South African Music and South African Jazz

Peter Auret

2011-09-12T11:37:00.000-07:00

I recently completed an interview with the drummer Peter Auret. He's a fascinating figure - a wonderful jazz drummer, but also a guy who is looking to find solutions to a declining array of performance opportunities for jazz artists in South Africa.

He formed his own collective, around his self-produced label Afrisonic, and is beginning to develop showcase-style performances in Johannesburg. Given the dearth of clubs in the country, Auret's vision may prove to be a helpful antidote for SA, which is swimming in incredible talent, but lacking in appropriate venues for the talent to perform.

Auret just released a marvelous album, Turn the Tide, which I heartily recommend.

Ard Matthews

2011-08-24T12:26:00.000-07:00

Whoops!

Ard Matthews opts for epic fail [a la Christina Aguilera]:

[insert generic and tiresome joke about Just Jinger/Just Jinjer doing to pop music what Matthews did to the anthem]

[8/25 addendum: Ard posted a video of his playing the national anthem at home to demonstrate that he actually DOES know the lyrics. Though I am going to go with "living room doesn't count," I figure it's worth noting this:

There we go]

An overdue note

2011-08-19T09:44:00.000-07:00

One and a half years late, but what the hell.

I've been conducting some interviews lately with South African artists - mostly jazz, but I think the genre line gets fuzzy as a general rule when discussing South African jazz (for reference, see the increasingly tiresome debate over whether Hugh Masekela is jazz or not...no, not here...just look around, I suppose).

The interviews are online at allaboutjazz.com, but I'll hyperlink them below, too.

The first interview, which was published earlier this year, was with a guitarist named Derek Gripper. He performs classical pieces, Brazilian music, Malian kora music transcribed for guitar, original compositions, Cape vastraps (a quickstep-style dance), and so on. He just began releasing his own albums through his limited-print label, New Cape Records. The interview is quite striking, and he's very forthcoming with info and engaging, so I hope you'll read it. From a personal standpoint, one particular album of his stands out for me: Sagtevlei, which he recorded with the late multi-instrumentalist Alex van Heerden. Mr. van Heerden and his extraordinary body of work merit their own blog entry (maybe even their own blog!), but for now, just check out Sagtevlei and maybe give the interview a read (Derek and I discuss Alex).

The second interview that's currently live is with a jazz pianist and composer named Jason Reolon. He began playing in a group called Breakfast Included, which in the very late 90s into the early part of the last decade, was something of a jazz sensation in SA. A number of critics wrote extensively about the group, and particularly highlighted Jason's playing. He just released an album called Outline that I thought was pretty magnificent - beautiful jazz trio work, in fact. In conjunction with his interview, the site also made one of his tracks available for free download. Check it out - wonderful stuff.

I figure, in lieu of writing too much about either of these artists, I'd actually just suggest reading the interviews - they do a better job explaining their work and music than I do!

More interviews will be coming - one with a guitarist named Bruce Muirhead (whose exceptional debut album I reviewed), another with a drummer and entrepreneur named Peter Auret, and a third one with a pastor, singer, and music promoter named Glenn Robertson. There will be further interviews too, but these ones are nearly completed.

The overall lesson I learned from these interviews, however, is that South Africa is currently enjoying a wealth of talent and innovation that it hasn't seen in a while. The shame is, clubs there are closing, and in fact I don't believe there is a single dedicated jazz club remaining in South Africa right now. However, what also struck me from these interviews was the level of business innovation that a number of artists are applying towards rectifying this and rebuilding the scene: from Robertson's Friday night jazz series (forthcoming interview), to Auret's Afrisound label and musician collective in Johannesburg (likewise), to Kesivan Naidoo's Silent Revolution Productions and their mini-jazz festivals (have to conduct the interview, but THEN it will be forthcoming). I found myself not only blown away by the music and artistry, but also deeply respectful of the business savvy many of these artists are demonstrating.

I am looking forward to writing more on that soon.

Haven't updated, I know

2010-04-07T20:47:00.000-07:00

I haven't updated in forever because I haven't felt like writing about music. I haven't enjoyed music lately, and I considered leaving the industry completely for a while.

This is what an MBA program will do to you. Be warned. But I largely got over it (still unemployed at the moment, so I have to wonder at the utility of the MBA), and so I'm returning to blogging

I wanted to write on a question to which I don't have the answer, but for which I would love feedback.

There is a piece by the magnificent (late) composer and saxophonist Zacks (sometimes Zakes) Nkosi called Ama Swati.

If you don't know it - check out his album to give it a listen.

I first heard this track on my iPod in shuffle mode. Without looking at the track info, I heard the melody and knew immediately it was a South African jazz piece.

No, I'm not bragging. Rather, I'm curious what specifically triggered my recognition. The melody is a beautiful, singing melody with consonant major harmonies backing it. It might be the grouping into threes of the notes themselves, but I'm not certain. There were no Zulu or Xhosa vocals backing it, nor the choked guitar sound of mbaqanga.

So I ask the question what makes a piece a South African jazz piece? What are the qualities that we feel link Abdullah Ibrahim, Chris McGregor, Hugh Masekela, Louis Mhlanga, Busi Mhlongo, et al together?

Is there a common tie here, or must we scrap the catch-all term as useless beyond noting composer origin? (and if so, how then do we address the American composers who copied Ibrahim's music or the folks like Darius Brubeck?)

Musicologically, what was in in Ama Swati that triggered immediate recognition as South African jazz?

