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Musician

Mongezi Feza

8

Article: Album Review

The Paxton / Spangler Septet: Ugqozi

Read "Ugqozi" reviewed by Chris May


Ugqozi is a celebration of modern, urban African music, especially that from South Africa, with which co-leaders trombonist John “Tbone" Paxton and percussionist RJ Spangler have been in love for decades. It is also an affirmation of the vibrant Detroit scene of which the multi-generational Paxton / Spangler Septet is a part. Actually, ...

15

Article: Multiple Reviews

The Blue Notes: Refugees From Race Hate

Read "The Blue Notes: Refugees From Race Hate" reviewed by Chris May


In late May 2022, three months into the war in Ukraine, the plight of refugees is at the front of our minds. Around five million Ukrainians have become refugees and another seven million are displaced persons inside their own country. The apartheid-era South African refugee crisis was not on this scale. The number of internally displaced ...

27

Article: Building a Jazz Library

From George Coleman to Meeco: Ten Overlooked Classics

Read "From George Coleman to Meeco: Ten Overlooked Classics" reviewed by Chris May


The only thread running through this installment of Building A Jazz Library is that of unsung quality. No particular artist is spotlighted, nor any particular genre. There are simply ten, randomly selected albums, recorded in the US and Europe between 1953 and 2021, which show jazz off at its finest, but which, for one reason or ...

9

Article: Multiple Reviews

Township Jazz: A Riot Busting Out

Read "Township Jazz: A Riot Busting Out" reviewed by Chris May


Dateline: April 2022. This month the American label Blue Note is launching its Blue Note Africa imprint with South African pianist Nduduzo Makhathini's single “Senze' Nina." It is fittingly synchronous that at the same moment, Britain's Ogun label is reissuing two albums by South Africa's Blue Notes, the band which introduced township jazz to Europe and ...

10

Article: Multiple Reviews

Township Jazz: Unlocking The Vaults

Read "Township Jazz: Unlocking The Vaults" reviewed by Chris May


Britain is often said to be the first country to have forged a style of jazz distinct from its American parent, during the late 1950s, in part through the influence of London-based players from South Asia. Closer examination of calendars and the historical record, however, shows that South Africa found its own jazz voice at the ...

46

Article: Building a Jazz Library

Saxophone Colossi: An Alternative Top Ten Banging Albums

Read "Saxophone  Colossi: An Alternative Top Ten Banging Albums" reviewed by Chris May


Miles Davis once said you could tell the history of jazz in four words: Louis Armstrong, Charlie Parker. You might want to add John Coltrane, you might even want to add Davis. But however you cut it, saxophones and trumpets have been the flag bearers of the music. Trumpets got things rolling and saxophones came into ...

9

Article: Album Review

Various Artists: Indaba Is

Read "Indaba Is" reviewed by Chris May


There are probably several reasons why American jazz made the deep and lasting impact it did on South Africa in the 1950s. One may be that the colonial regime which was imposed on the country during Europe's pan-African nineteenth-century landgrab was among the most vicious of them all, and persisted the longest through the apartheid system ...

1

Article: Radio & Podcasts

Destination South Africa (Part 1)

Read "Destination South Africa (Part 1)" reviewed by Ludovico Granvassu


Over the past three weeks we've focused on Africa's influence on jazz music. We played music by international jazz musicians who were inspired by Africa as well as music by jazz musicians from Mali to Tunisia and from Ethiopia to Zimbabwe. Now what about South African Jazz? Well, we left South Africa for last ...

7

Article: Profile

Mike Osborne: Force Of Nature - Part 1-2

Read "Mike Osborne: Force Of Nature - Part 1-2" reviewed by Barry Witherden


Part 1 | Part 2 Some three-and-a-half minutes into Release, the Deram recording of Mike Westbrook's seminal suite mixing Swing classics with Westbrook originals, after a scorching solo by John Surman on “The Few," an alto saxophone cadenza emerged from a free ensemble passage: the tone was penetrating, incisive, severe, the phrasing intense, passionate ...


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