A new musical weekly incentive to get over blue Mondays.
“I love you all and I’ll, see you here next week!” Those were the parting words of Carlo Mombeli, associate professor and the head of Wits University’s Music department. Mombeli’s words were not only an indicator of the intimate feel of the room but also a reflection of his intentions.
Wits Jazz Tuesday’s is a weekly musical showcase put on at theWits theatre lobby by the students and staff of the university’s music department.
Writing this, I felt like a miner who had just discovered gold or a scientist who had just uncovered the inner workings of one of Earth’s many mysteries.
Two audience members performing an item. Photo: Sechaba Molete
The night was ushered in with the cry of the first musician’s trumpet. At that moment, the theatre lobby turned into a terminal with the audience members being passengers eagerly awaiting a journey that transcended space and time.
Words cannot adequately substitute the feeling of physically being present at the feet of a live music ensemble, but in my attempt to use a linguistic medium, I would describe Wits Jazz Tuesdays as a place for community.
The Wits Jazz Tuesday community survives off an ecosystem made of jazz lovers, musicians (instrumentalists and vocalists) and aspiring musicians. Mombeli’s hands-on approach to leading this weekly musical gathering further strengthens its community feel, with him encouraging audience members to showcase any of their musical abilities while he volunteered one of his students to back them up.
The tapping of shoes on the ground, the nodding of heads, the closing of eyes and the occasional yelling of inaudible sounds were all markers of a common understanding and appreciation of the jazz genre.
The programme began with pure jazz and improvisation by specific student bands selected in advance. As the evening progresses and audience members are invited to perform, genres such as indie pop and alternative music become more frequent.
The evening struck the right balance between indulging the tastes of jazz fanatics and virtuosos while catering to the tastes of music lovers in general.
Wits Jazz Tuesday’s was an interactive experience that demanded engagement. Midway through the programme- Mombelli asked everyone to participate in creating the evening’s soundtrack by mumbling in a specific tone. Despite the awkward giggles and concerned comments that followed this request, Mombelli remained committed to democratising jazz and its creation.
This was further reflected in his decision to make the showcase free and invite everyone to join him and his students again next week. It was a fun and heartwarming experience. Its inclusive nature is reassuring and relaxing. The weekly showcase on Tuesday evenings serves as a reward for surviving Mondays!
I would give it a solid 9/10.
FEATURED IMAGE: An image of Wits University’s music students performing a song
Music-lovers united to watch a jazz trio groove up the stage at Wits Chris Seabrooke Music Hall.
The stage was adorned with a gorgeous baby grand piano, a bronze trumpet, and a larger-than-life cello, all waiting to play a tune. The music hall was designed with acoustic architecture and welcoming colours added to the ambience. The stage was awaiting South African trumpet legend, Sydney Mavundla, who was accompanied by Africa Mkhize on keys and Dalisu Ndlazi on strings, to debut his single, Dirge for our fathers.
The stage is set with a grand piano, a shiny trumpet, and an impressive cello. Photo: Victoria Hill
Mavundla “hated the beginning” of his music career, and it took him “quite some time to get into it”. He told Wits Vuvuzela how he “used to come home, drop [his] school bag, and run [away] before [his] dad comes, because if he gets here, it’s ‘let’s go to the trumpet’”. His father was a colonel with the Salvation Army and encouraged Mavundla to join their band.
It was around the age of 14 years, when he began to love the brass instrument. Interestingly, he had auditioned for Wits and got rejected, but soon found a home at the University of Natal, studying under prestigious musicians and creating unique pieces he went on to perform all over the world.
From left to right, Africa Mkhize, Sydney Mavundla, and Dalisu Ndlazi, take a final bow to close their jazz performance. Photo: Victoria HillThe trio in their element, performing a composition called Dirge For Our Fathers. Photo: Victoria Hill
Silence fell over the audience as they waited in anticipation for the first note to sound. The three men looked in their element, waiting for each other’s cues and then, suddenly, a symphony hit everyone’s ears. The audience become one, each in their own bubble interpreting the music as they pleased — an old-school pipe-smoker, a young head-bopper, and a curious foot-tapper.
