MUSIC

This is the first album by Teno Afrika, a hot project led by Lutendo Raduvha, a 21-year-old young musician who is one of the most important figures in the latest "Amapiano" movement born in South Africa, where homegrown jazz, boogie, Afro-house, kwaito, etc. are rapidly being revived. This is the first album from Teno Afrika, a project led by Lutendo Raduvha, a 21-year-old young musician who is a key figure in the latest Amapiano movement emerging in South Africa. Born in the townships of Gauteng, South Africa, Teno Afrika has rapidly gained momentum over the past five years, evolving into a nationwide mainstream genre of "amapiano," a new genre influenced by kwaito. Having spent most of his life moving back and forth between Johannesburg and various townships in the suburbs of Pretoria, Gauteng, he has incorporated the influences of these areas into this exciting new collection of Afro-dance tracks.

Originally released in 1991, PT House’s debut album ‘Big World’ signaled the arrival of a young Soweto rapper named Nelson Mohale (later better known as Dr House) on South Africa’s early house and kwaito scene. Teaming up with producer Danny Bridgens — an up-and-coming studio hand and session guitarist for the likes of Yvonne Chaka Chaka and Margino, also releasing as The Stone and Leroy Stone — the pair drew influence from US & UK hip-house contemporaries but were determined to give their sound a local flavour, as well as a positive vibe that looked forward to a brighter future. PT House’s four-track debut was a bold statement that still holds up today, reissued for the first time on Afrosynth Records.

Kyle ShepherdやShane Cooperも参加。南アフリカの重鎮ジャズ・トリオとスイスのリード＆ブラス界の大物2人組が出会うとこうなる！10年以上に渡り、コンテンポラリー・アフリカン・ヨーロピアン・ジャズの革新な勢力としての評判を築いてきたSkyjackによる3作目となる2024年度最新作『Light Cycle』が〈AS-SHAMS〉より満を持して登場！ディープなグルーヴとスリリングなライディング、前衛的な実験性を軸に、ステージでもスタジオでも大活躍する彼らのメンバー全員の作曲をフィーチャーした作品。サイエンス・フィクションの冒険でもあり、センチメンタルな旅でもある本作は、広大な宇宙のサウンドスケープと、記憶や民間伝承の確かな土台を調和させた野心的で完成度の高い逸品に仕上がっています。

When the U.S. State Department announced in the mid-1970s that they were sponsoring a South African tour for the Oklahoma-born, Paris-based saxophonist Hal Singer, producer Rashid Vally took note. Even though his nascent record label As-Shams/The Sun (established in 1974) was making waves on the local scene, the idea of commissioning a recording from an international artist was a ballsy idea. With a discography that stretched back to the 1950s, Hal Singer was already somewhat of a legacy artist by 1976. Vally was well-versed on Singer’s accomplishments and specifically enamoured by his composition “Blue Stompin’,” which appeared on a Prestige album from 1959 that had struck a chord in South Africa. With his irresistible charm, Vally managed to coax Singer into a studio in Johannesburg, South Africa, to record a new version of “Blue Stompin’” with South African sax star Kippie Moeketsi, which became the title track of a 1977 album by Moeketsi. The recording session also yielded an album’s worth of new material by Hal Singer and his quartet that took its name from a track inspired by Singer’s trip to South Africa entitled “Soweto to Harlem.” Released in 1976 and only available in South Africa, Soweto to Harlem captures a laid-back, cheeky and nostalgic rhythm and blues set from the Hal Singer Quartet that is unlikely to have emerged for a different target market. Afrodelic's 2024 edition of this rare album is sourced from the original tape masters and presents it on vinyl internationally for the very first time. The reissue follows Singer’s passing at the 100 in August 2020 as we contemplate and celebrate his extraordinary contribution to jazz in the United States and beyond.

The Brotherhood of Breath was an exuberant big-band created by South African born pianist and composer Chris McGregor. In South Africa, McGregor had formed the racially mixed Blue Notes in the early 1960s. By 1964, finding it very difficult to work at home; they left for Europe, finally settling in London in 1966.

Strut present the first international reissues of two classics of South African jazz by Malombo Jazz Makers, ‘Malompo Jazz’ (1966) and ‘Malombo Jazz Makers Vol. 2’ (1967). Formed in Mamelodi township near Pretoria, the group started out as Malombo Jazz Men with Julian Bahula on malombo drums, Abbey Cindi on flute and Philip Tabane on guitar. Fusing traditional and improvised rhythms with jazz, Malombo became renowned as one of the first South African bands to fully connect jazz with the African traditions. Despite his undoubted genius, Tabane became erratic on tour and Bahula brought in another Mamelodi-based talent, guitarist Lucas “Lucky” Ranku, renaming the band Malombo Jazz Makers. The group played stadiums and festivals and were soon signed to Gallo. Recording at a studio in Pretoria, the trio debuted with the album ‘Malompo Jazz’ in 1966, showcasing the simple, spacious beauty of the Malombo sound and Abbey Cindi’s compositions, with Mahotella Queens’ Hilda Tloubatla on guest vocals. The partner follow-up album ‘Malombo Jazz Makers Vol. 2’ was recorded a year later, continuing the earthy flow of Malombo’s music. The two albums have since been recognised as unique landmarks of South African jazz through popular tracks like ‘Sibathathu’, ‘Jikeleza’ and ‘Emakhaya’. Alongside full original artwork, the albums feature a new interview with Julian Bahula.

