Peter Makarube Live in Johannesburg
They said jazz is dead but we have yet to see the coffin. With the establishment of the South African Jazz Foundation comes ample proof that the hippest art form is still alive – and well. At a recent media launch, held at the Hyatt hotel, the foundation was introduced to the media along with the first issue of a new magazine, presently for subscribers only, called Jazz Heritage.
A much needed sponsorship from Old Mutual has meant that the foundation’s future is secured, a move that could also positively affect those brilliant jazz musicians who’ve been overlooked by big companies in the past.
As a front line, the foundation has taken on the services of the country’s two most prominent jazz presenters, Shado Twala of P4 Radio and Radio Metro’s Mesh Mapetla. Between them they have done more than most to put jazz on the airwaves and in the news.
Now, they have the arduous task of promoting and publicising the work of the foundation.
The first task of the foundation has been to launch the Old Mutual National Heritage Jazz Festival that kicked off in Cape Town on Heritage Day – September 24. The line up had sizzling talents like veteran guitarist, Johnny Fourie with Short Attention Span Ensemble, Paul Hanmer, Sipho Gumede, Tony Cox, Don Tshomela, Errol Dyers and the sole international act, Dave O’Higgins.
The Johannesburg leg on September 24 to 25 features Mankunku Ngozi, Ezra Ngcukana, Robbie Jansen, Errol Dyers, Jimmy Dludlu, the newest, hottest – Iconoclast and Rene McLean from the United States.
All acts will criss-cross the country, playing in all major centres including Port Elizabeth on September 24, Mmabatho on September 26, Mamelodi and September 27 and finally Durban on October 3 and 4.
The biggest disappointment about the festival line-up is that the majority acts are established, Capetonian musicians who have spent much time in the limelight. Why, one is driven to ask, do promoters always go for acts with record deals?
In addition, there are many excellent groups not represented, like Jazz Moods, Moss Mogale’s Trio, George Lee’s Big Band, Tete Mbambisa and Pat Matshikiza. This is the treasure we ignore at our peril.
The most exciting part of this three year sponsorship is a talent search programme called Jazz Into The Future. Although it is not a first for local jazz history, it harbours much promise for the future. Unlike many recent piggy-bank sponsorships, lasting as long as a Hollywood marriage, the three- year plan should be utilised by the jazz community for the benefit of all.
The first issue of the magazine, Jazz Heritage, is far from exciting, and full of spelling mistakes, including the names of musicians. It might be forgiveable for a first issue, but such silly mistakes are likely to put off jazzophiles -who are a fussy lot. Also suprising is the omission of some of the best jazz writers in the contributor’s line-up.
The editorial team is based in Cape Town and apparently have no clue about what happens elsewhere. Besides, why begin with a cover of an upstart like Jimmy Dludlu when Mankunku, Abdullah Ibrahim, Barney Rachabane and Bheki Mseleku are still out there?
Whatever one may think, the National Jazz Foundation is a first step towards putting the art form back on the platform. Jazz has the capacity to compete with the most popular forms the music world can provide. And our jazz stars have made good all over the world, except at home. This is because many collectors have focused their energy, and spent their money, on American jazz. So it’s time to remember where charity begins.