The first song of the evening paid homage to the time of covid-19 lockdown, when all social circles were broken. The tune was melancholic, with a slow blending of piano, trumpet, and cello sounds. Each musician had a solo which drove home the idea of isolation, yet finding the beauty within it. Now that society has returned to normal, Mavundla says the places available for jazz musicians to share their music is limited, so even though one has music, there is no one for whom to play it.
The next composition was an ode to his daughter, the song recreated her happy and lively nature. The music consisted of high-and-low points and soft-and-loud blends. The three gentlemen were living in the moment, dancing to their own music and smiling at each other whilst performing. The feeling was contagious throughout the audience, with many “whoops” and “yes’s” echoing around the hall.
Contrasting this energy was a composition referring back to Mavundlas’s roots. It was whole-heartedly melancholic, with a contagious silence falling amongst the audience. A general emotion of lost-yet-found was tangible. But, as they transitioned into their next melody, everything gained momentum again, resulting in a sound that has “everything to do with happiness”. The three musicians were sweating at this point — they were playing their instruments with their full bodies and encouraged the audience to feel the beat through their whole bodies too.
Dalisu Ndlazi can be seen emerged in his cello solo, physically exerting his mind, body, and soul. Photo: Victoria Hill
The climax of the evening was when the trio played Dirge for Our Fathers, “paying tribute to all the people who have paved the way for us”. It doubles as a reference to African culture and the importance of the ancestors in life. Mavundla sings “may your soul rest in peace, know that you are so loved, tell all the others the same”. This drove people in the audience to sing and dance their hearts out.
FEATURED IMAGE: Sydney Mavundla on stage performing songs of his own composition. Photo: Victoria Hill
Powerful African rhythms and poignant reflections on post-apartheid complexities.
Bokani Dyer performing one of Vuma Levin’s movements titled, Chaphela. Photo by: Ayanda Mgwenya
Renowned jazz artists, Vuma Levin and Benjamin Jephta, took to the Chris Seabrooke Music Hall stage, on July 29, 2023, for a combined album launch called The Narratives.
Jephta is a bassist and composer and has performed with prominent international artists like Dianne Reeves and Terri-lyne Carrington.
Levin is a jazz studies lecturer while Jephta lectures in both jazz and film music.
Renowned jazz maestros, such as Sisionke Xonti (saxophonist), Bokani Dyer (pianist), Tlale Makhene (percussionist), and Jonno Sweetman (drummer), performed alongside the two during the launch.
The evening was divided into two sets. Levin kicked off the night with tracks from his fifth album, The Past is Unpredictable, Only the Future is Certain, performing 2/3 parts of the album: The first one titled The Past is Unpredictable with movements Gijima and Chaphela and the second one titled Prayers Made From Grass with Homily and Rites.
Led by Tlale’s poetic chants and Xonti’s melodious sounds, an African rhythmic experience was created. The inclusion of African instruments like the udu ceramic drum, cymbals, chimes, ankle rattles, and triangles added a distinct African essence.
Levin said, “The album blends indigenous and western musical instruments, making it a unique and special representation of Pan Africanism in music.”
Following a short intermission, the spotlight shifted to Jephta’s set, performing hisBorn Coloured, not Born-Free album, Jephta’s compositions delve into the complexities of race in South Africa. The music encapsulated his personal experiences as a coloured male in post-Apartheid South Africa.
Jephta’s set featured soulful tracks like An Incomplete Transition and Gadija (part 1), a heartfelt tribute to his grandmother. The bass-driven Ben-Dhlamini Stomp earned him a standing ovation. Closing the show, Jephta’s last two movements, Acceptance/metamorphosis and Resurgence, delighted the crowd with its infectious rhythm and captivating melody, leaving them singing and bobbing along.
Speaking about the two musicians, Wits Music lecturer, Dr Peter Cartwright said, “They are both new in the permanent staff… so it’s a way to welcome them, you know, with their first public concert.”
