It is well known that South African Jazz has historically featured a big-band tradition and a distinct style of improvisation and interpretation harnessed and inspired by the struggle against the Apartheid system.
The emergence of modern South African Jazz artists however, while remaining true to the innovators of the past who paved the way for them, has allowed their music to be indicative of not only the deep-rooted diverse heritage of South Africa, but also the socio-political landscape of the country, enabling the genre to be well appreciated by new audiences on international stages.
South African Jazz musicians young and old, as well as those lost but never forgotten, have always reflected distinct cultural narratives. Hugh Masekela, Abdullah Ibrahim, Ray Phiri, Miriam Makeba, Caiphus Semenya, Letta Mbulu, Bheki Mseleku, Moses Taiwa Molelekoa, Marcus Wyatt, Nduduzo Makhathini, Benjamin Jephta, Bokani Dyer, Thandi Ntuli, Zoe Molelekoa, just to name a few, are all musicians who have taken the task seriously of reimagining the relationships between township lifestyles, the struggles of the African child in the diaspora, and the resilient nature of humanity against the opposing forces to life.
Jazz music is to many players and listeners a way of life and means to connect with others on an intellectual level. Listening to an iconic album such as “Africans in Space” by Marcus Wyatt is like having a conversation with each band member about the life of the courageous boy Nkosi Johnson, and how beautiful and terrifying many love stories in South Africa can often be. “Trieste My Love” from the album Solotude by Abdullah Ibrahim is intimate, emotive, powerful, and voiceless. Modern artists have bridged the cultural gap and racial divide while bringing pride and dignity to neglected relationships to South Africans. Aching songs like “Hymn for Taiwa” and “Bophelo” by Moses Khumalo, Zahara’s “Phendula”, and Simphiwe Dana’s “Bantu Biko Street” are just a few cherished pieces that help South Africans and their lovers and friends mourn together. On the other hand, Johnny Clegg and Savuka’s The Crossing (Osiyeza), Burn Out by Sipho “Hotstix” Mabuse and “Tsakwe/Royal Blue Medley” by Sibongile Khumalo are a celebratory – yet meaningful.
Truly, South African Jazz music is infused with Marabi, Mbaqanga and Kwela, and there are many songs that are not classified under Jazz, aren’t quite technically sound but are emotional and very spiritual. Dr Nduduzo Makhathini has much to say on sounds, rhythms, harmonies and melodies being spiritual and making a home for all these frequencies in the depths of our hearts. Here’s to South African Jazz!
