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SAJE NEWS
Newsletter of the South African Association for Jazz Education
Number 28, June 2011. EDITOR: Diane Rossi. CONTACT: [email protected]
South African Association
for Jazz Education
www.saje.org.za
Mission Statement: The Mission of the South African Association for Jazz Education is to assure the
growth of jazz in South Africa and the development of jazz and jazz education in urban and rural areas.
Nicky Schrire (SA) –page 11
Mike del Ferro (Holland) – page 3
Carlo Mombelli (SA) – page 3
Sandile Gontsana (SA) – page 3
Zim Ngqawana (SA) – page 17
Gordon Vernick (USA) – page 3
CONTENTS:
Message from the President – page 2
SAJE 2012 Conference & SAJE 2011 Festival – page 3
Alexander Sinton/Jazz Education in the Cape - page 4
Jazz education abroad and in CT townships - page 5
CT Big Band Festival, IASJ, News form UCT – page 6
GIPCA/ Jazz at the Nassau – page 7
Green Dolphin/TRINITY – page 8
News from North West University, PE and NMMU – page 9
Standard Bank National Youth Jazz Festival - page 10
LETTER FROM NEW YORK – page 11
JEN 2011 and 2012 conferences/Marc Duby – page 12
Beyond the Common Practice – page 13
Beyond the Common Pratice – page 14-15
SAMRO crowns top young composers – page 16
In Memorium: DUKE and ZIM– page 17
SA Jazz Radio Programs/CD releases – page 18
MUSICRAFT/ Editor’s choice– page 19
SAJE Membership info – page 20
MESSAGE FROM THE SAJE PRESIDENT
Dear SAJE friends,
With the current political upheavals in North Africa and the Middle East, I’m reminded of what I noted in my last
letter re: what jazz teaches us in regard to important life skills, such as how to listen, how to be creative, how to
interact, how to respect each other and how to function in a truly democratic setting. The beauty of what jazz
represents and its values are universal and should be treasured. If only those in leadership who refuse to give up
power, experienced the beauty of jazz and embraced its values, the world would be far better off.
I would like all of us to take a moment or two to reflect on the many South African jazz artists who have passed
on in recent times. The sudden death of Zim Ngqawana has sent shock waves throughout the South African and
international jazz family. Please see the touching tribute to Zim by Darius and Cathy Brubeck. Other notables who
have left us with still much music to share, include Hotep Galeta, Robbie Jansen, Wynston Mankunku, Ezra and
Duke Ngcukana. I would like to invite the SAJE family to carry on the legacy of those who have gone before us, by
hosting events dedicated to many of the fathers of South African jazz.
For those of us in the Southern Hemisphere as we begin to head into winter and the upcoming winter school
vacation, it gives us time to reflect on the many accomplishments of those involved with jazz from across South
Africa. As I often travel overseas I’m often reminded how difficult (economic mishaps, mismanagement, greed,
urgh!) it has become to have a platform to share this wonderful music. South Africa for the large part has come
through the economic downturn in fairly good shape. However with the closing of the Green Dolphin there is one
less place to perform. See also Gavin Minter’s heartfelt tribute to the G.D., staff, management and of course the
musicians.
As you read on, there are many great things happening at various levels of jazz education across South Africa. On
the international stage SAJE has become one of the few remaining jazz education organizations left in the world.
SAJE is proud to be associated and closely involved with the IASJ and JEN. While at the 2nd Annual JEN Conference
in New Orleans in January this year, South Africa was well represented via Marc Duby’s research, Jesse and Moss
Mogale’s CAFCA Big Band, and yours truly. In early July, Darren English and I will be attending and participating in
the 21st IASJ Meeting in Sao Paulo, Brazil. With SAJE now in its 20th year, in the coming months there will be an
archive established at UCT, to house all related SAJE material for further research and as a way of documenting
what has taken place within SAJE since 1992. This will also be available on the SAJE website in the future. Please
send me any comments you may have and of course any information related to jazz and jazz education in South
Africa.
Thank you once again for all you do for jazz and jazz education.
With kind regards,
Mike Rossi
SAJE President
_________________________________________________________________________________________________________
2010-2012 SAJE Executive Board
President: Mike Rossi (UCT)
Vice President: Mageshen Naidoo (UKZN)
Secretary: Ann Barr (CTBBJF)
Treasurer: Diane Rossi
International Rep: Paul Sedres
Board Members
Mike Campbell (UCT)
Marc Duby (Rhodes/UNISA)
Neil Gonsalves (UKZN)
Jesse Mogale (CAFCA)
Kesivan Naidoo
Lee Thomson
Carol Martin (Sisters in Sound)
Basil Raad (student rep)
Alan Webster NYJF (ex-officio)
Darius Brubeck (ex-officio)
Contact SAJE
Diane Rossi
PO Box 175
Observatory 7935
Cell: 082-515-7051
Fax: 086-508-0337
Email:[email protected]
South African Association for Jazz Education
SAJE Jazz Conference: 25-27 March 2012
“Jazz as a Metaphor for Change, Collaboration and Innovation”
SA College of Music and the BAXTER @ UCT
The 11th SAJE Jazz Conference takes place at the South African College of Music at UCT from Sunday 25 March to
Tuesday 27 March 2012. The SAJE Conference is a biennial event focusing on jazz research, education,
performance, improvisation, composition, discussion and skills development. It is the only conference of its kind in
Africa and offers a unique forum for musicians, academics, educators, students, and arts organisers to engage with the
latest sounds and ideas in jazz. Along with paper presentations, workshops, performances and jam sessions, there are
opportunities for discussion, networking, information exchange, and professional development.
Call for Papers, Workshop and Performance Proposals: The conference committee invites proposals for research
papers, workshops, lecture-recitals, performances, panels and roundtable discussions.
SAJE welcomes presentations that advance the field of jazz education, and the emergence of cross-disciplinary
thinking and the development of new jazz scholarship. While we invite proposals on any area of jazz research and
practice from within any discipline, preference will be given to topics which accord with the conference theme.
Individual presentations should be no more than twenty-five to thirty minutes in duration. There may be opportunities for
longer slots for lecture-recitals and workshops (45-50 minutes). Proposals should take the form of a title followed by an
abstract of not more than 200 words, and should include details of each presenter(s) including brief biographical
description.
The deadline for submissions is Wednesday 30 November 2011, and decisions will be notified shortly after this
date.
• Any queries about a proposal should be directed to the SAJE 2012 Conference Organiser: Diane Rossi at
[email protected]
• Submissions should be addressed to: SAJE 2012 Conference Committee via email: [email protected] or
mailed to: SAJE, PO Box 175, Observatory 7935, South Africa
2nd SAJE Jazz Festival : 18-20 March 2011
Festival Organiser’s report
The 2nd SAJE Jazz Festival took place in Cape Town over 3 days in March and was made possible by financial
assistance from the SAMRO Endowment for the National Arts (SENA). The Friday afternoon session included three
teacher training workshops on such topics as preparing students for vocal and jazz auditions at tertiary level, music
technology and teaching jazz and jazz improvisation to beginners. These workshops were conducted by Amanda
Tiffin, Alistair Andrews and Bob Sinicrope and were attended by teachers from the Western and Eastern Cape and
a visiting teacher from Korea.
On Friday evening there was a jazz concert for the public which included wonderful performances by local and
international jazz artists, educators and students: Mike del Ferro (Holland), Ulrich Suesse (Germany),Carlo Mombelli
(SA) Mike Rossi (USA/SA), Sandile Gontsana (SA), Darren English and his group Aviana with some special guests,
plus Odd Meter Ensemble (Mamelodi, SA).
On Saturday there were a variety of workshops ranging from caring for brass instruments, relaxation techniques
and improvisation, to networking for musicians and harmony. The day also included performances by the CAFCA
BIG BAND and The Roses (an all-girl jazz ensemble) from Mamelodi, Pretoria, the Dan Shout Quartet and the SAJE
Jazz Quartet.
