Joy of Jazz Magazine 2011

OFFICIAL PROGRAMME25 – 27 August - Gauteng

Joburg 2011

Joburg 2011

Forewords

Festival Information

Wynton Marsalis

Gauteng Jazz Orchestra & African Soul Sisters

Hugh Masekela (Lokuo Kanza, Wanda Baloyi, PU2MA)

McCoy Tyner

Sibongile Khumalo

Tutu Puoane & Brussels Jazz Orchestra

African Jazz Pioneers

Take Note

Alexander O’Neal

Simphiwe Dana

Jeff Lorber

Ringo

Frank Mccomb

Julius Schultz

Tania Maria

Mango Groove

Bonga

Oliver Mtukudzi

Tu Nokwe

Olufemi

Kwela Tebza

Jonas Gwangwa

Standard Bank Joy of Jazz Golf Day

Victor Ntoni

Jambalaya

Dee Dee Bridgewater

Tingval Trio

Gerald Veasley

McCoy Mrubata

HGM Jazz Messengers

Bokani Dyer

NYJB

Jazz Camps & Puisano Program

CSI & Workshops

Medumo & Juxtaposed

D Tonic Momentum & Bow and Arrow

Taiwa Jazz Band & Minor Jazz Band

Quite Storm & New Afroteens

Live Rythms & African Giants

Solace & Up Beat

Program

Map

Sponsors

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Contents

FESTIVAL PRODUCERT MusicmanTel: +27(0)11 326 0141Fax: +27(0)11 326 30771st Floor Holiday House156 Hendrik Verwoed HouseRandburgJohannesburg2194

NAMING RIGHT’S SPONSORStandard Bank

DESIGN, LAYOUT, COORDINATION& SUB-EDITINGTyler Durden - Marketing & AdvertisingSandtonVillage Walk Office Block1st Floor c/o Maude Street & Rivonia Road

FESTIVAL PRODUCER©The Standard Bank Joy of Jazz official programme 2011. The views expressed in this publication are those of respective contributors and are not necessarily shared by the magazine, its staff, publisher and/or the festival organisers. All content correct at time of print. Neither festival organisation nor publisher can be held liable for any incorrect information.

Standard Bank “Joy of Jazz” Joburg 2011 1

Standard Bank “Joy of Jazz” Joburg 20112

Fore

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It is with happiness and excitement that I extend a hearty welcome to you to the 12th annual Standard Bank Joy of Jazz.

You the supporter of live shows are our greatest inspiration and it is an honour each year to bring you the best entertainment.

Yes times are tough, but we have taken used this to reflect, distil and grow. We have tightened our show offering and I trust you will find our line-up is proof.

Despite the space challenges, we have increased our capacity within the spanking brand new and renovated Mary Fitzgerald Square and Newtown precinct.

We’re excited about the new Conga stage and the significantly enhanced corporate hospitality offering.

These improvements are made for you - to provide a top-class environment for you to savour the best music from the jazz idiom from South Africa, the African continent and the world.

Our development efforts are also growing and we are humbled. Our music workshops programme continues and our Community Outreach concert will be staged in the Alexandra township for the first time.

Indeed Johannesburg and all of Gauteng provides amazing experiences for residents and visitors. We encourage you to make time to visit a tourism attraction this weekend or in the near future.

After the shows and you return home I ask you to please continue attending and supporting live shows - from buskers to giant productions. It is through your support that we will keep live entertainment alive.

For now just throw all your worries away. Party with the spirit that made this place of gold famous and let the music take you anywhere.

Peter TladiCEO: T Musicman


Fore

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The Standard Bank Joy of Jazz celebrates its twelfth anniversary this year. It provides a feast of exciting jazz sounds and world music from local, continental and global artists across seven venues in Johannesburg’s vibrant Newtown Cultural Precinct. This annual festival attracts an audience of over 20,000 jazz lovers.

South African jazz is internationally acclaimed and has helped to promote our national identity and establish our country on the international cultural map. Music is indeed a universal language which brings people of diverse cultural expressions together to achieve a greater awareness and understanding and a deeper appreciation of the role of culture. Through music, we also develop a richer sense of history and become conscious of the lasting legacy music leaves through strengthening the memories that we have of different times in our lives.

It is in this context that the Department of Arts and Culture together with the Nelson Mandela Foundation and in association with the Standard Bank Joy of Jazz will be holding an exhibition at the Market Theatre on the musical life and work of the legendary South African artist, Jonas Gwangwa. Through this exhibition, we honour the extraordinary work of a great man who has influenced new generations with his music and continues to inspire all of us.

We are pleased with our people’s love of jazz because this has enabled this genre to grow in South Africa and contribute handsomely to our creative industries and to Mzansi’s Golden Economy. The entire contribution of the creative industries (which include visual arts and crafts, films, books and publishing, music, theatre, dance, etc.), estimated last year, was R33,3 billion to the Gauteng economy. The creative industries not only improve our quality of life but provide decent work, sustainable jobs and contribute to sustainable social and economic development. This festival also organises workshops for renowned artists to share their skills with young musicians and in this way sharing ideas as well as providing interaction and encouragement.

This festival attracts increasing audience numbers to the cultural precinct of Newtown and importantly provides revenue for the City of Johannesburg. This year’s festival promises to delight and astound audiences with artists from an array of countries including the United States, Brazil, Croatia, Belgium, Nigeria, Angola, Zimbabwe and of course South Africa.

We are pleased with the growth of the love of jazz in South Africa and wish the Joy of Jazz continued and greater success through the coming years.

Minister Paul MashatileDepartment of Arts and Culture


Fore

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The Joy of Jazz is an established institution, amongst many others in the creative industry, which has turned Gauteng into a cultural melting pot for South Africa. Its popularity is evidenced by the phenomenal growth of following from within and without the borders of South Africa. It has established itself as the program that attracts people from diverse socio-cultural background whose insatiable appetite for sweet sounds of music can only be fulfilled by none other than the Joy of Jazz offerings.

As the Gauteng Provincial Government we are proud to be associated with such an institution whose fundamental objectives and values resonate with those of the government: using cultural acts to promote unity and social cohesion, exposing to the world the local sounds and talent as well as the stimulation of the province’s economy.

What the Festival, in a nutshell, has achieved over the years since its inception is unparallel showcasing of local, continental and international talent; providing a platform for cultural exchange and infusion thus contributing in the global project for global cultural development unhindered by

blinkered views of race, creed, prejudice, tradition and custom and geographical location. Joy of Jazz is about this and the promotion of all that which appeases and pleases the human senses. Joy of Jazz is about breaking down the barriers. Joy of Jazz is pure bliss.

Through this festival, annually, hundreds of jobs are created which in many ways helps in a fight against hunger and poverty. It is for this reason that the government of Gauteng will always throw its weight behind the festival.

As Johannesburg reverberates with the soulful sounds of music, may we all enjoy what the City and the Gauteng Province has to offer and exhibit the true spirit of humanity that the rainbow nation is known for.

Premier Nomvula MkonyanaGauteng Province


Fore

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The Standard Bank Joy of Jazz is back in Newtown for the 13th successive year. In this period it has grown tenfold in the size of the audience, it attracts and never failed to delight and entertain the people of Joburg and contribute to the development of new musical talent.

This year will be no exception with a star-studded line-up of international and local greats, moving into new venues and reaching out to a larger community through workshops and teaching programmes.

Johannesburg is a well-established host city of quality international events in the performing arts, the creative industry and across a wide range of sporting codes. Joy of Jazz has contributed to strengthening this reputation.

We also welcome the many visitors who will attend the events and express the wish that they will use this opportunity to visit the wide variety of other attractions the City has to offer.

We would like to thank the sponsors and organisers for, once again, bringing this world-class event to Joburg. We welcome the artists from abroad as well as those local participants who will have an opportunity to showcase their talent to an international audience.

Clr Mpho Parks TauExecutive Mayor:City of Johannesburg


Fore

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The Standard Bank Joy of Jazz has become a landmark event in both the national and international jazz festival circuit. On behalf of the Gauteng Provincial Government I extend a warm welcome to audiences attending this year’s edition and a special welcome goes to those coming from other provinces and abroad that are joining us in this important event. The Gauteng Provincial Government is proud to support the Joy of Jazz Festival and will continue to support the event to achieve international status and to attract more domestic and international visitors.

I believe that investment and support for small to midsize and large festivals forms a critical part of interventions that would not only grow jobs in the music and performing industries but also grow jobs in various direct and indirectly related industries. The United Nations Conference on Trade and Development’s 2008 Creative Economy Report states that “the creative industries account for 3.4 per cent of total world trade, with exports reaching $424.4 billion in 2005 and an average annual growth rate of 8.7 per cent during 2000-2005”. It also emphasizes that “creativity and human talent, more than traditional production factors such as

labour and capital, are fast becoming powerful engines of sustainable development. Developing countries around the world can find ways to optimize the potential of the creative economy for generating socio-economic growth, job creation and export earnings while at the same time promoting social inclusion, cultural diversity and human development.”

This platform also provides musicians from the Puisano Live Music Project, a Provincial Government flagship project aimed at unearthing aspiring live music performers, with an opportunity to perform on an international stage and grow their fan-base.

We invite you to enjoy the music and ask you to continue to support live music events and also support our local music by buying original proudly South African produced music.

MEC Lebohang MaileDepartment of Sport, Arts, Culture and Recreation


Fore

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Standard Bank Joy of Jazz has proudly put South Africa on the world musical map. Greats who have performed over the years include Keiko Matsui, Joe Sample, Earl Klugh, Dave Koz, Jamie Callum, Lee Ritenour, Abdullah Ibrahim, Dianne Reeves, Joshua Redman, Ramsey Lewis, Branford and Delfeayo Marsalis, The Count Basie Orchestra and Hugh Masekela who I am pleased to say is back on our stages again this year.

We are delighted that the 2011 line-up is better than ever with the legendary Wynton Marsalis heading the bill while also giving us an opportunity to showcase our own homegrown talent to an international marketplace.

This has always been an important component of the festival. Standard Bank – together with promoters

T Musicman – have always been determined to contribute to the development of emerging jazz talent thanks to the festival’s workshop programme, mentoring and free concerts.

Our gratitude goes to our partners – the Department of Arts & Culture with co-sponsors The Gauteng Department of Sport, Arts, Culture & Recreation, South African Tourism, Gauteng Tourism, National Arts Council and the City of Joburg – for their continued support.

We wish everyone connected with the Standard Bank Joy of Jazz – from the promoters, the musicians and the audience – everything of the best for this year’s festival. Long may it prosper and grow as it continues to bring people together.

Mandie van der SpuyHead: Arts & Jazz Sponsorships, Standard Bank



Music. It’s so much more than vibrations in the air.

It’s the voice of our history, the pain and the pleasure.

When I play, I fall into that beautiful place.

A never-ending descent to the very base of my soul.

And when I am there I am truly at home, connected by my roots.

Because I listen, I know the Afropolitan spirit will never leave me.

Feel the sound

Good Music Good Friends

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FESTIVAL INFORMATION

VENUES

The festival has eight venues and with independent access controls and accreditations, this is vital for guests to have proper information effective communication and briefs of were they should be and the nearest parking bays available.

ENTRANCES & EXITS

ARTIST’S ENTRANCES AND PARKINGArtist Village Drop-offs – Mbira and Dinaledi Stages have one entrance at Bree Street.

ARTIST ENTRANCE AND PARKING 1Artists performing at Bassline, Sophiatown will use the Bassline parking at Henry Nxumalo Street.

ARTIST ENTRANCE AND PARKING 2Artists performing at Nikki’s Oasis Restaurant will use entrance on Jeppe and Miriam Makeba and parking at the corner of Miriam Makeba.

ARTIST ENTRANCE AND PARKING 3Artists Performing at Market Theatre will park behind the old Kippis.

