Jazz in Africa: Cape Town, Part 1

Cape Town is the jazz capital of South Africa, which makes it the jazz capital of the entire continent.  Back in the '50s, Johannesburg--being the home of marabi or township jazz and having produced the likes of Hugh Masekela, Miriam Makeba, and Kippie Moketsi--could give it a run for its money.  But even then Cape Town's jazz musicians--Abdullah Ibrahim, Chris McGregor, Cups Nkukanka, and Johnny Gertze, to name  few--were just a good.  And there were more of them.

Since the early '60s, however, Cape Town has stood alone as the home of straight-ahead jazz in South Africa.  At the same time, local musicians have evolved a local style that gets called, not surprisingly, "Cape Town Jazz" or the "Cape Town Sound."  It's actually a diverse concept which draws on local, more broadly African, Latin American, and US influences.  What holds it together is its lyricism and its lilting grooves that can be heard on compositions such as Ibrahim's "Mannenberg," Winston Mankunku Ngoni's "Yakhal' Inkomo," and Alvin Dyers' "Until We Meet Again, Eddie."

Cape Town still has a very active jazz scene, so when I'm in Cape Town, as I am at the moment, I'm in heaven.

 

That's Cape Town, down there at the far southwestern tip of the continent.

Last Saturday, I went down to the Green Dolphin to hear the wonderful Emily Bruce and her quartet.  She sang only standards (it's house policy), but she's the sort of artist who can make you believe that you're hearing them for the first time.  Emily was brilliantly supported by Wayne Bosch, a guitarist who sounds as good playing soft and slow as he does playing loud and fast.

 

That's Maurice Gawronsky, whom I got to know a few of years ago, when I interviewed him for a book that I'm writing on jazz and politics in South Africa.  He's one of the best swing and bop drummers that I've heard anywhere.  After beginning his musical career in Cape Town, he spent many years gigging in Europe, before returning home.  He's also a mensch.  And very funny.

Maurice leads the band that plays every Sunday at the Winchester Mansions hotel, during brunch.  It's a lot of fun.  More standards, expertly played, and truly excellent salads, seafood, and wine.  In good weather, the band plays and the diners listen outdoors in the Mansion's gorgeous courtyard.  Unfortunately, brunch had to be moved indoors last Sunday.

Monday night and it's time for the jam session a Swingers, a club out in Ottery, one of Cape Town's working-class suburbs.  This jam session has achieved legendary status, attracting some of the city's best musicians and international stars, when they happen to be in town.  It's also mentioned in just about every guide book to Cape Town.

Alvin Dyers leads the a very strong house band (that's him, in the photo above, playing guitar in the shadows).  Last Monday, Buddy Wells played sax (that's him, under the hat).

The guys and gals at Swingers perform at a very high level.  I was with Marshall Sealy, an American jazz horn player who's based in New York, when he visited Swingers for the first time.  Marshall didn't know what to expect, but he certainly didn't think that he'd have to be at the top of his game to keep up.  He did, much to his delighted surprise.

It's a little later in the night, and Alvin and Buddy have given way to a local sax player whom I know only as Diddier and a Danish singer, whose name I never learned.  I've heard Diddier before and as always was pretty impressed.  The young Dane was awfully brave to get up on stage and jam with a bunch of strangers.  She turned out to be a terrific singer.

Tech note:  I made all these photos with a Canon G10, which, at ISO 800, is gasping for breath.  I like the camera anyway.  It's a cool tool.

Comments

[Cameron]

EXCELLENT blog, John! I'll visit often.

Although I love black&white photography, these color shots are stunning. Nice change of pace.

[John Edwin Mason]

Thanks very much. It's great to hear that you like what I've been doing. --JEM