More generally - is it useful to even distinguish jazz pieces as South African jazz? American jazz pedagogy and general viewpoints already like to diminish the artistic merit of jazz created outside US borders, so is creating this distinguishing note hurting the ability to try to incorporate it into the general lexicon of jazz?

Returning Somewhat

2009-05-20T17:32:00.000-07:00

Business school has ended for the year, so my schedule freed up a bit.

We're working on bringing some South African jazz artists to the US over the next year, so I am hoping it will go well.

In the meantime, it seems that Abdullah Ibrahim is earning honorary doctorates, winning music awards, and all sorts of good stuff these past few months. I'd post the links, but I'm sleep-deprived and fairly certain you've seen them.

And, I have to say that, following Senzo, the awards may be fully deserved. Senzo is an absolute masterpiece, beautifully played from beginning to end - particularly Blues for a Hip King. Abdullah finds new depths of meaning in this piece, even after so many years. It's stunning to hear.

Added great news is that he is now regularly touring with a reformed version of his ensemble Ekaya, so we may see a full revival of some of his most creative playing in the months and years to come.

Fingers crossed...

Rest in Peace, Bheki Mseleku

2008-09-10T07:05:00.000-07:00

The great pianist Bheki Mseleku passed away today, following complications from diabates. The full story may be found here.

This is a terrible tragedy, as many of you undoubtedly know. For those of you who don't know Bheki's music, his style was heavily influenced by artists like Abdullah Ibrahim and McCoy Tyner, but his style was unquestionably his own. Check out the magnum opus Meditations. His almost stream-of-consciousness style and pianistic abilities combine for an absolutely breathtaking listening experience.

He will be deeply missed.

Minton's Playhouse and South Africa

2008-05-15T12:21:00.000-07:00

[Editor's note 2009: Following some unfortunate issues with a now-former staff member of Minton's, much of this fell through. We are working to redevelop partnerships, and we hope that we will soon position Minton's as a friend of and collaborator in international jazz. We had some house cleaning to do first.]

[Editor's note 2011: Man, FUCK Minton's Playhouse]

I wanted to draw attention to this - Minton's Playhouse in Harlem (with whom I'm working on this project) announced this week a massive expansion in jazz programming and jazz education.

One of the major components is a partnership with Fort Hare University in South Africa, which will be led by Hotep Idris Galeta. This is a very exciting new project - I'm hoping that through it, we'll get South African musicians performing here more regularly, and also that we'll be able to increase the presence of South African jazz within the United States.

Here's the release.

You can download the full press kit here.

Sathima Bea Benjamin in AllAboutJazz

2008-05-01T12:48:00.001-07:00

Sathima Bea Benjamin was interviewed by Maxwell Chandler at allaboutjazz.com.

I knew the interview was going on, but I didn't expect such a long, sweeping article. Needless to say, wonderful!

Read it here - it really gives a fantastic picture of Sathima.

Idiocy

2008-05-01T12:29:00.001-07:00

Don't get me wrong. I like the Jazz Crusaders. I also like that they worked extensively with Hugh Masekela, and have ties to South Africa. I think it's all great.

What I am not clear on, is the artwork for this album.

Why, precisely, does an album entitled Live in South Africa feature what appears to be a Siberian Tiger on its cover? More generally why in the hell does any album related to Africa feature a Tiger?

It's bad enough, thanks to The Weavers' decision to steal/shit upon the fine song "Mbube" with "The Lion Sleeps Tonight," that now a large portion of the population believes that lions are jungle creatures. But c'mon, at least they got the general CONTINENT right.

The music is pretty good though.

Returning

2008-04-18T06:49:00.000-07:00

I'll be updating my blog more regularly now (long story), which makes me so darn happy.

Brief update - Sathima did a performance this past January at Sweet Rhythm, and her daughter Tsidi (a.k.a. Jean Grae) joined her onstage to rap on Sathima's tune "Africa." Someone caught this bit on camera (not the whole song, sadly), and it's worth having a look. Here it is:

I move that Buster Williams becomes the bassist for every hip hop album created here on out.

Might be some exciting news with an uptown jazz club, and a South African university. Not saying anything more until we have confirmation!

Closing out, I know I talk of this guy a lot, but he's just so fantastic. I'm speaking of Louis Mhlanga, the guitarist. On his marvellous album Tinganekwane, he opens with a bouncy, Mali-esque track called "Mari Hakuna." And, bonus, there is a music video! Have a look/listen!

A second blog

2007-12-27T12:13:00.001-08:00

Hello random people who stumble upon this blog through means I cannot discern!

I have added a second blog to my profile - called "Musical Nerdery." You can find it at geekmytunes.blogspot.com. I'm keeping this blog too, but I also wanted to blog about non-South African stuff as well, and having safro-jazz in the URL and concept somewhat limits that.

Horribly self-indulgent, I know. Please don't stab me.

I'll have a new post on this blog shortly - in the meantime, amuse yourselves with this lovely music video starring the excellent guitarist Louis Mhlanga!

And here's a puppy. Please buy it for me.

Moses Molelekwa Review in The Citizen

2007-12-26T10:50:00.001-08:00

The Citizen, which appears to be Joburg's answer to the New York Post (for better or worse), ran a lovely (and fitting) review of the late pianist Moses Taiwa Molelekwa's double CD album Darkness Pass. You can read it here.

Molelekwa might be the greatest pianist you have never heard. Hotep, while he was here, listened to Darkness Pass and described him as the "Sotho Keith Jarrett," which I thought was an interesting insight.