PUBLIC ENTRANCES WITH WALK-THROUGH METAL DETECTORS

PUBLIC GATE 1Bree Street & Mgcingwana Street next to Nikki’s Oasis Restaurant. This gate will be used by patrons going to Mbira and Dinaledi Stages, Nikki’s and could pass through to Capello’s, Sophiatown, etc.

Public Gate 2Jeppe Street from Miriam MakebaAll Venues

PUBLIC GATE 3Jeppe Street & Henry Nxumalo

PARKING AREAS

PUBLIC• Recommended • Market Theatre Parking. • Street Parking: Alongside the streets there will be visible Accredited Car Guards, Private Security, Metro Police patrols. Please ensure your vehicle is parked appropriately and is not hidden.Street Parking Miriam Makeba street, Bree & JeppeHenry Nxumalo StreetWest Street Parkade


FESTIVAL INFORMATION

VIP AND CORPORATE GUESTSNo.1 central basement parking for Standard Bank VIP for 300 parking bays.Old JSE -Annex Building off Jeppe Street for 500 parking baysTurbine Hall on Mariam Makeba for 400 parking bays

ACCREDITATION & PASS-OUTS

Strict controls will be adhered to ensure that all guests are treated with high hospitable and friendly treatment for them to enjoy the festival with precocious safety measures, quality assurances and good environmental approaches. Specific venues will have specified colour coding respectively.

DUMMY BOARDS WILL BE PLACED AT ALL ENTRANCES

INFORMATION DESKThe event will have an information desk and the joint operation command (JOC) on site. Please obey the event signage and legislative directives. We believe we have identified all possible risks and provided the liability for any unforeseen circumstances come and have peaceful festival.

SAFETY & SECURITY The event will be highly protected by professional security companies, Johannesburg Metro Police Department (JMPD), South African Police Services (SAPS), Emergency Services and MMC medical services on site and on stand-by for any eventualities (surrounding Hospitals Support & Emergency Preparedness). A venue control centre will be in place each evening to deal with all incidents and emergencies at the festival.

ROAD CLOSUREJeppe Street from Miriam Makeba to Henry Nxumalo will be closed from 17h30 each evening.Bree Street from Henry Nxumalo to Miriam Makeba will be closed to traffic from 17h30 each evening


Wynton

MARSALIS


It is hard to find a musician that matches what Wynton Marsalis has achieved. The 49-year old trumpeter has not only won nine Grammy Awards, he is the only artist ever to win the awards in five consecutive years (1983-1987). In 1983 he became the only artist ever to win Grammy Awards for both jazz and classical records in the same year; an achievement he repeated the following year. After the adjudication board refused to recognize jazz musicians and their improvisational music for five decades, Marsalis became the first jazz musician ever to win the Pulitzer Prize for Music for his epic oratorio Blood On The Fields. With honorary degrees conferred upon him by over 25 of America’s leading academic institutions, the Time magazine celebrated Marsalis as one of America’s 25 most influential people in 1996. In November 2005, the trumpeter received the National Medal of Arts, the highest award given to artists by the United States (US) government.

All the above achievements are a direct result of Marsalis’ hard work as a prolific composer and inventive player. When Marsalis assembled his own band in 1981, he hit the road with over 120 concerts every year for 15 consecutive years. In addition to this schedule, the trumpeter has worked in different formats; quartets to big bands, chamber music ensembles to symphony orchestras, tap dance to ballet. Marsalis who is currently the artistic director of New York’s famous Jazz at Lincoln Centre, has a two-year lecture series at Harvard University as his newest undertaking. “I generally work right up to when I have to do something - I’m always doing a lot. My schedule is always tight”, that is how Marsalis responded in an interview with the Wall Street Journal. “But I like to have the pressure of having to finish doing something; it gives me an added edge”. Marsalis performs at Emperor’s Palace on Thursday 25 August and on the Dinaledi stage on Saturday 27 August. He will be accompanied by pianist Jonathan Batiste, bassist Carlos Henriquez, drummer Ali Jackson and saxophone/clarinet-player Walter Blanding Jr.

Performance Emperors Palace Thursday 25 August 2011 Dinaledi Stage Saturday 27 August 2011



TOURISM


TOURISM

With recording studios and major recording companies located in Gauteng, the province is the epicentre of jazz in South Africa. Musicians from all over the country, trek to the City of Gold - Johannesburg - to further their musical careers. The presence of this critical mass of musicians percolates to surrounding towns and makes the province a musically vibrant place. Unfortunately there are few platforms to capitalise on the hundreds of jazz musicians who congregate in the province. There has also been little effort to ensure that the talent that exists in different communities is nurtured and harnessed.

The Gauteng Jazz Orchestra was established in 2008 to take advantage of the status of the province as the premier capital of jazz in South Africa. A partnership between the Department of Sport, Arts, Culture and Recreation; and the Music Academy of Gauteng, the jazz orchestra has budding jazz musicians serving internship alongside greats such as Khaya Mahlangu, Sydney Mavundla, Barney Rachabane and Bheki Mbatha. Under the directorship of trumpeter Johnny Mekoa, the orchestra – in addition to acting as an incubator for young jazz musicians – also aims to preserve the rich musical heritage that South Africa possesses. According to Mekoa, having a state-supported jazz orchestra was long overdue. “It’s a mystery that for all these years and with all the experience around, we had no official jazz orchestra. Money from state coffers flowed to symphony orchestras. Why not jazz?”

Since its establishment in 2008, the orchestra which specialises on South African jazz standards as its core repertoire has performed in many provincial government events. Last year, the orchestra played in front of an appreciative audience at the Cape Town International Jazz Festival. Performing on the opening night of this year’s Standard Bank Joy of Jazz Festival, the swinging sounds of Gauteng Jazz Orchestra will feature voices of three singing canaries - Nokukhanya Dlamini, Nombulelo Maqetuka and

Wanda Baloyi. Although each has an independent musical career, the three vocalists opted for a collaborative project as African Soul Sisters. The objective is to use their golden voices to pay tribute to South Africa’s greatest female singers such as Mirriam Makeba, Dorothy Masuka, Busi Mhlongo, Letta Mbulu and Brenda Fassie. In June this year, the trio brought the house down as they went through classic hits composed or sung by their heroines.

GAUTENG JAZZ ORCHESTRAWITH THE AFRICAN SOUL SISTERS

Performance Emperors Palace Thursday 25 August 2011

Nokukhanya Dlamini:

Growing up in KwaZulu-Natal’s town of Empangeni, Nokukhanya’s first love was music. She started to perform in the mid 1990s as a member of a gospel group that sang at weddings and other social functions. While her roots are in gospel, Nokukhanya’s voice effortlessly travels across different musical landscapes - jazz, traditional music and soul. Her 2005 debut album Tribute To You bears testimony to her abilities.

Nombulelo Maqetuka:

Reviews of Nombulelo’s debut album Essence of Love have compared her voice to a painter’s brushes. It comes in different forms – pointed, round or flat – depending on what is required. The only member of the African Soul Sisters that hails from Gauteng, she began to sing in church. A daughter of a choir conductor, Nombulelo and her siblings spent hours in rehearsal sessions where it was expected that they take part in the singing.

Wanda Baloyi:

As a daughter of a well-known musician, Wanda had to work doubly hard to find her own voice and carve space as a solo singer. She had to move out of her father’s shadow. This she did. With three albums under her belt, no one can question her talent and skill. “My music is deep. It hits you right at the core of your soul. It is a complete celebration of life”, she says in her description of her recordings.

Lokuo Kanza, Wanda Baloyi, PU2MA

Hugh Masekela’s standing as a musician and songwriter is unparalleled. With a musical career that stretches back to the 1950s, the legendary trumpeter is a pantheon of South Africa’s popular music. The homebrewed compositions and songs that he always belts out draw heavily from the country’s rich well of musical culture. With a rapacious knack for timeless music, Masekela has not only kept old hits alive but plays an important in passing sounds of previous generations to current ones. In the last 18-months, the irrepressible musician was part of a musical Songs of Migration that brought to the fore songs selected from 100 years of migration in Africa. The trumpeter/singer’s latest album Jabulani is a tribute to the township weddings of yesteryear. Released in 2010, the CD includes songs such as “Iph’ Indlela”, “Makoti (Bride)”, “Tsoang Tsoang”, and “Sossie”. According to the 72-year old musician, these are songs that were rehearsed and sung in the run-up to township weddings by “the betrothed’s young neighbours, friends and relations” that marched “up and down the street, singing the most beautiful songs accompanied by occasional, very intricate choreographed moves which were a pure joy to witness”.

Although inspired as a young musician by developments in the American jazz scene, particularly the bebop revolution; Masekela has his roots firmly planted in the music of his people. This is what kept him going for the three decades he spent in exile. His use of local music as his creative reservoir also makes him one of the leading statesmen of African music. It was therefore not accidental that this “son of the soil” took the centre-stage at both the 2010 FIFA World Cup kick-off and the event’s opening ceremony. His appearances were an affirmation of his global appeal. Masekela who draws massive audiences wherever he performs is at the Standard Bank Joy of Jazz Festival to bring great joy to music lovers with his outstanding songs and performance.


HughMASEKELA

Performance Dinaledi Stage Friday 26 August 2011


It is no understatement that McCoy Tyner is a doyen of jazz piano. Bursting onto the scene in the 1960s as saxophonist John Coltrane’s pianist, Tyner featured as the man on the ivories on the saxophonist’s classic recordings such as My Favorite Things, Live at the Village Vanguard, Impressions and Coltrane’s extraordinary suite - A Love Supreme. Since then, curiosity and audacity has characterised Tyner’s musical journey. He was one of the first jazz musicians to consciously re-introduce sounds and rhythms of Africa into jazz. His albums such as Sahara broke new ground in the jazz genre, incorporating African and East Asian musical elements. In the 1970s and 1980s, Tyner was in the forefront of re-arranging jazz charts for big ensembles. In the course of this, he won many accolades; Grammy awards for his 1988 Blues for Coltrane, 1992 The Turning Point, 1994 Journey, 1995 Journey and 2004 Illuminations.

Known for his distinctive blues-based and lyrical piano style, Tyner also single-handedly defined the vocabulary of jazz piano in the last thirty years. Numerous jazz pianists emulate his slashing- style as well as his use of the left hand to create dramatic and explosive chords. A quick listen to this year’s Standard Bank Young Artist Award winner in jazz – Bokani Dyer - will reveal how overreaching Tyner’s influence is. No wonder the late South African pianist Bheki Mseleku dedicated in his 1997 Beauty of Sunrise recording, the song “Suluman Saud” to Tyner.

At the age of 72, the piano guru still brims of energy and vitality. In the last two years, he has released three superb CDs that demonstrate why in the region’s lingua franca anyone who excels is called “a real McCoy”. Tyner performs on the Dinaledi Stage on Friday 26 August and Saturday 27 August. He is accompanied by saxophonist Gary Bartz, bassist Gerald Cannon and drummer Francisco Mela.

McCoyTYNER

Performance Dinaledi Stage Friday 26 August 2011 Saturday 27 August 2011

KHUM

ALO

Sibon

gile


KHUM

ALO

Sibon

gile

Sibongile Khumalo is South Africa’s empress of song. Her repertoire spans different musical genres – opera, jazz, contemporary and choral music. She holds the Order of Ikamanga; the highest award that the president of the republic can award in recognition of prominent contribution to nation building. The order was bestowed for her excellent contribution to the development of South African art and culture in the musical fields of jazz and opera. While Khumalo is convinced that opera is a “good vehicle for a singing nation like ours”, she is keen to point to the existence of other music avenues such as choral singing, for those who want to sing. Khumalo, who has no regrets about having had formal and classical training, became acutely aware earlier in her career of the “existence of a body work by South African composers that requires constant interpretation”. A daughter of a music professor, Khumalo is the first to acknowledge her father’s influence in her musical development. She is also quick to point out how her vocal abilities resemble those of her mother, Grace Nonhlupho who was the main soloist and an accomplished contralto voice of the Ionian Music Society.

