 1942), but I found it. It was a very touching experience for me.

CM: Another song on your Heartland album that moved me considerably was ‘Awagawan’. What influenced this composition?
DL: I was deeply saddened when my good friend and guitarist with Tenanas, Gito Baloyi, was shot and killed in cross fire in Johannesburg. That’s when I wrote this song which has a spiritual bent to it. Ronan and I sat with it, reworked it, and put it aside. When our European trip was being planned, I took the song out again, Ronan and I added some sections, like the didg section, and the oud section. It was good in hindsight that I left those sections to bring them back at a later stage.
RS: I remember thinking that bassist Bjorn would probably find something in the song to resonate with. Sure enough, there’s an additive in there which was written for him. The same for percussionist Fredrik Gille.
DL: That bass clarinet is not suppose to sound like it does on the album in this song. But clarinettist Jan asked if we wanted that breathy sound. We said, YES! For me, such a sound was more pranic, from the inside, and that is what I wanted. I was delighted when Jan broke out of that mold of what some people consider the ‘proper’ sound of the clarinet.

CM: What you’re talking about is the architecture of composition. You start with an idea, a composition, but it’s fused by others.
DL: Well, the composition is already written. How I want it to sound is going to depend on people able to voice that idea. So whoever is contributing, I’ll be hearing their voices to enhance what’s already there. The music sounds must perpetuate an intention from a conscious place, music that makes the light in people’s heads flash, that makes them feel they have stumbled onto a fundamental truth here. It’s about feeling in life, from a very conscious perspective.

These two multi-talented musicians, while displaying their undeniably rich consciousness and pursuit of truth, are flagging other creatives out there to ‘come play with us’. This, in itself, is a great honour.

Deep South perform weekly now in and around Cape Town, Johannesburg, and Durban. Catch Dave Sunday 7 February 2016 at the Jazz at the Nassau concert (Bookings at 076 401 0008) as he plays piano and guitar with others. Also, Deep South et al play Wednesday 10 February at Straight No Chaser (Bookings at 076 679 2697).

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

Four Blokes, Four Band Leaders highlight free jazz improv

Overflowing crowds packed CapeTown’s venerable jazz venue, Straight No Chaser, this January to imbibe a new year dose of jazz improvisation from four distinguished musicians across several age ranges. Quirky free jazz Capetownian pianist, Kyle Shepherd, elder drummer Louis Moholo-Moholo, and bassist Byron Bolton, brought together British/Caribbean tenor saxophonist, Shabaka Hutchings, for several evenings of unusual performances during the hot week of 13-16 January 2016.

South African drummer Louis Moholo-Moholo

South African drummer Louis Moholo-Moholo

I walk in late. Moholo’s frantic drums are spitting away. Kyle taps away on piano keys influenced by various objects strewn across the piano strings, like wooden sticks and cardboard. Nice harpsichord effect amidst an intense melody-absent improvisation. This foursome chatters, talks about important things, expresses emotion through various thumps, instrumental grunts, plucks and wails.

Now, what are they all talking about? Pianist Kyle then picks up a drum mallet, and starts hitting the piano strings, with purpose, not randomly, it seems. Double bassist Bolton eyes drummer Moholo as they share secret things behind their tapping, bow strumming, and pitter patters. They dance together, not necessarily in rhythmic harmony. There is no ¾ time. There is no time, just presence, the now! Shabaka’s sax offers undertones and subtle nods as a wrestling match ensues. Who’s refereeing this road race? All four of them! It’s intense, and after 25 minutes, I’m exhausted. Time for applause as one watches the two ceiling fans seriously pushing warm breezes in this packed venue. We are all seeking relief from a January heat wave.

This cozy venue of Cape Town’s Straight No Chaser needs to be five times bigger to hold offerings by, simply put, The 4Blokes, who performed additional nights due to popular demand. And still the music fans keep coming to these sold-out shows. The band simply advertise themselves as: “A pioneering free jazz drummer. An award-winning British saxophonist. A virtuoso young pianist. A bowing bass maverick. Four band leaders. 4 Blokes” .

Saxophonist Shabaka Hutchings

The visiting tall lean Londoner saxophonist, Shabaka Hutchings (http://www.shabakahutchings.com/) has a number of impressive awards and experiences with notable bands. His second Sons of Kemet album was released in September 2015 as he continues his research on the musical influences amongst the Caribbean diaspora in Britain. Back to his Cape Town concerts, he survived the ring matches with drummer extraordinaire, 77 year old Louis Moholo, who has absorbed every worldly influence on jazz improvisation since his early beginnings with Chris McGregor’s The Blue Notes, and then the Brotherhood of Breath in the 1960s/70s. Moholo doesn’t age; he just gets better. One doesn’t just ‘listen’ to him; one watches him. He’s very much engaged with his percussive instrument which becomes an extension of his own humanoid discussive personality.

Likewise, the enigmatic bowing bassman, Brydon Bolton, shows prowess when his bowed strings wrestle with the group’s improvisational quackery. He’s another watchable performer bordering on the classical traditions and jazz improve, as manifested in his electro-acoustic band, Benguela.

All four ‘blokes’ are composers with propensities for ‘free jazz’, the experimental, and home ethnics. Theirs is hardly conventional, even though several songs in their recent gigs were traditional bebop jazz of another era. There lies their inexorably creative improvisational talents!

Leave a Comment

Filed under All Jazz Radio Blog, CD & Gig Reviews, Interviews with Carol Martin

Acoustically tripping with Deep South’s Skillan and Ledbetter in Heartland

Skillan and Ledbetter’s Deep South brings “acoustic ‘trip folk’ with a hint of jazz, African groove and Nordic precision” to their latest Heartland album. And what a treat, just released on 1 October 2015 !! Multi-instrumentalist Dave Ledbetter and the percussive talents of Ronan Skillan (table, udu, percussion, didgeridoo, and hybrid kit) are adequately supported by several Swedish artists, with whom the two South Africans have worked over the years. Heartland offers hauntingly melodic compositions by guitarist Dave Ledbetter, all with a nordic acoustic twist of musical imagination.

Skillan, Ledbetter with Björn Meyer in Bern

Skillan, Ledbetter with Björn Meyer in Bern

Recorded and co-produced in Bern, Switzerland, thanks to Swiss Arts Council (Pro Helvetia) supports, the artists include: Fredrik Gille on riq, frame drum, and percussion. He specialises in flamenco and Arabic percussion. Watch a wonderful display of his frame drum solo at https://www.youtube.com/watch?v=2wREUu1U_hs.   Jan Galega Brönnimann on bass clarinet and Samuel Würgler on trumpet and flugelhorn and co-producer bassist Björn Meyer make up this stellar artist line-up.

This album starts off with an engaging one-note strum in ‘Little Dan’ and moves with different rhythms from Ledbetter’s piano which becomes copied by his guitar. Ripples and waves of sounds ooze from flamenco castanets, Ronen’s percussions, back to that one note addiction, muted strings…. And that’s just the beginning!

Those of us who have listened to Ledbetter over the ages will hear his familiar tunes, always performed differently depending on the ‘Spaces Between Places’, as this tune suggests.

Deep South Heartland CD cover

Deep South Heartland CD cover

 

In ‘Harbour Intro’, I hear echoes of several depths of Ledbetter’s guitar which, for me, symbolizes looking at the calm ripples of sea waters at the shore, looking southwards. Sounds reverberate as they swing into ‘Harbour’ with Ledbetter’s joyful guitar. Percussions add that folksy element and move into poppish 4/4 beats. Ledbetter’s harmonic chords are rarely jarring.

‘Forest Road’ is named after a major road leading into central Nairobi. This sleepy ballad brings out the breathy bass clarinet of Jan Gelega Brönnimann which harmonizes with Ledbetter’s soft rhythmic scenes. How often do you hear a bass clarinet in folk/jazz? This is a favourite piece!