On Sunday evening there was a jazz concert at the Nassau featuring the MILTON ACADEMY Jazz Ensemble from
Boston, Massachusetts, Odd Meter Ensemble from Mamelodi and the SAJE Jazz Sextet with Gordon Vernick - USA
on trumpet, Mike del Ferro – Holland on piano, Bob Sinicrope – USA on bass, Kesivan Naidoo – SA on drums, Mike
Rossi – SA on woodwinds, and John Baboian – USA on guitar.
As part of SAJE’s Jazz Empowerment Project, Dr Gordon Vernick – head of Jazz Studies at Georgia State University
in Atlanta, Georgia – spent an extra week in Cape Town, conducting trumpet masterclasses and giving trumpet
lessons at UCT and conducting free improvisation workshops at 10 Western Cape Schools. Many thanks to Dan
Shout for organising these workshops and various gigs and playing tourguide!
Mike del Ferro from Holland conducted numerous piano workshops including a jazz piano clinic at UCT and a jazz
workshop at Alexander Sinton High School. This was made possible by financial assistance from the Kingdom of the
Netherlands.
UCT’s SA College of Music again provided an excellent and easily accessible location for the Jazz Festival which
was well attended this year. The 3rd SAJE Jazz Festival is scheduled for 2013 and will hopefully take place in another
centre in South Africa. Watch this space!
Please join the SAJE group on FACEBOOK and stay in touch
with all the great SA jazz events and people in your area.
A great way to network.
Alexander Sinton Music News
by Paul Sedres
Cape Flats school takes South African jazz to Beijing
The Alexander Sinton Jazz Ensemble is the senior ensemble of the music department at Alexander Sinton High School in
Athlone, one of ten Western Cape Arts Focus Schools.
The school attracts learners from the surrounding economically depressed Cape Flats. The rapid growth of its music
department, with more than forty learners this year, seems indicative of a desire by all to rise above the drawbacks of
their environment.
The school accepted an invitation to attend the Tutti World Youth Music Festival to be held in Beijing this July. This
international gathering brings together school age musicians from around the world to enhance and showcase their talents
in a non-competitive environment.
Band Director Ronel Nagfaal confirms that the ensemble is hard at work rehearsing an entirely South African repertoire for
the Tutti Festival: “This is an historical first international trip for the music learners of our school. We are proud to
represent South Africa at this global assembly. This contact and exchange is a unique cultural experience, a tremendous
opportunity for the musical and personal growth of our youth and their grooming as leaders in their communities.”
In support of their China trip the group held a fundraising event at Cape Town's
Artscape Opera House on 15 April. Headlined by vocal powerhouse Gloria Bosman,
guitarist Jimmy Dludlu and Cape troubadour Errol Dyers, the gig also featured
youth jazz group the Little Giants and proved a great success.
Nagfaal's dedication and sacrifice in nurturing her students since 2008 are paying
off. So far she has roped in the assistance of individuals and groups from beyond
her school, including the SAJE, collaborations with surrounding youth jazz
initiatives, parents and professional musicians and educators. Dutch pianist Mike
del Ferro and US trumpeter Gordon Vernick recently presented workshops at the
school, while the delight of peforming on the same stage with Dludlu and Bosman
in particular was visible among the ensemble members.
Photo: Gregory Franz
Nagfaal’s immediate aim is develop the ensemble into a fully fledged big band and, eventually, for the music programme
to become one of the best incubators for music at school level in the country.
Aside from the excitement of going to Beijing, the ensemble recently saw one of its
members selected to attend the Berklee College of Music Summer School in July
2012. Bassist Sean Bratz is 16 years old and has been nurtured by Nagfaal for three
years. He was selected from among a pool of young musicians who auditioned for a
Berklee panel in Cape Town in March.
The school is continuing its fundraising efforts for Beijing and the continuous
development of its music department. Ronel Nagfaal can be contacted at 082-6783452 or [email protected]
Photo: Diane Rossi
Jazz Education in action in the Cape – what can you do?
Jazz educator and trumpeter Dr Gordon Vernick – head of Jazz Studies at Georgia State University in Atlanta – recently
visited Cape Town for the second time in two years where he took part in the 2011 SAJE Jazz Festival and conducted
workshops and gave lessons at UCT and various high schools in Cape Town. He conducted a jazz workshop on improvisation
for the music students at Alexander Sinton High School on Tuesday 22 March. This was the first school he visited as part of
the SAJE Jazz Empowerment Project - he and Dutch pianist Mike del Ferro visited 10 schools in the Cape Town area in 4
days where they conducted free jazz workshops.
The Alexander Sinton High School music students not only have a very committed and passionate music teacher in Ronel
Naqfaal, but also the commitment and support of their parents. One of Ronel’s students – 16 year old Sean Bratz (bass) was awarded a 5 week scholarship to study at the Berklee College of Music in Boston after an exhaustive audition process
in March! Well done Sean!
Ann Barr - Director of the Cape Town Big Band Jazz Festival - "adopted" Alexander Sinton High School in 2010 and so they
now share SAJE Associate membership and all the benefits thereof. Our wish is that other institutions, organisations or
companies follow Ann’s example and “adopt” a deserving school or Jazz Band and thereby offer them the benefits of SAJE
Associate membership or mentorship.
If anyone is interested in being part of the SAJE Jazz Empowerment Project or sponsoring a school or Big Band please
contact Diane Rossi at [email protected] or 082-515-7051 or see the back page of the newsletter for more information.
SILENT REVOLUTION JAZZ FESTIVAL
7-9 July 2011 @ THE FUGARD
Caledon Street, District Six, Cape Town
For more info visit www.silentrevolutionproductions.com
JAZZ EDUCATION ABROAD … AND IN CAPE TOWN TOWNSHIPS……
Impressions from Carol Martin
I had interesting interviews with UCT sax student, Ethan Smith, who spent a year at Olso’s Conservatory of
Music, and visiting trumpet maestro, Steve Waterman who teaches at Trinity College in London. The theme of
our discussion was: Where are the learning resources that support jazz education in South Africa?
Ethan’s experiences while in Oslo were written about in a previous SAJE Newsletter, but I asked him to contrast
that overseas learning with the learning he is receiving now at UCT. “I am curious by nature, so the experiences
at both institutions help me create my little ‘bubbles’ of jazz techniques. I just compose along with these
experience bubbles,” he said. “Oslo was a time for going inward. My teacher allowed me lots of space and
unrushed time to explore my inner leanings. I could comfortably find what informs my music, to include poetry
and philosophy.” The Norwegian approach to jazz was indeed quite different from the American standards
approach at UCT. Back at UCT, Ethan’s schedule includes classroom work and deadlines for material submissions.
Like many students, he pines that there is not more emphasis on South African jazz standards….. Which leads to
the prickly question, also posed to Steve, as to “Where are the jazz charts?” The recent Big Band Jazz Festival
at the Baxter, featuring some 21 youth bands, displayed this same issue: Why weren’t more South African jazz
compositions heard from the myriad of jazz musicians this country is producing? At least in the UK, as well as
Norway, there IS a jazz curriculum and supporting materials. But high school music teachers in South Africa still
don’t have adequate resources or training to arrange the unwritten for their respective school bands. Which
brings up the question: Where is the Department of Education involved in making learning materials available to
music teachers?
More questions abound. The dearth of learning resources was also highlighted recently during music workshops
at a primary school (Ekuxoleni Primary) in Khayelitsha, and with Ian Smith’s Delft Big Band rehearsal at Voorbrug
High School in Delft. Steve Waterman created fun for Grade 5 and 6 children who were learning trumpet and
trombone, and music theory from another Oslo returnee, vocalist Wathiq Hoosain. “But they need music stands
desperately”, according to their teacher, Simphewe from Langa, “if the kids are going to read charts and form
their bands.” And where are those charts going to come from? George Werner, who heads up this music
program, finds a way. But first, music stands! Oh, what about practice time with the instruments which can only
be used at the school? Funding a teacher for that is needed.
In contrast, a few kilometers away in the gang-bereft community of Delft, a high school band gaining notoriety
through its shear hard work and director, boasts music stands and music charts for each player! Additionally,
each player can take home an instrument assigned for him/her for practicing. This music program operates in
alternate 6 month periods at Voorbrug and Rosendal High Schools, respectively. A shoe-string budget allows Ian
Smith to rehearse some 30+ youngsters faithfully twice a week for 2 hours each. Two trumpeters have received
admission to UCT School of Music. Thanks to his own initiatives to acquire resources, and past start up funds
from the Department of Social Welfare, Ian Smith can provide music charts….which are also taken home by the
students!
