Usathane Usifikile!: EJ Durban Office Party 2016

“Oh believers gather around and start praying, for the devil has arrived!” Joseph Kumalo is not alone in blaming the devil for ‘changes’ he is not happy with. For Kumalo, South African cities in the early 1960s were dens of iniquity corrupting the traditions and values of rural folk. Drinking, smoking marijuana, gambling, fighting were the work of the devil.

We have all encountered a few “devils” of our own this year, and I thought it a good time to dig through my ‘new finds’ for a year-end Office Party shake-out. Welcome to a bumper edition of the Electric Jive 2016 Durban Office Party. Sadly, unexpected changes to my work-travel commitments prevent me from actually spinning these discs, as planned, at the Electric Jive Office Party at Khaya Records on Friday 9^th December. A party of one sort or another is still happening though. "Familiar Favourite" (Mxolisi Makubho) and Hotdog Fingarz of Fly Machine Sessions are keeping their part of the bargain and will be coming through from Johannesburg with some great tunes on vinyl. Make a note: Khaya Records, Durban – Friday evening 9^th December. I will leave a gift for the first thirty or so people who make it through the door. Thanks to Vusi of The Fly Machine Sessions for the graphic at the top of this post!

So, herewith two hours of what I would have played, if I could have. First up is a one-hour trip that sets off from the countryside with guitar and vocal commentary from the late 1950s, early 60s, building up via violin jive through Zulu blues, to early rock and roll. Victor Ndlazilwana (later of Jazz Ministers fame) is credited with writing and playing on “Please do it oh Baby”, a song that would not have been out of place on an Elvis album from that time.

The merriment builds, morphing from rock-influenced marabi jive through to big-band ska from the likes of Orlando Jazz Combo. Have a listen to Chris McGregor and the Blue Notes playing Dudu Pukwana’s “Ndiyeke Mra” and check out the strong ska influence! Likewise, Africa’s Hot Ten (including Kippie Moeketsi and other jazz luminaries) showcase the deep well of great talent and technical dedication from the time.

The mix changes direction, revisiting some great brass-driven marabi jive tracks from the likes of “The New Havana Orchestra, The Shakers, and the The Kwa Mashu Swingsters”. We warm down with the sweet vocals of the “Dark City Sisters” and end as we began, artists referencing “Inhliziyo Yam” (my disposition, or mood). Whereas Job Ndlangalala starts this set with a hauntingly beautiful  guitar track telling of the circumstances that were ‘killing’ his mood, The Shakers end-off with an upbeat simple finale.

So – if you feel the need to cleanse, purge, indulge, exorcise, dance, this mix can help. The 78rpm recordings are being shared as a single mix-tape. Sorry, no separated tracks on this one.

I wish all visitors to Electric Jive happy holidays, and a much, much better 2017!