Although Khumalo who exudes warmth on stage considers herself “a singer first and foremost”, her journey from the time she launched her debut recording Ancient Evenings in 1996 has moved her into music production. The unavailability of her producer when she recorded her 2002 album Quest saw her thrown in the deep end. Khumalo produced the CD; an experience she “found very affirming”. Since then the award-winning singer has spent a great deal of her extremely busy schedule honing her skills as a producer. In 2007, Khumalo recorded a DVD for the launch of her independent record label, Magnolia Vision Records. Khumalo performs on the Dinaledi stage on 27 Saturday August. She will be accompanied by pianist Mdu Mtshali, guitarist Themba Mokoena, bassist Thembinkosi Banda, drummer Skhumbuzo Mbele, Kuki Mncube Gugu Shezi and Sifiso Khanyile will provide backing vocals.

Performance Dinaledi Stage Saturday 27 August 2011


The Brussels Jazz Orchestra (BJO) is known not only for its infectious swing but its extensive and well-conceived collaborative projects. Since its formation in 1993, BJO has worked with musicians such as harmonica-legend Toots Thielemans, pianist Kenny Werner, US conductor Maria Schneider and guitarist Philip Catherine. In 2003, the 16-piece orchestra was involved in an interesting and innovative project, BJO vs. the Big White Screen: Big Cities in the Twenties. This consisted of five short silent films with BJO presenting live music during the projection of the movies. Piccadilly, a sequel to the 2003 project was done three years later. The orchestra’s recent collaborations were with the Brussels Philharmonic and Belgium’s Brass Band Willebroek. Closer to South Africa is a 10-part concert series which the orchestra staged in 2010 in tribute to the legendary Mirriam Makeba. The project was collaboration by BJO with South African singer Tutu Puoane. A CD Mama Africa is a product of this joint work. The “Mama Africa concert series” was not the first collaborative work between BJO and Puoane. In 2007, Puoane and Flemish actress Venee Dobbelaere were involved together with BJO in Writing Billie which was a show where new arrangements of Billie Holiday’s music were presented. The project ran into 2008. It was taken to venues and festivals around Belgium. It also toured countries such as Netherlands, France and Italy. The following year, Puoane was part of project Creating Chances with BJO, Brussels Philharmonic and soprano singer Iris Luypaers to mark 75 years of Belgium’s national lottery. At this year’s Standard Bank Joy of Jazz Festival, BJO and Puoane will present two shows. This will be the first time that the orchestra appears with Puoane on the singer’s home soil.

Tutu Puoane:

Tutu Puoane is this year’s South African Music Award (SAMA) winner in the traditional jazz category. Her new album Mama Africa saw her walk away with the prestigious award. Such achievement has long been coming. Since her move to Europe in September of 2002 where she spent a year and a half at the Conservatory of Music and Dance in Den Hague before relocating in 2004 to her current home in Belgium’s town of Antwerp, Puoane has grown as a musician. She released a successful debut album Song in 2007. A follow-up Quiet Now came in 2009 and won the SAMA Award in the Best Traditional Jazz category for 2010. In the years that she has been based in Belgium, the 32-year old singer has won respect among musicians and audiences in Europe where in addition to leading her quartet she is a member of two well known big bands, the Frits Bayens Big Band in Holland and the Brussels Jazz Orchestra. Whether she whispers a lyric or scats, Puoane accurately negotiates the range. Her phrasing is also impeccable. Her contralto voice can be gentle but equally fierce.

Puoane has a long history of association with Standard Bank-sponsored events. She was the winner of the Standard Bank Young Artist Award for Jazz in 2004. As a consequence of her selection, she appeared at Grahamstown’s 2004 Standard Bank Jazz Festival which is part of the National Arts Festival. In July this year, she appeared at the same festival with her top-class Belgian quartet of pianist Ewout Pierreux, bassist Nicolas Thys and drummer Lieven Venken. The vocalist who began her professional singing career in downtown Johannesburg in 1997 is at the Standard Bank Joy of Jazz Festival with Brussels Jazz Orchestra.

Performance Dinaledi Stage Friday 26 August 2011 Saturday 27 August 2011

Tutu Puoaneand theBRUSSELSJAZZ ORCHESTRA


AFRICAN JAZZ PIONEERS

African Jazz Pioneers is South Africa’s oldest marabi-swing band. Blending American big band sounds with traditional majuba tempos and marabi influences, the band’s history goes back to the 1950s when big bands were the name of the game. Formed by the late Ntemi “Bra Ntemi” Edmund Piliso, African Jazz Pioneers enjoyed enormous success and were one of the country’s most popular bands at the time. Sadly, this all came to an end in the early 1960s when apartheid laws and loss of venues made it difficult to maintain big bands. However, Bra Ntemi decided it was time for a reunion and got his band back on stage in 1981. African Jazz Pioneers were back on the road, with their first performance at a church in Alexandra township. International fame came soon after the band’s first overseas appearance at an anti-apartheid cultural conference in Amsterdam in 1987. After the easing of the cultural boycott in 1990, African Jazz Pioneers were among one of the first South African bands to

perform all over the world. During these years they shared the stage with artists such as Nina Simone, Quincy Jones, Chick Corea and Youssou N’Dour.

In 2000, a second tragedy struck African Jazz Pioneers. The bandleader “Bra Ntemi” passed away. Having led the group from its founding, there was doubt whether the band would continue. For many it was the end of an era without the enigmatic presence of Bra Ntemi. Yet Bra Ntemi’s deathbed wish which he insisted that it be honoured after his passing was that the music must carry on. His fellow band mates and musical colleagues went on to respect his wish. They keep touring and performing as relentlessly as ever. They recorded an album entitled 76 - 3rd Avenue, as homage to Bra Ntemi. African Jazz Pioneers are at this year’s Standard Bank Joy of Jazz Festival to perform the band’s classic tunes; “10th Avenue”, “Ten Ten Special” and “Randfontein”.

Performance Dinaledi Stage Friday 26 August 2011


When seven budding musicians from Port Elizabeth’s township of Motherwell decided to form a band five years ago they were very clear: they wanted the world to take note of their venture. That’s why they opted for Take Note as the group’s name. Yes indeed, the septet has been creating waves around the Friendly City. Take Note is garnering support around Port Elizabeth as the band performs regularly in different venues in the city. It shared stages with national acts such as Sliq Angel, Putuma and DJ Cleo. Take Note also opened for award-winning WDR Big Band; when the German group was in Port Elizabeth in June 2010.

But to take the biggest note of the septet was Native Rhythms Production’s Siphole Sithole. Port Elizabeth’s Film and Music office had invited the recording company mogul to a monthly listening and open mic session in January 2011. So impressed was Sithole with Take Note’s music that he offered the group a recording contract on the spot. Five months down the line, the band launched its debut CD Rear Window which is a mixture of soul-jazz and township classics such as “Unonkala” and “Sakhile”. To spread its wings beyond Port Elizabeth, Take Note performed in East London and Durban in June. The group is at the Standard Bank Joy of Jazz for larger audiences to take not of its music.

Performance Dinaledi Stage Friday 26 August 2011 Nikis Oasis Saturday 27 August 2011


The Gauteng Department of Sport, Arts, Culture and Recreation is a catalyst of government in establishing a Gauteng which is home of opportunities for artistic, cultural and sport excellence

that contributes to social cohesion and nation building. We are committed towards ensuring increased access, participation and transformation of the sectors of the arts and culture and sport in a manner that yields optimum social and economic bene�ts for all in the province.

Creative Industries DirectorateGauteng Department of Sport, Arts, Culture and Recreation

6th Floor NBS Building38 Rissik Street

Johannesburg, 2000011 355 2564

www.sacr.gpg.gov.za


The Gauteng Department of Sport, Arts, Culture and Recreation is a catalyst of government in establishing a Gauteng which is home of opportunities for artistic, cultural and sport excellence

that contributes to social cohesion and nation building. We are committed towards ensuring increased access, participation and transformation of the sectors of the arts and culture and sport in a manner that yields optimum social and economic bene�ts for all in the province.

Creative Industries DirectorateGauteng Department of Sport, Arts, Culture and Recreation

6th Floor NBS Building38 Rissik Street

Johannesburg, 2000011 355 2564

www.sacr.gpg.gov.za

Alexander

O’NEALPerformance Mbira Stage Friday 26 August 2011 Saturday 27 August 2011

Blessed with an incredibly powerful voice and ability to bring out the best in either a ballad or a dance track, Alexander O’Neal has built up a reputation as one of the world’s finest contemporary soul singers. This powerhouse singer has cemented his reputation as one of the greatest artists of his generation, performing and outselling at venues around the world. Born in Natchez, Mississippi – an ex-college football player - O’Neal experienced his first musical ventures via performances in local clubs in his home city. He proceeded and linked up with Jimmy Jam and Terry Lewis to form Flyte Time. The trio were invited by local vocalist Prince to become his full time backing band. This brought him both public and professional acclaim. Musical differences led to Alexander departing and going on to form a hard rock band but six years later his musical partnership with Jimmy Jam and Terry Lewis was rekindled when he agreed for them to write and produce his debut album – Alexander O’Neal on the Tabu label distributed by CBS/Epic.

Like many artists who started their early days on local club scenes, O’Neal has progressed and released a string of huge-selling albums; establishing himself as one of the world’s great entertainers. A musical

career of close to three decades has made O’Neal to be at the top of his field. He worked and collaborated with stars such as Patti Labelle, Mica Paris, Janet Jackson, Gladys Knight and Cherelle to name but a few. Alexander has had numerous hit singles/albums including Saturday Love, If You Were Here Tonight, A Broken Heart Can Mend, Fake, Criticise, Never Knew Love Like This, Saturday Love,

All True Man, Shame on Me, Sentimental, Love Makes No Sense and many more.

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For anyone who doubts that Simphiwe Dana is the reigning queen of Afro-soul, must look at what the vocalist has achieved since the launch of her 2004 debut album, Zandisile. That CD not only went platinum, it won Dana the Best Newcomer and Best Jazz Vocal album prizes at that year’s South African Music Award (SAMA) ceremony. Her contemplative voice saw her walk away with four SAMA awards for her 2006 The One Love Movement on Bantu Biko Street. For the same album Dana won a BBC Radio 3 award for the Best Artist in the category World Music – Africa in 2008. Released in July 2010, the 13-track Kulture Noir which is Dana’s third CD gave her two Metro FM awards; Best Female Artist and Best Contemporary Jazz Album. Clearly, anything that Dana touches turns gold.

The achievements are consistent with the singer’s approach to life. “Everything eventually works when you follow your life passion. It will be difficult at first but everything eventually pans out well”, says the singer who describes her music as a natural progression from gospel. But it is not only awards

that the Eastern Cape-born musician puts into her bag, over the last few years Dana has built a huge fan base here and abroad. Dana comes to Standard Bank Joy of Jazz Festival with a new live DVD and CD. The DVD was recorded at Lyric Theatre in Johannesburg’s Gold Reef City. The DVD includes many of hits from previously released material. It also has South African standards such as “Malaika”, “Lakutshon’ Ilanga” and “Meadowlands / Into Yam Ndiyayithanda” medley. At her performance the relaxed and sparsely-voiced singer will be accompanied by a stellar cast; trumpeter Feya Faku, saxophonist Mbuso Msomi, trombonist Siya Makhuzeni, percussionist John Hassan, keyboardist Camillo Lombard, drummer Keegan Williams, bassist Herbie Tsoaeli and guitarist Themba Mokoena. Also on stage will be four backing vocalists.