One is left wondering how the better resourced Delft music program could assist, i.e. partner with the little
ones in Khayelitsha…… How could their resources be shared, such as the older Delft musicians teaching and
mentoring the Khayelitsha kids, sharing instruments, etc.? How to fund other Ian Smith’s? For as Ian said, “It’s
not only about making music, but building one’s soul and spirit to care for oneself and community.”
Which comes around to Ethan’s Oslo experience, where he could use his music to strengthen his spiritual self and
musical enterprise from within….and grow.
Steve Waterman & girl trumpeters
Steve Waterman & Khayelitsha boy
trombones
Steve Waterman & the DELFT BIG BAND Steve Waterman, Ian Smith, Dan Shout
♫ Editor: Photographs supplied by Carol Martin. Workshops organised by Ann Barr (Cape Town Big Band Jazz Festival)
13th CAPE TOWN BIG BAND JAZZ FESTIVAL : 19-21 May 2011
The Cape Town Big Band Jazz Festival (CTBBJF) has grown into one of the biggest and
most popular events on the Cape Town jazz calendar. Founded in 1999 by the late Dennis
Barr, the Festival is a community outreach project in support of music education in big
band jazz for school and college students. This year was no exception – with 21 Big Bands
performing over the 3 days of the Festival - some of them more than once – the Festival was completely sold out a
week before. This year’s special guest was British trumpeter Steve Waterman who conducted a trumpet workshop at
the SA College of Music, and also visited 6 schools on the Cape Flats and township areas where he conducted jazz
workshops – see article and photos on page 5.
Proceeds from the Festival go towards a scholarship in the jazz studies programme at the SA College of Music,
sponsorship to the Beau Soleil Music for Africa Trust as well as the sponsorship of a music teacher at Manenberg High
School for their Steelband Project, donations to participating bands and other music initiatives.
Musical instruments have been donated to Beau Soleil Africa Trust, Athlone Music Academy, York Road Primary
School, Lansdowne, as well as Eluxolweni Primary School, Khayelitsha. The Festival:
• provides an opportunity for young musicians to display their talents to a knowledgeable and appreciative
audience at a prestigious event. And to assess their performance by comparison with the other bands in a
non-competitive environment.
• encourages young musicians, presently at a primary and secondary level, to develop their talents through
further education at tertiary level, leading to a career in music.
• assists in widening young people’s participation in playing a style of music familiar to their culture across the
community.
• reflects a world-wide resurgence in popularity of the big band swinging sound of exponents such as, Count
Basie, Benny Goodman, Glen Miller, Tommy Dorsey, Gerry Bosman and so on.
• promotes awareness of the big band jazz style, gaining young fans and reviving fond memories of the swing
era for many older fans.
• attracts growing support from the business and public community.
• associated with and supported by the S.A. College of Music.
♫ Editor: For more information about or to participate in the 2012 Cape Town Big Band Jazz Festival, please contact Ann
Barr at [email protected] or visit their website at www.ctbigbandjazzfest.co.za
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
IASJ - International Association of Schools of Jazz
21st IASJ Jazz Meeting 2011
The 21st Annual IASJ Jazz Meeting 2011 takes place at Souza Lima Conservatory of Music, in
Sao Paulo, Brazil. It is the very first time that a music institution from South America is hosting
the Annual IASJ Jazz Meeting - another milestone in the history of the IASJ.
st
Over 100 participants from 40 international music institutions will attend the 21 IASJ Jazz
Meeting 2011. For more information and the program of the week please visit the special website
made by the host school: http://www.souzalima.com.br/iasj/ Six combos are formed that will
rehearse and perform in Sao Paulo on the last two nights of the week. David Liebman is the
Artistic Director.
The IASJ, established in 1989, is one of the most important existing world wide network of schools of jazz. Students, teachers
and representatives are connected through the Annual IASJ Jazz Meeting, which takes place in a different country every
year. The first IASJ Jazz Meeting took place in The Hague, The Netherlands. Ever since, jazz schools that play a major role
in jazz and jazz education in Europe and the USA have hosted the IASJ Jazz Meeting. In the years to come IASJ Jazz
Meetings are planned in South America, South Africa, the USA, as well as in various top level jazz schools in Europe.
♫ Editor: South Africa will be represented at the 2011 IASJ Meeting in Sao Paulo by Prof Mike Rossi and trumpet
student Darren English – both from UCT
JAZZ CONCERT NEWS FROM UCT – SA College of Music
The Jazz faculty took part in the annual SACM Staff Concert at the Baxter Concert Hall – Tuesday 15 February.
AMANDA TIFFIN BAND - Tuesday 22 February
SAJE JAZZ FESTIVAL 18-20 March
SAMRO UCT BIG BAND Concert - Tuesday 12 April
PICK N PAY/FINE MUSIC RADIO 101.3 MUSIC AWARDS Concert - Tuesday 29 July
UCT BIG BAND Concert - Saturday 13 August
SACM Jazz Festival 6-8 October
Weekly performers’ classes and lunchtime concerts on Wednesdays at 2pm and Thursdays at 1pm during the academic term
– admission is free and usually 40 minutes long
Gordon Institute for Performing and Creative Arts (GIPCA)
Hiddingh Hall, University of Cape Town
‘the names we give’ - EVENTS IN ART, CULTURE AND SOCIETY
13-15 May 2011
SAJE presented two jazz performances as part of ‘the names we give’ program
Friday 13 May - Mike Rossi Quartet
“From New Orleans to Cape Town and places in between”
Nicholas Williams - piano, Gus Warden - drums, Dave Ridgeway – bass, Mike Rossi woodwinds
Sunday 15 May - Mike Rossi Sextet
“Mingus Ah Um!” - a tribute to bassist, composer, bandleader and civil rights
activist Charles Mingus
Nicholas Williams - piano, Gus Warden - drums, Dave Ridegway – bass, Mike Rossi –
woodwinds, Willie Haubrich – Trombone, Darren English - trumpet
For more information about GIPCA please visit www.gipca.uct.ac.za
Notes on Mingus:
As part the “names we give” Festival at the Gordon Institute for Performing and Creative Arts,
(GIPCA) Mike Rossi presented a musical tribute to Charles Mingus entitled Mingus Ah Um: A Tribute to Charles Mingus.
Selections listed below will again be featured at Jazz at the Nassau in Newlands on Sunday 24th July 2011
O.P. (Oscar Pettiford), Nostalgia in Times Square, Ecclusiastics, Haitian Fight Song, Good Bye Pork Pie Hat, Jelly Roll with the
UCT Saxophone Quartet, Boogie Stop Shuffle, Slippers, Pithecanthropus Erectus, Fables of Faubus, O Lord Don’t Let Them
Drop That Atomic Bomb on Me, Work Song and Better Get It in Your Soul.
1959 was a magical year in jazz witnessed by the release of Dave Brubeck’s Time Out, Kind of Blue by Miles Davis, John
Coltrane bursting forth with Giant Steps, Ornette Coleman’s The Shape of Jazz to Come and Mingus Ah Um by Charles
Mingus; all of which have become an important part of jazz history, having endured over the past fifty plus years, and even
further appreciated as time marches on. In relation to these classic recordings, Mingus Ah Um and Mingus himself is
probably the lesser known, due to different periods of jazz that Mingus’ music encompassed. There is a wide scope and
range of styles contained within the music of Charles Mingus that combines elements of Dixieland, Bebop, Gospel & Blues,
Folk, and Free Jazz. In relation to the above artists, Mingus was a composer worthy of the highest praise (often compared to
Ellington), not just in his ability to draw on vast sources to create exciting works, but doing so in a daring and jazz-minded
way by combining musical freedom within fixed musical structures. His performances and compositions often had an
element of surprise that contained abrupt changes in tempo, mood, dynamics and style that inspired his musicians to play
beyond themselves and the musical notes on the page (if available), thus reflecting the composer’s intentions and like Duke
Ellington, created seamless whole that wove fresh improvisations within the overall compositional framework. (M. Rossi)
Mike Rossi – saxes, Darren English – trumpet, Dave Ridgeway – bass, Nicholas
Williams – piano, William Haubrich – trombone and Gus Warden - drums
Photo: Diane Rossi
JAZZ AT THE NASSAU – Cape Town
Sunday 19 June 2011 @ 7.30pm
TRIBUTE TO MALE JAZZ VOCALISTS featuring the Andrew Ford Trio: Andrew Ford (Piano), Wesley Rustin (Bass),
Kevin Gibson (Drums)and vocalists: Sandile Gontsana, Vuyo Sotashe and Chad Zerf
THE MARK GINSBURG QUINTET
Sunday 24 July 2011 @ 7.30pm
MINGUS AH UM! – the Mike Rossi Sextet performs the music of Charles Mingus
RICHARD CAESAR Band
Tickets are R80 - Bookings - Cliff Wallis 076-401-0008 or 021-761-2726.
