Down south, jazz knows no class barriers

By Emmanuel Mwendwa

Many Kenyans consider jazz to be music for the elite. It is rarely played in clubs and only a certain class of people patronise jazz joints.

But in South Africa, it is music for the masses, just like rumba tunes are locally. The annual Joy of Jazz festival, usually held in Johannesburg, is a must-attend for many.

"The fact that jazz is less known locally is hardly surprising. This form of music remains historically rooted in regions where the struggle for political liberation spanned several decades," says John Katana, Them Mushrooms bandleader.

The seasoned keyboardist says the music has thrived in US and South Africa.

Quest for justice

"Owing to oppression and depravation of basic human rights, this kind of scenario fuelled a state of hopelessness, which in turn was transformed into a fertile ground for songs that uplift broken souls," says Katana.

For instance, in the streets of Sophiatown, situated in the heart of Johannesburg, rich sounds of southern jazz are common.

Historical records indicate South Africa’s struggle for liberation and jazz are inseparable.

The music was formally introduced in the region soon after World War I, around 1918. A group of American sea merchants reportedly brought along a collection of early New Orleans style jazz recordings after docking at Cape Town port.

"It was during 1920s in Queenstown, Eastern Cape Province that Jazz first developed and started to take on its distinctive South African character," notes Prof Hotep Idris Galeta, a South African jazz pianist and educator.

The subsequent introduction of New Orleans jazz on radio inspired the development of black township music styles.

This formative musical influence drifted to the country’s interior before undergoing transformation from 1930s through 1950s.

The American swing rhythms later blended with indigenous styles to spawn a distinctive South African jazz sound.

It was in the heart of Sophiatown, widely regarded as Jo’burg’s cultural hotbed, that a brand of South African jazz took root. Most of South Africa’s pioneer afro-jazz instrumentalists and vocal singers honed their skills there. These include Jazz Maniacs, Manhattan Brothers, The Quad Sisters and The Skylarks.

These groups inspired a breed of jazz artistes like Abdullah Ibrahim, Hugh Masekela, Kiepie Moeketsie, Jonas Gwangwa, Sol Klaaste, Early Mabuse and Gwigwi Mwerebi.

On a broader spectrum, afro-jazz evolved into a musical form, feeding off racial conflict in South Africa. By mid 1960s, the genre metamorphosed into the mbaqanga style.

This subtle form of pop jazz, also referred to as township jive, served as a launching pad for many contemporary South African musicians. But its development was suppressed in the wake of legislated racism. The enforced regulations forbade Africans from patronising venues where liquor was served.

"As dance halls in Sophiatown and black townships across the country closed, African musicians were locked out of inner cities. Those bold enough only performed in guarded seclusion, depriving afro-jazz its growing multi racial audience," remarks Galeta.

But rather than stifle skilled musicians’ spirit, afro-jazz’s popularity spread, becoming an underground force.

Apartheid laws

The implementation of apartheid laws saw artistes such as pianist Ibrahim, trombonist Gwangwa, trumpeter Masekela and vocalist Makeba go into exile overseas.

Some musicians opted to swim against oppressive regime’s tide, surviving the legacy to influence a younger generation of contemporary jazz musicians.

But with apartheid’s tentacles crushed in mid 1990s, afro-jazz received a renewed jolt.

"We are keen to implement a series of workshops in schools for music students to increase and deepen our pool of new talent," says Joy of Jazz festival executive producer, Peter Tladi.

But with apartheid’s tentacles crushed in mid 1990s, afro-jazz received a renewed jolt.