Mafikizolo

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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 Gama07/26/2019
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2min1950

YOU hear Bad Boy Records and instantly think New York. The mention of Death Row jogs one’s memory to Los Angeles, California.  But Kalawa Jazmee is synonymous with all townships in all of South Africa. In the 25 years of Nelson Mandela’s democratic South Africa, no record company has been the soundtrack to kasi life as Kalawa Jazmee.

The record company was found through a feud between two stables, Trompies Jazzmee Records and Kalawa Records. The former was co-owned by Spikiri, Mahoota, M’jokes and Bruce while the latter’s owners were Oskido, Don Laka and DJ Christos-who departed in 1995. The dispute was over ownership of Trompies hit song Sigiya Ngengoma.

They’ve gone on to churn out more hit songs as one independent company for more than two decades now, telling stories from the township while making us dance. They’ve introduced and developed a slew of artists like Busiswa, Alaska, Professor, DJ Zinhle, Dr Malinga, Heavy K, Tira, Big Nuz and so many more. It is fitting that this year’s Delicious Festival will honour Kalawa Jazmee’s 25th anniversary.

But if one were to have a Kalawa Jazmee All Stars, many would agree that these five make the starting five.

BONGO MAFFIN

BOOM SHAKA

MAIKIZOLO

B.O.P

TROMPIES

 

 



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