Gavin Minter - April 26 at 1:25pm
Green Dolphin Closing announcement
I sadly announce the news that the Green Dolphin [in its present location] will be closing after 20 years - I have
been Entertainment Manager for 13 years and I am so saddened by the loss of this icon for jazz and acoustic
music. This closure has been imminent for a while and with no help from the powers that be - the Green Dolphin will
finally shut its doors.
I am not sure if you realise the impact this will have on our local and national music lovers and musicians - speaking
to musicians and listeners over the past month has made me realise how important this venue has been to the
music industry. Besides a few hotel/restaurant type venues - there will be no jazz club available for Cape Town
musicians to ply their trade and earn a living from.
Most International jazz lovers already know about the Green Dolphin way before they step into Cape Town.
I am so sad for the Jazz fraternity, the music fraternity in general - and all the musicians who have been a part of
the Green Dolphin. It has provided countless musicians with help in basic living as well as nurturing some of our
finest musicians’ talent and careers.
My thanks to Ralph Shulman, Jack Goldblatt, Carl Bayhack, Henry Shields - all the staff and managers over the
years, all the guests who supported - all the press who helped notify the music lovers - and most importantly - the
musicians who left their hearts, love and dedication to the greatest art form in the world - that is jazz - on the stage
every night !!!
God Bless you all – Gavin
P.S. With regards to a relocation - here is a glimmer of light at the end of a musical tunnel ... I will certainly keep you posted.
♫ Editor:
article shortened due to length
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
♫ Editor: June 2011 sees the start of regular jazz at Cape Town’s newest and most stunning venue: TRINITY.
And the opening act will be Judith Sephuma with Mike Campbell’s BIG BAND. After that there will be regular
jazz at least three times a week.
TRINITY
15 Bennett Street - Greenpoint
Cape Town, South Africa
Bookings Phone - 074 -237-8694 / 021-418-0624 / [email protected]
Website - www.trinitycapetown.co.za / [email protected]
BIG BAND MONDAYS - featuring the Mike Campbell Big Band
Funktion Room - 20h00 to 22h30 [cover - R80 webticket or R100 door]
Mike Campbell’s 18 piece Big Band - made up of Cape Town’s finest jazz musicians - will take you through 13 exciting themed
nights honouring some of South Africa’s top jazz artists as well as paying tribute to the worlds greatest composers, bandleaders
and arrangers.
JUNE line-up
Monday 6th June: featuring - Judith Sephuma
South Africa’s pre-eminent jazz vocalist returns to Cape Town for a rare performance in the Big Band Jazz setting. Judith Sephuma
is a multi-award winning artist and her accolades include 5 SAMA awards – 2 Metro Awards and 2 KORA awards - to mention but
a few. She has just released her 3rd album “Change Is Here”
Monday 13th June: featuring - A Tribute to Count Basie
A journey through the music of one of Big Band’s greatest composers, arrangers and bandleaders. Expect tunes like “One O’ Clock
Jump”, “In A Mellow Tone”, “Li’l Darlin” and “Silk Shiny Stockings”
Monday 20th June: featuring - Gavin Minter sings the American Songbook
Gavin Minter will perform music from his Big Band album “I’ll be seeing you” - a collaboration with the legendry Stockholm Jazz
Orchestra – which features the arrangements by one of Europe’s finest composers Goran Strandberg.
Monday 27th June: featuring - A Tribute to Latin Jazz
This night will honour some of the greatest composers in the Latin Jazz tradition. A musical journey through South America
featuring the music and arrangements by composers like Ivan Lins, Antonio Carlos Jobim, Tito Puente and Oscar Hernandez. This
Latin Night will feature percussionist extraordinaire John Hassan.
NEWS FROM NORTH WEST UNIVERSITY (POTCHEFSTROOM)
by Prof Karén Devroop
The NWU Jazz Ensemble played their maiden concert on 19 May 2011 at the Gallery at
North-West University. The Big Band was established by Prof Karén Devroop with
students currently enrolled in the bachelors and diploma programmes at the School of
Music. The jazz ensemble marks another step in the continued growth of the newly
established jazz program initiated by Devroop at North-West University’s School of
Music and Conservatory.
The NWU Wind Ensemble played
their maiden concert together with
the Yale Concert Band at the
Sanlam Auditorium at North-West
University (Potchefstroom) on 26
May 2011. The wind ensemble is
the flagship of the new wind
programme
established
three
months ago by Devroop. The
ensemble is comprised of nearly 50
students, the majority of whom are
music majors enrolled at the School
of Music and Conservatory. The
ensemble is currently led by
Devroop who serves as their conductor.
The Karén Devroop Jazz Quartet kicked off their 2011 concert tour with a performance
at the Conservatory Hall on the campus of North-West University (Potchefstroom). The
quartet which comprised Karén Devroop (alto saxophone), Roland Moses (piano),
Graeme Curry (bass) and Rob Watson (drum kit) performed a repertoire ranging from
Charlie Parker to Michael Brecker in addition to original material. The quartet heads to
Johannesburg and Pretoria in the coming months for a series of concerts.
NEWS FROM NMMU AND PORT ELIZABETH - John Edwards
Jazz giant George Benson was the headline act for the inaugural Nelson Mandela
Bay International Music Festival which took place at the NMB Stadium on 14 May.
This was an espafrika production and looks set to become an annual event. The
programming included a balance of local and national musicians including Hugh
Masekela, Freshlyground, Goldfish and the Nelson Mandela Bay Big Band. The
latter collective featured Port Elizabeth-born Feya Faku and also included several
students from the NMMU Music Department. In addition, jazz studies lecturer and
pianist John Edwards and his trio - featuring Andrew Warneke on bass and Devon
van Rooyen on drums - were contracted to direct workshops for the extensive
training and development component of the festival (see pic taken by Shadley
Lombard).
Another exciting inaugural event which is to become a fixture on Port Elizabeth’s cultural calendar was the Red Ball which
took place at the Radisson Hotel on 27 May. This black tie event featured a big band in collaboration with the string section
of the Eastern Cape Philharmonic. Gloria Bosman and Timothy Moloi appeared as guest artists, Graham Scott conducted in
his inimitable style and Mike Campbell supplied the arrangements. The big band/orchestra personnel were largely
comprised of NMMU music department students and lecturers and included John Edwards (piano), Rudi Bower (guitar),
Gareth Williams (alto saxophone) and Pierre Malan (viola).
Current SAJE ASSOCIATE MEMBERS:
Bishops, Cape Town Big Band Jazz Festival, Music Conservatory @ Northwest University
(Potchefstroom), MUSICRAFT, Nelson Mandela Metropolitan University, Rondebosch Boys High
School, Rustenburg Girls High School, SA College of Music @ University of Cape Town
Honorary Life Members: Dennis Tini, Cathy and Darius Brubeck, Glynis Malcolm-Smith
19th STANDARD BANK NATIONAL YOUTH JAZZ FESTIVAL – 2011
The annual SBNYJF will take place at its usual venue - The Music School of the Diocesan School for Girls (DSG), Worcester
Street, Grahamstown - concurrent with the National Arts Festival, from Wednesday 29 June (14h00) to Tues 5 July (08h00).