Strut present the first international reissues of two classics of South African jazz by Malombo Jazz Makers, ‘Malompo Jazz’ (1966) and ‘Malombo Jazz Makers Vol. 2’ (1967). Formed in Mamelodi township near Pretoria, the group started out as Malombo Jazz Men with Julian Bahula on malombo drums, Abbey Cindi on flute and Philip Tabane on guitar. Fusing traditional and improvised rhythms with jazz, Malombo became renowned as one of the first South African bands to fully connect jazz with the African traditions. Despite his undoubted genius, Tabane became erratic on tour and Bahula brought in another Mamelodi-based talent, guitarist Lucas “Lucky” Ranku, renaming the band Malombo Jazz Makers. The group played stadiums and festivals and were soon signed to Gallo. Recording at a studio in Pretoria, the trio debuted with the album ‘Malompo Jazz’ in 1966, showcasing the simple, spacious beauty of the Malombo sound and Abbey Cindi’s compositions, with Mahotella Queens’ Hilda Tloubatla on guest vocals. The partner follow-up album ‘Malombo Jazz Makers Vol. 2’ was recorded a year later, continuing the earthy flow of Malombo’s music. The two albums have since been recognised as unique landmarks of South African jazz through popular tracks like ‘Sibathathu’, ‘Jikeleza’ and ‘Emakhaya’. Alongside full original artwork, the albums feature a new interview with Julian Bahula.

“When the mbira is played, it brings the two worlds together, the world of our ancestors and the world of today.” Ephat Mujuru (1950-2001)

Ephat Mujuru exemplifies a unique generation of traditional musicians in Zimbabwe. Born under an oppressive colonial regime in Southern Rhodesia, his generation witnessed the brutality of the 1970s liberation struggle, and then the dawn of independent Zimbabwe, a time in which African music culture—long stigmatized by Rhodesian educators and religious authorities—experienced a thrilling renaissance.

Ephat was raised in traditional Shona culture in a small rural village in Manicaland, near the Mozambique border. His grandfather and primary caretaker, Muchatera Mujuru, was a respected spirit medium, and master of the mbira dzavadzimu, a hand-held lamellophone used in Shona religion to make contact and receive council from deceased ancestors. There are many lamellophones in Africa, but none with the musical complexity and spiritual significance of the mbira dzavadzimu. Ephat’s first memories were of elaborate ceremonies, called biras that featured all-night music and dancing, millet beer, the sacrifice of oxen and a profound experience of connecting with ancestors. Under the tutelage of his grandfather, Ephat showed an early talent for the rigors of mbira training, playing his first possession ceremony when he was just ten years old.

But from the moment he entered school, Ephat experienced Rhodesian racism and cultural oppression. Nuns at his Catholic school told him that to play the mbira was “a sin against God.” Enraged by this, Ephat’s grandfather sent him to school in an African township near the capital of Salisbury (present-day Harare). By then, guerilla war was engulfing the country and Muchatera tragically became a victim of the violence, a devastating blow to the young musician. Lonely and alienated in the city, Ephat reached out to other mbira masters—Mubayiwa Bandambira, Simon Mashoko and an “uncle” Mude Hakurotwi.

In 1972 Ephat formed his first group, naming it for one of the most beloved Shona ancestors, Chaminuka. In the midst of the liberation struggle, mbira music became political. Singer and bandleader Thomas Mapfumo began interpreting mbira songs with an electric dance band, creating chimurenga (loosely “struggle”) music, named for the independence fighters.

Ephat and Chaminuka had their first success with the single “Guruswa.” Ephat once recalled, “We were talking about our struggle to free ourselves,” explained Ephat. “In ancient Africa, in the time of our ancestors, they had none of the problems we have today.” The problems he spoke of—subjugation, cultural oppression and mass poverty—were purely the results of colonization. “We wanted the place to be like it was, before colonization.”

The Rhodesians were defeated, but rather than return to the past, the nation of Zimbabwe was born and a new future unfolded. Ephat threw himself into the spirit of independence, helping to found the National Dance Company of Zimbabwe and becoming the first African music instructor at the formerly all-Western Zimbabwe College of Music. Ephat renamed his band Spirit of the People and recorded his first album in 1981, using only mbira, hand drums, hosho and singers. He sang of brotherhood, healing, and unity: crucial themes during a time when the nation’s two dominant ethnic groups, the Shona and the Ndebele, were struggling to reconcile differences.

Ephat’s band would eventually follow the popular trend and add electric instruments. But before that, he and Spirit of the People released two all-acoustic albums, and they may well be the most exciting and beautiful recordings he made in his career. Mbavaira, the second of these albums, was released in 1983. The title itself is not easy to translate. A Shona speaker with deep cultural knowledge observed that he could not find an exact English counterpart, but that it was “something like ‘chaos.’”

Mbavaira came out on Gramma Records, the country’s only label at the time. Gramma was still finding its way in a vastly changed music market. Guitar bands were ascendant and lots of new talent was emerging. As the independence years moved on, there would be fewer and fewer commercial mbira releases. But for the moment, Ephat had the required stature and reputation. Also, with the energy and drive we hear in these recordings, the album could easily rival the pop music of its day.

Ephat had long since mastered a large repertoire of traditional mbira songs and developed his own approach to arranging them. He had also become a gifted composer, although, with mbira music, it is often hard to draw a clear line between arranging and composing. Certain mbira pieces are like the 12-bar blues form or the “I Got Rhythm” changes in jazz: one can always create a new song from the existing template. But when you listen to Ephat’s feisty refrain on the song “Kwenda Mbire” (“Going to Mbire”), you just know it came from him. Ephat was a small, almost elfin, man, but he had the most exuberant personality and it comes through with particular clarity on that track.

An mbira ensemble typically uses at least two mbiras, playing separate interlocking parts so that it can be difficult to tell who is playing what. The sound becomes one. The only required percussion is the gourd rattle called hosho. It plays a very specific triplet rhythm and it has to be strong and solid to ensure that the mbira parts line up perfectly. Otherwise, the spirit will not come! The call-and-response vocals are also distinctive, a mix of hums and cries and melodic refrains, often punctuated by joyous ululations.

The tonality of a song like “Mudande” is moody, even a little dark. But the melodies that emerge have a remarkable way of turning wistfulness into merriment. The song title means “in Dande,” Dande being a remote northern region in Zimbabwe known for its inhospitable climate and deeply entrenched traditional culture.

