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The jazz scene in South Africa grew much as it did in the United States. Through performances in nightclubs, dances, and other venues, musicians had the opportunity to play music often. Musicians such as singer Sathima Bea Benjamin learned by going to nightclubs and jam sessions and waiting for opportunities to offer their talents. One unique aspect of the South African jazz scene was the appearance of individuals imitating popular artists as closely as possible because the real musician wasn't there to perform in the area. For instance, one could find a "Cape Town Dizzy Gillespie" who would imitate not only the music, but the look and style of Dizzy.[1] This practice created a strong environment to nurture some artists who would eventually leave South Africa and become legitimate contributors to the international jazz scene.

One of the first major bebop groups in South Africa in the 1950s was the Jazz Epistles.[2] This group consisted of trombonist Jonas Gwangwa, trumpeter Hugh Masekela, saxophonist Kippie Moeketsi, and pianist Abdullah Ibrahim (then known as Dollar Brand). This group brought the sounds of United States bebop, created by artists such as Dizzy Gillespie, Charlie Parker, and Thelonious Monk, to Cape Town with Moeketsi modeling his sound and style on Parker's. This group was the first in South Africa to cut a record in the bebop style, but their contemporaries, the Blue Notes, led by pianist Chris McGregor, were no less involved in the local jazz scene. Together, these two groups formed the backbone of South African bebop.

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An early use of jazz as an anti-apartheid tool was the production of a musical entitled King Kong.[2] Written as a social commentary on young black South Africans, much of the music was arranged and performed by famous South African jazz musicians, including all the members of the Jazz Epistles, minus bandleader Abdullah Ibrahim. The musical was premiered to an integrated audience at the University of Witwatersrand despite efforts of the government to prevent its opening. The university had legal jurisdiction over its property and was able to allow the gathering of an integrated audience. From this point on, as the play toured South Africa, it carried this undertone of defiance with it. The success of the play eventually took it to premiere in London, and while failing financially outside of South Africa, allowed many local jazz musicians an opportunity to obtain passports and leave the country.

In March 1960, the first in a series of small uprisings occurred, in an event that is now known as the Sharpeville Massacre.[2] Censorship was dramatically increased by the apartheid government, which led to the shutting down of all venues and events that catered to or employed both black and white individuals. Gatherings of more than ten people were also declared illegal. As a result, a mass exodus was created of jazz musicians leaving South Africa seeking work. Among these were pianist Abdullah Ibrahim, his wife and jazz vocalist Sathima Bea Benjamin, trumpeter Hugh Masekela, and vocalist Miriam Makeba.[1]

For some, the move proved to be fortuitous. Ibrahim and Benjamin found themselves in the company of US jazz great Duke Ellington in a night club in Paris in early 1963. The meet resulted in a recording of Ibrahim's trio, Duke Ellington presents the Dollar Brand Trio, and a recording of Benjamin, accompanied by Ellington, Billy Strayhorn, Ibrahim, and Svend Asmussen, called A Morning in Paris. Artists such as Masekela traveled to the United States and were exposed first hand to the American jazz scene.

One of the most important subgenres of jazz in the region is Cape Jazz. The music originates from Cape Town and surrounding towns and is inspired by the carnival music of the area, sometimes referred to as Goema.

Acquiring the records was only part of the task however. Through the graces of good friend Judy Pillay at the SA tourism office in New York who accompanied us on the trip, CTIJF founder Rashid Lombard, and Gwen Ansell (who annually hosts an extensive workshop for aspiring music print & radio journalists during the week leading up to the festival) I connected with several South African musicians for extensive interviews, none more informative or knowledgable than pianist-composer Hotep Idris Galeta.

I love Jazz and I've been listening to Jazz for over 5 years now. I'm looking for jazz Music by Africans in Africa, I would really appreciate a recommendation to a Spotify, Youtube playlist, Reddit thread or even to the specific artists. I like the late Fela Kuti, Oliver Mutukudzi, Hugh Masekela, the living Isaiah Katumwa, Seif Keita, among others. I believe there's more African talent and I'd like to try them out.

Im trying to find some jazz artists, albums or songs with african drum sounds such as djembe, conga, ashiko or similar instruments. I found some songs that are based on that sounds such as Mulatu Astatke 's I Faram Gami I Faram so you can get an objective clue of what I'm looking for. Thank you and have a wonderful day!

If we want to truly understand jazz, we have to explore its roots. Jazz is African American music and the genre as we know it formed in New Orleans. But the origins of jazz started way before then with its roots in Africa.