1.     The Play Singer: Hambabamfana. (Job Ndlangalala) Columbia YE208.

2.     The Play Singer: U Ngi Cebe E Poisen. (Job Ndlangalala) Columbia YE129.

3.     Joseph Khumalo: Usathani Sefikile. (Joseph Khumalo) Quality TJ.855.

4.     Nongomo Trio: Zulu Violin Special. (Nongomo Trio) Columbia YE.333.

5.     Gumede's Happy Violin: Thatha Jou (J. Gumede) Gallotone Jive GB.3212.

6.     Stanley Caluza: Sengimtholile. (Stanley Caluza) Columbia YE392.

7.     Daisy Newman: Abafana. (Daisy Newman) Winner OK.051.

8.     Cooper & The Black Be-Bop Sisters: Ebusuku Nemini (Theodora Ngcongo) Winner OK.114.

9.     Merebank Youngsters: Ngiyazisola (Merebank Youngsters) Columbia YE.85.

10.  The Bogard Brothers: Che Boogie Here. (L. Motau) His Master's Voice JP.750.

11.  Big Rock Chaka: Please Do It Oh Baby (Victor Ndlazilwana). Tropik DC.751.

12.  Almon's Jazz Kings: Uyidoda (Almon Memela) Gallo USA USA280.

13.  Orlando Jazz Combo: Imbasha (Percy Gumbi) Gallo USA USA304.

14.  Chris McGregor & His Blue Notes: Ndiyeke Mra (Dudu Phukwana) Winner OK.125.

15.  Africa's Hot Ten: Club 600 (E. Williams) Winner OK.001.

16.  Christopher and his Home Swingsters: T. Time Ska (Chris Songxaka) Gallo New Sound GB3581.

17.  Sofasonke Swingsters: Umlahla (Edmund Piliso) His Master's Voice JP.857.

18.  Cooper & The Black Be-Bop Sisters: Vat en Sit (Gloria Malete) Winner OK.114.

19.  Zee Zee Jazz Appointment: Jazz Palace (Rupert Bopape) His Master's Voice JP.741.

20.  The New Havana Orchestra: City Phata (Ngubane) Troubadour AFC.605.

21.  The Shakers: Shake Shake No. 1 (Busi) Troubadour AFC.643

22.  Kwa Mashu Swingsters: Siyanda (Roland Mqwebu) RCA.250.

23.  The City Dazzlers: Ngenye Mini (The City Dazzlers) HIT.120.

24.  The Dark City Sisters: Tap Tap Ntshebe (Zeph Nkabinde, Michael Xaba, Rupert Bopape, Elijah Nkwanyane) His Master's Voice JP.700.

25.  The Shakers: Intlyizo Yam.(Busi) Troubadour AFC.643.

The second one-hour set is drawn from 45rpm, most of which found their way to my drawers this year. Seventies South African soul, funk, pop, jazz and then some mbaqanga to round it all off.

1. The V.I.P.s:  Maxie's Mood. (M. Kubekha, I. Twala). Love Love LVB220.

2. The Anchors: Friends In Soul. (The Anchors). CYB69. (1969).

3. The Inn Lawes: Peter and Zacks Special (Peter Morake, Zacks Kgasapane) CBS AB 326.

4. S. Piliso & His Super Seven: Papa Was A Rolling Stone (Whitfield and Strong) FGB625 (1973).

5. Cool Cats: Wilderness (Gilbert Matthews, G. Sabela) Soweto SWB 4 (1973).

6.  The Special Sounds:  Mngani (Rupert Bopape and Shadrach Piliso) Soul Jazz Pop SOJ 2 (1974),

7. Cool Cats:  See You Later (P. Nkosi, B. Kgasoane) Soweto SWB 4 (1973).

8. The Black Pages: There Goes (N. Makua, E. Kheswa, G. Molefi). Soul Jazz Pop SOJ 140 (1977).

9. S. Piliso & His Super Seven: Umgababa (Edmund Piliso & Themba Dlamini) FGB625 (1973).

10. Bops and Son: Chicken Soul (D. Mchunu) MJW Records MJW.107 (1976).

11. Inthuthuko Brothers: Soweto Disco (S. Jibiliza)Black Cherry BCS110 1978.

12. Shumi: Gideon, Early & McKay (Holler/Arr: Masingi) BUA8803 (1974).

13. Jazz Disciples: Tete’s Jump (Tete Mbambisa) HMV JP887 (1967).

14. Rift Valley Brothers: Mutirima Waka (Lawrence Nduku) Mercury MER11.

15. Abafana Bentuthuko: Double Line (Hansford Mthembu) AB666.

16. John Mkhabela and the Fire Wizards: Umdidyelo (J Nhlapo) GGB456 (1971).

17. The Play Boys:  Cross Road (D. Mokoka - M. Maliehe) JP1338 (1973).

18. Izintombi Zomoya: Oseke Walla (Rupert Bopape and Irene Mawela) Motella MO 522 (1974).

19. Abafana Besi Manje Manje: Bathini Nzimande (Hamilton Nzimande) HVN NZ.68 (1974).

20. Johanes Lenkoe with the Suger Suger Boys: NU 3 (Johannes Lenkoe) Six Mabone SMB 728 (1975).

21. Makhona Zonke Band: Durban Road. (

22. The Creations:  Wild Man in the City (Manu Dibango) PD 1270 (1976).

Download links:

78rpm mix-tape 

45rpm mix-tape 

45rpm separated tracks 

Rock Jive - Volume 2 (1952-1968) plus FXEJ Series

We close this year with a second volume of South African jive tracks loosely themed around the influence of rock n' roll. Volume One was featured here at Electric Jive earlier this month. All tracks are sourced from the Flat International archive and this compilation marks the 14th in the FXEJ series. If you have not had a chance to hear some of the other material in this series check out the comprehensive list with links below.

As with Volume One all tracks here are digitized from 78 rpms except for the beat version of Strike Vilikazi's Meadowlands by The Meteors which comes from a 45. And like those on Volume One, these tracks cannot strictly be categorized as rock but show a range of eclectic global and indigenous influences including swing, ska, kwela and majuba.

Fans of LPs like Taxi Jive and Ice Cream and Suckers will find much joy here. The later half of this compilation includes material that could be termed "sax jive" and documents a transitional period before South African popular music became dominated by the heavier bass sounds of mbaqanga.

Like before, this comp features some real gems including tracks by Kippie Moeketsi and his Hot Rocks as well as the African Symphonics featuring Ntemi and Shadrack Piliso. Also of note is the track Taxi Ride by Danny Boy that comes from a unique vinyl (and not shellac) 78 rpm disc. The label name, Plastik, says it all — a truly transitional artifact! 

Happy New Year!

ROCK JIVE - VOLUME 2
(Flat International / Electric Jive, FXEJ 14)

01) Philemon Mogkhosi - Sasihlezi Nentombi Yami (c1952, Bantu Batho, BB 100)
02) The Meteors with Archie Coker - Meadowlands (c1962, Rave, R 209)
03) Roland Mqwebu - Emakete (c1960, Winner, OK 018)
04) African Symphonics - Zulu Roll (1957, Troubadour, AFC 491)
05) Roland Mqwebu - Bayakhala Emakhaya (c1960, Winner, OK 018)
06) Betty Khoza and her Sisters - Yebo (c1965, Winner, OK 211)
07) SDV Swing Band - Braai Vleis (c1966, Winner, OK 267)
08) Sparletta Rockers - Sparletta Rock (1962, Big Beat, BT 405)
09) Billie the Kid and his Zombies - Zombie Phatha Phatha (1959, Zonk, TV 134)
10) Third Avenue Cellars - Niza-Niza (1960, Big Beat, BT 296)
11) Third Avenue Cellars - Ka Marao (1960, Big Beat, BT 296)
12) Danny Boy - Taxi Ride (c1968, Plastik, PL 27)
13) Jimmy Masuluke - Mamabolo (FM, FM X116)
14) Prince Paul Morgan - Thatha (c1967, Modden Jive, MOD 54)
15) Prince Paul Morgan - Thu Thu Ka Paul (c1967, Modden Jive, MOD 54)
16) King Marshall - Mojo Dance No. 5 (c1967, Hit, HIT 363)
17) Soweto Stokvel Septette - Soweto Ska (1966, Stokvel, ST 002)
18) Samuel Levuno - Stock Sweets and Ice Mints (1968, Stokvel, ST 050)
19) Billie the Kid - New Year Kwela (c1960, Winner, OK 105)
20) Kippie Moeketsi and his Hot Rocks - Stick Up Rock (1957, Troubadour, AFC 472)
21) Sore feet Boys - Ugweva (1962, Hit, HIT 226)
22) Swingather's Band - Peter's Sister (c1956, Bantu Batho, BB 1026)
23) Simon Hlatshwayo Crazy Crackers - Pingo Ke Ngoana (c1956, Philips, SB 52)