Mbira is a healing music. Ephat once recalled, “When I was with Bandambira and Simon Mashoko, I was very surprised at what really made them happy. My grandfather was a very happy person. They had respect.” Ephant contrasted this happiness with the sour demeanor of the whites who condescended to him in Salisbury in his youth. “Somebody who wants to suppress another person is very unhappy.”

Within a few years after the release of Mbavaira, it and albums like it became harder to find in Zimbabwean record stores. Ephat adapted to the times and formed an electric band. “People were surprised,” he recalled. “They said, ‘Are you not going to play your mbira the way you did before?’ I said, I haven't changed anything. It's like me learning Shona and English, or French or Japanese. It's adding to the knowledge. The old one doesn't go away. When you buy a new jacket, you don't throw the old one away.” And indeed, when he began frequenting the UK and the United States, he would record more, mostly acoustic, albums.

But none of them have the particularly delicious energy of Spirit of the People in the first years of Zimbabwe’s independence. The final track on Mbavaira is a popular Shona hunting song, “Nyama Musango,” literally “Meat in the forest.” As elsewhere, Ephat does not sing the lead, leaving that role to his razor-voiced uncle, Mude Hakurotwi, with his mastery of timbres and rich repertoire of traditional vocables.

It was a tragedy to lose Ephat in 2001. He died from a heart attack shortly after landing at Heathrow Airport, en route to teach and perform in the U.S.. No doubt, he had much more to offer, for as he liked to say, “Mbira is like a sea. It's not a small river. You are getting into the big sea. So I try to show them the Indian Ocean, the Pacific, the Atlantic. What I'm trying to bring now to this music, through all the experiences I've had, is unity.” True unity has been difficult to achieve in Zimbabwe, given its combative history, but if anything could do the trick, this music might be the thing.

Banning Eyre
Senior Producer for Afropop Worldwide

Never released outside South Africa since its original release in 1974, Outernational Sounds presents one of the most sought-after international jazz exclusives ever to appear on South Africa's famous Gallo imprint: the funky, spiritual and outward bound Habiba. Limited, fully licensed vinyl reissue of a lost modal classic by renowned pianist Kirk Lightsey and Black Jazz stalwart Rudolph Johnson. As the archives of South Africa's premier record labels steadily give up the treasures that were hidden in the darkness of the apartheid era, the incredible heritage of South African jazz is gradually finding an international audience. And while most of the laurels are naturally for South Africa's own overlooked musicians, the South African discography contains a few sparkling, nearly unknown jazz sessions by visiting players. Habiba is the greatest of them -- a raw, impassioned set led by bop pianist Kirk Lightsey, who had been a regular sideman for Chet Baker and Sonny Stitt, and saxophonist Rudolph Johnson, a key player at the storied West Coast indie Black Jazz. Visits to the apartheid state by respected Black musicians were hardly a common occurrence during apartheid's darkest years -- so how did a crew of crack American jazz players end up in the Gallo studios? The story starts with the now almost forgotten crooner, Lovelace Watkins. Sometimes billed as "the Black Sinatra", the Detroit-born Watkins sang standards, show tunes and ballroom classics on the Las Vegas circuit. In his 1970s heyday he was a huge star in the UK and in southern Africa, where he toured regularly. In 1974 he hired a jazz big band to accompany him on a tour of South Africa -- and among their number were Lightsey and Johnson, as well as Mastersounds bassist Monk Montgomery, West Coast trombonist Al Hall Jr., and Marshall Royal, musical director of the Count Basie band. The tour was a huge success, and during downtime from performing, members of Watkin's group independently record no fewer than three albums. Two of these LPs appeared on the IRC label, billed as the Mallory-Hall Band -- the third, on the more prestigious Gallo, was Habiba. Three tracks deep, the album is a heavy-duty excursion into post-Coltrane spiritual modernism, ranging from the modal, cerebral intensity of the side-long title track "Habiba", to the downhome breakbeat groove of "There It Is", and the dark glitter of minor key waltz "Fresh Air". Long one of the most desired global jazz LPs, and never before available outside South Africa, Habiba is a forgotten masterpiece of its era.

'BATSUMI’s 1974 classic. Repressed at Pallas in Germany on 180g black vinyl. Cover printed on reverse board and includes printed inner sleeve with liner notes from Francis Gooding. Initial copies shipped with exclusive 30cm x 30cm print of Batsumi performing in 1974.

Batsumi is a masterpiece of spiritualised afro-jazz, and a prodigious singularity in the South African jazz canon. There is nothing else on record from the period that has the deep, resonant urgency of the Batsumi sound, a reverb-drenched, formidably focused pulse, underpinned by the tight-locked interplay of traditional and trap drums, and pushed on by the throb of Zulu Bidi’s mesmeric bass figures. The warm notes of Johnny Mothopeng’s guitar complete a soundscape that is at once closely packed with sonic texture and simultaneously vibrating with open space, and in whose shimmer and haze Themba Koyana and Tom Masemola soar. A sonorous echo emanating from an ancient well, reverberant with jazz ghosts and warmed by the heat of soul and pop, Batsumi is nothing short of revelatory.

Many groups from this period did not issue recordings at all, and Batsumi are unusual in even having left an official recorded legacy. Out of print since the 1970s, and never issued outside of South African in its entirety, Batsumi is a landmark South African jazz recording, and a key musical document of its time.'

“There are few musicians in jazz who can make you feel that essentially all is right in the world.” - The Times

On The Balance:

"Getting the balance just right has always been Ibrahim’s great strength, drawing from a source but keeping it fresh..." - Julian Cowley, The Wire

★★★★★ - The Evening Standard

"A modern master... his graceful playing leans on equal measures of force and restraint, of dense clusters and open space. Mr. Ibrahim’s music is dotted by satisfying, sometimes stunning, passages of repose." - Larry Blumenfeld, Wall Street Journal

Entitled 'The Balance', this project featured his long-time septet Ekaya, a line-up that he's been recording with since 1983. In this case, the album was recorded over the course of one day at London's RAK Studios last November. The lush horn lines, lilting melodies, and uplifting chord progressions are characteristic of Abdullah's own particular brand of Township Jazz. This is contrasted with various solo piano improvisations, which epitomise the nostalgic yet hopeful nature of Abdullah's musical spirit. Hence, The Balance.