Now that the listener has settled back and become very relaxed, the ear starts its journey towards realizing nirvana. The next tracks on this eclectic, soothing album, present soundscapes reminiscent of ‘nordic’ meditation, like in ‘Moonchild’, with a clear and crisp trumpet of Samuel Würgler. We move on to an Indian groove, ‘Awagawan’, which has a most unusual collaboration between Skillan’s didgeridoo with tabla overtones and Brönnimann’s whispering bass clarinet. This is just a whopping super treat on the album, plain and simple ! This Indian spiritual belief of Awagawan says that only good Karma can liberate us from The Wheel of Eighty-Four, or the cycle of ‘Awagawan’. The song is a tribute to the late, greatly missed Gito Baloyi who was murdered on the streets on Johannesburg, and was a stunning guitarist team member of Tenanas. It connotes the karmic birth and rebirth of style, form and sound, as well as deed, in our lives. Beware: don’t repeat actions which produce recurring sufferings in your lives!

‘Gone but Not Forgotten’ follows as the karmic journey continues. This is the longest song on the album, has lots to say, so one can easily meditate on the soft, slow nuances. Sometimes funereal, the wistful conversations between all four instruments hold attention and purpose. Listen carefully because towards the end, there’s a wonderful trumpet surprise. All is not forgotten!

‘Clovelly’ offers a bluesy jazz twist to this delightful song led by Ledbetter’s piano. Just when I thought my mind and spirit would have been cleansed of all evil karmic intentions, after the previous meditative offerings, along comes ‘Time Out’. Yes, I need that! This one’s for the body, I guess. Another slow, stereophonic tone poem which tunes the ear, certainly relaxes muscles, and celebrates with a higher registered bass clarinet, unique in all ways.

This is acoustic at its best, a blend of jazz, folk, funk and blues across global spectrums!

ALBUM LAUNCH!!
Don’t miss the South African launch of Heartland on 14 November 2015 at 7.30pm
Where: The Reeler Theatre at Rondebosch Boys’ High School
– Canigou Avenue, Rondebosch, Cape Town
How much: R100 on Quicket or R120 at the door

Highly reputable South African musicians join, like regular Deep South bassist, Shaun Yohannes, and JHB-based trumpeter Marcus Wyatt of ‘Language 12’.    What could be better?

Heartland CD Launch

Heartland CD Launch

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

“Love Letter to Cape Town” draws out the indigenous bloodheart of Tony Cedras, a CD Review

This album, full of harmonies, draws us into a world not of fantasy or fancy lyrics, but of soundscapes echoing the joyous resonations of originality from the ancient language of a First Peoples, the Khoisan.

The indigenous bloodheart of multi-instrumentalist Tony Cedras, born in CapeTown in 1952, an early mover in the Cape jazz scene, then long exiled overseas and active in the anti-apartheid activities, is also known for his arrangements with the early band of Paul Simon. Cedras announces his return to his Cape homeland in this beautifully organized album recorded in Cape Town at Milestone studios and published in 2015 by Zurich Sessions Featured Artists.

Tony Cedras on accordion at Straight No Chaser, CapeTown

Tony Cedras on accordion at Straight No Chaser, CapeTown

A block buster array of musicians matching the spirit of this Khoisan soul make up this exceptional album. The promo video on his website doesn’t show Cedras playing accordion for some reason, but gives a good feel about the other musicians that make up this album. Deeply anchored in his heart is the preservation and recognition of the Aboriginal Khoisan peoples of Southern Africa, and his album certainly raises awareness of their dwindling, yet vibrant, heritage and culture.

Appropriately, his ancestral soil is felt in the opening track, //Hui !Goeb, with Cedras’ flugelhorn and Khoisan chanted clicks presenting soundscapes of the Ancient Nation’s Sacred Sites “where rainclouds gather”. Cedras says,
“As a descendant of an Ancient Nation, I am inspired by the significance of our Sacred Sites and it is central to my creativity.”

The next track, ‘Genesis’, offers a melodic tour through our original peoples of Africa, from South Africa to Tanzania to Zambia and beyond. Typical South African beats with congas are heard, absorbed with horn harmonies. Three energetic strumming guitars of Cedras, Errol Dyers on acoustic, and the notable Steve Newman on Soprano, along with backing vocals, explain Cedras’ life journey: “My life’s journey is one that exposed me to a myriad of cultures; I have always been curious about individual life stories and relocation. Irrespective of the motivation of movement, it brings about a new beginning that ultimately defines who we are.”

Probably the most beautiful, but not a Cedras original, song on this album is his unique arrangement of ‘Yakal Nkomo’ of the late great saxophonist, Winston Ngozi Mankunku, with rhythmic mbaqanga beats dancing nicely out of Cedras’ accordion. Cedras also plays guitars, keyboards, drums, and synth bass in this rendition, the latter which skilfully produce the off-colour sound of protesting bellowing bulls. Cedras says

“Reflecting on my musical career is to acknowledge those who inspired me. This was a favourite composition of the late Mankunku, a legendary tenor saxophone player whom I met in the early 70’s. He had an encouraging spirit and was an inspiration to my musical career.”

Tony Cedras at Straight No Chaser

Tony Cedras at Straight No Chaser

‘Horizons’ was written by Cedras in Botswana and recorded during his 1989 Graceland Tour with Paul Simon. It’s a song about Africa’s gift to world humanity, rapidly strummed on the guitars of Cedras and Dyers, with entrancing backing vocals.

Other songs convincingly present the sounds and feel of journeying through Africa dragging South African origins along, from Elsie’s River outside of Cape Town to a Congolese ballad sung crisply by Freshly Ground vocalist, Zolani Mahola, and back to South African folkish strings of Rayelle Goodman’s violin and Cedras’ guitar in ‘Autshumao Suite,’ a stunningly joyful upbeat piece. Cedras songs move between a very danceable masqanda beat of ‘Black Brown Cheri White’ to Mahola’s crystal clear ballad voice in the churchy ‘Mother Song’.

The album ends with a melodic middle eastern flair, ‘Journey to Alkebulan’, thanks to Rustin’s double bass stringing. It seemed a bit dour after the previous joyful uplifting songs, but the album’s presentations resonate long after the headphones come off.

If there was ever an album to pick up your spirits and move on, this is it! Transformative. This is not background music. You sing and hum along, and can’t keep yourself from dancing! Soundcloud sources mention genres of his album as ‘African jazz, jazz, klopse, goema’. It fits into no category – I could venture to say the album is ‘traditional but contemporary South African folk’. Or better still, just plain ‘music’ that draws out the emotions, hopes and dreams!

To Learn more about the South Africans performing on the album, go to Cedras’ website: http://www.zurichsessions.com/featured-artists/tony-cedras/. The Zurich Sessions is a musical get-together of some of the finest international and Swiss musicians and promotes collaboration with others.

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

Jazz pianist Bokani Dyer cuts ‘anti-genre’ album, “World Music”

Twenty nine year old Bokani Dyer, born in Botswana of a Kalanga Motswana mother (whence, he got his name, ‘Bokani’) and a white musician father, Steve, who was living in exile during apartheid, has two SAMRO awards to his name. He also recently performed from his new album, “World Music”, at the 2015 Grahamstown National Arts Festival which brought the world closer to what Dyer calls his “anti-genre” music. This was part of his Prohelvetia southern Africa tour with his Swiss Quartet, being connections started during his 2014 residency at the Bird’s Eye Jazz Club in Basel. These original songs in this, his third, album were composed over several years.

Let’s see what this man with a message means in this eclectic assortment of sounds.

CM: ‘World Music’ – I’m hearing various genres…. Where is Bach?
BD: Bach appears on the first notes of the album, in “Waiting, Falling”, composed while I was practicing preludes and fugues, and types of harmonies and structures of melody. This study led me to him. The title refers to the musical aspect of phrases, and contours of music, like waiting for the beat to come, then making a note fall. Lee-Anne Fortuin is on vocals.

Bokani Dyer with Marlon Witbooi & Shane Cooper

Bokani Dyer with Marlon Witbooi & Shane Cooper

CM: Yes, with an even-toned, almost meditative spirit about her…. I liked “Vuvuzela” which starts off with a Latin sound, followed by your impressive piano runs. Buddy Wells’ tenor sax comes with a post-bebop swing. The two saxes and one trumpet sound very much together.
BD: This song was written during the Soccer World Cup period in 2010. It has a jubilant, South African spirit about it.