The SBNYJF runs concurrent with the Standard Bank Jazz Festival and the National Arts Festival (30 June – 9 July 2011).
Young musicians between the ages of 13 and 26 gather for 6 days to learn more about jazz and interact with the top young
players in the country.
Every day, each course participant will rehearse in a big band or vocal group and choose to attend an array of workshops
and electives on jazz topics such as improvisation, jazz history, sound engineering, instrumental clinics, composition or jazz
harmony.
These will be led by a collection of some of the best professional jazz players and educators in the country as well as visiting
foreign teachers and performers. There will be a number of opportunities for performance daily and students will also be
able to listen to some of the best live jazz in South Africa, as the course lecturers will be performing each night in the DSG
Hall (the SBNYJF venue) as part of the Standard Bank Jazz Festival, Grahamstown.
NATIONAL BANDS
Two national bands will be chosen at the Festival: the STANDARD BANK NATIONAL SCHOOLS’ JAZZ BAND (age limit 18 on
1/1/2011, and attending high school) and the STANDARD BANK NATIONAL YOUTH JAZZ BAND (age limit 26 on 1/1/2011).
These bands will perform on the main jazz stage of the National Arts Festival and the SBNYJB will tour later in the year. The
SBNSBB will be conducted by Fredrik Norén (Sweden), and the SBNYJB by McCoy Mrubata (SA), and selection to these
bands will be for South Africans only.
Drums/Perc
Bass
Piano/Organ
Guitar
Trumpet
Trombone
Sax
Vocals
MUSICIANS/TEACHERS
Kevin Gibson, Kesivan Naidoo, Lloyd Martin, Ayanda Sikade, Godfrey Mgcina, Tony Paco, Ronan Skillen, Lieven Venken
(Belgium), Martijn Vink (Holland), Håkon Johansen (Norway), Martin Seidelin (Denmark), Esben Duus (Denmark)
Marc Duby, Shaun Johannes, Shane Cooper, Nicolas Thys (Belgium), Jeroen Vierdag (Holland), Bänz Oester (Swiss),
Hein van de Geyn (Holland)
Andrew Lilley, Mark Fransman, Afrika Mkhize, Melvin Peters, Bokani Dyer, Ewout Pierreux (Belgium), Carine Bonnefoy
(France), Carolyn Wilkins (US), Vigleik Storaas (Norway), Steinar Nickelsen (Norway), Henrik Kjelin (Denmark)
Dave Ledbetter, Alvin Dyers, Angelo Syster, Anton Goudsmit (Holland)
Marcus Wyatt, Brian Thusi, Lee Thomson, Charlie Sayers, Fredrik Norén (Sweden), Arne Hiorth (Norway), Frank Brodahl
(Norway), Peter Kehl (Denmark)
James Bassingthwaighte, Helge Sunde (Norway), Ola Akermann (Denmark)
Buddy Wells, McCoy Mrubata, Shannon Mowday, Chris Engel, Efrain Trujillo (Holland), Morten Halle (Norway), Geir
Lysne (Norway), Mark Ginsberg (Australia), Soweto Kinch (Britain), Stig Naur (Denmark), Jens Jensen (Denmark)
Melanie Scholtz, Amanda Tiffin, Gavin Minter, Deborah Tanguy (France), Tutu Puoane (Belgium), Andreas Schaerer
(Swiss)
All of the performers will also be teaching, and there will be additional staff assisting with the teaching programme. There may be a
change in the personnel above before the festival.
DAILY PROGRAMME
The daily programme will be full of jazz teaching and performance. Each participant will be placed in a Big Band of mixed ability for a
practice each day, and will attend three daily electives, to be chosen at the SBNYJF. All participants will also perform on the Festival
Fringe. All performances on the SBNYJF are free for participants, though there is limited seating for some of the performances, and not
all students will get into all shows. The day in outline will be as follows:
8.00
9.00
10.30
12.00
13.00
14.00
15.15
17.00
18.00
19.00
19.30
21.00
22.00
23.30
Breakfast
Big Band/Vocal rehearsals
Electives – a wide choice of jazz-related workshops, seminars and discussions, including improvisation workshops and small
ensembles
Electives/Lunch time gigs
Lunch
Electives
SBNYJF internal performance
Gig on Main Jazz Festival - Hall
Supper
Gig on Main Jazz Festival - Auditorium
Gig on Main Jazz Festival - Hall
Gig on Main Jazz Festival - Auditorium
Gig on Main Jazz Festival – Hall
Gig or Jam Session – Auditorium
The SBNYJF website – www.youthjazz.co.za – is regularly updated with latest festival news & photographs
and audio and video clips from gigs are on www.myspace.com/grahamstownjazz
LETTER FROM NEW YORK
by Nicky Schrire – April/May 2011
Dear SAJE Readers
This is the last letter you will read from my student self. In two and a bit weeks I will be
released from the clutches of tertiary education and embark on the lifelong journey of
completing a degree in life. Poetic-no? In reality it’s rather terrifying and simultaneously
exciting, which means that my activities are all tinged with slight hysteria. What’s a girl to
do?! My first plan, upon graduating on May 12th, is to go on holiday. All this means is
relishing non-music activities-like spending time with my family, watching films, going to the
beach, cooking intricate vegetarian fare, trawling food blogs on the web, and journeying
home to Cape Town for a much needed pint of Marcel’s Frozen Yogurt.
The past week has been filled with enough bitter sweetness to rival that of consuming lemon sorbet. I am completely
smitten with my Manhattan School of Music classmates-all twenty-three of them. We have journeyed together for
two, intense, challenging, enthralling and life-enriching years. They’ve seen me emotionally combust at the sight of
another chromatic singing assignment and I, in turn, have seen them drown their sorrows in pints of beer after failing
to analyze Coltrane’s “Impressions” solo correctly. More recently, I’ve been reminded of their talent, brilliance and
amazingness while we’ve performed final big band arrangements, played final chromatic compositions for Dave
Liebman, and delivered final graduate recitals. I’ve always thought the pool of talent was outstanding, but I am still
inspired when reminded of this fact. If you’d like to glimpse what I’m on about, you can watch this You Tube link:
http://www.youtube.com/watch?v=zAgt7FDYYPs It’s a video-filmed on a flip camera so the quality isn’t outstandingof last week’s reading session of our big band arrangements. The song in question was written and arranged by my
classmate, Jay Rattman. It’s called “I Love Everything But You” and features a big band comprised mostly of my
classmates, and some other MSM students. Jim McNeely, arranger and conductor of the Village Vanguard Big Band
and our teacher, is conducting.
More on Dave Liebman… We had our final class with Dave last Monday and it gave us all a taste of what’s to comefinal this, final that, speeches of farewell, and the sheer enormity of what we’ve all accomplished in the last two years
finally dawns on us. Wow. I’m all at once overwhelmed, excited, terrified, saddened to be leaving my school peers,
happy to be joining floods of unemployed musicians (teammates for life) and so many more emotions. Liebman was,
as always, inspiring and he is such an incredibly astute and eloquent speaker. His latest foray into developing his
“brand” involves him giving inspirational talks drawn from his life experience. I attended his practice lecture at school
two weeks ago and was so in awe. He is bloody good at what he does-both musically and anthropologically. I feel so
fortunate to have been under his tutelage while at MSM.
He ended off the class by fishing into a big white packet and saying he had something for each of us from himself and
Phil (Markowitz, who chares the course with him). I thought he was going to give us cookies or baked goods-really and
truly; don’t ask me why-but he produced, with a flourish, a CD for each of us featuring him and Phil playing in duo. He
walked around the room, hand-delivering a CD to each person, shaking hands with the boys and giving us girls a kiss on
the cheek. He also apologized to the women for his somewhat liberal language. No apology needed! We loved his
excessive use of cursing, the way it matches his thick NYC drawl, and the fact that he was so honest and real with all of
us. What a mensch, genius and wonderful person.
So, as spring (finally) springs to life here in the Big, Rosy Apple, I am polishing off final assignments and preparing for
my graduate recital. I have ninety minutes to perform repertoire of my choice with brilliant musicians. It just seems
like a lot of fun to me! I’ll be playing music I’ve accumulated over the past two years-originals, arrangements of
standards, etc.-and it should be a wonderful way to punctuate my experience at MSM.