THE FXEJ SERIES
(Compiled by Flat International for Electric Jive)

MIRIAM MAKEBA - TRACKS LESS TRAVELLED
(1958-1998) — FXEJ 1
Over her prolific career, from 1954 up to her death in 2008, Makeba issued no less than 29 individual albums along with countless 78s, 45s and EPs, pressed in at least 33 countries. In addition, over 28 compilations of her works have been and continue to be issued on compact disc. For the most part this compilation featured tracks that either had never been reissued on CD or if they were, were seldom, if at all, included on her “best of” compilations. I was surprised to see the number of significant hits and gems remaining un-reissued.

MASKANDA ROOTS
Volume 1 (1927-1952) — FXEJ 2
Volume 2 (1954-1964) — FXEJ 3
Almost every text on maskanda usually opens with a mention of this scene: a seemingly lonely figure walking the streets of Durban, decorated guitar in hand, strumming away and singing to himself. The ambulating musician and the cyclical, repetitive structure of the music almost suggests a journey or even a kind of nomadic life. Maskanda is often described as a Zulu neo-traditional style of music and is most famously linked to the guitar, though not exclusively. This compilation traces the early beginnings of this music.

78 REVOLUTIONS PER MINUTE - MAJUBA JAZZ FROM MRA TO BRA
Volume 1: Swing to Majuba (1953 – 1956) — FXEJ 4
Volume 2: Majuba to Sax Jive (1957-1961) — FXEJ 5
Volume 3: Sax Jive to Mbaqanga (1962 – 1967) — FXEJ 6
As this compilation grew, I realized that it was becoming something closer to a survey of a golden age of South African Jazz and it revealed how that music was transformed, over a decade, into something else that was distinctly more African. I suppose the subtitle of the post could have been how American swing became mbaqanga. Majuba, msakazo, or what is more commonly referred to as African Jazz is a quintessentially South African sound. Originally it was a big band sound that took American swing and indigenised it with elements of marabi. From its hey-day in the 1950s it was created by and produced some of the key figures of South African Jazz. Volume 2 and 3 cans be viewed here.

IN EXILE

Volume 1 — FXEJ 7

Volume 2 — FXEJ 8

This compilation features a cross-section of mostly South African music in exile. For purposes of definition, "exile music" here covers a thirty year period from 1959 to 1990, during the heart of the apartheid years. This survey is by no means comprehensive, nor is it representative of all South African exile artists or even their ‘best’ work. Rather it is a collection of some of my favorite, more personal tunes. Tunes that for me capture some of the darker but also more ecstatic moments of exile.

MABEL MAFUYA ON 78 RPM

(1956-1960) — FXEJ 9

Mabel Mafuya in the mid to late 1950s was one of South Africa’s top-selling jive vocalists. At Troubadour, she was only second to Dorothy Masuka. Remarkably very little material by this legendary artist has been available. In many ways the collection of 26 songs captures Mafuya at the peak of her singing career and is a unique and valuable window into a dynamic social period.

DISCO-SOUL-JIVE

Volume 1 — FXEJ 10

Volume 2 — FXEJ 11

A compilation of South African disco-soul-jive material from the mid to late 1970s through the early 1980s. This mix developed quite serendipitously — I had been putting it together for the better part of a year by adding interesting tracks to a folder as they turned up. Let me just say, invest in some serious shoes before your listen to these two volumes!

MIRIAM MAKEBA ON 78 RPM

(1955-1959) — FXEJ 12

A follow up to Tracks Less Travelled with more, equally rare, sounds by Miriam Makeba on 78 rpm. The tracks on this compilation all come from the period before Makeba left South Africa in August 1959 and in many ways trace the growth of her early career — first as an individual (after many recordings with the Manhattan Brothers) and then with the all-female, close-harmony groups: the Sunbeams and the Skylarks. To my knowledge, none of the material here (save for one track) has been reissued in any subsequent format.