CM: Yes, it was sassy and fun. The repetitious 3 bar refrain does remind one how monotonous listening to a one-note vuvuzela can be! Next, I found “Reflections” mild and reflective, almost funereal. This mellow mood swings directly into “Outro” (composed with vocalist Moleshe) with repetitive vocal chants accompanying the same reflective chord pattern of your piano, aka vuvuzela. But it was “Transit” that I found most interesting. One hears Arendse’s guitar runs and plucks which set the tone for this piece, while the piano scurries and hops over these plucks. This is a bouncy piece, again showing your versatile chord structures.
BD: The beginning of this song is Herbie Hancock-ish which is a feel I like. It then moves into other influences, from Bheki Mseleku’s ballad style to the Mozambiquan rhythms.

CM: I can definitely hear that Mseleku sound in your chords. The synthesizer wails out the tune with drummer, Marlon Witbooi, keeping the pace consistent. I liked this transit – from piano to synthesizer.
BD: Yes, it’s my love of the synthesizer here and electronic sounds. I played it alot when performing with Jimmy Dludlu and loved being able to bend notes which can’t be done on a piano. I love that, to make a note expressive and ‘slide’, like the guitars do, and make the note sing. It’s anti-genre music! It fragments the ballad.

CM: You like spontaneity…..
BD: Yes. For instance, in “The Artist”, which was written in blurbs and sketches composed over time, it feels like a classic jazz ballad. When I go to jazz concerts, I get thought patterns while listening. Then the inspiration of the moment comes, like with this song.

CM: That’s what I call ‘jazz’: inspirations of the moment, with a response, in spontaneity, unwritten. Your “interlude: See My People Through” seems to be a wonderful frenetic sounding story of migration, almost gospel-like as appeals to the Almighty are made. There’s something hopeful and seeking in the message. It’s short but then swings into the next funky song, “Recess”, with the drum continuing that spiritual theme. Marlon’s drum is always behind the beat, giving that funky layback sound again, like a soul fusion. There was the resolution. Really nice!
BD: This was my fusion piece, with layback R&B sounds.

CM: Then in “Keynote”, we are brought back to a traditional 4/4 be-bop style. One hears a seasoned Belair alto sax pounding out impressive runs and messages. The song moves into a Middle Eastern flair in a minor key, an interesting juxtaposition with an American bebop.
BD: I was listening alot to Kenny Garrett and Terence Blanchard whose influences relate to this song.

CM: Your trumpeter, Robin Fassie-Cock, offers nice runs in “Master of Ceremony” along with Buddy’s sax.
BD: Robin is young, only 22 years old in his fourth year at University, but has a marvellous future ahead of him. He just left for a year study in Norway a few weeks ago.

CM: With “African Piano – Water”, this is a cute pluck pluck dittie with paper covering piano strings, almost like a beginner’s piano 101 with chordal harmony and a playful beat. It sounds like water splashing over rocks!
BD: I wanted to give an Mbira sound, like one hears in Zimbabwe. I am using an overdub, layering piano sounds which echo the effects of water. Then, the last piece on the album, “Motho wa Modimo”, follows that same Africanness of purpose. It means ‘person of God’ literally, but is used in Setwana when something of gravity happens.

CM: This is a solemn piece ending the album. Personally, I would have preferred a more upbeat swing to end this eclectic mix of sounds presented, but ‘Motho’ does offer meditative resolution to messages earlier presented.

()()()()()()()()()()(

Inside the CD jacket sleeve is a fascinating collage of concepts through words and phrases connoting issues faced by humanity’s masses: “ten million midwives carrying fresh fruit”, “twenty six kora strings to pluck”, “twenty six thousand Somali sheep on their way to slaughter”, “fifty seven thousand car guards queuing for their salary”, “fifteen years of questions between voodoo and black messiah”. Reading this sleeve keeps you gripped with these little word bites that surround our global realities. It then became evident to me that Camerounian journalist and artist, DJ Ntone, from Chimeranga mazazine wrote this sleeve.

Bokani Dyer & Swiss Quartet at Straight No Chaser, Cape Town

Bokani Dyer & Swiss Quartet at Straight No Chaser, Cape Town

CM: Tell me about your projects with electronic music.
BD: I’ve been influenced by Vijay Iyer’s piano playing for its freshness, and Robert Glasper for his determination in sticking to the alternative. I’ve been listening alot to electronic music, particularly people like Alice Coltrane’s nephew, “Flying Lotus”, who produces instrumental-like hip hop grooves with rapping or real instruments. I am experimenting with vocalist Sakhile Moleshe who is part of the “Soul Housing” project, to make up our two-man band using laptop effects with vocals and keyboard only. Sakhile does all sorts of sounds vocally, which is why I include him in “World Music”.

CM: So this is like a beginning ‘world’ Episode, with Episodes 2 and 3 coming?
BD: The next step is to get more into electronic music, with no instruments. I want to produce sound, manipulate it, and open it up, make crazy sounds which are free flowing, outside of any performances. These sounds are present in the world I grew up in, and are present now, with sometimes chaos, stress, anxiety, joys, etc, so I want to harness them and experiment with that.

CM: What else is next?
BD: I think I want to carry this thread of the African piano further. I’d like to put together a collection of pieces played by two or three pianos at the same time, playing interlocking rhythms similar to what mbiras and balafons sound like. For now, I do it alone with a loop pedal. Also, Kyle Shepherd and I are experimenting; we played two pianos at last year’s Cape Town International Jazz Festival. That worked like a dream! Because we’re both piano players, we don’t get a chance to play together. Our repertoire was half mine, half his, and all original material. He and I have spoken about doing a recording together.

CM: You’ve travelled outside the country. Where would you like to visit or go for mentoring and work with other musicians?
BD: I plan to use the rest of my SAMRO scholarship of 2013, preferably in New York. So I’m going to apply for an 01 visa to USA, and start identifying a mentor. Also, I’d like to network and find performance opportunities. In 2010, I visited New York and mentored for a few weeks with pianist, Jason Moran, which was very useful. When I visited London last year in November, performing at the London Jazz Festival, I was also able to perform with saxophonist Soweto Kinch. I have been very privileged to have Niki Froneman manage my recent Southern Africa tour with the Swiss Quartet this year, so I look forward to more of these opportunities.

CM: Have you recorded with your father, Steve?
BD: I was on his album, “Ubuntu Music”, which came out 3-4 years ago. We’re doing something together this weekend in JHB.

()()()()()()()()()(()

Bokani Dyer will continue to have a special relationship not only with his piano, but with us listeners who find rest and calmness in his varied songs.

Published by his own Dyertribe Music, “World Music” features:
Bokani Dyer (piano, keyboards, synthesizer) Shane Cooper (double and electric bass) Marlon Witbooi (drums) Buddy Wells (tenor saxophone) Justin Bellairs (alto saxophone) Robin Fassie-Kock (trumpet) Sakhile Moleshe (vocals) Lee-Anne Fortuin (vocals) and John Hassan (percussion and vocals)

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

Ancestral Heartbeats Code the Music, an interview with award winner pianist Nduduzo Makhathini.

“The greatest moments are when you can’t tell the difference between the piano, or the bass, or the drum, but rather when there’s one wave of sound…… This is consciousness, becoming one with the environment.”

I felt somehow connected with ancestral energies as I drove this youthful bearded jazz pianist to CapeTown’s airport after his weekend gigs with trumpeter, Feya Faku, and local musicians. His performance with Faku’s album launch, “Le Ngoma”, at CapeTown’s popular Straight No Chaser jazz club was a subdued low key presentation of his wider talents. Johannesburg-based Nduduzo Makhathini, originally from Kwa Zulu Natal, is still on a high from being granted Standard Bank Young Artist 2015 award in the Jazz category. I asked him about his philosophy, messages, and what he meant by ‘identity politics’ which he has adopted.

NM: Mine is spiritual, wedded with cultural. I was introduced to music in its religious mode, and later to the business side of music. I grew up as a Christian, going to churches, etc. but I don’t subscribe to any of them. Music moved me into a more spiritual groove. In my youth, I would visit up to four churches on a Sunday just for the music. I loved the gospel messages and sounds. I would leave when the sermons started!