Elliot Rogers, third year music student said, “Benjamin Jephta is my lecturer for ensemble, and I do guitar [classes] with Vuma Levin; and seeing this concert where their music is coming together is a beautiful sight, looking at it from a [scholastic] lens.”
The Narratives concert got the audience singing and clapping throughout, the multiple standing ovations received on the night spoke to the pair’s expansive talents.
FEATUREDIMAGE: Benjamin Jephta performing his bass-driven composition, Ben-Dhlamini Stomp, at the Chris Seabrooke Music Hall. Photo by: Ayanda Mgwenya
Jazz musician shares his lockdown-composed album with fans in Braamfontein
Songstress Keorapetse performing The Call at Untitled Basement on March 31, 2022. Photo: Ayanda Mgwenya
Jazz saxophonist Sisonke Xonticaptured the heart strings of young jazz enthusiasts with his first ever Joburg performance of his album, UGaba: The Migration at Untitled Basement.
Xonti composed the album during the 2020 hard lockdown, imposed due to the Covid-19 pandemic, which left many South Africans mourning their family members who have passed, while others were left in a precarious financial position as jobs were shed.
The album consists of nine tracks that tell stories of Xonti’s life, including the trials and afflictions he phased when he moved to Johannesburg – the City of Gold – in 2013, from Khayelitsha, in the Western Cape.
Typical of the performances that take place at Untitled Basement, Xonti and his four-piece band were set up at the centre of the venue, surrounded by eager jazz fans who wanted to hear the album, live, first-hand.
His band members consisted of significant jazz maestros such as drummer Sphelelo Mazibuko, pianist Yonela Mnana, double bassist Benjamin Jephta and vocalist Keorapetse Kolwane.
Warm and dim lights hung over the musicians – adding to the soft ambience that permeated all over the entire basement.
The band started their performance with the song, The Migration Suite Part One – which is part of a collection of songs, Migration Suite Part two, three and four in the album. The songs are the essence of the album, as they depict Xonti’s endurance of the difficulties he encountered in his journey to Johannesburg. The Migration One was performed with so much emotion and depth that some audience members closed their eyes, so they could let their other senses absorb the music.
The audience was hungry for more – and Xonti delivered. They also performed Newness, which is the first track on the album. The song isa salutation to the birth of his daughter, explained Xonti to Wits Vuvuzela after his performance. Newness is a beautifully crafted prelude of the album with a significant irregular beat in the bridge, that represent the vicissitudes of life his daughter will experience and overcome. Xonti explained that Ugaba is part of his clan’s name, therefore, the project also pays tribute to his family for walking beside him in his life journey.
The seventh track, TheCall is a smooth composition with soft vocals performed by Keorapetse Kolwane. The song has a catchy melodious chorus that got the audience harmonizing and clapping their hands along with the rhythm. Other songs, like Nomalungelo and Sinivile had the audience up, dancing and singing along due to their upbeat instrumentation.
Tebogo Mohwaduba, one of the event attendees, said that an annual attendee of the Standard Bank Joy of Jazz Festival, Xonti came onto her radar as one of the supported artists in 2020. She said, he is a music scholar, and that academic aspect of jazz comes through a lot in his songs, which she appreciates.
DJ Kenzhero, who is the co-founder of Untitled Based and organiser of Xonti’s event, said for the album to be performed at his space, for the first time, was a goal for him, especially because he is a fan of it. “With the shortage of tickets, Xonti’s show was one of the most successful shows we’ve had,” he said.
FEATURED IMAGE: Sisonke Xonti with his band performing the first track of Ugaba: The Migration. Photo: Ayanda Mgwenya
Fellow musicians and friends of the late drummer and producer, Sisa Sopazi, gathered at The Orbit jazz club in Braamfontein last Saturday to pay tribute to the multi-talented musician.
“Only the greatest of musicians could get such a remarkable send-off,” a friend whispers to me as we watch Lindiwe Maxolo singing dexterously at The Orbit, last Saturday.
