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.
Who would have thought that something so good as South African jazz would be born from the dark days of apartheid?
Well the likes of ntate Hugh Masekela, ntate Abdullah Ibrahim, and mama Dolly Rathebe, and mama Miriam Makeba, didn’t let what the apartheid government and its oppressing laws silent their voices.
One can’t begin to tell the story of Jazz icons or its history without going back to the past, a place which most of us are comfortable with it being erased from our minds.
Jazz music in South Africa came at a time when the then government was really making life difficult for many black, coloured, and Indian citizens. It was a nightmare for artists to freely express their minds and talk about how things were in South Africa. There were oppressive laws that made it hard for omama Dorothy Masuka and obaba Jonas Gwangwa to paint pictures of what was happening in the townships.
I had the privilege to meet ntate Sipho ‘Hotsix’ Mabuse where he spoke at the Democracy Works Foundation discussion that was held at the Constitution Hill about the impact Jazz music had in people’s lives.
Many musicians during those years sang songs that portrayed apartheid in bad light, which seek to highlight black people’s hard and traumatic experiences under that government, something which the then regime didn’t want to happen.
Some of these artists like mama Makeba spoke out against the evil acts that were done against people of colour, especially black South Africans, including police brutality, racial segregation and unfair policies that kept many black people under oppression.
“Musicians, visual, performing, spoken word artists used their talents to weaken and topple the apartheid government in South Africa but the government wouldn’t back down easily,” Mabuse said.
Harsh punishment like banning of their work would be made possible by the officials, who would later banish some of these artists who were not willing to keep their mouths shut.
They didn’t fear persecution and prosecution, even if it meant having their homes petrol-bombed or being killed.
Mabuse said throughout his music life, all he wanted was to change people’s lives through music, which he and the old school school generation managed to do so well.
PASSING ON THE BATON
Ntate Masekela, who was affectionately known as Bra Hugh, collaborated with many young South African musicians, including a track with Thandiswa Mazwai, which speaks about violence perpetrated on non-South Africans by locals, a topic that is currently grabbing news headlines in the country.
Bra Hugh believed in mentoring young people and we can see young musicians like Bokani Dyer, Mandla Mlangeni, the late Lulu Dikana, Nomfundo Xaluva following in the footsteps of those who came before them. The baton has surely been passed on as we are seeing more and more young musicians like Zoë Modiga, Langa Mavuso, Ami Faku and Kesivan Naidoo contributing to new school Jazz that IS sometimes referred to as Afro soul or Afro-Jazz.
Even though we are fighting new battles as a country, old ones like racism and crime are still making us turn against each instead of being unified as tata Mandela wanted.
JAZZ LIVES ON
Through initiatives like the annual Standard Bank Joy of Jazz, which starts tomorrow, Jazz artists and producers have been supported for the past 21 years, many of them are gaining international recognition just by performing at the stage.
New notable voices in the jazz scene are given a platform to showcase their talents at the Showcase Stage.
The Showcase stage has been unearthing new and raw talent for the past few years, while the On the Road to the official Joy of Jazz Festival also looks at shinning the spotlight on new jazz artists like the Karabo Mohlala Quartet, Thabang Tabane Quartet, Zano, aus’ Tebza, Sobantwana and Nelisiwe.
Some of these artists have been in the music scene for years now, but it would be the first time for them to perform at the festival. This would introduce them to new audiences, who would be traveling from countries overseas to attend the event.
VINCE STAPLES reminds me of those singers who have impeccable, unfathomable voices and energy, which remain on par live as on their records. I’m talking the likes of D’Angelo, Thandiswa Mazwai and The Brother Moves On.
Over the last week and a half I’ve been listening to Staples’ third studio album FM! and during that period, I was fortunate enough to see the 25 year-old from North Long Beach, California performing at Soweto’s Zone 6 for the Capsule Festival. I’m always fascinated by album titles and covers, in my first interaction with a musician’s project, before delving into the tracks. Often the name of the album and its art make sense as I listen to the music. Like pieces of a puzzle, it all comes together with each track.