CM: Who else has influenced you besides Zim and Bheki Mseleku?
NM: My mom is my greatest inspiration, and my first piano teacher. I also grew up with the traditional isicathamiya ensembles, or male acopella, like Black Mambazo. I love harmonies which is why this singing drew me to the piano where I can make harmonies myself. I also love harmony in life, which is why I became so close to Bheki who focused on harmonizing things in life. Andre Petersen is also one of my favourites as he expresses inspiration also with Mseleku.

CM: Your three kids are also part of your music journey, aren’t they?
NM: Wow, I have three kids. What a responsibility now! What can I put out there for them? What is left for me by my forefathers, and for them? So my album, “Sketches of Tomorrow” is for my kids. I fused the Western with the traditional African since I have to deal with both cultures, which meet on this album. And they do too.

2015 Standard Bank Young Artist for Jazz- Nduduzo Makhathini. Credit: Adam McConnachie

2015 Standard Bank Young Artist for Jazz- Nduduzo Makhathini. Credit: Adam McConnachie

CM: You talk about healing others. What about healing yourself?
NM: I always feel that the music I play has a message sent through me. Sometimes I don’t understand these messages. So healing goes through me, my system. It tries to heal the space that we’re in, our environment where everyone operates. There are different forms of healing, but I concentrate on the traditional kind in my Zulu culture. I want my family to learn that each and every individual has a role to play on earth, and we need to find out what that is. That’s my ‘politics’, that everyone, equally, has a contribution to offer. We are passing the shacks now [along Cape Town’s N2 highway on route to airport]. Without those people here, this process of honouring each other cannot be complete unless we continue the legacy. That’s why I care for everyone, the kids and people on the streets, and even the more fortunate in the suburbs. These people in shacks barely have the basics for living. My music speaks to them more because these people need healing.

My grandmother was a healer who would have water and pray on it. I asked people to bring water to my gigs, and just have it there in their possession. My music, I believe, then allows the water to capture the healing, and this water has the power of coding certain messages. Mbeki and I used to go to these temples and learn how the spiritual energies were moved by earth elements, and I learned from this. Together, we explored healing as a gift through the language of ingoma or our musicianship.

CM: Regarding your still-to-be launched album, “Listening to the Ground”, I’m curious why you have pulled in the Swedish tenor saxophonist, Karl Martin Almquist, one of my very favourites from northern Europe?
NM: I found him on YouTube, had never met him, but loved his sound. I sent him an email a few years ago, and invited him to join in my latest album. He said, Yes!

CM: Tell me about your album, “Listening to the Ground”.
NM: This is for my ancestors. It’s about the African soil, and African environment, which has so much energy and sounds in it. How deep is the African ground, and how deep is the African soul? In spite of slavery, African people continue to smile, continue to have hope, and till the soil.

CM: Your music you say comes from an ‘external’ force. If you mean a higher Spirit (let’s call it ‘God’), then why can’t this powerful force be ‘internal’ as well? Your project seems to have integral components working together.
NM: Yes, right. I see God as a holistic view of consciousness. It means ‘God’ is a complete picture, both internal and external. The deeper you get into the internal mode of self, the more you can go outside yourself. Like those who had ‘out of body’ experience….. they went so deep inside themselves that they could actually come out of that experience.

SBYA 2015 - jazz. Nduduzo Makhathini

SBYA 2015 – jazz. Nduduzo Makhathini

CM: You’d make a good Buddhist!
NM: Oh, hah hah! I read and listen alot to Osho? On Sundays, with my family in our house, we listen to Osho teachings and alot of music, and learn and discuss. Osho leaves things open for us to look for conclusion. For instance, he observes the cycle of water with this story: There was a stream that flowed for so many years, but then runs into a desert. Osho then panicks wondering how he’s going to find water in this dry desert. But he had another thought: If I become one with the desert and dissolve in it, then I’ll be OK. It then began to rain in a different place and saved his desert. His message was that sometimes, we must dissolve and not take ourselves so seriously. And this is what the exercise of music teaches. I can just let go and not become so absorbed in my individuality. The greatest moments are when you can’t tell the difference between the piano, or the bass, or the drum, but rather when there’s one wave of sound…… This is consciousness, becoming one with the environment.

CM: Are you interested in teaching about this consciousness, environmental holistic healing, and ways to save us all!
NM: It’s always there indirectly. The music is our greatest teaching. My music is universal, always a means to a destiny. Music has a power, something deeper, for people to reach for. I’ve been writing alot, in social media, about what inspires my music. Many people who resonate with my music and its ingoma (musical healing) are not necessarily jazz lovers.

CM: You’re on a journey….particularly with your family. With your mom….And your wife?
NM: My Mom’s very special, supports me 100%, even though she doesn’t have my belief systems. My wife, Nomagugu, is on all my albums. She’s one of my favourite singers. I’ve got my daughter on ‘Mother Tongue’. The three children and my wife finish the last track on “Sketches of Tomorrow”, with my children ending the song: “Oh Nothing; Oh Nothing Again”. I thought what a beautiful message as it came from them listening to the woes about Zimbabwe daughters there, about “Africa’s daughters are without names,” with a loss of identity. So I think it’s amazing how kids can spark this energy in the music we play in the house. In terms of healing the space, the kids and my wife heal that house space which becomes charged with so much energy.

CM: What an experience for the kids! You talked about your Sunday gigs just for the three of them.
Do you record your family sessions?
NM: Oh Oh. No. What an idea! I should record them, you know. We would talk about the gigs, about what is God and existence, and about what they feel in the music, and how the music connects to God, etc. Other kids would tell them about their church experience, but my kids would tell their friends about the music: “Our Dad does gigs for us!” and explain what we played at home that morning.

CM: So your journey continues….
NM: Like Bheki Mseleku who said he never knew how or where to finish a tune, it just kept going and going, with no real ending…… So I think I love the same kind of thing, where music never ends. Durban is a center for guitar harmonies, too, which I love. My father played guitar, so I have been inspired by those traditional sounds . I portray this in the song,“From an Old Bag of Umkhumbane”. I recently discovered that my paternal grandfather came from this town of Umkhumbane which, like Sophiatown, became a melting pot for jazz and music. There was a whole tradition of guitar culture. This is why I like to explore how to express this guitar on the piano.

I’ll be doing my masters at Stellenbosch University through York University partnership. I’ll focus on oral tradition and jazz, and how music has been taught without written music. Similarly, how stories in a song have been orally presented, not written. Written scores present different interpretations, like Winston’s Yakhal’ Inkomo which he authored in a different time. Likewise, I’m dealing with certain things now, but how do I make that song relevant and how do we push this music forward for it to make sense with the generations to come which don’t know much about the history of South Africa? But in this music, certain things can be coded and documented, of history and music.

CM: The coding of music……

At this point, Nduduzo had only half hour to check in for his flight. Our chat could have continued forever….. It will.

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

The Bratislava Hot Serenaders and Bandakadabra, gig reviews at Edinburgh`s JBF

One is Slovakian, the other Italian, all high vibe, fun, and humorous, bringing period jazz dance music of 1920-30s alive under our festival tent. What a relief to have concerts with no loud electronic amplification. It didn’t exist back then! Both bands used only one mic. Bratislava`s 19 musicians presented a mix of Ellington Cotton Club songs current in that Harlem community, then moved us across the Atlantic to Slovakian tango and middle European dance music.

The age range of patrons attending this gig was hardly a curve, but rather a flat graph, my honest projection being about 85% of ages 60 plus. The sea of white heads and beards nicely matched the all- male band members` period black-tie costumes, lacquered hair styles, and manicured moustaches. Even the `girls`, the Hot Serenader Sisters who sang their rehearsed harmonies, standing close-faced at the one mic, added imagery to this period `live` documentary. It was indeed fun to watch what my parents had babbled about during my early growth years. The band unadornably played my favorites: Blue Moon, Moon Indigo, and Body and Soul.

With horns, reeds, piano, 3 violins, tuba and banjo all in firey sync, singers took turns at the one mic, sometimes thoughtfully pointing it towards instrumental soloists. I was waiting for them to break out into a Charlestown foot dance!