This letter is short (and hopefully sweet) but I’m sure I’ll have more to write about once I’ve shaken off the shackles of
student mentality and entered the “real” world. According to Liebman, “the day I graduate is the beginning of my life.”
That isn’t profound or anything. No pressure! Slow and steady wins the proverbial race…or at least gets lemon sorbet
at the end of it all.
Love and excitement,
Nx
♫ Editor: Sadly this will be Nicky's last LETTER FROM NEW YORK for now - she graduated from MSM on Friday 13 May!!
However Nicky has assured me of more LETTERS FROM NY in the future.
Third Annual Jazz Education Network Conference
Developing Tomorrow's Jazz Audiences Today!
January 4-7, 2012 • Louisville, KY
♫ Editor: Visit www.JazzEdNet.org for more info
NEWS FROM RHODES UNIVERSITY – Marc Duby
JEN conference (New Orleans, January 2011)
My wife Lydia and I attended the JEN conference in New Orleans where I read a paper, caught up with old and
new friends, and in general had a marvellous time. Since this was my first time travelling to the US, it was quite
extraordinary to be in the city that popular legend claims as the birthplace of jazz. Some special highlights were
seeing old friends such as Dennis Tini, Bob Sinicrope, Gloria Cooper, Lou Fischer, Mary Jo Papich, and many
others.
On the musical front, there were some first class workshops (with the maestro Jamey Aebersold accompanied by
Dan Haerle being a special treat), the launch of the updated Smithsonian collection with many luminaries in the
field of jazz history in attendance, and a well stocked collection of books and jazz memorabilia on offer.
The South African contingent was well represented by such figures as Prof. Mike Rossi, and I felt very proud
when Jesse and Moss Mogale performed with their student group from Mamelodi. Fine stuff indeed. Other special
musical performances included Dave Liebman with the Airmen of Note, certainly one of the most technically
accomplished big bands I’ve ever heard, and Lynne Arriale’s group with Randy Brecker and the outstanding New
York drummer Anthony Pinciotti.
After this true feast of jazz, Lydia and I travelled northwards to Bellarmine University in Louisville, Kentucky, where
we were graciously hosted by our friend Richard Burchard and had a lot of fun interacting with their jazz studies
department staff and faculty. Incidentally, this is where next year’s conference is going to take place.
The weather was fairly daunting for us South Africans with blizzards and snow disrupting air and road traffic, but it
was an unforgettable experience to finally get to travel and see a bit of the States at my “ripe old age.” I thank all
involved for their dedication to the art form we all love so much, especially Lou and Mary Jo and their team, who
put so much energy into organising a wonderful event. I would also like to express my gratitude to Rhodes
University and the National Research Foundation for their generous financial assistance in making this trip
possible.
Kingsley Buitendag and Steve Ellis M Mus recital
Rick van Heerden and I accompanied Kingsley (piano) and Steve (drums) in the second of their two Masters’
recitals in Jazz Performance in March. They acquitted themselves extremely well in performing an exacting
programme incorporating original compositions (by Rick, Kingsley and yours truly) and material drawing from
Martin Sjostedt and Radiohead among others, and I am proud and happy to confirm that Kingsley has recently
graduated. Steve has still to complete the thesis component of his Masters’, which we await with great interest. A
special vote of thanks is due to the external examiners, Noel Stockton and Neil Gonsalves, whose thoughtful
comments and evaluation are specially appreciated.
On a more personal note, we have very recently returned to Gauteng, where I am soon to start work at UNISA.
Nishlyn Ramanna will be directing jazz studies at Rhodes, and I look forward to seeing his dedication to teaching
and scholarship bear fruit. On the near horizon, I am scheduled to present papers at IASPM in Grahamstown and
at the inaugural conference of the CMPCP at Cambridge University in July, as well as to performing at the
National Youth Jazz Festival with my friend Lloyd Martin and other friends old and new.
Best wishes to all our friends and colleagues in jazz education,
Marc Duby
♫ Editor:
Marc Duby will run the Musicology Dept at UNISA from 1 June 2011
JEN 2011 Conference: A Report from the Crescent City by Fred Bouchard
JJA – Jazz Journalists Association website
http://news.jazzjournalists.org/2011/01/jen-conference-a-report-from-the-crescent-city/
♫ Editor: Fred Bouchard writes for Down Beat, All About Jazz-New York and the Boston Musical Intelligencer.
He also teaches music journalism and writing at Berklee College of Music.
Beyond the Common Practice: Uncommon Bebop from Common Bebop Practices
By Mike Rossi
In January 2011 I had an opportunity at the Jazz Education Network (JEN) Conference in New Orleans to present material
from my latest book Uncommon Bebop from Common Bebop Practices and Concepts. I also had the pleasure once again to
perform there with long time friends John Baboian (Berklee College of Music, Professor of Guitar) and Bob Sinicrope who
heads up the Milton Academy jazz program. Both John and Bob have been long time supporters of SAJE and have assisted
many programs across South Africa in numerous ways during their various visits.
A few words from Uncommon Bebop…
The exponents of the style called Bebop developed in the 1940s by figures such as Charlie Parker, Dizzy Gillespie, Thelonious
Monk, Bud Powell, etc, became a highly stylized music that contains specific and identifiable trademarks. Developments that
occurred in the bebop era have had an important contribution to the overall level of musicianship required to play the music
due to fundamental changes in the building blocks of music – melody, rhythm, harmony. With new heightened levels of
harmonic, melodic, rhythmic complexity, and the formation of a new repertoire taking place, a change in practice and style
occurred and today is known as the common practice period in jazz.
Taking the developments that occurred in bebop to another level can be challenging, as this highly stylized music can also
become a means and an end, if not explored to its creative potential. Expanding what has been widely used by the Bebop
masters can offer fruit for creative expression in the land of contemporary improvisation. It is almost without exception that
today’s creative jazz artists have a clear understanding of the Bebop cannon and consider it as the foundation to becoming a
proficient and versatile improviser. Bebop compositions and solos are rich with ‘trademark’ lines that include use of what
today is commonly referred as bebop scales. These (scales) can be derived from major, minor and dominant scales. The use
of bebop scales by such bop masters as Parker, Gillespie and their followers is an important aspect of bebop as it increased
melodic continuity and phrase length by inserting additional half-steps at specific scale degrees in order for chord tones to
fall mainly on down-beats, thus reinforcing the harmonic framework and creating melodic continuity. (Preface; Uncommon
Bebop From Common Bebop Practices & Concepts)
Part one in this newsletter focuses on how to develop a colourful language for improvisation from common bebop practices
and devices by altering melodic lines beyond their fixed state to create a wealth of material for improvisation while learning
to hear and treat all 12 pitches equally.
The musical examples demonstrate how to:
• Create lines from various steps of common bebop scales. Compose you own lines from each scale degree and
eventually all 12 pitches.
• Melodically contrast set lines and phrases on the minor examples by introducing the b5, b6, b2 separately and/or
together. Now listen and be aware how the line takes on a new colour and feel. Change the minor 3rd to major in
order to make lines accommodate dominant and major chords, then sharp the 4th/11th and 5th where possible for
further contrast.
How to Get the Most Out of Applying Contrast to Bebop Scale Based Phrases
1. identify other or additional harmonic applications when melodically contrasted.
2. contrast phrases by repeating the phrase; inserting an accidental of your choice on each repeat. What are the
harmonic applications and implications when accidentals are inserted when repeated? Begin phrases at different
points; play them in 2, 3 and 4-bar lengths.
3. insert Phrases over common progressions found in jazz.
Create additional contrast by freely altering the rhythm and/or articulation of all the previous examples when improvising
and by:
• displacing specific notes within phrases via registral shifts and/or octave displacements.
• not beginning and ending phrases on the same beat.
• use of rests; insert a rest or rests during phrases.
Melodically as well as rhythmically, there are many ways a basic line can be altered (contrasted) while still retaining the
basic phrase, idea and shape. During the process of contrasting a given line, your creative juices will start to flow and
eventually you will develop an approach to soloing that becomes focused on development of an idea or specific set of ideas
rather than playing a set or fixed line that has been practiced in its fixed state.