The album is solo piano, and filled with languid, slowly unfolding melodic masterworks. Some might feel the album lacks fire and power (a la Molelekwa's masterwork Genes and Spirits), but I find that point irrelevant. It is such rich music, so beautifully understated, that I don't find myself wanting for pianistic fireworks on this album.

You can buy it here.

Oh god...

2007-12-19T08:06:00.000-08:00

Why....just...why?

.........I don't understand. Why...the...hell?

Hotep Idris Galeta

2007-12-19T07:34:00.000-08:00

We had the SA pianist Hotep Idris Galeta in town this past week at my place (til my landlords decided that I can't have guests for extended periods...stupid damn lease), as he did a duo piano concert at Shutters Cafe with Onaje Allan Gumbs. Turn-out was a bit weak, but the weather was terrifying, so I suppose that's understandable.

The fine news was that we recorded one of the nights of music, and will be releasing it in the next year or two. As you know, duo piano recordings are fairly rare, and this one is particularly special. I have high hopes for the album.

If you haven't heard Hotep, he's worth tracking down. He has a solo album out on Sheer Sound called Malay Tone Poem. It features fine musicians like Marcus Wyatt and Zim Ngqawana, and is a tremendously underrated album.

Stateside, you may know Hotep from his work with Jackie McLean, notably on Dynasty and on Rites of Passage. He's also with Hotep's son, Rene, on the album Live in South Africa. Then he played with Hugh Masekela, Hadley Caliman, David Crosby, etc etc etc.

What had been interesting for me, having him in town, was the span of his music. I had known him from Malay Tone Poems and his albums with Jackie, primarily, so I always thought of him as a highly creative, Cape-style straight-ahead musician. And I was proven very, very, very wrong. His demo tape for his next album incorporates some mbaqanga, some smooth jazz, some Take 6 style gospel harmonizing...the whole gamut. It might annoy purists, but the music is excellent, and man, does Hotep have his ear to the ground for new styles.

So do check him out - he is crazy hip.

Sathima's Daughter

2007-12-19T07:30:00.000-08:00

For those of you who do not know, Sathima's daughter is the New York-based hip hop artist Jean Grae. Who, might we add, is awesome and whose CDs should be in your collection (I'm told her major label debut is forthcoming in 2008, so keep an eye out...)

Anyways, she wrote a blog entry on her MySpace about Sathima that I wanted to re-print...

Here it is:

Sunday, December 16, 2007

My Mama, The AMAZING....

.....Sathima Bea Benjamin.

I'm taking this week to introduce to those of you who do not know, the beautiful spirit and song of Sathima Bea Benjamin.
Thankfully to the universe, it was decided that I was born to this amazing woman.

Beyond being the greatest, coolest, most understanding, FUNNY AS ALL HELL, learned, vulnerable, inspiring, sensitive, spiritual, potty mouthed, dependable, independent, brave, innocent, determined and 1 in the world MOM..... she is the most creative and musical inspiring spirit through the gentle vibrato of honest notes.

I hate hearing people play cd 101.9 and thinking that Najee is jazz.

Or having to grown up watching her being overlooked, under appreciated and mis-categorized.

Critically acclaimed and grammy nominated.

Understood and praised by jazz purists and scholars, those of us who believe in honest and beautiful music and weep at the moment a note pulls at our heartstrings.

This woman is a force and the reason I do what I do. Even when I want to stop. The only reason I exist and the music that I make exists.

I understand her struggle and her ambition because I have made it mine. Because she is such a warrior and fighter for things that are honest and true to her being and love and family.

A hopeless romantic and an inexplicable grace in being.

I am only a mirror of everything I have learned from her.

She has not quit nor given up, so if the small recognition that I have fought for like she taught me to can allow anyone else to glimpse and experience her fight for love...it is
all worth it.

I am keeping up and adding pictures, photos and music all week.

She has always believed in me, unconditionally.. as a daughter and as an artist. Given me the utmost respect and love.

I would like to now return the favor.

Please, purchase a CD, spread the word, add her into your top. Google her, search for her, request her in your record stores. She is 1 in my top friends list, visit the page and purchase music directly from there as well.

My friends and I all have her current re-issue in heavy rotation.. Not because she's my mom, because she is Sathima.. and she is amazing.

My life has and does mimic hers in so many ways. As It's amazing to be getting some due after 15 years, she has been doing it for 40+ and has yet to receive a real and true acceptance from the jazz and music community as a living legend and the one and only true jazz singer from Cape Town, South Africa...In addition to owning her own label and releasing her music independently..
also, shes a hot hot hot lady.. lol.

Yes mama.. you cutie you.

Love ya'll..

Ride with us.

Support honest music.

www.myspace.com/sathimabeabenjamin
www.sathimabeabenjamin.com

To which I say.....amen. Everyone who knows Sathima knows this. A very wonderful person - working for her is a real pleasure.

FINALLY!

2007-11-13T11:39:00.001-08:00

A South African wine bar has opened up in New York!

FINALLY! It only took years and years and years and years, but, unless this website is playing a brutally mean joke on me, here it is!

Xai Xai Winebar

Oh thank you thank you thank you you lovely owners of Xai Xai. I will be there tomorrow evening.

Oh joy!

Gwen Ansell's "Soweto Blues"

2007-10-29T13:35:00.000-07:00

I assume most people who'd read a blog like this, are familiar with the above book...but maybe not.

If you have not purchased/read Gwen Ansell's Soweto Blues, then you are missing out on one of the only commercially available books easily found in the US that chronicles this music.