Joe: Yes, I teach at schools, and have also done lectures at colleges, Smithsonian Institute, and middle school, high school. Before everybody started to play music, all of my kids, they could play music before they could read, musical notes. So they were very, very good, and I go to their schools to share information and teach young people about Afro music. And when I talk about Afro music, I will talk about geography, the ethnic groups, about the culture, and then the musical instruments.

Jazz was born in America in the early 20th century, evolving out of a meeting of African and European music traditions. Once the style began to develop around the world, jazz found its way back to Africa, which spawned the internationally acclaimed likes of Hugh Masekela, Miriam Makeba and Abdullah Ibrahim.

This album, one of many in the fantastic "Ethiopiques" series by Buda Musique, focuses solely on the music of Mulatu Astatke, one of the founders of jazz in Ethiopia. He trained in London in the late 1950s, then traveled to the U.S., where he took in many performances of jazz and Latin music. Upon his return home to Addis Ababa, he created music that combined everything from straight-ahead jazz to funk to sounds pulled from African, Caribbean and Middle Eastern musical traditions. Movie buffs might recognize this tune from the 2005 Jim Jarmusch film Broken Flowers.

One of the first bebop-style jazz bands in South Africa, The Jazz Epistles drew inspiration from the American drummer Art Blakey and his Jazz Messengers. The group was short-lived, but during its time together, The Jazz Epistles recorded a full album, the first by a black South African band. Not long after the group broke up, some of its members, including trumpeter Hugh Masekela and pianist Dollar Brand (later known as Abdullah Ibrahim), fled the increasing brutality of apartheid in South Africa. [Note: We could not get permission to stream this track.]

Bembeya Jazz National was founded in Beyla, Guinea, in the early 1960s as a government-supported orchestra. Designated the country's National Orchestra in 1966, the group fused the sounds of jazz, Afropop, folk and Cuban music. It suffered a setback when its vocalist, Aboubacar Demba Camara, was killed in a car accident in the early 1970s, but it stayed together for more than a decade. Bembeya Jazz National then re-formed and toured internationally in the early 2000s.

Pianist Abdullah Ibrahim (formerly known as Dollar Brand) is one of the most prominent jazz musicians from South Africa. Ibrahim left South Africa due to apartheid in the early 1960s. In 1964, he recorded Duke Ellington Presents the Dollar Brand Trio after Duke Ellington took a liking to him and encouraged his development. In his compositions, Ibrahim blends South African sounds with those of traditional jazz. He returned to his native South Africa when apartheid ended, and continues to record and perform internationally.

Pianist Paul Hanmer is well-known within his own country, but not as widely recognized internationally as other South African jazz contemporaries. This compilation -- intended to bring wider recognition to South African jazz musicians -- features compositions and performances by Hanmer, pianist Bheki Mseleku, trumpeter Marcus Wyatt, saxophonist Moses Khumalo and the Sheer Allstars, among others. It's a terrific introduction to some of today's best modern jazz from South Africa.

Music is essential to the African American experience in the United States. Faced with racism, discrimination, and segregation, blacks have always found comfort and a sense of peace in their music. Music continues to be a means by which the anger, grief, compassion and desire for change is transformed into positive energy for blacks (Dawson, 2001). Today, the social conditions facing American popular music, especially rap, are analogous to those faced by jazz music, and many musicians have similar experiences. Despite the fact that jazz music has created some positive social effects, it has created more negative ones for black jazz musicians, such as exploitation and jazz appropriation, some of which are still occurring today.

Upward social mobility among black jazz musicians is a very significant factor, though it was not common. Opportunities were given to black musicians by the radio and recording industry and popular black bands were promoted as long as there was a demand for jazz music by white Americans (Gerard, 1998). However, Mackey (1992) believes that there was a containment of black mobility on the political level and that the social and economic progress blacks might have accumulated because of their artistic innovation was blocked by whites. Black jazz musicians were primarily from the lower class. As Means (1968) points out, despite their social background, some of these jazzmen received recognition as serious composers and several conducted well-known symphony orchestras and were invited to give concerts in Carnegie Hall (p. 18). Benny Goodman, a white jazz bandleader, brought to stardom Teddy Wilson, Lionel Hampton and Charlie Christian, but still encountered criticism for benefiting from their talents; a few other black jazz musicians, including Louis Armstrong and Duke Ellington, made a lot of money (Gerard, 1998). 2351a5e196