In his own words, "We push ourselves out of our comfort zones. So that we can present to the listener our striving for excellence. So that we can engage with our listeners without any barriers of our ego. It's not jazz. For us, it's a process of transcending barriers."

“People don’t like Abdullah Ibrahim, they adore him, bestowing on him the devotion normally reserved for Nina Simone. When he plays, melodies tumble out effortlessly, as he slides from theme to theme like a laid-back South African reincarnation of Thelonious Monk.” - The Guardian

Taken from Abdullah Ibrahim’s summer 2023 sold-out headline date at London’s Barbican Centre, the new album “3” follows suit and is spread across two performances – the first is recorded without an audience ahead of the concert straight to analogue on a 1” Scully tape machine, which had previously been used by Elvis at the famous Memphis-based Sun Studios.

The second recording is taken from the evening’s performance itself with Ibrahim performing in a unique trio which includes Cleave Guyton (flute, piccolo, saxophone) who has performed alongside the likes of Aretha Franklin, Dizzy Gillespie, and Joe Henderson, as well as lauded bassist and cellist Noah Jackson, both of which are members of EKAYA and featured on Ibrahim’s Top 3 Billboard Jazz album “The Balance”

Limited, fully licensed 180g vinyl-only reissue for a hidden gem of South African jazz. Featuring tracks: Side A: Oh Happy Day; You And Me Together; Nqomfi Side B: Philia; Rabothata; Micky One of the rarest and most sought after South African recordings of the early 1970s, available again for the first time since its original South African release – the swinging township groove of The Jazz Clan’s 1973 debut LP, Dedication Die-hard fans of South African jazz speak about The Jazz Clan in hushed tones. One of the dozens of South African groups who styled themselves as ‘jazz dignitaries’ – like the Jazz Giants, the Jazz Ambassadors, or the Jazz Ministers, for instance – their two widely separated studio albums for Gallo (Dedications and Makwenkwe, released in 1973 and 1976 respectively) are extremely hard to find, and were never repressed after their initial runs. Until now their work has graced neither re-release nor compilation. But they were no also-rans. They may have left a small recorded footprint, but it was an impressive one, epitomised by their hard-swinging 1973 debut, Dedication – a tough, swinging soul-jazz set with distinct African touches which is counted by those in the know as among the best South African jazz recordings of the era. Once you dig down into the history of the group, this is no surprise: the players that comprised the Jazz Clan were veterans. And they thought big – their first incarnation during the 1960s had been as a 16-piece, and they had held down a residency at one of Nelson Mandela’s regular haunts, the Planet Hotel in Fordsburg. The original leader, drummer Gordon ‘Micky’ Mfandu, had been a regular on the Johannesburg jazz scene since the early 1960s and had recorded with figures including Gideon Nxumalo, and the famous Blue Notes; along with bassist Mongezi Velelo he had also been a member of the revered Soul Giants unit. Baritone player Cornelius Khumalo had also played with Chris McGregor and the Blue Notes in the pit band of the musical play Mr Paljas, and had also recorded with township legend Zakes Nkosi. Also in the line-up, and handling most writing duties on this disc, was the great trumpeter Peter Segona – a quicksilver hornsman, Segona later sought exile in Europe, where he played with musical luminaries across the continent including Chris McGregor’s Brotherhood of Breath, Cymande, and Manu Dibango. By the 1970s Mfandu was dead, murdered in Soweto, and the group had consolidated as a septet – the late drummer is memorialised here on closer ‘Micky’. South African jazz was moving toward electrified funk and bump, and the new township style of Dollar Brand was just around the corner. But Dedication captures the acoustic jazz sound of the early 1970s in its pomp – a handful of tightly wound songs jostling for space, blending uptempo soul-jazz sensibilities with Latin influences and pronounced township jazz accents, the latter especially audible in Dimpie Tshabalala’s piano vamps, Jeff Mpete’s pattering hi-hat emphases, and the unmistakably South African swagger and dip of the horns on cuts like ‘Rabothata’. It is music on the brink of a transition, looking ahead but still dedicated to the sound of the golden years, and it could have been made nowhere else on earth but in Soweto. Transferred from the master tapes by Gallo in South Africa, mastered for release by D&M and pressed at Pallas. Fully licensed from Gallo South Africa. Distributed by Honest Jons. Outernational Sounds: Bringing you Spiritual, Eastern, Afro Eurasian, Middle Eastern, and Outer Galactic Deep Jazz Vibes from around the globe and beyond...

Teno Afrika’s 2020 debut "Amapiano Selections" drew an international wave of support sparked by the producer’s deftly minimal take on the emergent style. Amapiano combines the South African predilection for deep house alongside a melange of endemic influences like kwaito, jazz and gqom. The 22-year-old’s new crop of songs "Where You Are" expands on his rhythmic subtlety hooded in warm bass adorned by amapiano’s telltale shakers, hi-hats and mid-tempo shuffle. Lutendo Raduvha hails from Pretoria, South Africa, where he produces music incessantly and DJ’s parties around Gauteng province. He hangs with a crowd of musical friends, many of whom join him on "Where You Are." For his second album Teno Afrika brings more vocalists into the sonic picture, unlocking an emotive and timbral escalation to his rapidly mushrooming catalog of work. Singers Leyla and KayCee feature on the title track and “Fall In Love,” respectively. Regular cohort Diego Don joins for two driving, pad-propelled works of significant vibrancy, “SK Love” and “AK Love.” The album's dramatic closer “Duma ICU” features another returning collaborator, Stylo MusiQ, who helps bring an icy, almost cinematic conclusion to a slice of the sound Teno Afrika is pushing at the moment. There’s a palpable feeling of not knowing where the young producer might go next.