Exploring and expanding melodic lines beyond there given or fixed state will create a wealth of material for improvisation
and composition while learning to hear and treat all notes equally. (M. Rossi)
In the next SAJE Newsletter we will look at Expanding 8-note Bebop Scales and Creating Variants from Major, Minor and
Dominant Bebop Scales.
“Uncommon Bebop from Common Bebop Practices” features etudes that use common scales that travel through all keys, extensive sets
of lines created from major, minor and dominant bebop scales and a series of chromatic compositions developed and expanded from
common bebop practices. Uncommon Bebop from Common Practices will be published later this year by Advance Music, Germany
www.advancemusic.com
SAMRO crowns SA’s top young composers
Keith Moss (23) and James Bassingthwaighte (28) were named the winners of
SAMRO’s 2010 Overseas Scholarships for composers following a hard-fought
music contest at the UJ Arts Centre.
Each young composer walks off with a scholarship to study music abroad worth
R170 000, in this prestigious competition that has been run by the Southern
African Music Rights Organisation since 1962. On a four-yearly cycle, it alternates
between awarding singers, instrumentalists, keyboard players and composers of
exceptional promise.
The Packed Arts Centre at the University of Johannesburg witnessed
L to R: James Bassingthwaighte (Winner, Jazz/Popular);
renditions of indigenous compositions by the vibrant Wits Choir, and
Mr Nick Motsatse (CEO of SAMRO); Keith Moss (Winner,
the audience was also treated to acclaimed jazz duo Paul Hanmer and
Western Art)
McCoy Mrubata performing a thrilling set of Hanmer’s music.
These quality choral and jazz performances set the tone for a lively evening celebrating South Africa’s musical diversity,
variety, creativity and originality. It was made all the more special by the lifetime achievement award presented by
SAMRO chairman Annette Emdon to eminent composer, arranger and recently retired SAMRO vice-chairman, Professor
Mzilikazi Khumalo, who continues to serve on the SAMRO Board.
The four finalists had the privilege of having their compositions performed by the cream of South African music talent.
Keith Moss (who studied at Rhodes University and the University of Cape Town, with Prof Peter Klatzow and Dr Péter Louis
van Dyk as teachers) and Angie Mullins (24, who studied at Wits University and was taught by Dr Michael Blake, Prof
Jeanne Zaidel-Rudolph and Dr Clare Loveday) were the finalists in the Western Art Music category.
L to R: Kingsley Buitendag (Runner-up, Jazz/Popular); Keith Moss (Winner; Western Art);
Angie Mullins (Runner-up, Western Art); James Bassingthwaighte (Winner, Jazz/Popular)
Mullins’s unconventional contemporary style – as well as the fascinating variety
in all four finalists’ entries – underscored the fact that the competition is
moving into the modern era while retaining its high standards. Her composition
for trio, City Must Burn, was performed by Steinway Artist Jill Richards on
piano, Magda de Vries on marimbas and percussion and Waldo Alexander on
Italian violin; while her vocal piece Street Study was interpreted with gusto by
the Street Voices ensemble.
Moss’s Trio Lamentation was performed by Richards on piano, Susan Mouton on cello and Lesley Stansell on cor anglais;
while his choral works – I Carry Your Heart With Me (an interpretation of an e.e. cummings poem inspired by composer Eric
Whitacre) and Into This Universe (written after a friend’s death and based on a quote by Persian philosopher Omar
Khayyan) – were sung by the Chanticleer Singers, conducted by Richard Cock.
In the Jazz/Popular Music category, competition was also tight. Kingsley Alexander Buitendag (25, taught by Prof Marc
Duby and John Edwards at Rhodes University) and James Bassingthwaighte (who studied at UCT, under the tutelage of Prof
Mike Campbell) vied for top honours.
Buitendag’s work for jazz quartet, Mr Gaulana, is a tribute to East London jazz guitarist and composer Lulama Gaulana and
was performed by Roland Moses on piano, Mthunzi Mvubu on saxophone, Prince Bulo on bass guitar and Rob Watson on
drums. His other piece, Sombras, for solo jazz piano, was performed by Moses.
The same jazz quartet performed Bassingthwaighte’s composition Song for Sam, a tribute to Sam Mtukudzi, musician son
of Zimbabwe’s legendary Oliver “Tuku” Mtukudzi. Sam died tragically in a car accident earlier this year.
Bassingthwaighte’s other piece, Un Asunto Familiar con los Valdes, was rendered by the versatile Grammy-nominated
pianist Jill Richards.
The adjudicators, under the non-voting chairmanship of Joyce Schulten from SAMRO, were Prof Chatradari Devroop and
Prof Marc Duby (both dual-genre panellists), as well as Prof Christopher Collins, Victor Masondo, Dr Carlo Mombelli, Noel
Stockton and Denzil Weale (Jazz/Popular Music category); and Prof Tania Leon, Prof Hendrik Hofmeyr, Bongani NdodanaBreen, Mokale Koapeng and Prof Christine Lucia (Western Art Music category).
Bassingthwaighte was named the Jazz/Popular Music winner, with Buitendag receiving the R40 000 runner-up prize; and
Moss triumphed in the Western Art section, with Mullins being awarded R40 000 as runner-up. Merit awards also went to
composers Prince Bulo and Christo Jankowitz.
SAMRO’s general manager: corporate affairs, André le Roux, commented that the record number of entries in the
composers category this year – 22 – was extremely encouraging to SAMRO as a composers’ society. “If you listen to these
compositions, there are little pieces of excellence in each of them, and it is exciting to be highlighting new and different
kinds of work. These young people all have enormous talent, and we look forward to a long and prosperous relationship
with them.”
Added SAMRO CEO Nicholas Motsatse: “We are very proud to see, every year, young people with skill and talent being
given the opportunity to explore and polish that skill and talent. We are also pleased that we, in a small way, are
contributing towards the development of music in this country and ensuring that culture plays a role in society.”
♫ Editor: Reprinted with kind permission of SAMRO. For more information visit www.samro.org.za
ZIM
“It’s the music!”
“It’s the music”, Zim said many times and this had different meanings. In essence, it was an instruction to get on
with what mattered. He was a force to reckon with, someone who could enhance or distort everything around him
and yet one had to listen, at least consider his position and, more significantly, question one’s own.
Zimasile Ngqawana was born on December 25, 1959, a special day, and a special year in music. 1959 was a
milestone in the history of jazz because four momentous albums were recorded that year; Dave Brubeck (Time
Out), John Coltrane (Giant Steps), Miles Davis (Kind of Blue) and Ornette Coleman (The Shape of Jazz to come).
It is perhaps this last title that comes closest to representing Zim’s persona and his drive for an original and
profound music statement. We often heard him pay tribute to the rest, especially Coltrane, but, like many others,
have also heard his “jazz is dead” chant. He used this irritating catch-phrase of criticism, lament, frustration and
exhileration years ago, despite using the tools of jazz to get to his own destination.
Along with other special friends, we have great memories of living, learning and playing together during the
politically challenging and transitional 80’s and, in particular, we are thinking of former ‘Jazzanians’ and of
Zim’s comrades from New Brighton, Lulu Gontsana, Feya Faku and Lex Futshane.
Most of the obituaries describe Zim as a genius and Darius and I often thought, well, yes, he is a kind of genius,
someone with the capacity to shake up his peers, friends, the university and music, in fact the whole immediate
world of espoused certainty. We all have a lot of music in our lives, but there are only a few times when
everything seems completely right and beautiful, a work of art in fact. We witnessed Zim getting it right on a
number of occasions; most memorably in 1997 in Nantes (France) and in 2005 at Howard College (University of
KwaZulu-Natal). Both of these brilliant quartet concerts featured Andile Yenana, Herbert Tsaoli and Kevin Gibson
and were almost 10 years apart.
The festival in Nantes celebrated the South African arts scene and Zim and Kevin also played with “Gathering
Forces”, a band led by Darius and Deepak Ram. Their version of Zim’s composition, “Mamazala, was released
by Sheer Sound on both “Before It’s Too Late” and “Tugela Rail and Other tracks” and you can certainly hear his
impassioned performance taking things way beyond the original arrangement.
