South African jazz

Last updated September 22, 2022

South African jazz is the jazz of South Africa.

History

The jazz scene in South Africa grew much as it did in the United States. Through performances in nightclubs, dances, and other venues, musicians had the opportunity to play music often. Musicians such as singer Sathima Bea Benjamin learned by going to nightclubs and jam sessions and waiting for opportunities to offer their talents. One unique aspect of the South African jazz scene was the appearance of individuals imitating popular artists as closely as possible because the real musician wasn't there to perform in the area. For instance, one could find a "Cape Town Dizzy Gillespie" who would imitate not only the music, but the look and style of Dizzy.^[1] This practice created a strong environment to nurture some artists who would eventually leave South Africa and become legitimate contributors to the international jazz scene.

One of the first major bebop groups in South Africa in the 1950s was the Jazz Epistles.^[2] This group consisted of trombonist Jonas Gwangwa, trumpeter Hugh Masekela, saxophonist Kippie Moeketsi, and pianist Abdullah Ibrahim (then known as Dollar Brand). This group brought the sounds of United States bebop, created by artists such as Dizzy Gillespie, Charlie Parker, and Thelonious Monk, to Cape Town with Moeketsi modeling his sound and style on Parker's. This group was the first in South Africa to cut a record in the bebop style, but their contemporaries, the Blue Notes, led by pianist Chris McGregor, were no less involved in the local jazz scene. Together, these two groups formed the backbone of South African bebop.

An early use of jazz as an anti-apartheid tool was the production of a musical entitled King Kong .^[2] Written as a social commentary on young black South Africans, much of the music was arranged and performed by famous South African jazz musicians, including all the members of the Jazz Epistles, minus bandleader Abdullah Ibrahim. The musical was premiered to an integrated audience at the University of Witwatersrand despite efforts of the government to prevent its opening. The university had legal jurisdiction over its property and was able to allow the gathering of an integrated audience. From this point on, as the play toured South Africa, it carried this undertone of defiance with it. The success of the play eventually took it to premiere in London, and while failing financially outside of South Africa, allowed many local jazz musicians an opportunity to obtain passports and leave the country.

In March 1960, the first in a series of small uprisings occurred, in an event that is now known as the Sharpeville Massacre.^[2] Censorship was dramatically increased by the apartheid government, which led to the shutting down of all venues and events that catered to or employed both black and white individuals. Gatherings of more than ten people were also declared illegal. As a result, a mass exodus was created of jazz musicians leaving South Africa seeking work. Among these were pianist Abdullah Ibrahim, his wife and jazz vocalist Sathima Bea Benjamin, trumpeter Hugh Masekela, and vocalist Miriam Makeba.^[1]

For some, the move proved to be fortuitous. Ibrahim and Benjamin found themselves in the company of US jazz great Duke Ellington in a night club in Paris in early 1963. The meet resulted in a recording of Ibrahim's trio, Duke Ellington presents the Dollar Brand Trio, and a recording of Benjamin, accompanied by Ellington, Billy Strayhorn, Ibrahim, and Svend Asmussen, called A Morning in Paris. Artists such as Masekela traveled to the United States and were exposed first hand to the American jazz scene.

One of the most important subgenres of jazz in the region is Cape Jazz. The music originates from Cape Town and surrounding towns and is inspired by the carnival music of the area, sometimes referred to as Goema.

Genres

Cape Jazz
Marabi

Notable South African jazz musicians

Individuals

The following is a list of South African jazz musicians.^[3]

Allen Kwela –guitarist
Andile Yenana –pianist
Basil "Manenberg" Coetzee –saxophonist; deceased
Bheki Mseleku –piano, saxophone; deceased
Bokani Dyer –pianist
Claude Deppa –trumpet; resident in London
Dorothy Masuka –singer; born in Zimbabwe, moved to South Africa aged 12
Dudu Pukwana –composer, saxophonist, and pianist; deceased
George Cupido –drums; resident in Melbourne, Australia
Hilton Schilder –piano, multi instruments
Ike Moriz –singer, composer and lyricist
Johnny Dyani –composer and double bassist; deceased
Johnny Fourie –guitar; deceased
Jonathan Butler –guitarist, also does rhythm and blues
Judith Sephuma –singer, now an Afro-pop singer seldom sings jazz
Julian Bahula –band leader; resident in London
Kesivan Naidoo –drums
Kippie Moeketsi –saxophone and clarinet

Lwanda Gogwana –composer, trumpeter and musicologist
Marcus Wyatt –composer, trumpeter and producer
Mark Fransman aka Sonik Citizen - composer, pianist, saxophonist, flautist, vocalist, producer
McCoy Mrubata –saxophonist and flautist
Melanie Scholtz –singer, songwriter
Mongezi Feza –composer, trumpet player and flautist
Moreira Chonguica –saxophones
Morris Goldberg, saxophones; resident in New York
Moses Khumalo –saxophonist; deceased
Moses Taiwa Molelekwa –pianist; deceased
Nduduzo Makhathini –pianist
Nikele Moyake –saxophonist
Paul Hanmer –composer and pianist
Robbie Jansen –alto sax, flute, vocals; deceased
Sibusiso Mashiloane –pianist
Tony Cedras –guitar, piano; resident in New York
Tutu Puoane –vocalist; resident in Belgium
Winston Mankunku Ngozi –saxophone; deceased
Zim Ngqawana –composer, flautist and saxophonist; deceased

Groups

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Abdullah Ibrahim is a South African pianist and composer. His music reflects many of the musical influences of his childhood in the multicultural port areas of Cape Town, ranging from traditional African songs to the gospel of the AME Church and Ragas, to more modern jazz and other Western styles. Ibrahim is considered the leading figure in the subgenre of Cape jazz. Within jazz, his music particularly reflects the influence of Thelonious Monk and Duke Ellington. He is known especially for "Mannenberg", a jazz piece that became a notable anti-apartheid anthem.

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Jeremiah "Kippie" Morolong Moeketsi was a South African jazz musician, notable as an alto saxophonist. He is sometimes referred to as "the father of South African jazz" and as "South Africa's Charlie Parker". He played with and influenced some of South Africa's great musicians, including Jonas Gwangwa, Abdullah Ibrahim, Miriam Makeba and Hugh Masekela.

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Beatrice "Sathima Bea" Benjamin was a South African vocalist and composer, based for nearly 45 years in New York City.

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References

1 2 Muller, Carol Ann (2004). South African Music: A Century of Traditions in Transformation. ABC-CLIO. ISBN 978-1-57607-276-9.
1 2 3 Masekela, Hugh; Cheers, D. Michael (2004). Still Grazing: The Musical Journey of Hugh Masekela . Crown Publishers. ISBN 978-0-609-60957-6.
↑ "South African Jazz - National Geographic". Archived from the original on November 14, 2006. Retrieved 2006-10-10.{{cite web}}: CS1 maint: bot: original URL status unknown (link)

External links

"The Development of Jazz In South Africa". Hotep Idris Galeta. November 25, 2003.

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[SAMusic-1] 1 2 Muller, Carol Ann (2004). South African Music: A Century of Traditions in Transformation. ABC-CLIO. ISBN 978-1-57607-276-9.

[Grazing-2] 1 2 3 Masekela, Hugh; Cheers, D. Michael (2004). Still Grazing: The Musical Journey of Hugh Masekela . Crown Publishers. ISBN 978-0-609-60957-6.

[NatGeo-3] "South African Jazz - National Geographic". Archived from the original on November 14, 2006. Retrieved 2006-10-10.{{cite web}}: CS1 maint: bot: original URL status unknown (link)

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