Performance Mbira Stage Friday 26 August 2011

DANA

Simph

iwe


Jeff LORB

ERForming his first band in 1977, pianist Jeff Lorber has an experience of more than three decades as a professional musician. In all these years, the Philadelphia-born artist has not only produced 21-albums, he has been at the centre of developing the genre that is loosely referred as smooth jazz. Being part of the fusion era in the 1970s, Lorber and his band - Jeff Lorber Fusion - first honed their craft in the Portland, Oregon’s club scene and rapidly expanded their reach to a national and international audience via a combination of complex harmonies, unconventional time signatures and compelling rhythms. In subsequent years, the 58-year old piano and keyboard player began to explore his R&B roots and eschewed the purely-instrumental music of the earlier period.

Lorber is also credited to have introduced to the public the young Kenny G. The well-known saxophonist’s first recording was with Jeff Lorber Fusion’s 1980 recording Wizard Island. Over the years, Lorber worked with other musicians such as percussionist Paulinho Da Costa, trumpeter Herb Albert and saxophonist Dave Koz. Lorber’s 2005 Flipside was nominated for a Grammy in the Best Pop Instrumental Album category. Lorber’s new

recording Now Is The Time, delves back into his early catalogue and reinvents some of the most compelling compositions from the Jeff Lorber Fusion heyday. “We wanted a return to the sound of the Jeff Lorber Fusion, but informed by everything I’ve learned since then. All of a sudden, people seem to be interested in hearing that again. They’re ready to hear musicians who can really play, really stretch the envelope with their technique, with their songwriting, and with harmonic structure”, says the pianist.

Lorber performs on the Mbira Stage on Friday 26 and Saturday 27 August. He will be accompanied by tenor saxophonist Eric Ross Marienthal, bassist James Haslip and drummer William Kennedy.

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Vocalist Ringo Madlingozi is South Africa’s master balladeer. His lyrics which are mainly in Isixhosa talk about love, beauty, violence, abuse, culture and other issues of identity. Since going solo in 1996, his message mainly targets youth. “I want to tell young people that despite their trying backgrounds, they can rise above any circumstances and make something out of their lives”, says Madlingozi. He took the route of social commentary after he met well-known producer head of Island Records, Chris Blackwell in the mid-1990s. Blackwell who produced Bob Marley’s work advised Madlingozi to sing about what as a South African he knows best - his people and culture - and in his own language. Listening to the advice, Madlingozi launched his solo career.

Looking at the singer’s achievements over the last fifteen years, one can conclude that Blackwell’s advice was worthwhile.

None of the albums that Madlingozi has produced has reached less than gold in sales. The highlight was his 1997 Sondelani which achieved a double platinum status. Besides selling thousands of albums, Madlingozi’s singing has won him numerous awards, including a South African Music Award’s (SAMA) vote for Best Male Vocalist in 1998 and 1999. He is also a sought-after collaborator. In the last few years Madlingozi collaborated with UB40, South African jazz saxophonist McCoy Mrubata and with kwaito star Mandoza. He also worked with Dillion O’Bryan when Madlingozi produced Baleka in 2004. A listen to Madlingozi‘s music will reveal that it is not only about social commentary. Madlingozi is a skilled composer and his vocal presentation is remarkable. Ensuring that he was not stuck in one format, Madlingozi opted for a big with brassy horns in his 2007 The Coming Dawn. He also uses rappers on some of the tunes. In Qhubeka which was released in 2008, he does an exquisite duet with pianist Mongezi Conjwa.


Performance Mbira Stage Friday 26 August 2011 Saturday 27 August 2011

FrankMcCOMB

Singer and keyboardist Frank McComb is an underground favourite on the soul and jazz scenes and a highly-sought after session player. His virtuoso piano and organ work led to recording work and performance with artists as varied as Teddy Pendergrass, Prince, Anastacia, Chaka Khan and Lalah Hathaway. McComb’s journey to the world stage began in 1970 in Cleveland, Ohio. The musical prodigy started playing piano at the age of 13 under the tutelage of his aunt. Two years later, he met Willie Ross, a local R&B guitarist who was so impressed by the youngster’s playing he enlisted him for his local gigging group. At age 17, the 41-year musician headed up the Frank McComb Trio, which was inspired by Ramsey Lewis’ trio work in the 1960s and early 1970s, and at age 20 McComb was hired to tour as the musical director for The Rude Boys, an R&B group founded by the late singer Gerald Levert. This is before McComb linked up with a hip-hop/jazz fusion project Buckshot LeFonque, led by saxophonist Branford Marsalis. McComb’s lead vocals on “Another Day” could be heard in the

second single from Buckshot LeFonque’s second recording Music Evolution. The voice propelled the sale of the album and brought recognition to the young artist’s emerging talent. In 1999, McComb recorded his debut Love Stories but the recording company had difficulty marketing the CD because it could not easily be slotted into jazz, blues, soul, R&B, and gospel categories.

But it is McComb’s 2005 performance with NAACP’s Lifetime Achievement Award Winner, Prince that thrust the keyboardist back onto a world-stage. A year later, he released a 1995 bootleg that Mojazz shelved 11-year before. The 1995 Bootleg Limited Edition, which featured live performances and his first instrumental project A Tribute to the Masters paying homage to McComb’s heroes, Herbie Hancock and Chick Corea. This was followed by a live CD/DVD recording Frank McComb: Live in Atlanta in 2007. The music is released on McComb’s recording company, Boobeescoot Music. McComb comes to the festival with a new CD, A New Beginning.


Performance Mbira Stage Friday 26 August 2011 Saturday 27 August 2011

JULIUSSCHULTZ

Julius Schultz is a versatile guitarist with varied musical tastes, a rounded tone, terrific speed and precise solo-taking skills. His work thus far shows superb arranging, production and song writing abilities. Born in Johannesburg in South Africa, Schultz began to play guitar at the age of 12. He revealed great interest in the instrument as his love of music considerably picked up. At the age of 15 years he already played with some of the top gospel groups in South Africa. In 2002, Schultz won the guitarist of the year award hosted by a well-known radio station, Kaya FM. Schultz then went on to record his first debut album entitled, Expressions. The release won him recognition and respect in the music industry and among musicians in South Africa and abroad. In 1996, the guitarist toured and performed in the United States (US) for six weeks. In 2004, Schultz went to the United Kingdom (UK) and performed with some of that country’s top artists. The following year, the talented guitarist started to work on a new album Replay with well-known jazz guitarist Ernie The CD was released in 2006 and one of the songs in the album remained on Kaya FM`s Top 10 charts for four weeks.

Continually expanding the scope of his activities in addition to other musical collaborations, Schultz has released a new offering African Christmas. Inspired by guitarists such as Allou April and Ernie Smith, Schultz is currently busy promoting his live DVD which was recently recorded. The guitarist performs on the Mbira Stage on Saturday 27 August. He will be accompanied by bassist Morne Brainers, keyboardist Tsepo Moreng, keyboardist Ezra Erasmus, drummer Jordan Sunnasy, saxophonist Hiram Koopman, trumpeter Neil Engel. The band will be joined on stage by backing vocalists - Renae Soobiah, Vincent Bones and Kaz-Leigh.



MARIAPerformance Conga Stage Friday 26 August 2011 Saturday 27 August 2011

Tania

In the 1980s, a party was not a party if Tania Maria’s runaway hit “Come with Me” was not on the list. An astounding mix of Brazilian rhythms and jazz harmonies, underpins the pianist/vocalist’s remarkable natural gift for spinning sophisticated and exotic melodies.

With a long and passionate love affair with music, Tania Maria was born into a family of amateur musicians in São Luis, northwestern Brazil. She began to study piano at the age of seven and was just 13 when she was a first-prize winner in a regional competition as the leader of a group started by her father. At the time, bossa nova was in vogue from Brazil to all corners of the world. As early as 1969, her first musical performances clearly showed her potential and were proof of bigger things to come. Although as young woman Tania Maria tried to distance herself from music by studying law, her fingers continued to yearn for the piano. She finally gave in to its insistent call, committing herself to music with more fervour than ever.

With more than 25 albums, Tania Maria stands out as one of the great talents in today’s global music scene. Known for her unmistakable voice whose sultry low tones can lay down a serious groove, Tania Maria lives in Brazil and New York. She has also done a lot of traveling in her time; from Paris’ nightlife of the 1970s to the New York fusion years in the 1980s. She’s also taken part in virtually every major jazz festival in the world; from Montreux to New Orleans, Tokyo and Nice. She regularly presents her music at fabulous clubs like the Blue Note in New York and Tokyo. She has been to South Africa before. Tania Maria is undoubtedly an accomplished musician who though always attracted to swing and jazz, has never forgotten the fundamental beats of her native choro and samba. Her percussive touch at the piano, easily and suddenly takes a more classical turn.


If there is a band that is truly South African, it is Mango Groove. Its musical sound is a tapestry of the country’s diverse styles. In Mango Groove you will find pennywhistle-based sounds that defined kwela music of the 1950’s. Equally, you will find brassy marabi characteristic of the big bands of the Sophiatown era. Also a vital ingredient in the music is swing associated with Glen Miller-inspired bands of the United States (US). As if this was not enough, the vocal work of the group oscillates between a cappella and the music of close-harmony groups such as the all-male Manhattans and all-female Skylarks.

It is this blend that makes Mango Groove a household name here and abroad. With sale of its albums surpassing 750 000 units, Mango Groove is the only South African group that filled Sun City Superbowl and the Standard Bank Arena six times in sold-out shows. But the band’s appeal extends beyond the borders of South African. Highlights of the band’s international career include a direct satellite

link-up to the Freddie Mercury tribute in London with an estimated audience of a billion people; a performance in front of 200 000 people at the Paris “SOS Racism” concert; and the group’s performance at the renowned Montreux Jazz Festival where the band received three encores. From London to Hong Kong to Toronto to Sidney, the band has played to sell-out-crowds. Mango Groove was given the honour of being the only African act to be invited to celebrations commemorating the handover of Hong Kong to China. The show was televised worldwide and immortalized on a commemorative CD. With this appeal it is not surprising that the most popular female star in Brazil today - Ivete Sangalo - requested to collaborate with Mango Groove and re-record the song “Hey”. Sangalo who rose to fame as the lead singer of the Bahian group Banda Eva in the 1990s heard the song after she listened to Mango Groove’s album Bang The Drum. Mango Groove is at the Standard Bank Joy of Jazz Festival after the release of the group’s first ever live concert DVD.

GROOVEPerformance Conga Stage Friday 26 August 2011

Mango


Performance Conga Stage Friday 26 August 2011 Saturday 27 August 2011

BONGA

Known by his stage name Bonga, José Adelino Barceló de Carvalho is an Angolan singer, songwriter and percussionist. His music is a mixture of Angolan sounds such as semba and kizomba; with Portuguese folk songs. He sings in Portuguese and vernacular languages of his country such as Kimbundu; producing an eclectic sound not only in style but also in language. The mix of Portuguese and Angolan music which makes his music popular both with immigrants from the ex-colonies and Portuguese of both African and European descent is understandable. Although born in the province of Bengo, Bonga who began his singing career as a teenager left Angola at the age of 23 and lived in Portugal. Politically active in the struggle for independence of his country, Bonga was forced to also leave Portugal for Holland after the lyrics of his songs were declared treasonous. He recorded a series of albums in Germany, Belgium and France. In Europe, Bonga met other Portuguese-speaking musicians; an experience that led to infusion

of samba into his already diverse music style. Together with a group called Batuki, the 68-year old singer performed at the United Nations in 1973 in celebration of Guinea-Bissau’s declaration of independence.

Bonga returned to his country after the war of independence ended in 1975, although he continued to record overseas. One of the tasks of the new Angolan government was to resuscitate the country’s music industry. No other person besides Bonga could do this. The government asked him to establish an orchestra called “Semba Tropical”. With more than 30 albums under his belt, Bonga is one of Angola’s foremost musicians. Produced by a charismatic performer, Bonga’s music is irresistibly danceable. His high-pitched and hoarse-sounding voice is effective to convey different levels of emotion. Bonga also surprises audiences with his wide-ranging voice.



