Covering the 2016 Cape Town International Jazz Festival was an emotional experience that broadened my concepts of South Africa during this first-time visit.
It was more than musical. I was in South Africa, the country that enacted apartheid with the same shameless hatred that America has had it enforced racism, segregation and lynchings.
South Africa. The home of the ANC. The home of Nelson Mandela, Ahmed Kathrada and Stephen Biko (died in police custody, 1977). Like their U.S. Black brothers (Malcolm X, Dr. Martin Luther King Jr.) they were committed to freedom and willing to die.
Being home in the motherland was an opportunity to witness through my lens and examine the myths and truths of South Africa. To dispel American propaganda and that dastardly sleight-of-hand routine that always tries to stir one from the truth.
Proceeding into the huge state-of-the art Cape Town Convention Center among the bustling music fans, it was easy to comprehend the Black emancipation, but from the look in their eyes and their conversations, it was clearly understood that the struggle continues in full force on both continents.
This ongoing struggle is held together by a music connection—the excitement of improvisational movements, a rhythmic flow that draws all of us together to dance in its most spirited moments, taking relief from the noisy sounds of life’s struggles.
Nomsa Mdhluli, a festival publicist, stated there were more than 35,000 people attending the two-day festival (April 1-2). Like all jazz festivals, it was a matter of so much music, so little time. More than 100 artists performed in the convention center’s five venues.
One of the weekend’s most lauded performances was South Africa’s own Legendary Ladies in Song, Dorothy Masuka and Abigail Kubeka, featuring Lemmy “Special” Mabaso.
They performed in Kippies, which seemed to be the size of a football field (with three large video screens) holding at least 2,000 people, mostly standing and dancing to every groove. The actor Idris Elba made a stage cameo for the introduction.
Masuka is known as a jazz singer, but her fusion of swing and Zulu melodies gave another perspective to the sound of jazz. Early on, her political commentaries, such as her song “Dr. Malan,” got her exiled by the apartheid government for more than 31 years, and every copy of the song was destroyed.
Kubeka is more of a cabaret singer but just as swinging. She was discovered by Miriam Makeba and has performed alongside Eartha Kitt and Sarah Vaughan. “Special” played a mean saxophone and broke out his penny whistle. One of the most rousing performances of the festival with a band kicking feverishly throughout.
For straight ahead jazz with skating African rhythms, Benjamin Jephta Quintet followed the tradition of jazz with their South African roots. Jephta is one of South Africa’s young (guns) double bass, electric bass and acoustic bass players.
The composer grooved with his abled comrades: pianist Kyle Sheperd, trumpeter/flugelhornist, saxophonist Sisonke Xonti and drummer Sphelelo Mazibuko. Their repertoire includes songs such as “Homecoming” (Jephta), the name of their current album.
It is a mid-tempo blend, somewhat bluesy oriented, that allowed the band to branch out on a mellow track with a haunting saxophone solo on the lines of a stimulated Coltrane prayer, with rousing drums on the back drop and piano riffs.
These musicians were in an intuitive mode, never playing too many notes but allowing the audience to bask in the groove. They proved to be no strangers to the hard-bop context, with drummer Mazibuko wailing like he is from the Elvin Jones school of drumming.
“I want to give the listener a musical biography of my life by using the harmonies and melodies associated with my upbringing,” said Jephta. Don’t be surprised if these talented jazz cats show up playing gigs in New York.
Amadou Bagayoko and Mariam Doumbia, known as Amadou & Mariam, are regarded internationally as traveling components of the blues. Their combined voices, along with Amadou’s blues guitar, are a force in Africa and worldwide.
They had a hypnotic magic that captured the audience (many of their fans) from the first song to the encore. They, too, performed in the larger venue Kippies, which was packed to capacity.
The iconic eclectic composer, singer, bassist and keyboardist Meshell Ndegeocello performed on the large outdoor stage Manneberg before more than 1,000 dancing and singing fans. She noted, “I try to create a set that flows well and feels well.” Her latest album is a tribute to Nina Simone: “Come to Me.”
The surprise came on the final evening during the performance of BadBadNotGood, a young quartet (keyboardist Matthew Tavares, drummer Alexander Sowinski, bassist Chester Hansen and saxophonist Leland Whitty) who have combined jazz, hip-hop, rock and off-the-cuff improvisation into their own brand of swing, which was heavy on jazz improvisation.
As they were finishing up their set, the poet, actor and hip-hop icon Yasiin Bey (Mos Def) stepped on stage and performed for about 45 minutes.
Roberto Fonseca, the Cuban pianist who combines classical, jazz and his Afro-Cuban roots, never disappoints. His classical improvisational riffs, hard-hitting jazz crescendos and ever-winding rhythms were seamless. He stated, “I will try to play my two-hour concert in one hour.” Of course he didn’t, but it was a pleasure to watch and hear every sound of his solo performance.
Too much music and too little space here. Cassandra Wilson performed before a sold-out audience in Rosies, with her accomplished band of bassist Lonnie Plaxico, violinist Charles Burham, pianist Jon Cowherd, guitarist Brandon Ross and drummer Davide Direnzo. One could hear a pin drop as Wilson performed her tribute to Billie Holiday with songs such as “Good Morning Heartache.”
Shiela E., a protege of Prince, performed on the huge Manenberg stage with a large ensemble and was joined by her father, Peter Escovedo. He was a ball of high energy performing “Baby Take Some Time,” among other tunes.
Mark Turner, one of my favorite tenor saxophone players, held court with his group consisting of trumpeter Jason Palmer, bassist Joe Martin and drummer Marcus Gilmore.
TopDogan, an Afro jazz band focusing on the Cape Town sound, featured the leader pianist Camillo Lombard, along with musicians offering another perspective to the sound of jazz.
For soul, Angie Stone was on hand and as well as SWV. Victor Wooten, known for creativity on the electric bass, kept the audience on the edge with his band of guitarist Regi Wooten and drummer Derico Watson.
It was refreshing to see so many young people at the festival. The press conferences included young journalists who participated in the 17th CTIJF Arts Journalism course. Seeing them involved and asking pertinent questions to the artists was very inspiring. Yes, music is a link that brings us together. Be aware the music swings with a purpose.