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Mandela Mlangeni, trumpeter
Malcolm Giane Terry-O, Essidimeni Life
“Life Esidimeni” from trombonist Malcolm Jiyane’s debut album Umdali weaves a story about those forgotten and sometimes ignored by society. With its hauntingly lyrical trumpet improvisation, the work laments an often overlooked part of our recent history, the tragedy of “Esidimeni” which resulted in the deaths of 144 people in Gauteng mental hospitals. Malcolm’s musical arrangements serve as both a reminder and an ode to the voiceless and dispossessed. Part of the universal appeal of South African jazz is that it tells a history that we sometimes choose to forget or set aside. It is a clarion call to care for the sick and weary. Malcolm’s music held a mirror up to society, allowing people to see and hear the plight of the nameless patients who died of starvation and neglect at the hands of “the people’s government.”
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Giovanni Russonello, jazz critic
Miriam Makeba’s “Jolinkomo”
In 1960, when Miriam Makeba attempted to return home to South Africa to attend her mother’s funeral, she learned that her passport had been revoked. She won’t be able to return home for 30 years. If Makeba’s life and work environment were often circumscribed by the uncertainties of exile, she seemed to have an antidote: some inner clarity and motivation. This feeling pervades her work and you can imagine how integral it is to her. While living abroad, interacting with artists, activists and diplomats, she discovered that the loneliness of exile also contained its opposite: solidarity. Musically, Makeba brings South African vocal traditions into dialogue with sounds from around the world, which is perhaps the most exciting thing to have done since moving to Guinea in the late 1960s. She has close ties with the country’s political and cultural leaders. Met her husband Kwame Ture; and of course forming a killer local band. In this 1977 performance, a shimmering lattice of West African guitar, percussion and bass reinforces the old South African melody of “Jolinkomo,” a song that may have originally been sung without any instruments.
It is difficult to classify Makeba as the ultimate “jazz” musician. But suffice it to say that she brought the song tradition into an international format, expanded the imagination of her listeners, and proved herself to be more than just an ambassador for the music. Does this count?
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Carol Ann Mueller, scholar
Kyle Shepard, “Cape Genesis: Slave Labor”
Pianist Kyle Shepherd’s 2012 album South African History! The origins of – our shared global history. The track on “South African History! It begins with the basic tone of Shepherd’s mouth bow, its overtones forming a high-pitched melody, before being enveloped by the improvisations of Zim Ngqawana’s tenor saxophone, drummer Jono Sweetman’s percussive tones and Shane Cooper’s gentle bass line. The album connects with the historic sound of pianist and archer Hilton Schilder (Goema Club); the free improvisation of Gas Erasmus; the sound of what we now call “Cape Jazz”, created by many Creation, including Abdullah Ibrahim, Sathima Bea Benjamin, Robbie Jansen, Muneeb Hermans Muneeb Hermans and Ramon Alexander. South Africa’s history of decolonization begins with a careful listening to the contours of its improvised music as it takes us back to a deeply African past.
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Tandinturi, pianist
Andy Yenana “Dreamwalker”
The first reason I chose this song was that I wanted to avoid artists that many people like, especially those who were very popular overseas, especially during apartheid. To me, this song has a very unique South African jazz sound. It’s more modern and harmonious than the typical I-IV-V progression that many people are used to. I loved hearing Andile Yenana’s contributions as a pianist, his textures and touches. Additionally, it has a beautiful arrangement style and harmonies from that particular period, which I really like. He worked with artists from the generation before us who stayed in South Africa and were not necessarily exiled. During that era, a unique sound developed, heavily influenced by American music but deeply rooted in the South African music they had grown up with. I think it has a lot to do with this.
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Darius Brubeck, pianist and author
Bani Ratchaban, “Kwara Mama”
Barney Rachabane is South Africa’s leading alto player and has appeared on many South African jazz recordings since the 1960s. After appearing on Paul Simon’s 1986 “Graceland” album, he toured the world with Simon’s band and Afro-Cool Concept (a band I helped lead). His playing on this 1989 track is actually the most idiomatic summary of South Australian jazz to date. Listen to his cadenza-like introduction, from screaming treble glissando to ringing bass to lightning-quick fills between phrases. His choruses oscillate between down-home rave and pop art. Yes, he’s showing off, but his expressiveness is as dazzling as his command of the alto saxophone: you can feel the pride, the ecstasy, the tenderness, the humor as he unleashes his volcanic power on the world and ecstasy. The track is a bit long; you could take it off after five minutes – but I bet you won’t.