A spiritual soul inspired by nature, life and her experience living as an Afrikan woman, listening to muva of Earth is like planting your feet in rich warm soil; blending spiritual mantras and conscious lyricism, her music fusing afro-futurism, jazz, classical and more is truly transformative. Today, muva of Earth returns to announce her forthcoming debut project align with Nature’s Intelligence out 15th September via Brownswood Recordings and shares the gorgeous first single “heaven hear me above”. A soft and celestial spell lush with playful keys, delicate sparkling chimes and the harp expertly played by muva, this single explores her deep appreciation of being a unique and divine being. A meditative project centred around vulnerability, healing and an evolved way of thinking, on the forthcoming project across 8-tracks (also known as affirmations and chants) muva of Earth encourages empowerment and self expression.

Born as Davina Adeosun-Bright (Davina, which originates from the word ‘divinity’, Adeosun pronounced A-de-o-shu is yoruba tongue and means ‘Crown of Ọṣun’ which is a dedication to the orisha and goddess of the river, Ọṣun), muva of Earth was raised by Nigerian parents to be strong and independent. Making an impact early in her career, her live experience has already led her to open for Erykah Badu and Pink Siifu , as well as previous headline shows and plays at We Out Here, SuperSonicJazz , Cross The Tracks, XJazz! Festival and more. Previous singles including last year's “High” have garnered support from The Guardian, COLORS, Clash, Loud and Quiet, Hunger, RinseNotion, BBC 6Music, BBC Radio 1, NTS, and more.

Speaking on the single, muva of Earth says:

‘I wrote this song about what it means to be proud of what makes you unique,
A statement to the heavenly realms asking for understanding.
I may have hurt you in the past but I didn’t mean to,
I tried my best with the experience that i have,

Know my intentions are pure and that I am learning.
Love’ 

Strut revives a lost recording from the archives in January with a 2002 collaboration between acclaimed South African folk singer Vusi Mahlasela, singer songwriter Norman Zulu and Swedish jazz / soul collective Jive Connection. The links between South Africa and Sweden have long been strong with Sweden one of the most supportive European nations in the struggle against apartheid; the government helped to fund the ANC for decades and Mandela visited the country on one of his first European stops following his release from prison in 1990. Sotho folk singer Vusi Mahlasela, dubbed “The Voice” Of South Africa, performed at Mandela’s inauguration in 1994 and has enjoyed his own long relationship with Sweden, regularly embarking on cultural exchanges and forging a strong bond with the Jive Connection band, featuring guitarist / bassist Stefan Bergman and Little Dragon drummer Erik Bodin within its line-up. Although touring regularly, the collaboration has rarely been documented beyond a lone studio album in 1994. This “lost” recording, discovered in the archives of producer Torsten Larsson, also features songwriter / vocalist Norman Zulu and showcases their natural musical chemistry together. Vusi’s songs have traditionally addressed the struggle for freedom and the need for reconciliation and, here, his lyrics are as powerful as ever, ranging from parables (‘Prodigal Son’) to an unflinching lament on child abuse (‘Faceless People’). Jive Connection vary the soundtrack, bringing in hints of reggae, jazz and post-punk alongside traditional township arrangements. Face To Face is mastered by The Carvery. Artwork features unseen photos from the album sessions along with full lyrics. Produced in association with Torsten Larsson.

First issue since 1969 of the Malombo Jazz Maker’s unknown third album, fully licensed from Julian Bahula, with liner notes featuring interviews with Julian Bahula and Lucky Ranku. 'Malombo music is an indigenous kind of music. If you listen to it, you can feel that it can heal you, if you’ve got something wrong. It’s healing music.' Lucky Ranku Lucas ‘Lucky’ Madumetja Ranku (1941-2016) was one of the greatest African guitarists of his generation. He first made his name with the Malombo Jazz Makers – the successor group to the legendary Malombo Jazzmen, formed in Mamelodi township by guitarist Philip Tabane, drummer Julian Bahula and flautist Abbey Cindi. When Tabane left the Jazzmen in 1965, Bahula and Cindi called on Lucky to replace him, and the Malombo Jazz Makers were born. Building on the popularity and success of the original Malombo Jazzmen, the Malombo Jazz Makers become immensely popular, touring widely, winning numerous jazz competitions, and recording two successful albums for the Gallo label. The deep and hypnotic 'Down Lucky’s Way' was their third album. Recorded in 1969, it was the first Malombo Jazz Makers album to feature additional instruments, and the first to feature Abbey Cindi on soprano saxophone as well as flute. But more than anything else, 'Down Lucky’s Way' is a transfixing showcase for Lucky Ranku’s sui generis guitar virtuosity. Quite different from their previous recordings, the album shifted the Jazz Makers’ sound toward hypnotic, extended compositions, layered by organ bass and guitar overdubs. Of all the Malombo Jazz Makers recordings, 'Down Lucky’s Way' is the deepest of mood, and the richest of vision. However, through one of the erasures that are ubiquitous in South African musical history under apartheid, it seems that the record may not ever have been properly issued. Original copies are outrageously rare – only a few are known among collectors. When we asked Lucky about the album, he was unaware it had ever been released, and had never seen a copy. Perhaps it was pulled; perhaps it was pulped; perhaps Gallo simply took their eye off the ball. Nobody knows, but it is not impossible that the apartheid authorities were involved, for by 1969, the Malombo Jazz Makers were well known to them. Julian Bahula’s introduction of malopo drums to the music of the original Malombo Jazzmen was a moment of crucial political and cultural radicalism for South African jazz. Traditionally used by BaPedi people for healing, the malopo drums of Malombo music re-centered jazz around indigenous sounds and culture, and over the next decade, the Malombo Jazz Makers became deeply involved in political opposition to apartheid. Their recovery of indigenous sounds made them the musical standard bearer for the Black Consciousness movement, and they toured South Africa clandestinely with the writer and anti-apartheid activist Steve Biko. They also broke apartheid laws by playing with the white rock group Freedom’s Children, sometimes appearing on stage in masks or made up with UV paint to avoid detection by the authorities; they appeared regularly at the rule-bending Free People’s Concerts organized by David Marks, where Marks’ clever exploitation of a loophole – mixed audiences were prohibited from attending ticketed concerts where anyone was being paid, but the law said nothing about private functions played by artists for free – meant people could come together in defiance of apartheid laws. The notorious Special Branch would raid their concerts; Lucky remembered police storming an auditorium, throwing smoke bombs. Eventually the political situation became too dangerous, and the band were being actively sought by the police. Though Abbey Cindi remained in South Africa, both Julian Bahula and Lucky Ranku went into political exile in the UK, where Bahula founded the group Jabula with Lucky and former members of Cymande, Steve Scipio and Michael ‘Bami’ Rose. With Jabula, Julian and Lucky worked tirelessly for the anti-apartheid movement, raising funds and awareness all over Europe and in the US. They played with Dudu Pukwana’s Spear in the joint formation Jabula-Spear, and worked together in Bahula’s Jazz Afrika formation; in 1984 Bahula organized the first Concert for Mandela, and it was Jabula that supplied the chorus for The Special A.K.A.’s hit single ‘Nelson Mandela’. Lucky also played and recorded with Chris McGregor’s South African Exiles Thunderbolt group. After the fall of apartheid, they both remained living and working in the UK. In 2012 the South African government awarded Julian Bahula the Gold Order of Ikhamanga for his cultural work during the struggle against apartheid. Until his death in 2016, Lucky continued to play with countless groups and musicians, putting together the band Township Express with Pinise Saul, and leading his own African Jazz Allstars. The influence of his playing on the international perception of South African township music was immense, and he was held in the highest regard by his peers – ‘Lucky was a guitarist who could bring any house down’, said Michael ‘Bami’ Rose. But despite his continuous presence on the UK live circuit over four decades, Lucky Ranku never recorded an album as leader. And so as well as restoring an important lost piece of South African musical heritage, 'Down Lucky’s Way' is a precious opportunity to hear one of Africa’s foremost guitarists stretching out, in focus and in his element.