The month of June was a busy and important month for Zimbabwean guitarist and vocalist, Oliver Mtukudzi. The United Nations Children’s Fund (UNICEF) appointed the musician, the organisation’s goodwill ambassador for Eastern and Southern Africa. This was in recognition of Mtukudzi’s extraordinary endeavours to use musical talent to improve the lives of children. Also in June, Tuku as the singer is affectionately called released his sixtieth album Abi’angu (Duets of My Time) in a concert dubbed “The One-Night in Africa Concert”. The recording whose launch attracted more than 4 000 fans to East Rand’s Carnival City is compilation of duets that the Zimbabwean did with friends such Cesaria Evora, Judith Sephuma, Jaziel Brothers and Eric Wainaina. At the launch Tuku teamed up with Zimbabwe’s king of popular music, Thomas Mapfumo. Mtukudzi began his professional career when he joined in 1977 a Harare band known as the Wagon Wheels; which Mapfumo led.

Mtukudzi’s appointment as a UNICEF ambassador follows the musician’s long commitment to social justice. While Tuku’s music sweeps even the

untrained onto the dance floor, his lyrics are about real issues. He sings about poverty, abuse and diseases such as HIV/Aids. Tuku, who has ventured into film and drama, wrote and directed a musical on street children, Was My Child. But Mtukudzi is at the Standard Bank Joy of Jazz Festival to do what he is known for: sing and strum his guitar. Asked to describe in Afropop his style of music, Africa’s most revered musician said; “My music is a fusion of different rhythms”. This is true. “Tuku music” as Mtukudzi’s style is called brings together the polyrhythmic sounds from the Zambezi Valley such as jit, mbira, dandanda, mbukumba and katekwe; and laces them with brassy horns, electronic and chordal instruments. The result is poignant Afro-prop with Tuku’s deep and gravelly voice on top of the music.

MTUKUTZIPerformance Conga Stage Saturday 27 August 2011

Oliver


In every country there are musical dynasties where

music moves from one generation to the other. Singer, guitarist,

composer, lyricist, actress and teacher Tu Nokwe belongs to one of these dynasties. She

was born into a family of musicians. Her father, Alfred, was in a jazz swing band and her mother, Patty, was a soprano singer. All the children in the Nokwe household were taught how to sing. Nokwe who describes her music as “spiritual new age African sound with influences of jazz and funk” taught herself how to play the guitar through a string strung in between the chairs and a do-it-yourself book. When she finally managed to get a guitar, she wrote her first song “Relax”. Together with her sister, Marilyn, and a friend, Nonhlanhla, they formed the Black Angels and recorded an album. In the 1980s, Nokwe also formed Amajika Youth Project, which teaches children music, dance and drama. This was a successful project and some of the youth in her group ended up in Mbongeni Ngema’s Sarafina.

Nokwe who acted in the movies like Shaka Zulu, The Red Scorpion and numerous television programmes travelled to New York where she studied at the famous Manhattan School of Music. When she returned in 1993, she started gathering material for her first album Inyakanyaka which was released in 1996. Inyakanyaka was followed by African Child in 2002. The album won the “Best Release from Africa” from British world music magazine. In 2005, Nokwe founded the traditional music project that aims to play an important role in the preservation of indigenous African music and the transformation of music education in South Africa. In November 2010, Nokwe embarked on a “Journey of My Soul”; series of musical performances aimed at bringing together business, cultural icons, renowned leaders and music lovers together. Nokwe performs on the Conga Stage on 26 Friday August.

Tu NOKW

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Performance Conga Stage Friday 26 August 2011


In the opening part of “Fela’s Azania” in the Simphiwe Dana’s 2010 Kulture Noir, there is an upbeat saxophone solo. Taking up the solo is South African-based Nigerian saxophonist Olufemi Ogunkoya. To create the recurring groove associated with Fela Kuti’s Afrobeat style, Dana could not look further than Olufemi. The saxophonist points to Fela Kuti, Manu Dibango, Hugh Masekela, Bob Marley, Salief Keita and his older brother Koka Ogunkonya as his musical influences. Combining Afrobeat, jazz, gospel, blues, West African highlife and mbaqanga; Olufemi describes his music as “South Western Afro-soul fusion”. The sound is a rich blend of deep jazz with various popular genres in West and Southern Africa.

For Olufemi, it all began in his father’s compound in the town of Ikorodu in Nigeria’s state of Lagos. Traditional drummers used the compound as a venue. Olufemi dabbled with piano before he started to blow a trumpet as a member of church band. He then discovered saxophone as an instrument of choice. Recent career highlights include performances at the crowning of Miss ywWorld 2008, FIFA Confederation Cup Draw in 2008, 2010 Confederation of African Football (CAF) awards in Ghana and celebrations by 17 African countries of 50-years of independence. Olufemi was active in campaigns to support Haitian people left destitute when the earthquake hit the Caribbean Island in January 2010. But Olufemi’s dreams came true when he performed alongside the king of jùjù music Sunny Adé when the Nigerian multinational telecommunication company Globalcom Limited (Glo) launched its network in Benin in June 2008.

It is not the first time that Olufemi appears at the Standard Bank Joy of Jazz Festival. In 2009, he was at the festival with fellow countrymen in what was called the Nigerian All Stars band. This round Olufemi leads his own band at South Africa’s premiere festival. Expect to hear songs from saxophonist 2008 debut recording Just in Newtown as well as West African classic such as Prince Nico Mbarga’s “Sweet Mother and Fela Kuti’s “Palava”.

OLUFEMIPerformance Conga Stage Saturday 27 August 2011


Performance Conga Stage Saturday 27 August 2011

TEBZAKwela

Kwela Tebza is a pennywhistle band made of three brothers; Tebogo, Tshepo and Mpho Lerole. The Lerole family and pennywhistle-based kwela music of the 1950s are synonymous. It all began when the legendary Elias “Shamba” Lerole received two pennywhistles as a Christmas present from his uncle at a tender age of 10. His brother Jack “Big Voice” Lerole later joined him and they formed a musical group called Alexander Shamba Boys. They signed with EMI in 1957 and recorded the hit “Tom Hark” that sold millions of copies worldwide. This was the birth of kwela music.

Formed in 1994 by Shamba Lerole’s three sons – with the assistance of their mother - Kwela Tebza is reincarnation of the music of the 1950s. With four albums under their and having been going on for 17-years, Kwela Tebza has shown that the existence of the group was not another flash in the pan. The trio’s has managed to catch attention of top acts such

as The Parlotones, MXO, MIAGI Orchestra and Sliqour, who opted to spice their music with Kwela Tebza’s pennywhistle sound. The three have appeared on numerous prestigious events; the South African Music Awards, the Mzansi Awards, the African Academy Awards in Nigeria and the FIFA 2009 Confederation Cup opening ceremony. Their unavoidable and irresistible stage presentation has also made them one of the acts to look out for around world stages; from Singapore to Nigeria, Australia, Brazil, Austria, Sweden, Thailand and back home in South Africa. They have left audiences astounded; earning praise from their peers and among the most influential. “We take the music seriously as we are flag bearers of the country and we have to present it in the best way possible. Our father had his own sound of the 1950s and we have ours that we have made relevant to our time”, says Tebogo.



The Consumer Protection Act (CPA) has been termed a Bill of Rights for South African consumers as it has radically tilted power in their favour. South Africans rank amongst the most protected consumers in the world as they have been granted fundamental rights that they may enforce through the avenues created by the CPA.

The Act, which came into force on April 01, 2011, applies to among other things the promotion of any goods or services, or of the supplier of any goods or services, within the Republic; and goods or services that are supplied or performed in terms of a transaction to which the Act applies.

“Service” is defined in broad terms and includes “the provision of any entertainment or similar intangible product or access to any such entertainment or intangible product”.

The CPA therefore applies to the provision of entertainment services which includes performers in music, sports, theatre etc, collectively referred to as artists.

Spectators and audiences at concerts, festivals, cinemas etc fall within the ambit of the definition of consumer. As such, they will be covered by the CPA and enjoy all the rights it affords consumers.

Section 54 of the Act provides, among other things, that when a supplier undertakes to perform any services for or on behalf of a consumer, the consumer has a right to the timely performance and completion of those services, and timely notice of any unavoidable delay in the performance of the services. The performance also has to be in a manner and quality that persons are generally entitled to expect.”

So, consumers in the arts and entertainment industry have a right to demand quality performances from artists.

Quality is not defined per se but is described as performance in a manner and quality that persons are generally entitled to expect. Anything short

of this standard constitutes poor quality. By way of example, poor quality service may include the following: unavoidable failure to perform on time and not providing notice of such; cancellation of a scheduled performance; miming a song and pretending to be singing; and failing to perform in a manner and quality that persons are generally entitled to expect.

Poor performance is frowned upon and consumers have a right to demand good quality service. In this regard, artists have a responsibility to perform to the level that people are generally entitled to expect.

Consumers can exercise their rights through the Commission, which has jurisdiction over commercial transactions and disputes in South Africa; the Tribunal established in terms of the National Credit Act as well as the courts.

Artists therefore need to be mindful that a finding of poor performance against them may attract liability, depending on the nature of the transgression, to a fine up to R1 million or 10% of their annual gross revenue.

Artists need to start seeing themselves as suppliers of services and recognise that the CPA affords consumers protection against poor performance.

It would therefore be in their interest to familiarise themselves with this Act and the Regulations thereto to enhance their understanding.

It is more sensible for artists to invest time and energy upfront in growing their understanding of this Act than to find themselves on the receiving end of hefty penalties, with their attendant reputational damage.

Commissioned by Mncedisi Ndlovu & Sedumedi Attorneys. For more information please contact 011 447 3811, email [email protected] or visit www.mnsattorneys.com

Smarten up your art – or else....


Jonas Mosa Gwangwa occupies a unique place in South Africa’s pantheon of jazz luminaries.

As instrumentalist, composer, arranger, band leader and musical director whose musical footprints can be found from South Africa to England, Botswana to Angola, the USA to the Soviet Union, the Netherlands to Australia, Jonas Gwangwa has touched millions with his music.

Like his contemporaries, including Miriam Makeba, Hugh Masekela, Caiphus Semenya, Letta Mbulu – Gwangwa achieved recognition far beyond South Africa’s shores and interacted musically with jazz and musical greats of the 20th Century, such as Miles Davis, Dizzy Gillespie and Harry Belafonte.

For ten productive years he was the musical director of the Amandla Cultural Ensemble, which performed to critical acclaim all over the world, garnering moral and financial support for the ANC and helping popularise the global anti-apartheid movement.

One could argue that in the anti-apartheid struggle, Gwangwa’s trombone proved to be mightier than the AK 47.

The exhibition charts Gwangwa’s musical and political career spanning over six decades as well as several distinct musical epochs and stages of political struggle.

The narrative is based on a series of interviews that sociologist Sam Shakong conducted with Gwangwa, members of his family, fellow musicians, friends and political colleagues.

Kukude Lapho SivelakhonaThe Life and Times of Jonas GwangwaThe Market Theatre22 August – 30 NovemberDaily from 10h00

Golfers meet Wynton MarsalisTues 23 August

Irving Mills’ lyric line “It Don’t Mean a Thing If It Ain’t Got that Swing” in Duke Ellington 1931 composition resonates equally in jazz and golf. The rhythmic and propulsive beat that stride pianist introduced in jazz remains a defining feature of the genre. So is swing’s impact on the game of golf. Like jazz musicians approach their notes, the game of golf relies on precision, focus and continuous improvement. “Although golfers are generally competitive, there is synergy between golf and jazz”, says Kedi Mooi who is the organiser of the Standard Bank Joy of Jazz Golf Day. Mooi compares the ambience in which jazz is listened to and the golf course.

