South African Jazz Music Mp3 Download _HOT

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.

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.

South African Jazz Music Mp3 Download

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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]

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.

"The first black South African jazz I ever heard was a combo with, at front, Dudu Pukwana the saxophonist, and Mongezi Feza on trumpet," Ansell said. "This was at Oxford where I was at university, and it was during the period when many highly accomplished black South African musicians were living and working in the United Kingdom. I think everyone I heard blew my mind.

"At the time, the UK was stuck in the groove of what had become a very repetitive and formulaic kind of music, and suddenly here were these new jazz musicians playing experimental music, some free improvisation, music that carried flavors of the Xhosa-speaking peoples of the Eastern Cape, which is where most of the Blue Notes came from."

10.01.2017 Back from South Africa. Nature and city life. Family and music. Here is a collection of South African jazz records selected from two trips to South Africa and stuff that I have collected and bought through the years....enjoy!

South African jazz is a story that has remained blurred and indistinct over the years because its political potency was seen as a threat to the Apartheid mindset and as a result, it was downplayed and disrupted; Moeketsi suffered the confiscation of his instrument by South African border authorities on a Malawi trip and was deprived of his work pass, which together kept him out of professional music for around seven key years in the mid-1960s.

In the 1960s, a key part of the London jazz scene was a South African contingent of musicians, among the best known were Chris McGregor & The Blue Notes, saxophonist Dudu Puckwana, trumpeter Mongezi Feza, bassist Johnny Dyani and drummer Louis Maholo.

They and others created a vibrant music scene of their own at places like the Flamingo, The 100 Club, the Roundhouse, the old Ronnie's and Hampstead Country Club. But of the jazz scene in South Africa that had spawned these musicians, little was known.

When recordings of bebop hit South Africa, a modern jazz scene was born and one of the first to master the idiom was Kippie Moeketsi, who mastered the inner detail of the music by ear while other musicians were still playing big band music.

It was where all the jazz musicians gathered and on some nights there would be Kippie Moeketsi, Miriam Makeba, Dudu Puckwana, Hugh Masekela, Wilson Silgee, Jonas Gwangwa, Makes Nkosi and countless others, all of them part of a burgeoning modern scene from which emerged the most important South African jazz group of all, The Jazz Epistles.

Until 1991, jazz was considered a form of underground music in South Africa, Kelley said. Seen as a threat to the apartheid regime because of its association with freedom and a diverse culture, jazz was banned from radio stations, and broadcasts were limited to traditional South African music. However, jazz musicians opposed apartheid policies by, for instance, illegally forming bands composed of both black and white musicians, Kelley said.

Despite the modern inclination toward more western elements, Kelley said he considers South African jazz musicians to be the global leaders of jazz. They mix bebop, for instance, with township music, which are forms that have emerged among young street musicians from cities like Johannesburg. They also incorporate experimental styles and traditional forms like music used in voodoo, he added.

Encompassing themarabi,kwela and jive styles of mid-twentieth century urban South African music, this compilation covers the sounds, styles, assemblages and musicians that reside under the umbrella of South African jazz - from the golden age of 1960s and 1970s to the new wave of musicians in the twenty years of post-apartheid democracy.

Recently re-issued releases from musician-in-exile Ndikho Xaba demonstrate the strong transatlantic dialogue between the civil rights movements in the USA and the anti-apartheid struggle through the language of jazz, with the rare single 'KwaBulawayo' as performed by his group The African Echoes. The Sowetan spiritual Afro-jazz of Batsumi on the track 'Emampndweni' contributes to the narrative of music at home during the height of apartheid in the 1970s and similarly slots into the category of undeservedly lesser-known artistry. From a period considered by some as the golden era of South African Jazz, these artists and their compositions are pertinent and vital reminders of the intrinsic link between this music and the dismantling of oppression.

Gospel, hip-hop and electronic music now dominate mainstream music in South Africa. But against this backdrop, the new school of South African jazzers have embraced the diversity of musical output, with many making the crossover themselves. Bokani Dyer regularly performs with fellow band member and bassist Shane Cooper, in his electronic music alias Card On Spokes. Furthermore, it could be argued the trajectory of popular music in South Africa over the last twenty years is personified by Thandiswa Mazwai, who rose to prominence through her work with kwaito group Bongo Maffin in the mid-1990s, before going on to encompass gospel and delve into maskandaand electronic music in her solo career. Featured here is Thandiswa's take on the South African Jazz standard 'Ntyilo Ntyilo'.

South African jazz may now sit on the fringes of popular culture in South Africa, but you only have to look at the success of the Cape Town International Jazz Festival, Joy Of Jazz Festival in Johannesburg and the National Youth Jazz Festival to recognise the legacy of the pioneering musicians and the continuation of their collaborative spirit in the wealth of burgeoning jazz talent in South Africa.

Blending the traditional music of South Africa with American jazz music, trumpeter, bandleader, and composer Hugh Masekela is regarded as giving birth to jazz as it sounds today in South Africa as well as being an ambassador of this music to the rest of the world.

For the bulk of his musical career, playing jazz bars and township community halls, Mr. Masekela honed his skills as his country's preeminent jazz fluegelhornist under a hated system of apartheid that treated him as a second-class citizen because of the color of his skin.

The euphoria of freedom has faded a bit after 17 years, but few South Africans would trade today's freedoms for the apartheid years. Even so, freedom did bring casualties. And 1994, in a way, was the day the music died. Jazz clubs suffered from the influx of rural migrants and foreign immigrants, crammed into tiny apartments by greedy landlords in the cheaper areas where jazz clubs tended to situate.

As a jazz artist, Masekela tries to reach out to new talent. He listens to the CDs of promising young musicians and singers while driving his car. Some artists go with him on tour, like the socially conscious singer Thandiswe Mazwai or the young a capella group Complete.

From these questions, others follow. Who are we creating the playlist for? What is the aim of the playlist? Is that aim explicitly acknowledged? What playlists are already available? Are all playlists for jazz music in South Africa fundamentally the same, or are they highly differentiated?

South Africa's jazz musicians were at the center of the conflict. They symbolized everything the white nationalist regime hated: freedom, thinking and racial mixing. Jazz Night in America has already told the story of pianist Abdullah Ibrahim and trumpeter Hugh Masekela, prominent South African artists who went into exile, seeking refuge overseas. 2351a5e196