Already a multi award-winning and established artist, with a growing global reputation, Bokani Dyer’s newest record provides an intimate view into South Africa’s multifaceted people - and an opportunity for global connection through music.

Titled Radio Sechaba, the album continues Dyer’s creative journey of making rich and immersive music which places him amongst the new wave of South African jazz artists, including the likes of Siya Makuzeni and Nduduzo Makhathini. Throughout the 15-tracks, Dyer’s multi-faceted influences permeate the set of original songs, resulting in a rewarding listening experience..

“This is the first album of mine that is really drawing on all my influences and putting them into one thing,” says Dyer of the music on Radio Sechaba. “So from song to song you get different types of sounds and music and different approaches, and there is some quiet stuff and there is some loud stuff too.”

This array of influences takes the jazz music that Dyer has built his career on and extends it into new areas – already gestured to by his work with Sakhile Moleshe, as part of the groove-based Soul Housing Project, and his abiding interest in the sonic possibilities of electronic music. “When I was recording the album, I didn’t block my inspirations,” Dyer explains. “So the music on it draws on African music, American music and, really, whatever sounds great to me.”

Alongside this, Dyer has thought deeply about what he wants the music of Radio Sechaba to say. “The name of the project is Radio Sechaba and Sechaba means nation,” says the pianist, songwriter and producer. “It is something I have been thinking a great deal about - how I can use my music to reflect the current moment in South Africa and where we’re at, as a people.”

In particular, Dyer honed in on the related topics of nation building and unity. “This is pretty much the central theme of the project. Radio Sechaba is about what this nation – South Africa - is and thinking about a soundtrack that could go along with that theme.” This is no ordinary topic for the artist: Dyer was born in 1986 in Gaborone, Botswana, where many artists from South Africa, including his father, musician Steve Dyer, were living in exile. It was, he says, “an exciting musical time when I was born into a community in exile from apartheid”.

So it’s no coincidence that Dyer – who moved back to South Africa as a child in 1993 – gives his nation-building album a name that echoes that of Radio Freedom, the voice in exile of the African National Congress. For around three decades, from 1963 when it was created, Radio Freedom provided inspiration to those in the movement against apartheid and was an important ongoing link between exiles and those resisting within the country.

Consistently thoughtful about the role music can play in connecting, Dyer’s nation-building narrative finds expression in tracks like the reverential “Ho Tla Loka”, “Mogaetsho” (in which he addresses the big theme of betrayal) and the moving and powerful “State of the Nation”.

Radio Sechaba might be built around the bigger project of nation building but it also contains a number of songs that focus on the value of individual introspectiveness. There’s a call for presence on “Move On” (“Just breathe and let it go/stuck in past and future all we’ve got is present/Just breathe and let it go”) and a West-African influence instrumentally - call for self-liberation on “Resonance of Truth” (“Where do we go to find some serenity/Stop looking out too far/Try listening within”).

Radio Sechaba also features “Ke Nako” – which is the opening track on the critically acclaimed Johannesburg scene jazz compilation, Indaba Is which was released in early 2021 on Gilles Peterson's Brownswood label. Meaning ‘Now’s the Time’, the track was included in a 2022 live concert at the Claude Lévi-Strauss theater as part of the Sons d'hiver festival in France. That show placed Dyer’s piano playing centrestage and it’s a gift that has been described by acclaimed South African trumpeter Feya Faku as nothing short of “beautiful”. “His sense of rhythm, his articulation on acoustic piano addresses the piano,” says Faku who has included Dyer in his Feya Faku Quintet shows.

Radio Sechaba is interspersed with short musical interludes - like “Amogelang” and “Spirit People” - that serve as sonic signposts to our collective past, present and future. The album sounds a hopeful note with “You are Home”, a gorgeous, layered piece that recalls West African blues in its eloquent call to all of us: “Know your truth/Let it guide you/From the unknown/It will lead you home”. 