London`s BBC Dance Orchestra songs also featured. The very humorous renditions of the famous `The Broken Record` and the trumpeter MC`s `Hot Lips` left one laughing into Edinburgh`s rainy evening.

BANDAKADABRA provided a carnival atmosphere of 12 Italian brass, reeds, and drum players rumbling about the stage. Their slapstick humor mixed with period blues between the World Wars made for comic proportions as they banged out Balkan blues and Mediterranean marches. In white ruffled shirts, they acted out ineffective cat calls to the ladies unfortunate enough to sit in the front rows. These rumbling vagabonds truly awakened the kid in all of us without losing any authentic skills in delivering this timeless music.

These groups were such fun! I would go see them again anywhere.

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

Swamp Donkeys kick da Blues! a gig review from Edinburgh

You don’t have to walk much for exercise at this Jazz and Blues Festival – there’s enough knee-jerk, foot-stompin` moves provided by the likes of these groovy Swamp Donkeys who very authentically play classic New Orleans early `jass`.

Young Japanese trombonist, Haruka Kikuchi, and newest member of the live band, settled in NO 1/12 years ago because: “I love the NO style of jazz”! Well, and could this beauty deliver one heck of a raspy bone slide with her new- found love, the Swamp Donkeys Traditional Jass Band. “Not many Asians like to play this type of music,” she explained in her broken English, “but I love it”!  Well, isn’t diversity fun?

There’s nothing mimicking about the Donkeys. It’s as though they arose fresh out of the oil-soaked waters of NO`s Louisiana coastline. They don’t play, they speak, and converse: tuba to banjo, to trumpet, to soprano sax, to that swanky sliding bone, so sassy!  Trumpeter James Williams, who sings a girgly Satchmo very well (even his speaking voice sounds a natural Louis Armstrong), recently performed with DeeDee Bridgewater at Capetown`s international jazz festival last March. I think this youthful band should apply for next year’s 2016 CTIJF, and I told manager Oren Krinsky just that.

Cross-legged Williams wallops an astoundingly convincing rendition of 1920s and 1930s-40s southern American Charlestown-style swing as you imagine your own bones dancing away. The banjo and lady trombone conversed in `My Rosetta`, followed by a drunken drawl as Williams` Armstrong-strained vocals told a sad sad story.

The Donkeys insisted on audience participation as we all staggered about, pretending an early morning inebriation with sound, if not with magical liquids.

But it was the soprano sax that grabbed me with his wails, coos, and hip-smacking swing from someone who resembled a teenage apprentice with lots of musical ancestry of the era. This youthful energy could teach the ole timers a thing or two, it seems.

The Donkeys ended their set with their signature tune, `Swamp Donkeys`, sung by all musos, leaving us hip-smackers smiling all the way to the next exhausting concert.

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

Compassion shines in this Cold World, gig review of Naomi Shelton

She was a heartland of blues, pounded out with such elegant style and timing. A seasoned wheelchair-bound Naomi Shelton and her Gospel band with bassist/bandleader Fred Thomas (of James Brown band of 1970s) and her 3 Queens delighted her warm standing ovation audience at this year’s Edinburgh Jazz and Blues Festival. She sang off her latest album, Cold War, thanks to Daptone Records (2014).

I was taken back to the Alabama blues groove native to Shelton, based in New York city for the past half century. Shelton knows the stage, and her Gospel team, along with her husky voice, knows how to reach your soul and tell you “what you done wrong”, like in her visionary `Sinner`song. Her messages that evening of 17 July painted the demise of humanity and human betrayal in our contemporary world.

Edinburgh`s horseshoe shaped St Andrews Square venue provided cramped seating typical of vibey festivals like this one, but gave choice for tables and a bar in the back for the serious listeners/drinkers. At first, the sound system whined, drowning out Shelton`s voice, but got sorted in the end. Shelton was relentless, belting out an Etta James song, `Love Come Along`, which brought lip movements from head bobbing listeners. The `Child is Hungry` remembered the funky beats of the early James Brown.

She moved us to another level, breaking out into a clapping high tempo 4/4 time gospel. The audience moved.

Her finale got the Euro audience on their feet with the funky gospel swing in `Lord, I’m Your Child`.

There was compassion, and revival, and hope as she smiles and throws her kisses reassuringly to us unworthy listeners. Ninety minutes of Shelton pushes you to church in a still redemptive Baptist gospel tradition, yet with secular respect. It was hard to hear anything else that night, other than wanting more of this sanctifying blues!

Leave a Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

An Interview with jazz guitarist Vuma Ian Levin about “Necessary Contradictions”

Another vibrant, well-skilled South African guitarist hit Capetown’s Straight No Chaser jazz club with his quintet made up of young European musicians. Vuma Levin has been schooling in Amsterdam and making a professional life for himself, but well remembers his own home shores as his debut album suggests. “The Spectacle of An-Other” contains his original compositions which speak messages I like: Through cultural and national identities, how do we empower marginalised Black South African histories post 1994 to integrate into various spaces and experiences without stigma or enclavist mentalities so prominent in the past?

Quintet album cover

Quintet album cover & promotion

His evening at SNC drew a relatively large crowd, as do well publicized artists passing through. Levin is not just ‘passing through’ though. He participates in the Standard Bank Youth Jazz Festival (SBYJF) in Grahamstown beginning July, and will hang around our shores for a while during his study break with the Amsterdam Conservatory of Music where he’s working towards his master’s in jazz guitar performance.

Informed by Levin’s facebook page promotional materials and this YouTube video: https://www.youtube.com/watch?v=WtJuVskXjc8, I queried Levin on what interested him in cultural musicology and what he meant by wanting to liberate musical forms from jargonistic and Euro-centric definitions of what constitutes ‘African music’ or ‘jazz’. My interview with him on 29 June 2015 in Cape Town caught him just before his travels to Grahamstown where, in 2009, he was chosen for the National Youth Jazz Band.

Born in Swaziland from a Jewish South African father in exile with the ANC, and a Swazi mother, Levin could settle back in South Africa only after the new dispensation gave permissions for his parents’ mixed marriage. His father has acted as a DG in government while his mother worked as a consultant with the Department of Education. Settled in Johannesburg, it was only when Levin attended the Sacred Heart College and sang in the school choir that he started his musical training. At age 14, he picked up guitar, watched how buskers on the street fingered their guitars, and sang along with them. Formal musical training continued at the Tswane University of Technology where he studied with the late Johnnie Fourie for 1 year, and other noted jazz musicians.

CM: You talk in the South African context about trying to salvage music from the “pre-colonial, colonial, and post colonial” periods that have marginalized black music. What do you mean by pre-colonial?

VL: That’s a very hard term to define as there’s no written account of what existed in pre colonial times. That’s not to say that the only way to access history is through the written word. History can be encoded in cultural artifacts – song and dance, written items. One of the early projects of the colonial period was to try to neutralize African culture, a concerted effort to vilify it as needing ‘civilizing’, to rid the natives of their traditional practices, which were central to dispersing history through oral means, etc. This effectively limited access to this history. At the end of the day, the pre colonial history is hard to define as we don’t have access to it, unless we can salvage something of the traditional. From the Euro centric standpoint, which looks to written history, there’s none of that in African precolonial life.

CM: When you go to the colonial period, what do you consider ‘colonial’ music?
VL: I consider that music basically from 1652 onwards , when the first settlers arrived and settled, up to 1994. Obviously, that’s a very broad category with a lot of different phases but for me, that is what the colonial moment is for me.

Vuma Levin &

Vuma Levin & Bernard van Rossum (sax) at SNC

CM: Something came out of that colonial period?
VL: Yes, basically what was key was the interaction between new colonial settlers and the people already living in southern Africa, or the indigenous peoples. This interaction took hold particularly during the time when King Shaka was defending and conquering lands or borders of expansion. With this increased interaction, between various ethnic groups within South Africa, you develop a trade in culture, sometimes imposed, like with the Christian missionaries. Sometimes it’s more organic and fluid. The key thing is that whether art forms are forced or organic interactions, they change, even artificially. Even in the 1980s you had your Winston Mankunku’s and Chris McGregor’s travelling with their music in Europe, so there was that exchange. And the effects from these exchanges are different at every stage of history.