“Like jazz, golf can be very addictive. There is the drive at being good at what you do. Golf grows on you as you always try to be the best. But more important is that as no noise is tolerable when listening to jazz, there is no more peaceful place than a beautifully manicured fairway. On the course you are consumed and you forget who you are”.

It is a result of this affinity between jazz and golf that organisers of the Standard Bank Joy of Jazz Festival decided to stage a Golf Day. Launched last year, Standard Bank Joy of Jazz Golf Day aims to introduce the golfing fraternity to the jazz festival. Patrons at last year’s event were able to rub shoulders with Japanese saxophonist Sadao Watanabe and US drummer Harvey Mason. This year those attending will have the opportunity to meet the nine-time Grammy award-winning trumpeter Wynton Marsalis. In addition to being a prolific composer and inventive player, the Time magazine celebrated Marsalis as one of America’s 25 most influential people in 1996. Over 25 of America’s leading academic institutions have conferred honorary degrees upon Marsalis.

The Golf Day takes place on Tuesday 23 August at Country Club Johannesburg in Woodmead. The venue which is known for its lush fairways and receptive greens is ranked in the Top 20 Courses in South Africa.

Standard Bank Joy of Jazz Golf Day

Country Club JohannesburgWoodmead


As an acknowledgement of his production and arranging skills, his fellow musicians call him “South Africa’s Quincy Jones”. This is no exaggeration. Having produced recordings of musicians such as Hugh Masekela, Abigail Kubheka and Sylvia Mdunyelwa; Victor Mhleli Ntoni is a producer par excellence. Not only does he have a knack for directing and arranging work of other musicians, Ntoni perfected his skill and talent when he undertook a four-year study on harmony, composition and arranging at the prestigious Berklee College of Music in Boston, USA.

In a career that spans four decades, Ntoni has played with greats such as Abdullah Ibrahim, Nelson Magwaza, Dave Brubeck and Roy Peterson. He has also been involved in theatre production such as Daughter of Nebo (1990), Eden and other Places (1987), African Odyssey (1976) and Meropa (1974). Nominated for best musical at London West End, directors of Meropa were asked to put up a Royal Command Performance for Queen Elizabeth II. Ntoni who was the musical director of Meropa composed the music for the play.

These days Bra Vic’s deep baritone voice can be heard in a remix by Black Coffee. The DJ remixed “Thetha” from Ntoni’s Heritage album. Since 2006, the bassist who produced and presented on television three 13-episodes on South African music directed Mzantsi Sings: A Tribute to OR Tambo. The production involved choristers, jazz and symphony orchestras. The production was performed in South Africa and Europe. Ntoni appears at the festival with pianist Gabriel Stuurman, drummer Mcebisi Ndamase, bassist Lucas Senyatso, guitarist Lawrence Matshikiza, saxophonist Percy Mboneni, trumpeter Ishmail Khambule and six backing vocalists.

NTONIPerformance Bassline Saturday 27 August 2011

Victor


Jambalaya

You’ll need:3 Cups Rice1 Whole chicken, cut into pieces3 Chorizo sausages1 Onion, chopped1 Habanero Chilli, deseeded and chopped (optional)50ml Tomato paste400g Canned Tomatoes2 Carrots Chopped200g Mange Tout or Green beans2 Celery sticks, chopped1 Tablespoon Garlic, chopped1 Tablespoon Ginger, Chopped750ml Vegetable stock15ml ground Cumin15ml Paprika30ml Olive oil

Here’s how:• In a bowl, rub the Paprika into the Chicken and set aside.• In a saucepan, add the oil and brown the chicken and sausage, remove and set aside• Add chopped onion, chilli, carrot, celery, garlic, ginger, cumin and cook for 5mins• Add the rice, tomato paste and cook for a further 3mins, stirring continuously• Add the meat and sausage, cook for 2mins• Add the vegetable stock, lower the heat and cook for 30mins• Add the Mange tout and cook for a further 5mins• Serve with a spicy tomato salsa or a simple green salad

Friends gather around the table as delicious aromas fill the air, mingling with funky jazzy sounds of Tania Maria’s ‘Come with me’. Everyone is relaxed and enjoying Rupert and Rothschild’s classique, 2009 which is a Carbenet Sauvignon and Merlot blend. The classique’s ripe, rich fruity taste with blackberry and pepper notes is an excellent wine to pair off with our main dish, the Jambalaya.

My guests, like me always like to travel with their palates…our evenings together are a journey that ignites the senses. We always begin with an easy bowl of soup served with crusty bread in the winter or like tonight my spicy chilli, coriander and lemon marinated tiger prawns. I cook these in their shells under the grill until they are a pink, about 10-15minutes and a little squeeze of lemon completes this

dish. I serve these tapas style with bowls of Ghanaian deep fried spiced plantains, called Kelewele or deep fried yams with a chakalaka dip, keeping it simple and delicious.

Our main dish the Jambalaya, enters the room to the soothing sounds of Diana Krall’s “ The girl from Ipanema”. The Jambalaya, originates from the French Quarter of New Orleans and the recipe is an adaptation of the Spanish paella. The French influence was strong in New Orleans and spices from the Caribbean changed this paella into a unique rice dish. Jambalaya, just like jazz has become synonymous with New Orleans culture. It is a testament to how different flavours can blend together to create an orchestra of deliciousness. Over the years the Jambalaya has influenced other rice dishes across the world, including the Jollof rice in West Africa.

I love serving the Jambalaya when I have friends over for dinner, as it is an easy one-pot meal that has me spending very little time in the kitchen and as much time with my guests. I like to serve the jambalaya with a crisp green salad and a tangy dressing or a simple tomato and herb salsa. The Jambalaya is always a feast of flavours.

We end off our feast to the sounds of anything and everything by Hugh Masekela and Oliver Mtukudzi. The dessert is meringue baskets filled with fresh cream and strawberries. The strawberries are in season at this time of the year and are readily available and well priced. This simple dessert can be put together in just a few minutes, giving me more time to enjoy some more wine and beautiful jazzy sounds of Wynton Marsalis. A nice pot of freshly brewed Ethiopian Coffee always ends the evening on a high note…

You can visit Mokgadi’s blog www.thekitchenmartyr.blogspot.com. For enquiries, email: [email protected].

Easy Jazzy Entertaining…with Lotsha’s Mokgadi Itsweng


Jazz vocalist Dee Dee Bridgewater comes to the Standard Bank Joy of Jazz Festival riding on a crest of a successful music career. Her latest recording Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee won her a Grammy for Best Jazz Vocal Album. The CD is a tribute an iconic jazz singer, Billie Holiday, who died tragically at the age of 44 more than half-century ago. It is not the first time that Bridgewater scoops a Grammy or records a tribute album. Over the course of a career that spans more than four decades, Bridgewater who in 1986-1987 performed the role of Holiday in the theatrical production, Lady Day has in the past paid homage to monumental jazz figures. She recorded Love and Peace: A Tribute to Horace Silver (1995), Dear Ella (1997) dedicated to Ella Fitzgerald and a tribute to Kurt Weill - This Is New (2002). Dear Ella won Bridgewater the 1998 Grammy Award for Best Jazz Vocal Album and Best Instrumental Arrangement Accompanying Vocal(s) for the song “Cotton Tail”. Six other albums of hers received Grammy nominations.

Bridgewater’s appearance in Johannesburg is part of her journey to rediscover her African ancestry. Her two shows at the Bassline stage on 26-27 August occurs exactly a month after her appearance at the Luanda International Jazz Festival in Angola. Bridgewater’s African odyssey began when she became an ambassador of the United Nations’ Food and Agricultural Organisation (FAO) in 1999 and when she began to visit FAO projects in the continent. Since then the singer whose exuberant lyrics leaves those listening spellbound produced Red Earth; a mélange of jazz and Malian music. “This project is my ode to Mali and to Africa; it is the story of a lost child finding her way home”, Bridgewater wrote in the liner notes to the CD. Those who saw her performance in Luanda attest to her ability to take her audiences to the precipice without letting them tumble headlong into it.

BRIDGEWATERPerformance Bassline Friday 26 August 2011 Saturday 27 August 2011

Dee Dee


TINGVALLPerformance Bassline

Friday 26 August 2011

Nikis Oasis

Saturday 27 August 2011

Trio

In February this year, Tingvall Trio was on a whistle-stop tour of South Africa where they performed in three cities. Wherever the Swedish pianist Martin Tingvall, Cuban bassist Omar Rodríguez-Calvo and German drummer Jürgen Spiegel performed, those in the audience were struck by the trio’s infectious melodies, strong grooves and contrasting harmonies. Since the release of its debut album Skagerrak, the support for Tingvall Trio’s music has grown among members of jazz appreciation clubs and stokvels in the country. “Interest in Tingvall Trio has amazingly grown in South Africa. Since we brought into the country the band’s debut CD, the demand for the trio’s music has increased”, says music outlet owner and ENT Promotion’s Rui de Souza.

Listening to the trio’s music, one understands why jazz lovers hold the group in great awe. The music is light without becoming smooth. While deceivingly easy to listen, the music is built on complex chords. There is also no doubt about the technical capabilities of the musicians who make up the band. Although

as a bandleader Tingvall composes the group’s songs, each band member has his own place in the music. The three jointly arrange the music and the two sidemen have the freedom to make it their own. They do not merely provide accompaniment. It’s a mix. The mix is not surprising. Not only do the three artists originate in different countries, they have varied musical backgrounds. While Tingvall listened to Western classical music, Australian rock and Swedish pop music when he grew up; Spiegel was a member of a Hamburg rock band before he joined the Tingvall Trio. He also recorded with ex-Helloween vocalist and metal band member, Michael Kiske. On the other hand, Rodríguez-Calvo who hails from Cuba’s Matanzas province studied classical and modern music in Havana before he settled in Europe in 1994. Previously he was the bassist of a successful Cuban jazz band; the Ramón Valle Trio.


TINGVALL

Running a jazz clinic in the late 1990s in Cape Town’s KwaLanga township, US bassist Gerald Veasley insisted that his students stopped giving him American standards in the workshop. He encouraged them to play local compositions. Such is Veasley’s versatility. Though known as a contemporary jazz musician, the versatile bassist has never been content with work in one genre. He has collaborated with R&B legend Gerald Levert, jazz diva Nnenna Freelon, soulful Teddy Pendergrass, gospel icons Dixie Hummingbirds and straight-ahead piano giant McCoy Tyner. Well regarded as a composer, producer, artist and educator, Veasley’s love of music started as a 12-year old with a bass his father bought him for Christmas. With private lessons and endless practice, he developed his skills quickly and was drawn to the idea of being in a band. He found other young musicians in his Philadelphia neighbourhood and they began copying the music they heard and loved; Earth Wind and Fire, Santana

and War. Eventually though, Veasley discovered the Miles Davis record, Kind of Blue. He was instantly attracted to sound of jazz.

Collaboration has been an important feature of Veasley’s musical career. He had a long association with Grover Washington and Joe Zawinul. He not only toured and recorded with those two masters, but he also contributed songs to their repertoire. Gerald’s also worked with such important jazz artists as: Pat Martino, Special EFX, Pieces of a Dream and the Jaco Pastorius Big Band. His varied musical career has allowed him to reach out to an ever growing legion of fans. Veasley has been appreciated by fans and fellow musicians alike for his virtuosity yet soulful approach to music making. Meanwhile, critics have also noticed the six-string bassist’s work. He’s been voted “Best Electric Bassist” by Jazziz Magazine and named in both Downbeat Magazine’s Critic’s and Reader’s Polls.