Genre-defining 1975 township jazz from South African pioneers • Allen Kwela, the legendary guitarist and composer central to the story of South African jazz, channels Wes Montgomery and overlays home-grown marabi, setting the benchmark for what became known as “70s township jazz”. • Black Beauty features four tracks composed and led by Kwela with a stellar line-up of musicians including Kippie Moeketsi, Barney Rachabane, Gilbert Matthews, Dennis Mpale, Sipho Gumede and others. • First ever vinyl reissue, a deluxe 180g edition with printed inner sleeve pressed at Pallas in Germany. Audio mastered and cut for vinyl by Frank Merritt at The Carvery. • Liner notes by Kwanele Sosibo featuring key musician interviews, new insights and unseen photos. The cream of Johannesburg’s jazz musicians gathered at state-of-the-art Satbel studios to create Black Beauty for the “Soweto” label. Led by guitarist extraordinaire Allen Kwela and featuring the godfather of South African jazz Kippie Moeketsi, the album successfully straddles producer pressure to emulate the commercial success of Abdullah Ibrahim’s Mannenberg, against the musicians’ own impetus to play a jazz they wanted. While the title track “Black Beauty” nods at Ibrahim’s stylings, the magic happens in the three remaining tracks where Kwela and his top-notch band lay down new directions. Producer Patric van Blerk, sounded disappointed when asked about the sessions, saying that Kwela was his usual strong-willed self, unwilling to be nudged towards the pop trends of the day. “He was a monster talent and deserved much more than he got at the time.” Matsuli is proud to restore this special album to its rightful place in the pantheon of South African jazz.

- An electrifying, previously unreleased studio album from the late South African genius of jazz, recorded in 2003 
- The first new material by the artist to have emerged in nearly two decades 
- Liner notes by Blue Note recording artist Nduduzo Makhathini, and by music educator and poet Eugene Skeef, producer of the original session 
- Photographs by Siphiwe Mhlambi, Rashid Lombard and Cedric Nunn 
- Fully licensed, 180g 3-sided double-vinyl edition of 500 copies, presented as the first release on Tapestry Works, plus digital release 

‘A divine summary of his life story’ – Nduduzo Makhathini 

Self-taught multi-instrumentalist and composer Bhekumuzi Hyacinth Mseleku (1955-2008), known as Bheki Mseleku, is widely considered to have been the most richly gifted South African jazz musician of his generation. Born in Durban, he moved to Johannesburg in the mid-1970s and played with groups including Spirits Rejoice, The Drive and Philip Tabane’s Malombo. In 1980, he left apartheid South Africa for exile in Europe, travelling with his close friend Eugene Skeef. (A percussionist, educator, poet and former close comrade of Steve Biko, Skeef originally produced the Beyond The Stars session, and contributes liner notes to this release.) 

Bheki spent six difficult years in Stockholm before moving to London. After a triumphant debut at Ronnie Scott’s, in 1992 he would release his now classic debut album Celebration for World Circuit, before signing with Verve. He would go on to achieve worldwide recognition, recording and touring with jazz luminaries including Elvin Jones, Pharoah Sanders, Joe Henderson and Abbey Lincoln. 

Throughout his life, Bheki struggled with both his physical and mental health. He was, as Eugene Skeef puts it, ‘a conduit for the healing energy of music to flow into the world’, a gift that came at a cost. At the start of the new century, Bheki returned to live in South Africa, but just a few years later he found himself in compound difficulties: life at home had proved too hard, and he was not well. He had also lost his imported Steinway upright piano in an unwise business deal and had not been able to play. In 2003, Skeef helped him return to London, where they hoped to realign his health and rekindle his career. Through his work with the London Philharmonic Orchestra, Skeef arranged for Bheki to have access to the Steinway concert grand pianos held at Henry Wood Hall. After Bheki had spent a few weeks recuperating, Skeef booked a studio session at Gateway Studios. 

Beyond The Stars was the result: a stunning, solo piano suite which condenses Mseleku’s visionary overstanding of South African music into a flowing, pulsing statement in six parts. With jazzwise echoes of marabi, amahubo, maskanda and Nguni song forms binding it to the deep music of Mseleku’s Zulu heritage, Beyond The Stars provides what Blue Note recording artist Nduduzo Makhathini describes in his liner notes as ‘a divine summary’ of Bheki’s life story: ‘a sonic pilgrimage from the beautiful and organic landscapes of Durban, to the vibrant energy of London and ultimately toward the inner dimensions of one’s being.’ 

But releasing the album proved impossible at the time, and so the session has remained unheard. Bheki sadly passed on in 2008, without having released a new album for five years; almost two decades have now passed since any new music by him has emerged. Working with Eugene Skeef, Tapestry Works is proud to break the silence with a first issue for Bheki Mseleku’s visionary masterpiece, Beyond The Stars.

南アフリカの知られざるオブスキュア・グルーヴを掘り起こす〈Umsakazo Records〉から最新物件が登場です。「ソウェトの不滅のビート」と呼ばれたジャンル「ムバカンガ」の代表格であるMahlathini & the Mahotella Queensが88年から89年にかけて行った英国ツアーで残された音源たちがレコード化！長い間伝説のギグとして語り継がれてきた各地での画期的なコンサートの音源から選りすぐられた全16曲を収録したライブ・アルバム！新たに発見されたカセットレコーディングからリマスタリング仕様で収録。まさに彼らが南アフリカで最も偉大な音楽の輸出品であることを間違いなく証明したコンサートの記録となっています。