ROCK JIVE

Volume 1 (1952-1968) — FXEJ 13

Volume 2 (1952-1968) — FXEJ 14

While jazz and swing were the dominant styles influencing South African music of the 1950s and 60s, the impact of rock music was inescapable. Rock was marginally adopted by some black South African musicians in the late 1950s, and yet the principle focus still remained with jazz, jive and kwela. These compilation loosely document the impact of rock music on various South African styles.

Rock Jive - Volume 1 (1952-1968)

December brings our now annual tradition of featuring end-of-year compilations appropriate for the holiday season. I'll open with a first volume of South African jive tracks loosely themed around rock n' roll. All tracks are digitized from 78 rpms sourced from the Flat International archive.

While jazz and swing were the dominant styles influencing South African music of the 1950s and 60s, the impact of rock music was inescapable. Rock was marginally adopted by some black South African musicians in the late 1950s, and yet the principle focus still remained with jazz, jive and kwela. Reasons for this are well outlined in Charles Hamm's essay "Rock 'n Roll in a Very Strange Society" in his book Putting Popular Music in its Place. For more on this subject also see our earlier post on the Bogard Brothers.

Not all the tracks in this compilation are strictly rock — many include elements of swing, ska, kwela, goema and majuba (or African Jazz). Simply, I built the comp from tracks that either included the word "rock" in the title or band name or where a name or title was similarly suggestive such as Slim Guitar and his Band or the Hot lips Band. Some gems include the Bank Robber's Rock by Kippie Moeketsi and his Hot Rocks and Zulu Rock by the African Symphonics featuring Ntemi and Shadrack Piliso.

I think you will find the compilation suitable for dancing.


ROCK JIVE - VOLUME 1
(Flat International / Electric Jive, FXEJ 13)

01) Cowboy Superman - Madlaka Dlaka (1952, Bantu Batho, BB 113)
02) African Symphonics - Zulu Rock (1957, Troubadour, AFC 491)
03) Benoni Rocket - I'm Gonna Rock (1961, New Sound,  GB 3278)
04) SDV Swing Band - Riverside Blues (c1966, Winner, OK 267)
05) Slim Guitar and his Band - Mapapi Busuku (1960, Zonk, TV 155)
06) Soweto Stokvel Septette - Eddie's Ska (1966, Stokvel, ST 002)
07) Black Notes - Funky Papa (c1965, Tempo, KT 567)
08) Billie the Kid and his Zombies - Magidasibekane (1959, Zonk, TV 134)
09) Joe's Jazz Band - Fly-By-Night (c1955, Philips, P30803H)
10) Hot Lips Band - Julia (c1953, Bantu Batho, BB 162)
11) Fanani Sibanda - Abanga Bani (c1953, Troubadour, AFC 151)
12) Kippie Moeketsi and his Hot Rocks - Bank Robber's Rock (1957, Troubadour, AFC 472)
13) Telegram Specials - Imfene (c1962, Goli Rand, RA 154)
14) Sophiatown Gaities - Mosadi Ola (c1956, Philips, SB 55)
15) Simon Hlatshwayo Crazy Crackers - Ama Crazy Crackers (c1956, Philips, SB 52)
16) Black Notes - Madison Time (c1965, Tempo, KT 567)
17) Slim Guitar and his Band - Ndlela Mbi (1960, Zonk, TV 155)
18) Benoni Rocket - Khumbula Leyomini (1961, New Sound, GB 3278)
19) Billie the Kid - Xmas Night Jump (c1960, Winner, OK 105)
20) Samuel Levuno - Vereeniging Jive (1968, Stokvel, ST 050)
21) Swingather's Band - Emazini (c1956, Bantu Batho, BB 1026)
22) Telegram Specials - Insizwa (c1962, Goli Rand, RA 154)

Jazz in South Africa (live) (c1959)

Recently, I came across this Austrian EP featuring the Manhattan Brothers and the Jazz Dazzlers amongst others and assumed, like so many other vinyl compilations of this time, that it was compiled from tracks previously issued on 78 rpm. Remarkably the disc happened to be of a live recording!

