Hlaudi Motsoeneng

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8min510

It was in May of 2016 that then SABC Chief Operations Officer Hlaudi Motsoeneng, temerariously declared that all the national broadcaster’s radio stations playlists will be dominated by home-grown ditties. The infamous 90% local music quota.

Motsoeneng was like the uncle who in his inebriated state at a family gathering, announced that the whole family should come to his house the following weekend for another get-together where there would be an ubiquity of food and beverages, without discussing it with his frugal wife.

The redundant radio station managers who never seem to sheath their appetite for payola, being the stingy wife in the analogy.

Although the move evinced Motsoeneng’s strange benign for artists, he never thought through the execution of such a catalytic move. In an interview with Nicky B on Kaya FM’s World Show around the same time, Nakhane Touré said one of the problems with the ratio is that listeners won’t be introduced to new music by radio stations. “Instead of hearing one Mafikizolo song a day, we’ll now hear two or three,” said Touré. Of course the Fog singer was making a mere example (he did say he loves the dance duo) but his point was clearer than a pair of new specs.

Of the countless utterances we’ve had to endure from Motsoeneng, I’m pondering particularly on this very one during the Covid-19 lockdown, because I’ve been immersed in South African music of different kinds for the last few weeks and I imagine how South Africa would be sounding like, had Motsoeneng’s wish been carefully granted.

To be more specific, it’s the Siya Makuzeni Sextet album, Out Of This World that has had me imagining a world where South Africans are exposed to their finest talent.

Siya Mukuzeni is an insanely talented artist who delivers her craft with ingenuity, ubuntu, vigour and in what looks seamlessness. The trombonist who also belts out notes has been in the industry for over 15 years now, playing in some of the biggest bands with fine musicians on world stages. She was part of Carlo Mombelli’s Prisoners of Strange ensemble between 2002 and 2011. She was also in the Blue Notes Tribute Ochestra where she played with the likes of Marcus Wyatt, Johnny Dyani and Chris McGregor. Together with another unique ensemble of equally talented artists, collectively known as Spaza, she released an album of the same name a year ago.

With the Siya Makuzeni Sextet, she put together some of her favourite musicians who she enjoys to play with to create a body of work that I believe more South Africans need to hear. The sextet comprises of Thandi Ntuli on piano, Ayanda Sikade on the drums, the trumpet being blown by Sakhile Simani, Sisonke Xoti playing the saxophone and Benjamin Japhta on bass.

There’s often the juxtaposition to bassist Esperanza Spalding because they both are female, sing and play an instrument. They’ll always be comparisons of females, especially in an industry without women in the forefront. Although the groove in their music is undeniable, Siya’s got the juice. That unfiltered African juice form the wells of the Eastern Cape.

Like on the title track, Out Of This World which teems with traditional Xhosa music from the first second, this while embracing modern sounds. Her voice is undeniably infectious as Stevie Wonder’s or Thandiswa Mazwai’s. The song New Age is a reiteration of a sought-out truth, while landing somewhat as a lament. Say Sibusile Xaba’s Uyahlupha. The joint has swing and it serves its purpose.

The seven track album has a fair balance for the padentic jazz ear that prefers songs without vocals, only the sound of instruments dancing. Another one composed by Makuzeni on the album, a Brazen Dream is a good introduction to Jazz for someone new to the abyss that is the genre.

I’m a sucker for great vocals accompanied by some dope show-don’t-tell typa lyrics which take the role of a travel tour guide, when listening to the music. Imagine a congregation singing Moya Oyingcwele in unison, truly in the spirit. It slaps umoya.

I feel the Holy Spirit’s presence each time I listen to this song-I’m overwhelmed with questions of how this song was conceived. With churches being open now, I believe choir conductors/worship leaders should introduce Moya Oyingcwele emasontweni, if they haven’t.

Out Of This World is just one of many great projects by a South African artist. People need to hear more of this and many other albums. To enjoy them, while simultaneously putting some randelas in the artists’ pockets. True “proudly South African” shit.

Listen to the album HERE


Clement Gama08/30/2019
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5min2663

The reason folk are saddened by death is because they are directly affected by the upshot of someone’s demise. But others are what I call fundamental sympathisers, so much that they’re able to put themselves in the shoes of the deceased or loved ones of the late. Regardless of how much they knew the dead person.

They’ll be those whose stomachs flipped and were overcome by a dark heaviness at the news of BOSASA boss Gavin Watson dying in a car accident this week. While others couldn’t give a rat’s ass about his passing because of the alleged corruption he was involved in while alive. And then there’s the rest of us who think Mr. Watson isn’t dead, but somewhere on an island sipping Piña Coladas after staging his timely passing.

The fact is, death affects us in different ways and people have their varied methods of grieving. Take for instance how some people would choose to only speak about the good side of a person at the funeral, despite how despicable that person probably was.

But it’s also not a good look bashing a someone who can’t defend themselves, despite overwhelming evidence that they were a vile human being who deserve to rot in hell. It’s better to rather not say anything about the deceased, in public at least. Like former President Thabo Mbeki’s unfavourable comments about Winnie Madikizela-Mandela in the wake of her passing, to which Madikizela-Mandela clearly couldn’t defend.

Forcing yourself into other people’s shoes, especially at the passing of a celebrity or a popular individual only because it’s the latest craze to hashtag RIP XYZ and replace your DP with a photo of the dead person is simply faking the funk. We saw it a few months ago after Nipsey Hussle’s murder, where timelines were littered with condolence messages from individuals whose knowledge of Nipsey is cringe-worthier than a Hlaudi Motsoeneng interview. Posing as a genuine sympathiser defeats the point of it all.

Lacking the societal emotional response seems to make one look like a bad person. It would obviously be wicked to rejoice at someone’s death, but the passing of a person you didn’t particularly get along with often leaves you questioning whether you’re an evil person or not.

A fella I went to Primary and High School with died in a horrific car crash a few years ago. He was the rambunctious, conceited typa dude. I didn’t like the guy. But learning of his accident had me interrogating myself. I thought ‘gee, what an awful way to go…but it is what it is.’ I didn’t have much remorse really, mainly because his death doesn’t erase the douchebag he was and for the mere fact that his passing has no impact on me. But I can’t imagine the pain it left on his loved ones, and sadly am not allowing myself to step in their shoes.

The psychological reaction that occurs in response to perceived attack or threat to our survival is ‘the fight or flight’ response. But when death occurs in our lives, there are a myriad emotional responses and ways of grieving, it seems.



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