A series of pivotal music projects during the early 1980s led to an explosion of authentic South African sounds sweeping the Western world. Among those projects were collaborative albums such as Malcolm McLaren’s “Duck Rock” (1983), Lizzy Mercier Descloux’s “Zulu Rock” (1984) and Paul Simon’s “Graceland” (1986); and reissues and compilations of essential African recordings on the UK-based Earthworks Records label, headed up by white South African expatriates Jumbo Vanrenan and Trevor Herman. The common denominator linking these releases was the genre that Earthworks famously referred to as “The Indestructible Beat of Soweto” – mbaqanga music. It was therefore inevitable that the foremost exponents of that genre, Mahlathini and the Mahotella Queens, would achieve international stardom before the decade ended. Their international ‘discovery’ was actually the latest chapter in a collective career that had already spanned some 30 years. In June 1988, Mahlathini and the Queens made their first visit to the United Kingdom. Hoping to ride the crest of a wave, concert promoters conceived a package show named after the seminal 1985 Earthworks compilation, “The Indestructible Beat of Soweto”. This would give British audiences a revealing insight into African music as never before – in addition to the headline performers were Philip Tabane and Malombo, Nothembi Mkhwebane and her backing chorus The Siblings, Sipho Mchunu, accordion player Mzwandile David and acrobatic dancer Lucas ‘Rubber Boy’ Kau. The rapturous reception led to an invitation back to the UK in November for further Indestructible Beat concerts. It was off the back of these shows that Mahlathini and the Queens – the undoubtable standouts of Indestructible Beat – undertook their first standalone tour of the UK in early 1989. Their stage act rarely dipped below excellent. Dressed in their original attire as young Zulu girls – but with red izicholo on their heads to signify they were now grown women – Nobesuthu Shawe, Hilda Tloubatla and Mildred Mangxola would fly onto the stage to the strains of “Awuthule Kancane” (Be a bit quieter), heralding the start of a very special evening of music and dance. The formidable Mahlathini, billed as “The Lion of Soweto”, emerged from the stage wings with both arms raised in the air for the start of the next number, “Re Ya Dumedisa” (We greet you all). The humble and soft-spoken performer always lived up to the expectations set by his billing – his roaring introduction to “Lilizela Mlilizeli” (Ululate/applaud) audible proof of the more extroverted alter ego he metamorphosed into on stage. Numbers like “Uyavutha Umlilo” (Music inferno), “Jive Makgona”, “Thokozile” (a girl’s name) and “Melodi Ya Lla” (There‘s a sound ringing out) were used primarily as vehicles for the Queens’ trademark mgqashiyo choreography, punctuated with whistles, hand claps and chants of “yebo!” (“yes!”) and “thatha!” (“take it!”). Mahlathini prowled around the stage imitating the ladies or simply stood aside, clapping and allowing them to take the spotlight. “Duduzile” (a girl’s name), however, was where the great groaner came alive, contorting, convulsing and leaping through an exaggerated Zulu dance routine. Then in “Nina Majuba” (Fly away, you doves) and “Sengikhala Ngiyabaleka” (I‘m crying and running away), the foursome competed in a magnificent display of showstopping, uninhibited jive, bringing the show to a close and the audience clamouring for an encore. The Indestructible Beat of Soweto shows have long since passed into gig legend. None of those landmark concerts were ever made commercially available. Now, some 30 years later, Umsakazo Records proudly presents Mahlathini and the Mahotella Queens’ entire Indestructible Beat set of 16 songs, handpicked from a number of different UK venues and all remastered from newly discovered cassette recordings. These were made at the mixing desk by David Barton, a photographer and music fanatic who travelled with the performers as they descended on unsuspecting audiences across the UK. “Music Inferno: The Indestructible Beat Tour 1988-89” shines the spotlight once more on a truly joyous and frenetic concert experience, one that without question established Mahlathini and the Mahotella Queens as forever one of South Africa’s greatest musical exports.

AS-SHAMS ARCHIVE VOL. 1 introduces the core catalogue of As-Shams/The Sun, the independent record label that documented some of the most exciting developments in jazz, funk and soul from South Africa in the 1970s. With 10 tracks from 10 iconic albums featuring 10 different artists and 10 original compositions, this compilation delivers 85 minutes of South African music history. Including essential tracks by the likes of Dick Khoza, Black Disco and Harari, remastered from the original analog tapes, As-Shams Archive Vol. 1 is an unbeatable introduction to South African rare groove for new listeners as well as a long-awaited first anthology for the label’s many devoted followers. As-Shams Archive is home to the catalogues of As-Shams/The Sun, its predecessor Soultown Records and the reissue imprint MANDLA. The archive holds original master tapes, unreleased recordings, photographs, artwork and ephemera documenting the story of South African jazz in the 1970s. Explore each of the albums featured on As-Shams Archive Vol. 1 as well as the story of the label and its artists at AS-SHAMS.ORG.

1971 REVOLUTIONARY SPIRITUAL AFRO JAZZ FROM EXILE Matsuli Music presents soul, spirituality and avant-garde jazz from South African political exile Ndikho Xaba. Its rarity has until now served to obscure both its beauty and its historical significance. Making profound links between the struggle against apartheid and the Black Power movement in the USA Ndikho Xaba and the Natives is arguably the most complete and complex South African jazz LP recorded in the USA. It stands out as a critical document in the history of transatlantic black solidarity and in the jazz culture of South African exiles. This reissue from Matsuli Music brings this collectors’ treasure back into print for the first time since 1971. Ndikho Xaba and the Natives opens a fluid channel of sonic energy that courses between two liberation struggles and two jazz traditions, making them one. It is a critical statement in the history of transatlantic black solidarity, unifying voices stretching from San Francisco to Johannesburg. There is no other recording or group in which the new jazz spirituality of the late 1960s is so fully blent with an African jazz tradition. The limited edition vinyl edition is presented with re-mastered sound in a gatefold sleeve containing unseen photographs and concert bills from Ndikho Xaba’s personal archive together with a personal recollection from Plunky Branch and extensive sleeve-notes written by Francis Gooding. The CD version reproduces this new content in a 24 page booklet as well including two additional tracks taken from a hard to find single released by Ndikho Xaba’s band African Echoes.