FM! is themed as a takeover of LA radio station show, Big Boy’s Neighbourhood, hosted by Big Boy. It opens with Feels Like Summer which ironically is meant to celebrate how Long Beach always feels like summer, but Vince paints a picture of the dangers in his hood in the verses. He pulls from personal experiences, where he lost a friend at 15 years-old while they were just playing ball. I was slightly surprised to learn that Don’t Get Chipped where he features Jay Rock, is the first song where the two West Coast kats share the mic. I enjoyed the track, particularly the first verse where he raps…
Can’t wait ’til I’m rich, I’m finna buy a whole Crate of guns, for my naughty Crips, Shit I really come from the slum Time to represent, let me see you bang, where you from? Don’t be acting spooked, I’m a troop, I don’t give a fuck, I just wana live it up, use to make ’em give it up, Flockin’ is for hoes, I’ma take somebody soul, If he don’t give me what he own, now I’m getting what I’m owed, You ain’t seen me at a show? Oh, you missing out, Swear I bring the realest out, Everybody know me who’s somebody to know (Who somebody to know) Watch me mind my business my business while I’m counting my dough (Counting my dough) Stay away from citches who would clown me before (Would clown me before) On the road to riches, they gon’step on your toes Sammy told me that a change gon’come (Gon’come) I’m not going if my gang won’t come (won’t come) If you see me pull that thang, don’t run (Don’t run) Playing ball, if I swing home run
I can’t say I’m a Staples fan, I appreciate some of his joints. But more than that, I’ve always respected how he thinks and delivers his ideas and thoughts, on beats that can get any party started. He is quite dark, largely because of gang activity he witnessed growing up on the West Coast. But he merges that eerie side of him with the music, which makes for good art. The effect this contrast has on an audience when he’s performing, is good on the eye. Like when he performed Lift Me Up from his Summertime ’06 project, just before the end of his set at Zone 6, most of the club was in a jump.
His set at Capsule Festival was after midnight, with most of us tired and just waiting to see Staples on stage. He played tracks from his previous work from Big Fish Theory, Summertime ’06 and even invited Yugen Blakrok on stage to perform the Opps they did together for the Kendrick Lamar curated Black Panther soundtrack.
Vince’s fans in Soweto had familiarised themselves with his new album, that as soon as Outside! came on, the atmosphere in the club became feverish. Standing on the second floor, I could see the crowd’s unfiltered reaction.
“We didn’t expect this many people and I didn’t expect this much love, so thank you, thank you, thank you. But before I get out of here…shhhhh! I just need one thing, everybody repeat after me, ‘Oh yea, oh yea, oh year right…” said the rapper interacting with his fans, just before playing crowd favourite Yea Right.
What was a simple interview at a local radio station for Robert Glasper, has made headlines on publications all over the world because of Lauryn Hill’s response. But rightfully so, these are two black giants of modern music.
But Hill’s response to Glasper does little to address longstanding perceptions about her.
Ever since 1998 when New Ark, the group of musicians who helped Lauryn Hill put together Miseducation, sued her for not properly crediting them for the work they did on the classic album, there’s been a cloud of suspicion hanging over Hill and that album.
“The Miseducation was the first time I worked with musicians outside of the Fugees who’s report and working relationship was clear. In an effort to create the same level of comfort, I may not have established the necessary boundaries and may have been more inviting than I should have been. In hindsight, I would have handled it differently for the removal of any confusion. And I have handled it differently since, I’m clear and I make clear before someone walks in the door what I am and am not looking for. I may have been inclusive, but these are my songs,” Hill writes in her letter.
The lawsuit was settled out of court in February 2001, for a reported $5 million
Hill’s weakness in punctuality and prima donna antics are well reported. In 2012, when she was in the country for the Cape Town International Jazz Festival, she disappointed with her performance, not because she’s wack a performer but it was down to her insistence on wanting to change how the sound was set-up by the organisers who know the venue very well and are experienced at catering for each artist on the line-up. Before her performance on the Kippies stage, Hugh Masekela had killed it in his tribute to Miriam Makeba which featured Thandiswa Mazwai, Vusi Mahlasela and Freshly Ground frontwoman Zolani Mahola. Hill was not audible enough and resigned to walking off stage. While just last month in Toronto, while in Canada for the 20 year anniversary of Miseducation tour, she arrived an hour late for her performance.
Hence I was baffled when she made an excuse for her late coming in the letter. “Me being late to shows isn’t because I don’t respect my fans or their time, but the contrary, It can be argued that I care too much, and insist on things being right. I like to switch my show up regularly, change arrangements, add new songs, etc. This often leads to long sound checks, which leads to doors opening late, which leads to the show getting a late start. This element of perfectionism is about wanting the audience to experience the very best and most authentic musical experience they can from what I do.”
It’s one thing to be a perfectionist and it’s just plain ill-mannered not to honour ardent fans and disrespect qualified sound technicians.