Many in the South African music scene knew him as Mr Funk Daddy. Sisa Sopazi, a 35 year old Eastern Cape born drummer, composer and producer passed away suddenly in June earlier this year, leaving fellow musicians, friends and family devastated, “He has left a void that will never be filled,” pianist Nduduzo Makhathini told The Herald newspaper.
The best way to celebrate the life of a fierce musician, is to assemble others like him to cast in stone his memory through music. The Sisa Sopazi tribute and fundraiser concert did just that. The day of the concert, 08 August, was meant to be the date Sopazi would perform new compositions from his upcoming second album, at The Orbit.
Trumpeter, Mandla Mlangeni delivered an emotional performance in memory of Sisa Sopazi at The Orbit last Saturday. Photo: Zimasa Mpemnyama
Apart from his own compositions and musical work, Sopazi worked closely with many musicians, including Thandiswa Mazwai, featuring as the drummer and assistant producer of her second album Ibokwe. An experience Sopazi said was “always overwhelming because she’s a very talented singer & very creative.”
To honor the multi-talented and well recognized musician, songs from Sopazi’s debut album, Images and Figures – which was nominated for Best Jazz Album in the 2014 South Africa Music Awards (SAMA), were performed by the Lindiwe Maxolo Quintet and the H3 ensemble, along with specials guests whom were Sopazi’s friends and fellow musicians.
The musicians played Sopazi’s compositions like Ekomani, You Are and Nomthandazo, with compassion, depth and creativity – all qualities Sopazi was known to embody.
The young and talented Linda Sikhakhane blew his tenor saxophone like it was his last time, accompanied by his fellow band mates, Sthembiso Bhengu (who also played in Sopazi’s band, Sisa Sopazi Quartet) on the trumpet and Senzo Mzimela on trombone.
The animated drummer Sphiwe Shiburu and double bassist Thembinkosi Mavimbela gave the sound a warm jazz base, with the dapper Jacob Thomo on piano, delicately stroking his keys.
Double bassist, Thembinkosi Mavimbela playing tunes from Sisa Sopazi’s debut album, Images and Figures at the Orbit. Photo: Zimasa Mpemnyama
Guest performers included pianist and vocalist Yonela Mnana whose bluesy voice was coarse yet sincere and emotionally charged, legendary double bassist Lex Futshane, vocalist Titi Luzipho and bassist Banda Banda amongst others.
The highlight of the night was the bursting drums of Ayanda Sikade, and the wailing trumpet of Mandla Mlangeni. They created an atmosphere which was not somber but commemorative. Watch their full performance below:
Mnana finished off his performance of You Are by saying, “You know Sisa, Sisa was Mr Funk hey. I think he would really appreciate this.” Which goes to show that the artists were not mourning the death of Sopazi, but instead were celebrating his life. Celebrating his enormous contribution to the South African music scene.
Proceeds from the concert will be given to Sopazi’s family.
The Orbit Jazz Bar in Braamfontein celebrated international jazz day with a focus on the people affected by xenophobia in South Africa.
JAZZ NIGHT: Thandi Ntuli and her bandmates came together to celebrate international jazz day at The Orbit. Photo: Michelle Gumede.
International jazz day came to Braamfontein on Thursday, March 30, with a performance by pianist Thandi Ntuli and her band. The global event created by UNESCO is aimed at celebrating the qualities and the virtues of jazz, but the local celebration also made use of the performance to collect donations for affected by the recent wave of xenophobia.
The Orbit, hosts of the event, partnered with local charity, Gift of the Givers, who have been working with displacement camps that are currently housing people left homeless through xenophobia.
For Ntuli it wasn’t just about performing on stage and asking people to donate to the charity, it was about using the event to make a difference.
“Am I going to say ‘Oh no’ those bad people or I am going to do something positive in light of what’s happening”, said Ntuli.
Audience members were asked to donate towels, non-perishable food items, disposable diapers, hygiene packs, winter clothes, and other items.
These would then be collected later by the organization who will distribute them to camps in Johannesburg and Durban.
