Archive JULY 2021 TAKE 290 1 THE YARDBIRDS (P42) 2 DAVID BOWIE (P43) 3 JOHATHAN RICHMAN (P44) 4 RANDY NEWMAN (P46) 5 NINA SIMONE (P47)
SPIRITS REJOICE
African Spaces MATSULI MUSIC
Rare South African jazz-rock majesty from 1977.
By John Lewis
REISSUES | COMPS | BOXSETS | LOST RECORDINGS
JAZZ has always had a strong resonance for millions of South Africans. It might have been OF THE music that was created 8,000 miles away but the underlying themes – an artform born out of struggle, a stylistic fusion created in the face of segregation, an attempt to create joy in the face of racism and oppression – had a strong pull for a nation living under apartheid. By the early 1960s, Cape Town, Johannesburg and their surrounding townships had become established centres of a new form of fusion that blended US jazz with indigenous kwela, mbaqanga and marabi music.
But in a land where musicians of different races were restricted from working with each other and where black people were prevented from gathering in groups, many of the country’s biggest names had trouble making a living and ended up fleeing the country, with many not allowed back in until the end of apartheid. Some, such as Hugh Masekela, Miriam Makeba, Abdullah Ibrahim and Hotep Galeta, found fame and fortune in the United States; others, such as Chris MacGregor, Dudu Pukwana, Harry Miller, Louis Moholo, Julian Bahula and Mongezi Feza, became cult figures in London. Some settled in different parts of Europe, such as Switzerland (drummer Makaya Ntshoko) and Sweden (bassist Johnny Dyani); still more (such as the trombonist and composer Jonas Gwangwa) set up base across the border in Botswana. All led the fight against apartheid in exile.
TONY CAMPBELL
The challenge for musicians who remained in South Africa, however, was greater. Not only did they have to fight the system from within and lead a quiet musical resistance without attracting the wrath of the authorities, but their music had to serve as a balm for those suffering under apartheid. Some, like the alto saxophonist Kippie Moeketsi and the pianist Gideon Nxumalo, were broken by this struggle and – hounded by authorities for supporting the fight against apartheid – ended up dying tragically young; others had to jump through hoops in order to make a living. Few South Africans were allowed to tour abroad and their records were hard to obtain in Europe and the US. But many musicians, such as Philip Tabane’s group Malombo – endeavoured to absorb the advances in jazz, funk and fusion as they heard them played on the radio.