We’re not aware of anyone else that plays or played “Mamazala”, least of all Zim, who would always tell us that he
had moved on from that kind of music. (Of course his moves often implied criticism.) Immediately after the
Gathering Forces show, we all rushed off to hear him with his own Quartet and were entranced by their brilliant
and moving music.
But that was a while back and according to Zim, a passing phase. When we saw him in March, he said he was
“totally satisfied” with his latest work and that he could “die happy”.
Was this prophetic? We don’t know. What we do know is that he would be critical of this tribute too, because it’s
all in the music.
Cathy and Darius Brubeck
London, May 2011
IN MEMORIUM
Duke Ngcukana RIP (1948-2011)
Cape Town jazz musician and teacher Duke Ngcukana died on 16 April after a
battle with tuberculosis of the abdomen. He was 63. His death follows those of a
number of noted Cape Town musicians, including his brother Ezra, Vincent
Kolbe, Hotep Idris Galeta, and Robbie Jansen.
Photo: Gregory Franz
Zim Ngqawana RIP (1959-2011)
South African jazz musician Zim Ngqawana died in the Charlotte Maxeke Johannesburg
Hospital after suffering a stroke on 10 May. He was 52.
BUSH RADIO CELEBRATES THE NGCUKANA DYNASTY – Nigel Vermaas
We thought 2010 was a bad year for South African jazz but 2011 seems to be rivalling it. We have already lost
Duke Ngcukana, Ernest Mothle and Zim Ngqawana.
On his CONNECTED 2 JAZZ show on Bush Radio 89.5 fm on Tuesday 7th June from 8 – 10 pm, Nigel Vermaas
will be celebrating the lives of the two Ngcukana Brothers who passed away within 9 months of each other, Ezra
and Duke, as well as their father, Christopher Columbus Ngcukana aka Mra. Helping me to remember the family
will be the youngest of the brothers, Mfana Ngcukana, musicians Sylvia Mdunyelwa, George Werner and Mark
Fransman, as well as writer Sindiwe Magona They all have unique insights into these three strong personalities
and enduring artists. We will also feature Zim Ngqawana’s version of YOU THINK YOU KNOW ME, a composition
by Mongezi Feza (of the Blue Notes) which became closely identified with Ezra. Zim was a pallbearer at Duke’s
funeral. In due course CONNECTED TO JAZZ will honour this jazz giant.
Nigel has broadcast documentary-style tributes to a number of our departed jazz heroes including Miriam
Makeba, Johnny Fourie, Alex van Heerden, Robbie Jansen, Gito Baloi and Hotep Idris Galeta.
CONNECTED 2 JAZZ can be heard every Tuesday night from 8 - 10pm on Bush Radio 89.5 fm. Aside from
playing a wide range of jazz, it also attempts to explore the connections between jazz and other music.
♫ Editor: A comprehensive list of Jazz Shows on South African Radio can be found on Eric Alan’s jazz
rendezvous website http://www.jazzrendezvous.co.za/sajazzradio.php The listings include the day,
show title, presenter, time and radio station.
CD RELEASES
OUTLINE – Jason Reolon Trio
Jason Reolon (piano)
Wesley Rustin (double bass)
and Heinrich Goosen (drums)
More info, listen to & purchase Outline | www.jasonreolon.com
DURBAN JAZZ SONGBIRD RELEASES SECOND ALBUM
This month sees the launch of the Durban-based songster’s second collection of
original tracks, Natalie…This Is Me. Produced by Victor Masondo, who also plays the
bass on the album, it features a clutch of South Africa’s most talented musicians
including Burton Naidoo (piano), Bruce Baker and Freddy Wales (drums), Dane Francis
(guitar) and Paki Paloele (percussion). Ernie Smith produces three songs on this
album, which was recorded at KZN Music House Studios in Durban. Also appearing
are special guests John Ellis on guitar, Kwaito star Mandoza on vocals and awardwinning, American saxophonist, Gerald Albright.
Natalie…This is Me, promises to take Natalie Rungan’s career to even greater heights
as an artist. Not only has she written the majority of the songs, but she makes use of
her versatile vocal skill and range, to explore new sounds and styles. “This album is a dichotomy of sounds…a
combination of Jazz and Pop reflecting the various influences in me,” Rungan says. An original composition by
Rungan, ‘The Good Time Guy’, will be the first single to be released and features Gerald Albright on saxophone.
Catch Natalie and her Band at various Jazz venues and musical events around the country over the next three
months.
TOUR DATES:
- Joburg, 2 June 2011 at La Lunar Lounge
- Pretoria, 3 June at Tswane University of Technology-Arts Campus Building
- Durban, 9 June at The BAT Centre
- Cape Town, 24 June at Kaleidoscope (Claremont)
- Port Elizabeth, 25 June at The Boardwalk
Booking is through Computicket or visit www.natalierungan.co.za for more information
♫ Editor: BLOGS worth reading
INTERVALS - Dave Liebman's newsletter - USA
http://liebintervals.blogspot.com/
MOSTLY MUSIC - Ronan Guilfoyle – Dublin, Ireland
http://ronanguil.blogspot.com/
JOHN EDWIN MASON – photographs and blogs – SA and international
http://johnedwinmason.typepad.com/john_edwin_mason_photogra/
CAPETOWNNATURAL – Gregory Franz – Cape Town
http://capetownnatural.blogspot.com/
♫ Editor: FREE STUFF
JAZZIZ Magazine digital edition www.jazziz.com
JAZZ INSIDE Magazine digital edition http://jazzinsidemagazine.com
♫ Editor: ARTICLES worth reading
Four articles now available on the ALL ABOUT JAZZ homepage www.allaboutjazz.com
1. When is a Jazz Festival (Not) a Jazz Festival?
2. Chick Corea: Creative Giant
3. Jazzahead 2011: Bremen Germany April 28 - May 1, 2011
4. Race, Culture and a White Boy from Texas
SOUTH AFRICAN ASSOCIATION FOR JAZZ EDUCATION
MEMBERSHIP APPLICATION/RENEWAL 2011
[ ] NEW
[ ] RENEWAL
NAME: ………………………………………………………………………SURNAME: ……………………………………………………………………………TITLE: ……………………….
ADDRESS:…………………………………………………………………………………………………………….……………………………………………………POSTAL CODE:…………...
EMAIL:………………………………………………………………… TEL:…………………………………............. CELL: ………………………………………………………………………...
WEBSITE/OTHER:……………………………………………………………………………………………………………………………………………………………………………………………...
Please tick appropriate category:
[ ]
Individual student ……………….. R175
[ ]
Individual member ………………. R250
[ ]
Associate membership ………… R850
•
2 members per institution/association
or 2 teachers + 4-6 students per institution
Associate members will be listed in each newsletter (3 per year), on the SAJE website, and in our Festival and
Conference programmes and also on our FACEBOOK info page.
Please mail, fax or email to SAJE Treasurer:
DIANE ROSSI
PO Box 175, Observatory 7935
Fax: 086-508-0337
Email: [email protected]
or direct bank deposit:
SAJE
Standard Bank
Account Number: 077337697 (Plus Plan)
Branch: 025109 Claremont
Please mail, e-mail or fax proof of payment to the SAJE Treasurer Diane Rossi at 086-508-0337
SURVEY (please complete)
Category:
Presently teaching:
Music Interest:
Jazz educator
Jazz Enthusiast
Jazz Musician
Music Industry
Grade 1-7
University
Private Studio
Grade 8-12
Technikon
Jazz Enthusiast
Vocal
General
Wind
Rhythm
String
Industry
Adminstration
Composition
Other: …………………………………………………………………………………………………………………………………………………………………………………………………………………………..
SAJE Membership:
As an SAJE member you will also be a member of IASJ and JEN.
Please visit the International Association of Schools of Jazz (IASJ) website www.iasj.com and the
Jazz Education Network website www.JazzEdNet.org for membership benefits.
Please visit our SAJE website at www.saje.org.za for more info re: jazz groups, events,
festivals & blogs. Your feedback and contributions or suggestions are always welcome!
Please look for and join SAJE and SISTERS IN SOUND on FACEBOOK!