Celebrating the beauty of jazz
The Orbit was filled to capacity for the evening’s celebration of jazz. Amaeshi Ikechi, the band’s bassist, said that for him jazz had started off as just as musical improvisation.
Sphelelo Mazibuko, the drummer, believes that jazz is an expressive language that transcends all other genres.
“It doesn’t matter if you’re young or if you’re old. It’s expressionate (sic), it’s fresh and it keeps growing,”said Mazibuko.
Africa and Europe met at the Great Hall last night. Bassist, composer and Wits lecturer, Carlo Mombelli reunited with his European touring band, the Stories Ensemble, joined by Capetonian pianist Kyle Shepherd. They played music from Mombelli’s latest album, Stories.
PLAYER AND TEACHER: Carlo Mombelli tells ‘Stories’ through music Photo: Michael Hoefner/WikiCommons
Groove met classical and traditional at the Wits Great Hall last night. Composer, bassist and Wits music lecturer Carlo Mombelli and his band, the Stories Ensemble, took jazz music and stretched it. They played music that not only entertained, but pulled at the heartstrings – places indescribable by words.
“I love teaching, and I am very anti the ‘jazz police”
Mombelli brought his European band, the Stories Ensemble, for a South African tour that had them performing at the Cape Town International Jazz Festival, at the University of KwaZulu Natal, in Maputo, Mozambique and ending off at the Wits Great Hall. They mainly performed music from Mombelli’s latest album, Stories (Instinct Africaine), recorded in Switzerland.
Born in Pretoria, Mombelli taught himself how to play the bass at age 16, and later went on to start his own band called Abstractions in 1985. He has performed with South African jazz greats like Marcus Wyatt, Zim Ngqawana and Miriam Makeba. He has, and continues to, perform all over the world.
Last night, the bassist was joined by Zulu ‘traditional’ vocalist Mbuso Khoza, whose clean yet strong and passionate voice effortlessly blended in with the ensemble. Adrian Mears’ warm trombone transitioned from powerful to delicate melodies in an instant. Drummer Dejan Terzic created a full, rounded powerful sound. Cape Town pianist Kyle Shepherd, who was not part of Mombelli’s original recording in Switzerland, merged his Cape jazz style with the eclectic sound of the band. His playing was intimate, compelling and strong, as usual. The classical element was brought by cellist Daniel Pezzotti, bringing elegance and originality to the group.
Mombelli began the set with a composition titled Requiem, originally performed with his band The Prisoners of Strange in 1996. The Hunter had the crowd grooving to its infectious bouncy melody. Shepherd took it to Cape Town, Khoza brought in a dynamic traditional component, resulting in a trance-like element to the music. A poetic tribute to Mombelli’s first piano teacher titled, For Mrs Loveday, then followed. Experimentation, creativity and improvisation. All elements piercing through the music.
On stage, Mombelli was tiny and short, and his bass guitars seemed almost too big for him. But, he connected with his band members like a choir master would to a 60 voice choir. Making eye contact, hand signals and head nods that indicated when to start, stop or pause. A seamless form of communication.
At times, Mombelli played with his back turned to the audience. Not as an act of alienation, but to rather unite – the audience, the band members, and those only among us in spirit.
“I love teaching, and I am very anti the ‘jazz police’” Mombelli told The Cape Argus last year. This shows in the Ensemble’s style of playing – going beyond rigid boundaries. Their music moves. It drives itself, creating new possibilities for the art of making music.
Carlo Mombelli and the Stories Ensemble delivered a solid performance, but what else can we expect from some of the world’s most creative and sought after musicians?
FOURTH year BMus Wits student Sean Jacobs is a jazz vocalist who performs regularly at local jazz venues. His greatest achievement was being chosen to perform at the Nelson Mandela Memorial last year alongside well-known jazz vocalist Lira. He is also a pianist and flautist.
Did you always know you wanted to sing?