Yes, there is Louise Meintjes' Sound of Africa, but that focuses on mbaqanga. Also, if you are super-nerdy/diligent/working-on-a-thesis/OCD/suffer-from-Asperger's-and-
it-manifests-itself in-the-collection-of-obscure-books, then you may also know of David Coplan's In Township Tonight (excellent, but 25 years old and out-of-print), Charles Hamm's Afro-American Music, South Africa, and Apartheid (20 years old and out-of-print), or Veit Erlmann's Music, Modernity, and the Global Imagination (so densely impenetrable in its language and thought process that you may find punching a hole in concrete to be a bit quicker). And there's the Rough Guide, and so on...

But back to Ansell's book - this was written as a compilation of interviews she conducted with South African jazz artists, for a radio program she was working on. The lovely result of that sort of origin for this book is that a vast portion of the story is told from the musicians themselves, with Ansell at times merely acting as a catalyst. Yes, she fills in details, adds some context, but the increased first-person narrative makes for both a more interesting, and ultimately more enjoyable read.

Some people may be slightly annoyed by the lack of attention paid to the exiles - Abdullah, Hugh, Miriam, Blue Notes, etc - but I'm of the view that they have gotten their stories told a fair amount. Folks like Basil Coetzee, Chris Ngcukana, Henry February, et al, do not have their stories told. Or rather did not. The book does a superb job of addressing that.

There is a companion compilation CD you can buy which, somewhat infuriatingly, only seems to be available in South Africa. It's worth ordering though, as it contains some otherwise hard to find stuff. It has some flaws - due to licensing issues, they weren't able to put on the Jazz Epistles' recording of "Scullery Department," and instead put on the newer version done by Voice (if that didn't make an ounce of sense...don't worry...read the book and it will!). The CD should also be two CDs...but that's just not possible.

So pick it up. Enjoy it. Love it. And thank Gwen Ansell. She's super super cool

Classical Music Bitch

2007-10-29T12:45:00.000-07:00

Sorry - not South African music, but still...bears asking

Why is it that EVERY friggin year, every orchestra in the United States and Europe finds it absolutely necessary to perform Strauss's Till Eulenspiegel's Merry Pranks?

Every. Damn. Year.

Are there REALLY that many people who sit around thinking, "You know, I'd love to go to see the orchestra...but instead of the standard overplayed pieces, I wish they'd play some really shitty music year in and year out. I mean, some real masturbatory garbage that makes me feel nauseated after 3 minutes. But not Puccini...maybe something more...Teutonic? But still god-awful. How about that?"

Who the hell are these people? And why are they reproducing?

Hahaha, we win

2007-10-22T14:15:00.000-07:00

Unrelated to music.

Nevertheless, my rugby team kicked your rugby team's ass.

That is all.

Will blog on actual music things later.

Sathima Turns 71, Duke Ellington Returns

2007-09-19T08:30:00.000-07:00

Sathima turns 71 on October 17, and we'll be giving her a birthday party/concert at Sweet Rhythm. Onaje Allan Gumbs, Marcus McLaurine, and George Gray are going to perform with her, and you can reserve your table/seats/peace of mind by calling Sweet Rhythm at 212-255-3626, or going to their website.

Also, on October 16, we will make available for download (FOR THE FIRST TIME EVER!!! WHOO!!!) Sathima's album with Duke Ellington, Abdullah Ibrahim, and Billy Strayhorn...called A Morning in Paris. It was recorded in 1963, thought to be lost, and then resurfaced in the 90s. We are reissuing it with new artwork, new liner notes (featuring the writing stylings of Sathima, of Professor Sherrie Tucker, and of me), etc...the CD itself will be available on January 22.

However, for those of you who don't want to wait (which should be all of you, as a side note), come to Sathima's show on October 17, because we will have advance copies available for sale. It will be that magical. Really.

Here is the story of how A Morning in Paris came to be, for the interested.

I could keep talking (writing), but instead, we'll turn things over to Sathima. She wrote this piece for the album, discussing that day in 1963.

'My first thoughts on writing this were how impossible it would be to describe the experience of recording "A Morning in Paris" in February 1963 with the three most magnificent pianists a singer could ever dream of working with. I will try to convey my thoughts, forty-four years later on this, my most magical musical moment of my career as a jazz singer.

To be in the studio with Duke Ellington, Billy Strayhorn, and Abdullah Ibrahim at the young age of 23, was absolutely awesome and thrilling. To say I was nervous is an understatement.

Billy Strayhorn (it was my first time meeting him that morning) was the sweetest person you could ever meet. No wonder he was called "Sweet Pea." Ellington looked happy and relaxed, walked straight into the recording booth with the wonderful engineer Gerhard Lehner, and let us know that he was "the producer."

Me, being shy and introverted was lovingly and gently coaxed by Duke's generosity and enthusiasm to be the best I could be. I know I shall never, ever again have such a positively wonderful and ecstatic musical experience.

I have been blessed beyond words, to have Duke Ellington, Billy Strayhorn, and Abdullah Ibrahim as my accompanists that "Morning in Paris." Their input in my musical career empowers me forever. I must continue to improve and excel in my career as a jazz singer.

When Ellington brought me to New York City he said to me, "You have talent and imagination - use it in your song and survive." I remember those words and continue to fly under his protective musical wings.'

Sathima's website is here.

RIP Johnny Fourie

2007-09-11T07:35:00.000-07:00

My god, it's starting to feel like my blog only gets updated when people pass away.

