Nicky Blumenfeld
In attempting to secure a record-company deal, an increasing number of artists in South Africa invest their own time and money, in the hope that their demo will be heard and their efforts acknowledged.
Just more than a year ago as a radio presenter I received one of these self- made initiatives, put together by a husband-and-wife team. Although melodic, the music was electronically programmed and thus completely inappropriate to the profundity of the velvet voice that it accompanied. Regardless, the sheer vocal beauty of this artist, Linda Kekana, ensured immediate airplay and the public response convinced me that a star would be born. The following day, this was ordained when Hugh Masekela called, inquiring about this undiscovered diva in our midst.
At this point, Kekana had just sealed a recording contract, and while awaiting the launch of the official album, her profile and popularity grew. It was worth the wait because, having now released her debut album, Rebirth, her vocal eloquence is celebrated alongside some of the world’s finest musicians, all hailing from South Africa.
Kekana grew up in Atteridgeville – considered the “jazz mecca” of Gauteng. Her family was not significantly musical and there was no radio in the household. However, from an early age she was exposed to the sounds of local and international greats, describing how “the music was so loud in the neighbourhood, you could just not ignore that”.
Her talent and passion enabled her to lead church choirs and entertain at parties, soon realising jazz as her musical genre of choice. However, she was frustrated with the then oppressive regime, and doubted her ability to deal with the resulting state of he music industry. Instead, for eight years, she worked as a payroll administrator for USAid. In 1990, after a period of musical infertility, and encouraged by the political changes in the country, her confidence grew with the “whole idea of freedom” – freedom of expression, of speech and of song – believing it was now “time to say to the world: this is it!”.
Kekana has a formal seriousness, and insists that her choice of title relates to President Thabo Mbeki’s “African renaissance” concept, empowering the continent and instilling pride in the African identity. She admits her ideas and values have also significantly evolved since the liberation of the country, and it is the “love for oneself” that she continually refers to that has increasingly enabled this conception.
Although influenced by a broad range of musicians and styles, including the likes of Letta Mbulu, Caiphus Semenya, Hugh Masekela and Dorothy Masuku, she particularly credits two individuals – Miriam Makeba and Bob Marley.
Significantly, it is not their voices that she talks about; rather, what most attracts her are their concern with social issues and their struggle for human rights. She admires their direct identification with the people and interprets Bob Marley’s motto – “Burn down Babylon”- as a breaking-down of all that is weak, ill or oppressive in a system. “We are part of the whole and if that whole has dents or wounds, we all feel the pain, one way or the other.”
Kekana certainly feels a responsibility. and with the literal lyrical content of her songs she addresses the regular, weighty issues of crime, Aids and poverty. This density is, however, justified in her quest for freedom of expression and cushioned by her crystalline vocal renditions. To Kekana it may be the opportunity to speak her concerns that is liberating – to the listener, it is the frequency of her voice that sets one free, and beyond this the album signifies another awakening.
It is the work of the accompanying musicians that leads the experience, well beyond conception into full-blown adulthood. Themba Mkhize is surely one of the most profoundly moving pianists ever to emerge, and his inimitable style cradles the gifted infancy of our newborn diva.
Both under-acknowledged, the bassist Fana Zulu and guitarist Lawrence Matshiza revel in Kekana’s allowance of free jazz interpretation. The melodies are secured by the work of master-drummers Vusi Khumalo and Kwazi Shange. A touch of brass by Khaya Dlamini and Reuben Nchabeleng, and the percussion of Godfrey Mcina, provide for warm nourishment.
As a co-producer with Kekana’s husband, Ephraim, Thapelo Khomo describes the challenge of working on this album. He was excited by the prospect of doing a “real jazz project” – with no electronic programming and featuring class musicians with individual contributions. Weeks after the release, he is like a proud father – listening to it daily and “still dreaming” of the experience.
The album’s freshness is a rebirth and its journey reflects a life well lived. More than this, the superb musicianship deserves the credit of initiating South African music to a new level.