CM: What about the present?
VL. Post-colonial? Imbedded in the term is the understanding that even though formal colonialism has ended, the power relations which colonialism inculcated in us are so very much in existence nowadays.

CM: Power, yes. There is now a majority power in this country. Do you think the cultural and musical art forms of that majority are coming alive?
VL: I think it’s hopeful, but I still think there’s a western hegemony on cultural production – a white western one. Through media and business and other institutions, the iconography, I guess, of colonialism remains intact. It’s the same in music as well. So I think there’s concerted effort, particularly by young music professionals in this country to try to break those boundaries. Like: Kyle Shepherd, Bokani Dyer, Thandi Ntuli, Marcus Wyatt,

CM: Talk more about Carlo Mombelli and your experience or influence with him. I don’t see Carlo as being terribly ‘indigenous’ although you have dedicated a composition to Carlo. How would you describe his influence on you?

VL: For me, Carlo was a very early influence. I listened to his music and was inspired at a young age. It’s important to realise that terms like ‘authentic’ and ‘indigenous’ are dangerous terms to use in South African context . The moment that a South African subject takes something from the outside world and uses it in a non-reactionary way to express themselves, it becomes a ‘South African’ thing. So English, and French, and Portugese – all these languages are African languages. They’ve been appropriated by people here and used as a way of articulating their sense of self, and I consider this the same way with music. I consider Carlo’s music as authentically South African as would be a Xhosa composer. They are both citizens of this country appropriating something from the outside and using that as a means of expressing what it means to be a South African for himself, and in an organic way.

CM: Carlo’s stay in Germany perhaps meant he absorbed other influences, but maybe his own infusion of African-ness in his music might not be seen by European listeners in quite the same way as he would have liked.
VL: It’s basically about demystifying Africans because from the European standpoint, there’s a mystery about what it means to be ‘African’.

CM: Which is what Kyle and others are trying to do. Which brings me to your role in trying to demystify this African-ness. This is an important part of your workshops here, to try to correct people’s gahgah about: “Oh, here’s our boy coming back home to his roots” type of response from people. We all are born somewhere, but this doesn’t mean we have to get stuck in our ‘roots’. I have your quote I’d like to clarify: ‘denigration of historical and contemporary South African music’…… What did you mean by this? Isn’t the world trying to bring back this older music of another time?
VL: Well, I think there is this effort to bring it back, but the way it is done is highly problematic. Since Edward Said wrote “Orientalism”, terms such as exoticism and primitivism have entered the cultural lexicon, and people are not sensitive to the fact that they are largely engaging in these practices when they try to empower African forms, basically. So the idea is: If you’re going to book an ‘African band’, already you may have a preconceived notion of what constitutes an African band. You know how to market that. And if anybody falls outside of that strongly preconceived notion, you’re less likely to market them. For instance, how do you market somebody like Bokani Dyer whose music draws from jazz pianist Robert Glasper who doesn’t play African art forms? There’s an alliance between capital and the colonially inherited notions of what constitutes ‘Africans’. It is only fair that those people who continue to engage in these traditional practices, and who have been marginalized in the past, be given space to do their thing.

CM: So ‘traditional’ doesn’t always mean ‘in the past’…?
VL: Traditional artists themselves are often a lot more nuanced with contemporary sounds and narratives than people think . They’re human beings so can carry messages…. It’s a bit de-humanizing to have this preconceived package of beliefs about who they are.

Levin concludes:
So this is an essential feature about what my project is about. These go hand in hand: nuancing African identity and empowering marginalized histories. It is a contradiction because on the one hand, you’re saying there’s no such thing as traditional African-ness, and on the other hand, there IS such a thing and we need to empower that. It’s a necessary contradiction to draw in.

CM: The contradiction helps to empower through debate by providing that debate. It requires a sense of history and social propriety and intelligent debate, doesn’t it?
VL: Exactly.

CM: You have on the one hand local South African influences with people who reside here, whatever the expansion of their music art form is. Some are moving on with their sound forms; others are still stuck with what they know best and in the past. Then you have the ‘diasporic’ influences. Who are these Diaspora you speak about?
VL: I think one definition of ‘Diaspora’ is a large body of people who move from one part of the globe to another. Diasporic musicians can include Africans who have left their African areas. This doesn’t only include musicians but the Africans carrying their intellectual diasporic traditions, like Chinua Achebe, Kofi Agawu (a Ghanaian musicologist). But I’m referring also to the music itself, especially in the age of globalization, there’s increased motion in music. It’s moving around, and again allied to capitalism, not knowing really where the music is coming from. When I was 13 years old, I listened to Radio Head and Massive Attack – that was my music foundation and the music I loved most. So this was diasporic music, which doesn’t only refer to Africans moving about.

CM: That’s an interesting concept of migration, of people migrating without being ‘migrants’. We all are migrating in our social, cultural, and intellectual forms because there’s a world of information out there. This is great. But it’s also overload. People are getting confused – about what they’re hearing, etc. And terms we use are not catching up with the informational overload we’re experiencing. If you have terminologies that are not catching up, then you get stuck with jargon which influences people’s psychology, and the informational ‘box’ effect. But this is just human nature, isn’t it?
VL: Indeed.

CM: How do you break through this? It’s interesting your European band is playing a type of sound you’re trying to cultivate.
VL: The musicians are craftsmen and creators in their own right. The music I compose has such a strong basis in western harmony, just to be publically clear. I consider myself to have been very well colonized in that regard. My ears are very oriented to western harmony and because we all speak in this western harmonic language it becomes possible to compose songs and interact on that front, particularly with that jazz tradition , from Parker and bebop to contemporary modern jazz up until now. Secondly, we have a shared harmonic language that comes out of the classical music tradition and has been elaborated upon by various jazz artists. Because we have these common points of reference, it makes it possible for us to engage in the conversation.

CM: Good point….common points of reference. Are you planning on returning to South Africa more permanently now?
VL: If you asked me this two years ago, when I was finishing my degrees, I would have said, yes, I’m coming back. But with professional obligations, and with things happening in Europe to my favour, I would say, yeah, I’ll come back at some other time. I would try to set up some trans-continental arrangements in the meantime.

CM: If you were to spend time in South Africa, what would you want to do here?
VL: One has to be realistic about establishing networks and business outlets. I would be very interested in working with local musicians. I would also love a job teaching at a University, and having private students. In Europe, I’ve been lucky with several gigs per month. The band, Aurelio Project, led by a Mozambiquan, has included me in their tours.

CM: Who influences you in your improvisations? Who do you look up?
VL: Carlo, Marcus, Africa Mkize, John Davis, Kevin Davidson, Massive Attacks, Debussy, Ravel and other classical music. The atonality of Schoenberg…..

&*&*&*&*&*&*&*&*&

Vuma Levin plays at the Grahamstown Youth Jazz Festival and also at the Fringe venues.  His quintet includes Bernard van Rossum (Tenor Sax, Spain), Lennart Altgenug (Piano, Germany), Marco Zenini (Bass, Italy) and Jeroen Batterink (Drums, The Netherlands).

Leave a Comment

Filed under All Jazz Radio Blog, CD & Gig Reviews, Interviews with Carol Martin

Mike del Ferro’s “The Johannesburg Sessions”, a CD Review by C. Martin

Here comes another improvisational jewel of an album from Dutchman Mike del Ferro, whose piano keys, heart, and well-versed skills combine traditional South African sounds with electronic wizardry of fellow band members, all South African. Challenge Records is offering this third album, “The Johannesburg Sessions”, as part of a 10-album series that present del Ferro’s “songs inspired by wandering the globe”. His South African experience of absorbing local jazz sounds, rural and urban rhythms, and musings with traditional healers has produced another magically enlightening study in sound. Like his recent workshop “Working in Sound” at the March 2015 SAJE conference (South African Association for Jazz Education), del Ferro explores how electronic effects open up avenues for compositions which wed the traditional human and animal sounds with contemporary improvisation. More about that later.