Performance Bassline Friday 26 August 2011 Saturday 27 August 2011

VEASLEYGerald


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Every year a leading South African jazz composer, educator and performer is nominated to put through paces the nation’s best young jazz players who are chosen to constitute the Standard Bank National Youth Jazz Band (SBNYJB). This year’s musical director of the elite combo is McCoy Mrubata. He is a leading South African jazz musician. Each of his last three albums won him a South African Music Award (SAMA) in the traditional jazz category. This is no mean achievement for someone whose first

instrument was a pennywhistle. Having picked up the instrument in 1976, the soft-spoken musician moved to flute. Mrubata spent a decade playing cover versions with fusion groups in Cape Town’s club scene before he moved to Johannesburg in 1987 to play with Harare, Stimela and PJ Powers. But the years he spent doing cover versions and playing with pop bands did not obliterate in Mrubata’s head the fat sounds and rhythms he heard as a youngster in KwaLanga township. Tracing influences on his music, Mrubata recalls how the family next door belonged to “AmaZion”; a denomination that use drums in religious services. Still resonating in his head are sounds of a big jazz band that used the house opposite as a rehearsal venue.

Today Mrubata’s musical arsenal includes a saxello, soprano, alto, tenor and baritone saxophones. Although his music is steeped in jazz, Mrubata utilises polyphony – a technique of singing different parts simultaneously – associated with Xhosa traditional songs known as amagwijo. There is also a Latin tinge in some of his compositions. “McCoy has done a lot in getting the jazz language to be in a South African setting. He has a very unique sound”, says trumpeter Prince Lengoasa. At this year’s Standard Bank Joy of Jazz Festival the dainty artist will appear with his band, McCoy Mrubata & Friends. In addition, Mrubata will demonstrate what he is doing with the young lads who make up this year’s SBNYJB.

Performance Bassline Friday 26 August 2011


HGM Jazz Messengers is a septet made of accomplished jazz artists from five countries - Austrian tenor saxophonist Sigi Feigl, Croatian trombonist Miron Hauser, Italian alto saxophonist Andreas Marinello, Croatian trumpeter Antonio Geček, Dutch bassist Norbert Farkas, Croatian pianist Davor Dedić and Austrian drummer Klaus Fürstner. In addition to performing as HGM Jazz Messengers, the seven double up as members of the 19-piece HGM Jazz Orchestra Zagreb that is based in the capital city of the Republic of Croatia and which works with world class jazz artists such as trumpeter Randy Brecker, saxophonist Bob Mintzer, pianist Toshiko Akiyoshi, drummer Peter Erskine, pianist Jim McNeely.

As the name indicates, HGM Jazz Messengers play in the hard-bop tradition that United States (US) drummer Art Blakey and his Jazz Messengers pioneered. HGM Jazz Messengers are at the

Standard Bank Joy of Jazz Festival to play music by band members. Individual members of the septet are bandleaders and composers in their own right. Hauser leads his quintet, while Geček is a one of the founding members of the Sick Swing Orchestra. The well known member of the group is Feigl. Besides his role as a teacher at the jazz department of the Graz Academy of Music in Austria, the saxophonist is a founder of many big bands. In 1980 he established Big Band Süd. This was followed by the formation of Symphonisches Orchester Leibnitz in 1986 and Jazz Big Band Graz in 1999. In the 1990s, Feigl established a jazz competition for composition and arranging with Bill Holman, Bob Brookmeyer and Herb Pomeroy as members of the adjudication panel. Additional to some original works, HGM Jazz Messengers present Croatian folk songs in new and fresh style. The band appears on the Baseline stage on Friday 26 August.

JAZZ MESSENGERSPerformance Bassline Friday 26 August 2011

HGM


Bokani

Performance Bassline Saturday 27 August 2011

DYER

When Bokani Dyer appeared at the Standard Bank Jazz Festival in Grahamstown in July, it became clear why the pianist holds the title of being the bank’s Young Artist for Jazz for 2011. He dazzled audiences with his deft piano work. But more striking was the variation in performances that he gave at the festival. First, he performed in a piano-bass-drum jazz format with Dutch bassist Hein van de Geyn and propulsive drummer Kesivan Naidoo. Next he shared the stage with British saxophonist and MC/rapper, Soweto Kinch. Then he was on stage with guitarist Angelo Syster, bassist Shane Cooper, drummer Ayanda Sikade saxophonist Buddy Wells and trumpeter Marcus Wyatt. Lastly, Dyer was part of a quartet behind a collaboration between prominent hip-hop MC Tumi Molekane and Soweto Kinch. Each performance was different.

The 25-year old pianist easily traverses mainstream sounds as well as more contemporary grooves. This ability is a product of his upbringing and training. A son of well-known saxophonist Steve Dyer, Bokani grew up in a musical family. Both his parents were members of the ANC’s music group, Amandla. It

was a matter of time before the young lad followed his parents’ footsteps. Developing a liking for jazz from the age of 16, Bokani studied music at the University of Cape Town (UCT). While a student at the university, Bokani was chosen from a group of more than 200 students to be a member of the Standard Bank National Youth Jazz Band. Since his graduation, Bokani has been a regular sideman in bands led by Jimmy Dludlu, Moreira Chonguiça and Shannon Mowday. He also leads constellation of bands around Cape Town such as the Bokani Dyer Trio, groove-oriented group Plan Be and the duo with Morten Minothi Kristiansen. Recently, Bokani launched his second album. As director of the Standard Bank Jazz Festival Alan Webster said, the new recording is proof that the young musician “is undoubtedly someone who is going to add to the breadth of South African jazz in the future”.


Every year, a band made of the best young jazz musicians in South Africa comes to the Standard Bank Joy of Jazz Festival to demonstrate not only the abundance of musical talent among youth in South Africa, but a growing appreciation of jazz among young people. This year is no different. Nine young musicians who are members of the Standard Bank National Youth Jazz Band (SBNYJB) will enchant festival goers with their skill and talent. They were selected from more than 350 students - from both formal and non-formal music institutions - who attended the 2011 Standard Bank National Youth Jazz Festival. The festival which takes place in Grahamstown in July each year is the country’s premier youth development jazz programme. “Each is a highly competent musician, normally with a

budding professional pedigree already”, says youth festival director Alan Webster talking about the criteria used to select SBNYJB members.

Under the directorship of accomplished jazz musician and composer McCoy Mrubata, the band was a real attraction when they performed at the National Arts Festival in July this year. The nine, whose average age is 20 displayed true musicianship as they went through Mrubata’s compositions and their own songs.

NYJBPerformance Bassline Friday 26 August 2011



Thomas Carlyle once said, “Oh, give us the man who sings at his work”, and that is exactly what the Standard Bank Joy Jazz is about – to bring together musicians who are passionate about the craft and audiences who love to hear and experience them.

The Joy of Jazz congregation comes together after considerable energy, effort and resolve and typically the event is accessible to people within a certain social, physical and age bracket. That is not to say however that people from without this band do not want to experience the joys of music.

Some people are now physically weaker due to age, physical disability or some other factor and cannot adequately participate in a frenetic and fast paced festival environment. With this realisation in mind, we saw it best to reach out to those marginalised communities who ordinarily cannot access live music events.

It is a well know human fact that music is for sharing, especially with those who do not always get to share the experience in a large event.

Standard Bank Joy of Jazz Executive Producer Peter Tladi gave some insight about the motivation for Jazz Cares. “Imagine the picture. A musician (with

instrument in tow), leaves home day in and day out going either to a class, rehearsal or a performance. Many family members have no idea about the world and environment their kin and sibling operates in. Through the Jazz Cares programme we’re hoping to open the window for family members, let them in and give them a taste of their sister’s or brother’s world.

“It is by opening up this world and sharing it that the whole community could benefit and support the arts.”

The Standard Bank Joy of Jazz – Jazz Cares Outreach Concert takes place in Alexandra to entertain 1000 pensioners, the partially abled and other selected groups from all regions of Gauteng.

The Jazz Cares patrons are transported from several homes around Gauteng and they are treated to a day of wellness screening, pampering, catering and of course live music.

It is our small way to remember all sectors of society for it is through music that we can continue to build a socially cohesive community.

The Gauteng Provincial Government has identified live performance as a key component to develop the creative industries. The Puisano Live Performance Project is a tangible and practical intervention by the Gauteng Department of Sport, Arts, Recreation and Culture to support and develop the live performance circuit.

The project uses existing community facilities including music performance venues, community halls and theatres to identify and showcase new and established artists. This Project is implemented in partnership with Municipalities and Metros as well music appreciation associations to ensure that it impacts on all Gauteng regions.

Bands are given support and showcased in various locations and events. This is where the picture coincides with the Standard Bank Joy of Jazz. Bands get an opportunity to perform in a world-class setting in front of discerning audiences. Audiences also get the pleasure of hearing new bands that usually bring a fresh twist to the scene.

Gauteng is known as the Home of Jazz and it is the intention of this project to promote and support the growth of live music performances, thereby growing audiences and creating jobs for musicians.

Caring, sharing and spreading the joy of music

Energising the Live Performance Circuit with Puisano


T-Musicman is a firm believer of the African saying le kojwa le sa le metsi (twist and mould it while it’s tender), and consequently together with its partners in the Standard Bank Joy of Jazz implements a purposeful project of music development workshops.

South Africa’s ever evolving and developing music scene requires institutional interventions to improve the quality all round and build sustainable human capital in the sector. Such interventions cover a range as broad as music itself; some small but no less significant and yet other monumental. All combine to make the slow yet seismic shifts required not only to keep pace, but to get ahead.

At the post-secondary school level a series of performance workshops are held for students at various institutions. These institutions include the Music Academy of Gauteng, Tshwane University of Technology’s Centre for Music Studies, South West Gauteng College - Dobsonville, Central Johannesburg College, Crown Mines and the Vaal Technorama Museum.

The students of these institutions are already studying music and are considering careers in music. Visiting artists present one day workshops to share with them tips and tricks to brush up their performance skills and to inspire them. An experience with a master of a craft, no matter how brief could be the spark that ignites something special in a young person; or anyone in the encounter.

The Gauteng Department of Education provides music education at various public schools. Given the resource challenges in the system, especially with regards to enough educators, music is provided at schools known as Magnet schools. These schools provide music as a subject in the high school years and also attract learners from neighbouring schools in the area.

For the fist time in 2011 a Jazz Camp is being held for high school learners in magnet schools. The camp seeks to help learners with information to empower themselves when considering a career in the music industry.

Topics for will include;

• Getting into the Music Industry... and how the industry works• Music industry careers• The Digital World Learners will then have a choice of attending one of the following sessions;

• Songwriting, copyright and publishing• Performance techniques and the live music industry• Business and management in the music industry• Technical production in the music industry

Sponsors of the Standard Bank Joy of Jazz support the music workshops and jazz camps.

Developing music warriors for the future



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Jazz is not a stateof mind; it is a

fact of life!-Cannonball Adderley

In Sesotho the word “Medumo” refers to sounds, music and more broadly art. This is the name members of Medumo Art Ensemble chose when they met at music school in 2004 and when they decided to form a band. Keen to use African music as its foundation, Medumo Art Ensemble Medumo Art Ensemble continuously produces compositions that are unique and that defy categorisation. “Taking influences from our cultural backgrounds, Medumo Art Ensemble is the personification of art. We love our roots and this translates to our music and creativity”, said the leader of the group.

The group that performs around Gauteng is hard at work to produce its debut album. The ensemble will be at Sophiatown Restaurant on Friday 26 August. Asked about how they felt about being on the Standard Bank Joy of Jazz Festival, the group was clear about how the music event was important for the development of the band. “Our goal is to be recognised and introduce a style that involves original African sounds in mainstream music circles”

Performance Sophiatown Friday 26 August 2011

ART ENSEMBLE

Three years ago, members of Juxtaposed Virtue Jazz Band played for different bands although they always spent time together as friends. They saw the fact that they were always together as a virtue and an obvious potential to launch a band; which is why they adopted the name Juxtaposed Virtue Jazz Band. They also adopted the name out of a commonly-held conviction that a combination of their dreams will enable the group to reach its aims. Since then, the group has performed live in venues around Johannesburg such as the Blues Room and Aldos. Asked what their ultimate goal was, band members were unanimous; “Our goal is to reach a global standard and become a brand in the industry with its own sound and with a music product that has a distinct market”.