Given that live performances, especially with these artists, were very scarce at this time, this certainly was an unusual find, and I embarked on a kind of "autopsy" of the disc to see where it would lead.

Beyond the Manhattans, the performance also included the Swanky Spots; Doris, Ducky and the Harmoniens; with the Jazz Dazzlers backing all.  The EP includes five tracks and all appear to be from the same performance. None of the tracks are attributed to any particular artist and while it may be possible to figure out a few of the performers, a number of tracks seem to include some or all the artists. Certainly the Jazz Dazzlers appear on all the tracks.

My first question was where was the recording made and in what year?

Interestingly, many of the tunes are in English; most if not all are cover versions. Two of the tracks, Ntyilo-Ntylio and Hush, are South African classics and the remaining three appear to reference major American rock and doo-wop hits of the 1950s. In my research for my previous post on the Bogard Brothers, regarding the influence of rock in South Africa, I came across a reference to a concert "Township Rock" at Johannesburg's City Hall from 7 - 9 May, 1958. The show included amongst others the Woody Woodpeckers and the Jazz Dazzlers. Could this be a recording from that concert?

Ntandane appears to be a Zulu-based cover of Paul Anka's 1957 hit Diana. If there is any doubt, a translation of the German liner notes makes it plain. The notes go on to say that the song is performed by a fifteen year old singer who also happens to be the person featured on the cover image. Could this be Doris?

I do a search for  the "Swanky Spots" and discover that Letta Mbulu began her career by joining the close-harmony group in 1956. She was invited by Jimmy Mabena and they would go on to win first prize in a talent contest organized by Union Artists in 1957. Born in August 1942 (according to Wikipedia), Mbulu would have been fifteen in late 1957 and 1958. Is the image on the cover Letta? Could the EP recording be from 1958?

The article on Mbulu goes on to say that she won a part in the 1959 production of King Kong but also claims that she was thirteen at the time. If the later age is true, that would make her fifteen in 1961. Mbulu would go on to perform in both the local and the 1961 London productions of King Kong. Again, could this image be of Letta? Could the EP recording be from 1961?

Further research on the "Swanky Spots" leads me to the credits of the King Kong LP where the group is identified as James Mabena, Letta Mbulu, Johnny Dlamini, Jerry Dube, Joseph Nyembe, and Bobby Mphahlela. I move onto other tracks.

Long Tall Sally was a major hit for Little Richard in 1956. Though South Africans may have been more familiar with Pat Boone's 1956 version which was issued there on the Dot label (D 163). South African record companies chose not to release records by black American rockers, at least in the mid to late 1950s.

The doo-wop track, Little Darlin first by Maurice Williams' Gladiolas was a hit for them early in 1957 and then went on to be an even bigger hit for the Diamonds a month latter. Certainly the Diamonds version would have made it to South Africa that same year.

The track Hush however was a huge hit for Miriam Makeba and the Skylarks and only appears to have been recorded around June of 1958, and was probably issued later that year. While Makeba worked closely with the Manhattan Brothers in the mid 1950s and it is certainly conceivable that they could have recorded this tune before Makeba, Lars Rasmussen's discography makes no mention of it. In my opinion the Manhattan's are covering the tune on the EP in the wake of the Skylarks's success with it. That would put the recording date for the concert around late 1958 or 1959.

Alan Silinga's classic tune Ntyilo-Ntyilo was a hit for the Manhattan Brothers and Miriam Makeba in 1954. The backing group on that recording included Kippie Moeketsi, Mackay Davashe, Boycie Gwele, General Duze, Jacob Lepere and Willie Malan, sometimes known as the Shanty Town Sextet. This group would continue to back the Manhattans, but later, after the inclusion of more musicians became known as the Jazz Dazzlers. Hugh Masekela, Jonas Gwangwa, Gwigwi Mrwebi, Sol Klaaste, Ben Mawela along with Davashe, Moeketsi, Lepere and Duze would record three tracks as the Jazz Dazzlers in Cape Town in July of 1960. Essentially the core of this group was the King Kong band for both the 1959 South African and 1961 London productions. After receiving approval for 60 passports from the South African authorities, on August 11, 1960, the production travelled to London where it opened at the Princess Theatre on February 23, 1961.