However, given all the attention around the passing of Joe Zawinul, I wanted to commemorate the passing of another stunning jazz musician.

This was Johnny Fourie, the guitarist. From South Africa, spent a great deal of time performing in England, and also in the US, before returning to South Africa. He passed away about two weeks ago (I should have blogged this earlier, I know)

He did a lot of fusion work, and you can hear it on Charles Earland's "Intensity" album (a great listen), and also Wessel van Rensburg's "So Fine" (also wonderful, if quite smooth).

As a leader, I've heard two albums of his. One is a solo guitar album that came out about a year ago. I can't find a buy link for it (I did a quick search), but it is worth tracking down with a bit of effort.

The easier album to find is "Solo, Duet & Trio". In fact, here's the link! http://www.oneworld.co.za/ProductSpecific.asp?uref=&ProductCode=SLCD026&OrderID=&AffiliateID=

It's a stunning piece of work - brilliantly reimagined standards, and as an added bonus, features the ever amazing Carlo Mombelli on bass.

Rest In Peace, Jerry Masoleng

2007-08-31T15:58:00.000-07:00

I found out today that my friend, the artist Jerry Masoleng, was murdered last Saturday night. This was a man who worked for the Trevor Huddleston Memorial Centre in Sophiatown, who taught kids literacy and art, whose artistic abilities were absolutely incredible. And he was killed by a bunch of thugs. I am so goddamn sick of having friends and relatives injured, or killed by the out-of-control Johannesburg crime. It's sickening.

Please take a look at the centre's website. It's a remarkable institution with a fantastic mission. It was lucky to have someone like Jerry working for it.

Bala Brothers - B3

2007-08-16T13:41:00.000-07:00

I am about to feel horribly ashamed here...bits of self-loathing.

Not too long ago, I ordered a CD by the Bala Brothers entitled "B3" - not totally sure what to expect.

The album is a trio of brothers (as the group name helpfully clarifies), performing what I can only describe as unabashed crossover. Josh Grobin, music from the Lion King, Andrew [Fuckwad] Lloyd Weber, Norah Jones, et al.

With an orchestra, mind you.

Needless to say, popping it in, I had low expectations. This is not musical territory I'm terribly keen to enter...well, ever.

However, I find it oddly addicting. I am not prepared to say I like this CD, or that I think it's good music. I will say, however, that "You Raise Me Up" does manage to tug at my heart-strings when they go into full harmony. I will also concede they do an admirable job covering Norah Jones and, to a certain extent, Queen.

Perhaps my refusal to say I like this album is a subconscious attempt to hold onto what little remains of my masculinity. Regardless, I'm not going to admit it, damn it. I am not a pop-classical crossover fan (classipop? plossical? possi?). Just no.

It looks like One World provides a few listening links, if you're curious...see the above link.

I was in South Africa recently, and heard some fantastic albums, which I'll eventually get around to blogging.

Cape Town Love by Sathima Bea Benjamin

2007-06-18T12:11:00.000-07:00

Cape Town Love is an album that Sathima recorded in 1999 upon a return visit to, you guessed, Cape Town. Interestingly, the track choices are arguably the least "South African" in her recorded collection, comprising classic jazz standards like "You Go to My Head" and "Body and Soul."

However, as the group performing it is comprised of South Africans, some of the flavoring in the music is distinctly Capetownian...take the rather exotic bass intro on "I Only Have Eyes for You" followed by the ghoema rhythm.

We were going to re-issue this album in 2006 (it had never been released in the US), but opted to go for the compilation album SongSpirit, instead. I don't regret that decision (in fact, I think SongSpirit is damn amazing), but I have to concede there is a wonderful charm to Cape Town Love that I think people would have liked.

Consequently, we've decided to release it digitally, so starting June 19, you can download it via iTunes, and all those fun services.

The album, as mentioned, was recorded in Cape Town with pianist Henry February, bassist Basil Moses (whom you can hear on Musical Echoes), and drummer Vince Pavitt. Of the quartet, Henry February is the standout, for several reasons.

Imagine this - picture American jazz if, say, Fletcher Henderson, had never been recorded. This is the situation with Henry. He was a generation before Sathima, and was a pioneer of Cape Town jazz. However, due to the performance restrictions under apartheid, and the rather exploitative nature of the SA music business at the time, he refused to record. Consequently, this recording is his only documented performance, as he sadly passed away in 2005.

Rather than have me go on about how Henry sounds on the album, I'll leave it to journalist Gwen Ansell..."listen to Sathima Bea Benjamin's 1999 album Cape Town Love and you'll hear a master: stylish, elegant, and with a tender feel for both harmony and space."

Enjoy!

Woot! (and Carlo Mombelli)

2007-04-09T11:17:00.000-07:00

Side-tracked, I know, but I found this exciting: I won the Monday Overheard in New York headline contest! Would've been cooler if they had told me, but regardless. I'll be a comedian yet, I tell you. I mean, hell, if Carlos Mencia is considered funny, there's hope for anyone.

Back to SA Music.

Carlo Mombelli has released a new album entitled I Stared into My Head. If you haven't heard him, he's got one of the most innovative approaches to playing electric bass ever. His performance on Johnny Fourie's CD of jazz standards is stunning in its originality.