Last year, Juxtaposed Virtue Jazz Band was part of the free concerts linked to the Standard Bank Joy of Jazz Festival. They

appeared at Niki’s Oasis. This year, the trumpet-piano-bass-drum quartet that comes from Ekurhuleni’s township of Vosloorus will be at Shikisha. The band comes to the festival after its members received awards from Ekurhuleni Jazz Association for their contribution to the development of jazz at community level.

Performance Shikisha Saturday 27 August 2011

VIRTUEJuxtaposed

Medumo


Thanks to Puisano music competition, Dtonic Momentum may have remained obscure and unknown outside the townships of South Africa’s capital, Tshwane. Since its participation in the competition the group has gained some recognition and is performing in corporate gigs around the city. But DTonic Momentum plans to go beyond corporate boardrooms and take jazz where it belongs as a popular art form. DTonic Momentum members believe that for jazz to survive it has to go back to the years where the genre was dominated by marching bands that performed in open and public spaces. To contribute to this, the band has come up with its own concept of StreetJazz where Dtonic Momentum

“performs live music in parks, on the streets and anywhere where there is an open space”

The band that appears at Niki’s Oasis on Friday 26 August has managed to organise and finance a successful StreetJazz event in Tshwane’s township of Atteridgeville. One member of the group jetted off to Holland where he performed with the VDB Theatre Production in a Mirriam Makeba tribute. “Our future plan is to explore our vision of StreetJazz and let jazz music be heard in every town”, says Dtonic Momentum’s George Kou.

D Tonic

Performance Nikis Oasis Friday 26 August 2011

MOMENTUM

Bow

AND

ARRO

W

Formed in 2008, Bow & Arrow Jazz Band is made up of keyboardist Bongani Patrick Twala, bassist Zilo Jobo, drummer Paki Motaung, singer Nozi Mtjilebe, saxophonist Bongani Shase, singer Thamsanqa Albinus Sobekwa and trombonist/bandleader Jele “Menzo” Mqikela. Active in the Vaal region of Sedibeng District, Bow & Arrow recorded and released the group’s first album Lena Lefatshe. A second CD Mahlalela followed after Bow & Arrow signed up with

Bula Music. The band that works close with Sedibeng Jazz Forum and the area’s local authorities feels that up-and-coming bands could progress further if it was not for piracy. “If only our brothers and sisters could stop pirating our African music, our sound can possibly be internationally recognised”. The seven member band appears at Niki’s Oasis on Saturday 27 August.

Performance Nikis Oasis Saturday 27 August 2011


JAZZ BANDMinor


Minor Jazz has thus far acted as a backing band for artists as varied as Kwela Tebza, Wanda Baloyi, Bongani Nkwanyana and Vuyo Myoli. The band also played at Maputo’s Gil Vicente Bar as part of the Mozambique Jazz Festival. Recently, the band joined hands with Thami “Gospel Gladiator” Magwaza on an initiative to open a music academy in Soweto that will run music classes on Saturdays. The aim is to target youth and teach them music. This in an effort to arouse interest in music amongst the young ones and to give them an extra activity on weekends. From March 2010 and based on the experience and coaching that they gained from Puisano music development programme that the Gauteng provincial government sponsors and promotes, Jazz Minor Band

members have been doing workshops in Limpopo’s towns of Mokopane and Polokwane. They are also active in Middleburg and Witbank, Mpumalanga. In both provinces, the initiative has been well-received. The band is currently recording two albums; its debut and Ntokozo Malinga’s one. Minor Jazz Band forms part of the free concerts held at different restaurants in the Newtown Cultural Precint. The group will be at Sophiatown Restaurant on Friday 26 August. The group will promote for the first time live music from the two projects that they are busy with as members.

In the history of the Standard Bank Joy of Jazz, no band has graced the festival’s stages for four consecutive years. The Taiwa Jazz Band has. They were at the festival in 2008, 2009 and last year. They will appear at this year’s jazz extravaganza at Sophiatown Restaurant in one of the free concerts that festival orgaisers hosts. Formed in 2007 and based at the Moses Taiwa Molelekwa Arts Foundation in East Rand township of Tembisa, the band is made up young musician whose age ranges from 17 to 26. In addition to the band’s compositions, the group’s repertoire includes tunes by the late Moses Molelekwa and Moses Khumalo. In previous shows that took the band to far-flung parts of the world such as Brazil, Netherlands and Tanzania; the sextet enthralled audiences with its renditions of Herbie Hancock’s “Cantaloupe Island”, African standard “Malaika” and wedding song “Mmangwane”. Taiwa Jazz Band will perform on Saturday 27 August.


JAZZ BANDTaiwa



AFROTEENSPerformance Nikis Oasis Friday 26 August 2011

Sophiatown Saturday 27 August 2011

New

All the way from Port Elizabeth in the Eastern Cape, New Afro Teens appear on two nights at this year’s Standard Bank Joy of Jazz Festival. The band will give concerts at Niki’s Oasis on Friday 26 and Saturday 27 August. The shows are part of the free concert circuit. New Afro Teens’ appearance at the festival follows a release of the group’s debut album, Siyazazisa. The CD that SAMA-winning artist Lawrance Matshikiza produced was launched in April. It features Hugh Masekela on the tracks and

R&B singer Puff Johnson.

Since its formation four years ago, the vibrant and energetic youth group has performed at over 100 venues. Recently New Afro Teens were at the Nelson Mandela Bay of International Music Festival (NMBIMF), where they opened for George Benson. In their performance at NMBIMF, Hugh Masekela joined the band on stage.

Performance Shikisha Saturday 27 August 2011

STORMQuite

Quiet Storm is an appropriate name for a band whose members are reserved but extremely powerful as a music outfit. Getting together as a group was by chance. Guitarist Thulani “Thulas” Zulu, drummer Galaletsang “Gale” Moseki, keyboardist Sifiso Cooper and bassist Musa Ndlovu found themselves doing the same degree at the same university in 2005. The quartet discovered in addition to academic work they had something in common; making music. Keen to add vocals

to the quartet, the four musicians linked up with singer Tlou “T-low” Mashalane. The band’s goal is to win recognition and reach out to national and international audiences. The group that fuses funk and traditional African sounds will be cooking up a storm at Shikisha in Newtown on Saturday 27 August. They were at the festival’s free concert circuit in 2010.


African Jazz Giants is a youth jazz band from Kwa-Thema in Springs. It was formed by community leader Jabulani “Killer” Zulu in 2004. Since then, the group whose members have an average age of 16 has grown from strength to strength. In 2005, they took part in a Youth Cultural Festival at the Springs Civic Theatre. In the same year, they opened the stage for Joe Nina. African Jazz Giants featured in the 2006 and 2007 OR Tambo Festivals. The group has also been active in functions organised by the Ekurhuleni Metro. But the biggest highlight for the band was its appearance at the “Jazz on the Springs” alongside accomplished musicians such as trumpeter Feya Faku pianist Andile Yenana, saxophonist McCoy Mrubata and saxophonist Sydney Mnisi. The band is presently in the studio recording its debut album. At the festival they appear in a free concert at Shikisha on Friday 26 August.

When the band Live Rhythms was established in 2007 it was a keyboard and drum duo. Since then the group from Sebokeng township in the Vaal Triangle has expanded with Thembile Muntu on keyboards, piano and bass; Lebogang Modisakeng on drums, bass and keyboards; Boitumelo Mokoena on bass guitar; Papi Koloi on tenor saxophone and other wind instruments; and Fani Bebeza on alto saxophone. Although the band is relatively new and its members young – the average age is 19 – Live Rhythm has set the sky as its limit. “The name Live Rhythms is a fitting description of our musical style. We are set to take the South African musical landscape by storm”, said band members in a recent interview.

As a band Live Rhythms perform regularly at local jazz clubs around Sedibeng such as Groetepent. In a “battle of the bands” competition held in Meyerton recently, the band walked away with the first prize. Although this is their biggest achievement thus far, from the way the band plays it is certainly not their last. Live Rhythms appears at Shikisha on Friday 26 August.

Performance Shikisha Friday 26 August 2011

RHYTHMS

Performance Shikisha Friday 26 August 2011

JAZZ GIANTSAfrican

Live



Performance Sophiatown Saturday 27 August 2011

SOLACE

Solace is Solani Bridgette Maswanganyi’s stage name. While the stage name has a ring with her vernacular name there is another reason why she adopted it. The singer who comes from Soshanguve, north of Pretoria believes that music provides solace to those who need comforting. Working with a 7-piece band, this is what Solace has been doing since 2005.With her voice she soothes many souls. This was expected. Solace grew up in a musical family. Determined to perfect her skill, Solace studied music theory at the University of South Africa (Unisa) and underwent vocal couching with different private tutors. RJ Benjamin is Solace’s current vocal couch. She has also been winning music competitions that she enters. As a music student she entered for the Vodacom 2006 vocal competition and came first. As a prize she went on a roadshow to all the regions to perform. At Unisa she won the first prize for the best up-and-coming jazz vocalist. In 2008, she entered the Puisano competition and came at the top. As a result of this, the Gauteng’s Department of Arts, Culture and Recreation booked her on thirteen performances. Before embarking on a solo career, Solace was a backing vocalist for Ladies in Jazz, Bheki Khoza and Lungiswa Plaatjies. She performs at Sophiatown on Saturday 27 August.

Up Beat a musical band all about professional with deferent experiences and diverse cultures of all four band members, blending creativities when listening, their music fuses a world class sound bringing music familiar o audience ears. The band’s music genre derives from deferent experiences of life and cultures of each individual member in the band

As the acomplished winners of the Puisano Live Music 2009/2010, the bands experience and commitment to studying music help in putting all four members in Sedibeng and positioned them well to start up one of the most promisong bands representing Sedibeng to take on the world by storm.

In November 2010 signed a recording deal with one of South Africa’s renowned record producers Thabiso “Thasman” Tsotetsi at Impact Sounds that has released world class artists such as HHP, TUKS, Zola, Merafe, Jeba to name a few, yet to release their first album later this year in August

Up beat is a registered band under the close corporation “cc” innitiated an artist developmental programme in Sedibeng teaching emerging up and coming musicians from the ages 10 years and above in Sebokeng providing music workshops and platforms for live performance in a real professional set

The band consist of four memers from Sedibeng and surrounding areas by the names of Lebogang Mashigo Electric bass, Leonard Buda Piano and synth, Seandile Latha Drums and Lunga Mgcina ( Saxophone) in their early twenties, the band UP BEAT was formed in 2007 with one mind to be a renowned band in the world

It was not long before this quarted was playing and sharing stages with international and national Bands/ artists like Four Play, Chris Botti, Lala Hathaway, Rashaan Patterson, Hugh Masekel, Ringo Madlingozi

Performances and Corporate Social Investments• Local and Provincial Government events• 2009/2010 winners of the Puisano Live Music Programme presented by the departments of Arts and Culture South Africa• Fifa Worl cup 2010 fan parks• Standard Bank Joy of Jazz 2010• Soweto Festival 2010• Tribune concert Moretela Park 2010• Vaal Jazz by the River 2010

For more info: Lebogang Mashigo/084 8818 680/ [email protected]

Performance Sophiatown Saturday 27 August 2011

UP BEAT


Intermediate Round: 1 September 2011 - Sabc M1 StudioFinal Round: 3 September 2011 - Linder auditorium, Johannesburg

For further information contact: Naseema Yusuf at [email protected].

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Documents

Joy of Jazz Magazine 2011