The Johannesburg Sessions

Cover: “The Johannesburg Sessions”

The album is filled with Zulu and Xhosa vocal chants (from Zulu singer Mbuso Khoza) mixed with electronica of bassist/composer Carlo Mombelli, and punctuated with African rhythmic sounds of drummer Kesivan Naidoo and percussionist Thebe Lipere. It opens with a lilting Zulu song, “Smomondiya”, about a beautiful Zulu woman. One hears Khoza’s falsetto voice enamoured with her image. “Ntylo Ntylo” followed by “Goema on Saturday” ring familiar to the local popular song and Cape rhythms. Naidoo kicks off in characteristic goema style with del Ferro’s piano chords and phrases and Khoza’s vocal chants announcing the joyful street dances and parades reminiscent of the January Cape Carnival.
“Umlolozelo” is an absolutely beautiful traditional Zulu ballad, presented skilfully by Khoza’s gentle and wide soprano voice range as is his other slow ballad, “Imbusise” meaning ‘Lord bless the work of my hands’. An interesting 12/8 improvisation is “Twelfish” with familiar worldly percussive effects but fundamentally African. The final songs feature Khoza’s tributes to his cultural kingdoms of old, of the late 1870s Zulu King Cetshwayo’s reign with original scores by del Ferro in “Leyla” and “Mpushini”, which is a melodic del Ferro song with Khoza spoken lyrics about the river that runs next to his native village in KZN. It ends the album on a meditative note.

My favourite on the album comes in the middle: “The Mosquito Loop” is fun. The mozzie buzz is always there, glittering with the electronic effects of bassist Mombelli playing with his pedals as he enjoys doing. There is something ‘traditional’ (in keeping with the album’s otherwise African sounds) about the ever-present and monotonous mosquito buzz as the piano echoes in short phrases as the percussion taps out energy and the drum rolls crescendo (Naidoo’s signature method) just as the mozzie lands. The psychedelic electronica merges as mozzie flies away happy! This is a fascinating study in pedal loop improvisation – just make sure your stereophonic range is well tuned.

I can’t wait to hear the subsequent 7 albums yet to come in this 10-part masterful series of global sounds.

*&*&*&*&*&*&*&*&*&

Del Ferro is also a master of improvisation workshops as exhibited in several ‘shops’ I attended in March.  Nobuhle Mazinyane, a 16 year old Grade 11 student at Groote Schuur High School, played her own composition at Mike’s workshop “Working in Sound” on 30 March 2015.

Mike del Ferro coaching Nobuhle Mazinyane

Mike del Ferro coaching Nobuhle Mazinyane

“Try to give each note more or less the same value. The stretch of your hand – one note in the chord can make a big difference.” He explained how the electronic keyboard can guide one’s composition with the different harmonies and sounds (like scat). “With the Roland (keyboard), I play different harmonies because the overtones change. I never use the ‘piano’ sound on the electric piano. Trick is to send a note behind the bar, a syncopation….”

In his other workshop, “Self management and networking for musicians”, he advises: “It is essential for starting (and non starting) musicians to have the right organizational and networking skills in order to create a successful career in music”.” Don’t wait too late to learn these skills. Network your sounds: “….12/8 and 6/8 time – you hear this in Senegal and South Africa. There are lots of inspirations from African rhythms and traditions.”

*&*&*&*&*&*&*&*&*&*
.
Mike del Ferro’s dizzying schedule of ‘wandering the globe’ can be seen on his website, www.mikedelferro.com, along with a multitude of video clips that offer armchair travelers an array of those globalized sounds ala Mike.

Leave a Comment

Filed under CD & Gig Reviews, Education, Interviews with Carol Martin

Young American jazz saxophonist releases debut album with Capetownians

An Interview with Tristan James Weitkamp by C. Martin

“Flash in the Pan” , the debut album of 23 year old Tristan James Weitkamp, talks about issues of the heart brought on by contemporary social incongruities. Here’s a young jazz artist with a message. A native of Portland, Oregon, Tristan has crafted his Cape Town band, called New Horizons, to produce an exciting assortment of home-grown, South African-influenced songs with stories. The album will be released this June by Milestone Studios followed by gigs in Cape Town on 12 (UCT/SACM C7) and 18 June (Straight No Chaser).

I interviewed the band members during their studio ‘shoot’ and found some very creative and ambitious guys and gals willing to give their all. There are a host of guest artists performing in this ambitious album: Ludwe Danxa plays keyboard; Revon October plays electric bass; Ndumiso Manan and Diana Neil on vocals; Dizu Plaatjies on pipe flute; James McClure and Marco Maritz on trumpets; Georgie Jones on baritone sax; Tammy Breakey on flute; and Norwegian guitarist, Gorm. The poet is Kgmotso Malele.

But firstly, let’s hear from the young maestro himself.

TJW: I had studied music at college in Portland, Oregon, but wanted a break to study African affairs more closely. One professor I had in Oregon was Darrell Grant, a pianist who accompanied Better Carter band, inspired me to explore the world more when my family held house concerts featuring Darrell. This led to my applying to the University of Cape Town (UCT) for African Studies. I also knew UCT had a vibrant music school which is why I brought my sax. So, my family helped raise my funds for an expensive tuition at UCT. I also jammed with musicians and never dreamt I would end my year cutting my first jazz album with these wonderful musicians!

Tristan at Piano Bar

Tristan at Piano Bar

CM: I understand you have strong messages to convey in your album, like in your song, “Coffee Stains”.

TJW: My most authentic composition is ‘Coffee Stains on Cardboard Boxes’, which is a duet between my sax and the double bassist. There’s a story on this from Prestwich Memorial, about how building developers found graves of slaves and exhumed them to build a new building, and doing this digging without consideration for the slave’s ‘rights’ to a dignified burial.

CM: [I thought to myself: How does a 23 year old ‘white’ American boy, coming to Africa, learn and incorporate a profoundly significant but little known historical incident (at least to average CapeTownians) about the treatment of slaves, dead or alive?]

TJW: The corpses of slaves were stored in these shelves, in this building, like they would be stored on a slave ship. I was in their mausoleum but the frontage was actually a coffee shop, like a corporate business. I think it’s a horrible modern day example of slavery, and how we do not take interest in what these people represented. Their memorial grave is being supported by money generated by coffee! That’s why I wrote this song, about coffee stains on cardboard boxes.

CM: You sound quite politically aware as an artist wanting to send out your concerns in your music. Have you been an activist of sorts?

TJW: Not really, but I’ve grown frustrated with the unchanging nature of our world. I’m seeing proposals made by Martin Luther King’s movement back in the 60s are not being achieved 60-70 years later. During College, I took several courses in African studies, and this enthused me to study further, which is why I came to UCT/CapeTown. I became exposed to hurtles and blocks to democracy in this country. I was seeing issues not much differently from other parts of the world. I arrived right after Mandela’s funeral. I’m a political animal, and am aware of the economic crisis. But studying African history and music – and political and social issues in South Africa – woke me up. UCT is a microcosm of the country. Political and social protests are being held amongst students and faculty/administration.

Through the African Studies department, I learned about the Prestwich Mortuary. Also, one visiting South American lecturer, Walter Mignolo, inspired me to understand how colonialism is a persistent trait, spawned out of the feudal and renaissance times, hand in hand with technological advances. History is not linear but vertical, one layer being built upon another. Apartheid is like this, accumulative history using ‘race as a way to measure….worth. He said, if we are concerned with race today, then it means we are still colonialists. If we did not make a big deal about ‘race’, then the subject would not be important and the issues would fall away. He talked about how you go about de-colonizing the human psyche because colonialism lives in the brain. We have to de-program our minds – get rid of the propaganda instilled in us.

CM: So where did you get “Flash in the Pan” as your album title?

TJW: Flash in the Pan comes from the time when firearms were muzzle-loaded, but nothing came to fruition. Big sensationalism with no real results. Like having a movement to remove Rhodes statue, to combat the neo-colonialism in the modern context, but when it happened, it only removed the statue. This created conversation, but nothing really changes. History remains. If you want to change, then change laws moving contemporary society along, not tear down historical statues.

Tristan at Tagoges

Tristan at Tagores

CM: Tell me how you chose your songs.