His solo albums tend to steer towards the experimental without ever going too abstract. I personally recommend Bats in the Bellfry, but you'd be advised to take whatever you can find. As far as the new album, it's overall quite excellent. The lineup (including folks like Marcus Wyatt and Sidney Mnisi) is stellar, and the use of a vocalist is very cool. I love the vocalist especially on "Soi" (opening track), and wished they had utilized that style more throughout the rest of the album ("that style" means "vocalese Bobby McFerrin-styled flights of fancy").

Mombelli's previous albums always really engage the intellect, but this one has a solo bass track entitled "Solo Bass for Gina" that really makes me tear up. Absolutely gorgeous...

So check this guy out if you like your jazz a little left of standard! Would he be pissed at me for calling it "jazz"? I'm not sure. Whatever you'd like to call it, it's fabulous stuff.

Essential CDs, and [overly enthusiastic] Praise for Tlale Makhene

2007-02-07T10:31:00.000-08:00

The Citizen, a Johannesburg-based newspaper that reminds me a bit of the New York Post, released an article of essential CDs from 2006. Many of them are American (Shawn Colvin), or British, etc.

However, some notable inclusions: Gloria Bosman, Joe Nina, and more. There are some nice blurbs about the CDs too. It's definitely worth a quick look through the list.

On a side note, I've been going back and listening to an album by SA percussionist Tlale Makhene, entitled The Ascension of the Enlightened. It came out in 2004 to great critical acclaim - and I can say unreservedly that all praise of this album is 100% warranted. Tracks like "Bingelela" are freaking stunning, and the cover of Winston Ngozi's "Yakhal'Inkomo" is fabulous. Going out on a limb, this is unquestionably one of the best CDs to come out of South Africa in the past 5-10 years. Absolutely essential, if you've never listened to it.

Concord Nkabinde Review

2007-02-07T10:19:00.000-08:00

My review of Concord Nkabinde's This Is My World is now on allaboutjazz.com. Read it here!

All in all a very solid album - he takes some cool risks in his music - notably at one point blending the zither with Zulu chorus. Sounds strange on paper, but it really works out nicely. I'd like to hear him stretch out beyond the Afropop/Safro jazz style he tends to work in, because when he does, he demonstrates himself to be many notches above other musicians.

RIP Taliep Peterson

2006-12-19T07:07:00.000-08:00

For those who didn't hear, Taliep Peterson was murdered in his home this past Saturday. Apparently, police are declaring it was an orchestrated hit, rather than a random act of violence following a home robbery.

If you haven't heard of him, Taliep was one of the greatest composers of musical theatre - a Cape Town based musician who brought in styles like the ghoema into his compositions, and collaborated with David Kramer.

I've only had the pleasure of hearing one of his full-length albums, Deur Dik & Dun, but it showcases a brilliant artist who writes beautiful, fun music.

This is the second major musical loss this year in South Africa to murder. Saxophonist Moses Khumalo, one of the bright young stars of South African jazz, was killed earlier this year.

Worst Album Covers Ever

2006-12-15T13:02:00.000-08:00

Okay, this post is not related to South African jazz - apologies. However, I had to share these links, as they are priceless beyond words.

And the album covers presented are truly, truly, gut-wrenching. There is just no excuse .

http://porktornado.diaryland.com/albumcover.html

http://porktornado.diaryland.com/covers2.html

New Reviews are Up

2006-12-15T13:00:00.000-08:00

Reviews of the Sounds of South Africa concert, as well as Gloria Bosman's album Emzini, are both posted on All About Jazz.

The concert review is here.

The CD review is here.

Ntemi Piliso Re-Issued!!

2006-12-06T07:46:00.000-08:00

Very exciting news - Gallo has just re-issued a number of recordings that Ntemi Piliso recorded in the 1970s.

Some of you may know Ntemi from the re-formed African Jazz Pioneers, something of South Africa's equivalent to the Buena Vista Social Club.

However, on these newly re-issued albums, you can hear Ntemi a bit more in his prime - really gritty, driving township jazz/mbaqanga. Well worth checking out for anyone who likes early Hugh Masekela, or the recordings Abdullah Ibrahim made in South Africa during the 1970s.

City Center Follow Up

2006-11-20T12:41:00.000-08:00

Okay, so Abdullah Ibrahim and Hugh Masekela didn't share the stage, which is too bad - granted though, Masekela made a very touching point of reference to Abdullah Ibrahim during his set.

The Soweto String Quartet's US concert debut went quite well - performing with the singer Khanyo - a Sarafina alumna. The back-up music for them was canned, which was too bad, but they sounded great on their solo piece, and provided very subtle tasteful back-up to Khanyo (who, might I add, is one damn good singer).

Abdullah Ibrahim did a beautiful solo set that was a very special experience to those of us in the audience who like his music (which, judging by the crowd's reaction, was most of us). Without his trio, he filled the space more with fluid runs in his playing, and even threw in some of the dissonance work that marked his playing in the 1960s.

Side note: I'd like to also take this opportunity to threaten great harm to the jerks in the audience who couldn't SILENCE THEIR DAMN PHONES - especially after the host specially came on before Ibrahim's set to ask that everyone switch off their phones. During his 35-minute set: three cell phone rings. Thanks a lot, guys.

Hugh Masekela's band ultimately seemed a bit underpowered, but had great moments, largely due to his inclusion of bassist Bakithi Khumalo, keyboardist Tony Cedras, and most important, saxophonist Morris Goldberg. Goldberg's saxophone is the best counterpart to Masekela's horn - if you don't believe me, check it out on this album.

All-in-all, a fine evening of music! I'll be posting a review on AAJ soon.