I started singing from a young age. Then I stopped in grade ten and took up the flute. It was after a year’s course in theatre that I realised that singing is my passion. I realised I had the desire to use my voice to translate meaning. I believe that music can be used for the social betterment of others and I enjoy doing that.
What has been the highlight of your music career?
It was when I performed at Nelson Mandela’s memorial last year. I got to meet Lira, who was also performing. The great thing about my career path is that I also get to travel and, last year, I got to perform for an Investec corporate event in Mauritius.
Do you think the South African music industry has room for jazz artists?
I think our industry is small but diverse. There is space to be different. Talent needs to be balanced with hard work. Some artists depend on talent and that attitude is what fails them in the end. Musicians of all genres also need to network, a lot, and get as many contacts as possible and make themselves known.
Who inspires you?
I like listening to people who set the trends – music pioneers. I draw inspiration from different people who infuse genres cleverly like Frank Sinatra, Ella Fitzgerald, The Carpenters, Pharrell Williams, Marcus Wyatt and sometimes I listen to rock music.
If you were not doing music what would you be doing?
I would be acting. I’m very involved in the music industry and I wouldn’t trade it for anything else.
What do you think about the notion that a music degree is not like any other Wits degree?
People often look down on music and drama students because they don’t know that, in order to do well, it takes hard work and dedication like any other degree at Wits.
Do you practise your vocals at res?
No, if I had to practise at res it would be disruptive to other students. I sometimes sing in my room but not too loud as I would when I’m practising or performing.
PLANET JAZZ: Jazz great, double bass legend, Herbie Tsoaeli rehearses for his performance at The Orbit. The new Braamfontein hotspot is the perfect night out for jazz music lovers. Photo: Tendai Dube
THE ORBIT, a sleek new jazz club and bistro, stands out with its frosted glass and bright green wall from the surrounding concrete and face-brick of the neighbouring Braamfontein buildings.
As you approach The Orbit’s transparent doors, you are lured in by the out-of-place music amidst the sound of midday traffic.
[pullquote]”The Orbit is devoted to contributing to the development and refurbishment of the performing arts.”[/pullquote]
Three lovers of jazz music conceived the concept of a jazz club in the middle of the city. Aymeric Péguillan, Dan Sermand and Kevin Naidoo said they wanted to create a platform for creative expression for jazz musicians in Johannesburg.
The Orbit is devoted to contributing to the development and refurbishment of the performing arts in Johannesburg and has entered a partnership with the University of Witwaterand’s music department.
The collaboration will see Wits music students being invited to perform during lunchtime sessions every day. “The Orbit is not just about showcasing professional established musicians. It’s also about giving a chance to young artists to display their talents in a proper professional environment,” Péguillan said. Wits music students will be performing everyday during lunchtime. ‘Jam Sessions’ hosted on Tuesday nights at the club with an entrance fee of R40 is part of The Orbit’s plan to appeal to students.
“We loved the idea of jazz in the city. [Jazz] draws its influences from the pulse of the city,” Péguillan said explaining the choice of Braamfontein as their location. “It has this very interesting mix of people.” The Orbit hopes to reestablish the concept of a permanent venue for people to listen to jazz music instead of waiting for events.
As you cross the threshold and enter the club, you are engulfed in the romance and warmth of the wood, leather and glass-themed venue. True lovers of the genre surround the stage and absorb the instrumentals in a room with the ambience of a family room with a fireplace.
The Orbit is located on 81 De Korte street, the former venue of the Puma Social Club, and is open from 11.30am from Tuesday to Sunday. The venue can seat about 200 people in the theatre upstairs, and 100 in the restaurant downstairs where the live lunchtime performances will take place.
Since her announcement as the Democratic Alliance’s mayoral candidate for Johannesburg, Helen Zille has dominated national headlines. In this bonus episode of We Should Be Writing podcast, hosts Lulah Mapiye and Bonolo Mokonoto dissect a media meet-and-greet with the mayoral hopeful. From her extensive political résumé to her controversial public utterance, we examine why the Democratic Alliance has chosen Hellen Zille as their candidate for the 2027 local mayoral elections. Additionally, […]