TJW: “Blackbird” by Paul McCartney, is a song he composed to convey the opportunity to fly, amidst the 1950s and 1960s black consciousness movement. Another song is about a meatgrinder – is a Cape jive tune with an American jazz twist. I was told by a friend from Delft that his home was like a meatgrinder in the township, because of the amounts of crime, people fighting with each other, grabbing what they can. It turns people around, grinds them up. Then another song, “Impetus”, is a force that sparks something, moves the boulder. ‘Flash in the Pan’ , a ballad tune I wrote, starts out as a Cape jive gospel intro, then completely changes. The album continues to deal with social issues, like ‘Coffee Stains’ with young bassist, Sean. The spoken word hip hop song has poet, Kgmotso Malele who starts off: “Silence is the loudest form of noise….”. When you get towards the end of the album, the ‘Blue Boat Home’, which comes from the Universalist hymnbook, has beautiful lyrics about a man’s ride from earth (the Blue Boat), travelling through space on a sea of stars , to reach ‘home’. This song was played at my grandfather’s funeral because it’s about going home to our final resting place. I wrote a jazz arrangement of it which is sung by a wonderful Cape Town singer, Diana Neil. Then comes “Down the River” and “Welcome Home” which I dedicated to my grandmother who is 100 years old now, and to my late grandfather, both who urged me to pursue music. “Here we are, all at home; without ruthlessness, without greed, …..”

CM: You leave South Africa this July to return home. What are your future plans?

TJW: I will go back to music, and prefer conducting. I like conducting an orchestra with woodwinds and choirs. New Horizons is not meant to be just a South African initiative; I plan to release the album in the States with another band. I’d like Zoe, my singer here, to come and do the release with me and give it a South African flavour.

_+_+_+_+_+_+_+_

So who is New Horizons? I interviewed members of the band, and found an eclectic mix of cultures, musical persuasions, attitudes, and experiences.

Singer and composer, Zoe Modiga, offers soulful gospel and blues sounds, all improvised carefully with the occasional scat. Her low voice and poise give her a mature air that defies her young self. At 21 years of age, and having come from teenage years studying at Gauteng’s National School of Arts (NSA) and studies at UCT Jazz Studies, she has remarkable sound, sincerity, and carriage on stage as well as in her delivery. No wonder several bands include her regularly as their vocalist, such as the seasoned Frank Paco and Bokani Dyer, and the Jo Kunniji Experiment. Having won the local GrandWest’s Open Jazz Mic competition last year, Zoe will probably move on to other sites of Gauteng for more exposure and experience and further study, even incorporating other loves, like cooking and photography, to her list of skills.

Drummer Andre Swartz grew up in Retreat in Cape Town and graduated from UCT’s Jazz Studies. He is now married to an American lady from Dallas, Texas, and moves between his two country homes. He presently fills the position of Head of Faculty of Music at the Campus of the Performing Arts in Woodstock, which started in 2006 and specializes in contemporary music, mostly the pop genre.

“I intentionally wanted to depart from the traditional bebop jazz to phrasing of African rhythms, particularly with contemporary African jazz, and show what commonalities exist between these different time and cultural periods. I have the kit drum doing one thing, and the snare drum doing another thing, like that to get the polyrhythms. For instance, I have a high tam and a low tam and the snare which fills in, and then a djembe which clicks in. “

Pianist Blake Hellaby, presently teaching at Cape Town’s Wynberg Boys High School, believes in ‘giving back. “I feel music is the freest form of expression and can affect the positive transformations in the Cape Flats on people’s lives. The people living on the Cape Flats have never been told that they can become anything they want to be. They’ve never been told, ‘You don’t have to be a cleaner.’ I feel there’s room in South Africa to improve people’s lives and jazz needs to carry this message without being accused of becoming ‘political’”. Blake feels that indigenous South African music is becoming extinct. “The Klopse aren’t playing their own music any more. They’re playing American pop.”

Tristan was an international exchange student with African music specialist, Dizu Plaatjie, last year, so Dizu understands Tristan’s ideas and his willingness to play South African jazz music. Dizu offers a R5 irrigation pipe flute to the album, thus boosting the authentic African pipe soundscape in some songs.

The youngest in the band is 19 year old Sean Sanby who plays double bass, and loved having the freedom to express his own reactions to Tristan’s stories. A first year student at UCT SACM, Sean has already participated in five Grahamstown Youth Jazz Festivals, and played in the National Schools Big Band in 2013 and 2014. He also plays 16 string guitar, and was a member of the Cape Town Youth Orchestra 2015 and the Artscape Youth Jazz Band this year.

1 Comment

Filed under CD & Gig Reviews, Interviews with Carol Martin

Ear Candy -A Review of Al Jarreau’s “My Old Friend: Celebrating George Duke” by C. Martin

“I took my first voice lesson a month ago,” beamed the 75-year old multi-Grammy Award singer, Al Jarreau. “Yeah, I’m studying voice now! In the rush of things, I had picked up some bad habits in my singing”. Well, I wouldn’t know! This announcement during his press conference preceded his stage appearance the next evening at the recent Cape Town International Jazz Festival held end March 2015. He was also plugging his latest album, “My Old Friend: Celebrating George Duke” which does just that – honours a musical dynasty of invited artists who, together, stamp their own soundprints on the song legacy left by the late Duke who passed on in 2013.

My Old Friend: Celebrating George Duke

My Old Friend: Celebrating George Duke

Read an My Old Friend: Celebrating George Duke excellent interview with Jarreau by Smooth Views about this album’s evolution: http://smoothviews.com/WordPress/?p=1055  and about the signature which producer John Burk puts, as does fellow writer and bassist, Stanley Clarke, on the whole album.

Had the Duke lived to hear his 10 songs on the album, he might have called it ‘ear candy’. There are sweet, some sour, sassy and sarcastic, but always soulful renditions of Duke’s tunes from the artist heavyweights who joined Jarreau.

Although the first song on the album is not a Duke song, “My Old Friend” is appropriate as it commemorates Jarreau’s 50 long years of friendship with Duke. In fact, Jarreau was reminded by Burk that he (Jarreau) was probably the longest collaborator going back to Duke’s Los Angeles days performing in the early 1960’s. In “Churchyheart” (tribute by Duke and Jarreau to Miles Davis’s ‘ Backyard Ritual/Bitches Brew’), there’s a love between fellow collaborator, bassist Marcus Miller, and Jarreau, both who loved Miles, and Miles loved them. You can hear it in the muted trumpet. With lyrics by Jarreau, Miller, who normally is a string bassist, offers a rare bass clarinet duet, or what Jarreau considered marking “some new territories”. Collaborator Stanley Clarke knocked heads together with Jarreau to select the songs having close connections between Duke and Jarreau, such as the bossa/samba song, or “Somebossa” as Jarreau calls it, where George Albright’s melodic saxophone presents this ‘summer breezin’ swing. In “Sweet Baby”, Jarreau’s falsetto pitch comes through nicely, in keeping with the title, matching Lalah Hathaway’s slinky voice. Vocalist Jeffrey Osborne and Jarreau announce “Every Reason to Smile” with a funky pop, like:

livin’ in a one room shack, you know it’s good to look back,

I loved those times so well….that’s how I learned to sing…

 

George Duke with Al Jarreau

George Duke with Al Jarreau

An old classic with Duke on piano and Boney James on tenor saxophone, ‘Bring me Joy’ brings back romantic memories of this past song about another day. Duke’s cousin Dianne Reeves (another multi Grammy award winner) and Jarreau swing into another samba rumble, enhanced by Lenny Castro’s percussion, in ‘Brazilian Love Affair/ Up from the Sea It Rose and Ate Rio in One Swift Bite”’. Characteristically, the song moves into a funky rap scat Jarreau is so noted for. Dr. John rattles his ‘brain salad’ in the last song on this album, ‘You Touch My Brain’ as each instrument skilfully lays out its own phrases like a tossed salad.

As Jarreau said to me during our interviews: “We brought in alot of people to cover his music. We laughed so much doing that record. I thought: ‘George, I’m sorry, I’m having a good time.’” And joyful, it is! So isn’t Jarreau’s aging voice.

The album was released in 2014 by Concord Music Group.

Leave a Comment

Filed under All Jazz Radio Blog, CD & Gig Reviews, Interviews with Carol Martin