Hugh Masekela, Abdullah Ibrahim, and the Soweto String Quartet at City Center

2006-11-15T10:14:00.000-08:00

Hi everyone,

I'll be reviewing this concert, entitled The Sounds of South Africa taking place tomorrow night at the City Center (follow the above link if you're curious). It should be interesting - Harry Belafonte is hosting, with Hugh Masekela as the frontline billing.

However, of note is the mentions of Abdullah Ibrahim and of the Soweto String Quartet as "guest artists." Does this mean they'll be onstage playing with Hugh? Perhaps we'll get a two-person reunion of the Jazz Epistles? It would be pretty fascinating, given how stylistically different Hugh and Abdullah have become in comparison to one another (granted, they always had been different...)

The other fun point is the inclusion of the Soweto String Quartet in this concert. They're not well-known to Americans, but if you heard Vusi Mahlasela's album The Voice, then you heard the group on the track "Weeping."

This concert tomorrow is their US Concert Debut, which is very exciting. The group's sound tends away from classical repertory (though they do a nice performance of Dvorak's "Songs My Mother Taught Me" on their album Renaissance). Instead, they like to cover classic South African songs like "Imbube," or "Ntyilo Ntyilo," and perform their own compositions, which tend to rely heavily on the bouncy kwela rhythm. They're not everyone's cup of tea, but I find them to be a great deal of fun. Their newest album, Plays Gospel, is quite lovely, but I personally love their third album Millenium.

So if you find yourself in New York, this should be an interesting concert, especially if the three groups find themselves onstage playing together. However, even if it's all separate performances, it should be a pretty solid evening. Abdullah has been doing consistently excellent work of late, Hugh sounded very strong earlier this year at SOB's, and the Soweto String Quartet will be a new experience for most Americans.

In Praise of Louis Mhlanga

2006-10-28T22:55:00.000-07:00

I've always been a big fan of the Zimbabwean (well, now South African) guitarist and vocalist Louis Mhlanga (pronounced "Um-shlahn-ga"), and a recent trip to South Africa and a chance to hear him at the Grahamstown Arts Festival only solidified and verified this. His playing draws in part from Zimbabwean mbira playing, part Malian kora, part South African mbaqanga guitar...you get the picture. If it's a style, he's found a way to incorporate it into his work.

For those of you who have not yet heard him, I really, REALLY strongly advise you fix this. He's got a Best Of called World Traveller (which I reviewed!), and it's a pretty decent place to start. The best of compilation focus on his more danceable side, and his smoother side, which might put off some people, but it does demonstrate his very unique guitar gifts.

However, I feel very strongly that Louis is at his best in pared-down settings. And fortunately, there are three albums that present him in such a way! The first two are duets he did with a Dutch acoustic bassist named Eric van der Weston - Song for Nomsa and Keeping the Dream. Both are delicately beautiful albums, featuring Louis on vocals and acoustic guitar - if you had to pick one, I'd say Song for Nomsa, if for no other reason than for the heartbreakingly beautiful ballad "Ndiwe." But really, if you like beautiful South African guitar work, both are hard to pass up. Warning - if you've heard World Traveller, these two albums are very, very different.

The final album worth checking out is his duet album with Vusi Mahlasela - bet you didn't know such a thing existed? Well, here it is - Live at the Bassline. American fans of Vusi Mahlasela are in the dark about this gem of an album, as it (sadly) is only available in South Africa, and is not included in the compilation album "The Voice." However, for those willing to pay shipping costs (which aren't that much), it contains striking new renditions of some of his famous songs - "Silang Mabele" gets rescued from the synthy-schlock that is the original version - in this vocals/acoustic guitars version. Vusi's voice is a bit rougher on this live album than one might be used to, but still highly, highly expressive. And Louis' guitar work is stunning - phasing in and out of the beat, providing solos ranging from the gentle and thoughtful work on "Silang Mabele" to the more technically impressive (inspiring, maybe?) work on "Woza." Louis' voice is not nearly as powerful or emotive as Vusi's, for sure, but he certainly holds his own.

So if you haven't heard him - check this guy out. He may be the best guitarist operating in South Africa right now (sorry, Errol Dyers).

A Shameless Plug for Sathima Bea Benjamin

2006-10-09T14:08:00.000-07:00

EDIT to the below post: On October 21, the Hotel Chelsea Blog "Living with Legends" ran a review of the concert:
http://legends.typepad.com/living_with_legends_the_h/2006/10/lisa_tharpe_a_n.html

So I've been working with the South African singer (originally from Cape Town, in fact) Sathima Bea Benjamin.

Some may know her from her recording in 1963 with Duke Ellington and Billy Strayhorn called A Morning in Paris (criminally out of print). Some may know her as Abdullah Ibrahim's wife.

I know her as the greatest living jazz singer...and a colorful person to chat and work with!

This year, we put out her 2002 album Musical Echoes in the states - it had only been available in South Africa prior to that. And now, on October 17th, we're having an extra special release.

On October 17th, Sathima turns 70 years old. To celebrate, she is releasing S ongSpirit, which compiles some of her best tracks from 1963 to 2002, and includes a never-before-released duet with Abdullah Ibrahim, of "It Never Entered My Mind."

Also, she'll be performing that night at Sweet Rhythm Jazz Club here in New York - should be a very special evening.

Like I said, shameless plug for this album, but it's a really beautiful recording and tribute to a singer who, in my mind, has never gotten the recognition she deserves.