If anything, this comes-off as being unprepared. I mean people buy tickets, using their hard-earned cash to see you at a specific time-by virtue of being on the line-up for that particular performance, means an artist agrees with all the prerequisites.
I don’t remember anyone questioning her undeniable talent and palpable influence she’s had in the industry. Ever. So she’s very much correct to say “I was also a member of the Fugees, another ground-breaking, multi-platinum selling group, who bridged social and cultural gaps, and were ambassadors of hip-hop all around this planet. We laid important groundwork upon which an entire generation of artists and musicians still stand. We broke through conventions and challenged limited world views every time we played.”
To add to that, she was an integral part of the Fugees, I personally think the fellas would’ve been another bar-spitting average clique, had she not been part of the group. She’s an impeccable emcee with beautiful vocals. The original rap singer. But it’s her attitude that’s always been questioned- even by former group members, Pras and Wyclef Jean.
What I found particularly interesting in the letter, was not really her responding to Glasper’s statement, but addressing a bigger issue: misogyny and patriarchy in the industry when she said “And yes, Ms. Hill was absolutely a requirement. I was young, Black and female. Not everyone can work for and give the appropriate respect to a person in that package and in charge. It was important, especially then, for that to be revealed early. I adore Stevie, and honor [sic] Herbie and Quincy, who are our forebears, but they’re not women. Men often can say ‘I want it done like this’ and not be challenged. The same rules don’t always apply for women who may be met with resistance. When this happens you replace that player with someone who respects you and the office you hold.”
If we wake up tomorrow and someone like Priddy Ugly says, he wants be called King Priddy from now on, reluctant as society might be at first, they’ll eventually heed that call. And it would totally be a different story if a Gigi Lamayne, associated herself with royalty. Her artistry would be questioned.
It was like reading useless Facebook posts about people who brag about being older, to those born in the new millennium, when Hill wrote “Most people are probably just hearing your name for the first time because you dropped MINE in an interview, controversially. Taking nothing away from your talent, but this is a fact.”
A cheap shot, really. Glasper is a multi-award winning genius artist that has paid his dues, she knows very well that he’s a pianist that only came to the fore in the popular music scene just over a decade ago.
But fortunately there was no malicious speech between the two artists, it was honest criticism and a simple difference in opinion, which both creatives respected.Or so it seems.
AFRO Punk released the line-up for this year instalment of the festival, to a mixed reaction from South Africans who have a couple of names they also would like to add to the bill.
The three day festival returns after it made its debut on the mother land last year in Joburg. This year’s AP will be headlined by The Internet, Flying Lotus, Kaytranada, Thandiswa Mazwai, Thundercat and iconic rap clique Public Enemy. More artists will be announced as we get closer to the festival.
“The Internet, Kaytranada and Thundercat is reason enough for me to go…but my expectations were very high,” said Psykaytic Ròes on Facebook. While Thabang Magodielo said she was expecting singing sensation H.E.R, Solange, SZA and Tom Misch, but was happy with some of the artists on the line-up.
Last year’s AP took a huge knock, when headline act Solange said she wouldn’t make it to South Africa for the festival due to health reasons. AP organisers together with Solange then promised to have the Don’t Touch My Hair singer for this year’s instalment. But dololo Solange.
Moonchild, who has taken the country by storm is also on the line-up. Her name though, brought confusion for some people as they thought it was the international group, not our very own modern Brenda Fassie. There was an air of disappointment from some people that it’s not the Los Angeles trio on the line-up. “Moonchild Sanelly? Andizi Jonga, Andizi,”said Lesia Obiwan-Kenobi Kalane.
The inclusion of Public Enemy left me a tad puzzled. Although the group last released an album in 2017 (Nothing Is Quick in the Desert), I’m a bit sceptical about the old guys pulling a strong performance.
I was expecting to see names of Zoë Modiga, Samthing Soweto and at least Ikati Esengxoweni on this year’s line-up. While The Brother Moves On’s performance last year was one of the stand-outs, having them back wouldn’t have ruined anything.
Other names that excited people were Youngsta CPT, Soweto band BCUC and the younger Mazwai sister, Nomisupasta who was the host at the final of Battle of the Bands final, in Tembisa last year.
People had been eagerly waiting for this line-up to come out, that early bird tickets were sold out instantly after AP made the announcement.
Unlike other brands that come to the country to make a quick buck, AP made a commitment to be in the city for at least five years, so this is just the second episode of AP Joburg and this one promises to be a step-up from last year’s. Hopefully there won’t be any last minute cancellations from the artist’ part, the people would infuriated.