For those of you unfamiliar with her singing, she gets compared to Billie Holiday. I suppose this is somewhat valid, especially in the flexible approach to pitch and rhythm they share. However, Sathima brings in her Cape Town influences in a fairly unique way - in choice of scales, and in the use of the ghoema rhythm - which is samba-like.

And, to boot, Duke Ellington, Abdullah Ibrahim, Kenny Barron, Onaje Allan Gumbs, Buster Williams, Larry Willis, Ben Riley, Stephen Scott and a LOT more musicians all are featured on this album.

So pick up the album, and come to the show. And say hi!

The Sisyphean Ordeal of Building an Abdullah Ibrahim Collection

2006-10-02T13:08:00.000-07:00

For anyone who has attempted to amass a collection of Abdullah Ibrahim's music, you know just how maddening it can be - navigating the sheer number of out-of-print vinyls that are partially re-issued on several CDs, which are then partially re-issued onto other CDs....then the problems of dealing with South African releases versus US releases (Mannenberg vs. Cape Town Fringe), or the multiple yet different European releases of an album (Anatomy of a South African Village springs to mind). Truly a nightmare...

There is a saving grace for anyone who is really serious about finding Ibrahim's music - a man in Copenhagen, Lars Rasmussen, assembled a book detailing Abdullah Ibrahim's discography. To call this book detailed is like describing the Atlantic Ocean as "pretty deep." This book contains never-released albums; it contains the reference to Ibrahim's earliest work with the Tuxedo Slickers orchestra in 1954; most importantly, it details which tracks from vinyls were re-issued onto CDs.

The book is a bit pricey for Americans importing it, but if you are serious about building up a collection, you really need this book. You can find it here: http://www.booktrader.dk/books.html#ibrahim

Of course, then that raises the subsequent issue of how the hell you FIND some of these Abdullah Ibrahim albums...well, best of luck there. If I can make a suggestion of one in particular to keep an eye out for, it would be "Live at Sweet Basil Volume 1" - a set of Abdullah Ibrahim with Carlos Ward. Also worth checking out is "Third World Underground" - Abdullah with Don Cherry and Carlos Ward. Out of print, but you can find it at downtownmusicgallery.com.

Happy hunting!

Rants and Raves (and Gloria Bosman's new album)

2006-09-30T17:44:00.000-07:00

Hi everyone! (all one of you...by which I mean...me)

I've created this blog in response to my attempt to write a review of a Gloria Bosman album for allaboutjazz.com. I can't seem to get the review started, so it obviously won't post. But still, I wanted to get my thoughts on the album out on the internet (into the ether?). If fans of South African Jazz or Safro Jazz (TM by Morris Goldberg, funnily enough) swing by with thoughts, golly, that'd be lovely.

But in the meantime...

Gloria Bosman's latest CD, emzini, seems to be a continuation, possibly a refinement, or her previous records' sound. Produced by her, it embodies the sleek, R&B-influenced Afropop that's become very popular in this new generation of South African jazz artists - Concord Nkabinde, Selaelo Selota, Labella, Four Fourty, Jimmy Dludlu, and so on.

Whether or not this is a bad thing....is really up to the listener, I suppose. At times I find it a bit tiresome, but that's just a personal preference. Additionally, I feel Bosman's crowning achievement in recording was her album Stop and Think, so I imagine I'm probably slightly biased already.

However, whatever qualms I may have, there is no denying that Bosman is a stunningly good singer. And when she wants it to be, emzini is an excellent album. The use of interludes - very isicathamiya-sounding, is a very nice touch, if all too short. Furthermore, the album's use of the vocal chorus is remarkably good. Bosman's main vocal lines tend to be very languid and slow on this album, which works on certain tracks - like Love Letter - quite well. The chorus' lines, by contrast, tend to be busier, more urgent, and more stacatto - a really striking contrast as you are listening, and quite welcome.

The first 10 tracks are for the most part enjoyable listens, but the album is at its best on the final two original tracks - 11 and 12. On track 11 - If You Don't Know Me By Now - Bosman reveals one of her strongest gifts: reinterpreting the American songbook. It's a unique gift, to be sure, but every time she covers an American piece, she breaths new life into the work - Smoke Gets in Your Eyes, God Bless the Child, and this track are all quite stunning. She really grasps how to get into these songs' guts, keep their respective essences, and then make them uniquely South African and uniquely her own.

On track 12, House of Rhythm, she lets loose, and lets the band let loose as well. This is an inspired choice, as the God-like Rob Watson is drumming on that track, and he takes this opportunity to shine. After the first eleven tracks, this comes as a breath of fresh air. The album is enjoyable, no argument there, but every track has the same production sheen to it, making them (not counting the interludes) a little more homogenous than I'd like. However, on House of Rhythm that all changes, and for the better. It's nice to hear her and the band having fun.

The closing two tracks - remixes of (ostensibly) House of Rhythm and Ukukhanya (track 5) are interesting choices for inclusion. I don't think the House of Rhythm remix sheds any new light on the song - and it was certainly dancable enough in its original mix. However, the Ukukhanya remix is excellent - a spacey, ethereal dance remix that's really enjoyable to listen to. One slight quibble - it's actually a remix of Track 8, Lover's Dance, not of Track 5. You'd think some sort of editor would notice?

Regardless, it's a fun album. Bosman has done better - I'm referring to Stop and Think here - but for fans, this will not disappoint. Its overall sound is a little too comfortable, and I'd like to hear her take some new risks in her next album. But again, the fans would probably disagree there.

For the curious, you can buy the album here at One World.