After the close of King Kong in London, many of the cast and musicians chose to remain there and not return to South Africa. Lars Rasmussen's biography of Joe Mogotsi does reveal that the Manhattans toured a number of European countries including Switzerland. The group also recorded a live album — Sing Freedom — for The English Folk Music Society at Cecil Sharpe House in London, 1963. Apparently their only live recording!

After all this time I had assumed that the EP was recorded in South Africa. Is it possible that is was made in Europe?

The final clue comes from a translation of the final paragraph of the liner notes. Apart from the potentially racist references to "civilization" and so on, the writer informs us that "our engineer, Wettler" had some difficulty in recording the "microphone unfamiliar" artists. Wettler certainly sounds to me like a German name, and while it is not conclusive, after all Vanguard Records could have sent their recording team to Johannesburg, my gut feeling tells me that the tracks were made in a German-speaking country around 1961.

Furthermore the liner note also reveal an additional EP recording from the same concert (EPA 17005).

Certainly Mackay Davashe and Kippie Moeketsi would return to South Africa and record as the Jazz Dazzlers at the classic 1962 Castle Lager Jazz Festival. The Manhattan Brothers however would not return.

Postscript...
The comments below reveal that the recording was indeed made in Johannesburg. That would put the potential date of the concert somewhere between June 1958 and August 1960.

JAZZ IN SOUTH AFRICA
Amadeo, EPA 17006

1) Ntandane
2) Ntylo-Ntylo
3) Long Tall Sally
4) Hush
5) Little Darling

Kippie Moeketsi: The LP he never made (1971)

Kippie Moeketsi, Victor Ntoni and Danayi Dlova in their one-off practise jam at the Langa Community Centre, Cape Town 1971. Picture by Ian Bruce Huntley

Morolong, musical genius, unchallenged as the foremost South African jazz musician of his generation, the “Charlie Parker of South Africa”.  Abdullah Ibrahim (then Dollar Brand) pays homage on the sleeve notes of his 1971 recording Peace - Dollar Brand + 2:  “It was Kippie Moeketsi, the father of us all, an alto player, the first person who made us aware of the riches inside South Africa, who convinced me to devote my entire life to music.”

In a 1980 interview Hugh Masekela laments the fact that Kippie never made an LP of his own: “It is amazing that Kippie Moeketsi has been around for a long time and has never made an LP on his own. It is only when Pat Matshikiza or Dollar Brand calls him that he’s been able to do something. There’s an image hanging around him that he is a drunkard. Truth is he has been frustrated in his attempts to set things straight for Black artists. Bra Kippie is among the most brilliant musicians we’ve ever had and also a champion for the rights of his colleagues. Even militants use to call him a trouble-maker”(Umhlaba Wethu, edited by Mutloase Mothobi – Skotaville Publishers, 1980).

This live concert recording of Kippie Moeketsi, made and preserved by Ian Bruce Huntley, is special in that it is a recording with Moeketsi as leader - the LP he never made. In fact, at ninety minutes long it would have to be a double LP. This recording contains tracks we believe were composed by Moeketsi and are not recorded anywhere else. I use the word “believe” advisedly as jazz buffs more knowledgeable than me cannot identify seven of the nine tracks from this concert. Ian is of the opinion that some of these tracks are Kippie’s own creations that he never gave names to. Does anyone recognise these from elsewhere?

Today’s previously unreleased recording is also special in that ten days after this once-off concert at the Art Centre in Cape Town, Dollar Brand sent Moeketsi, Victor Ntoni and Nelson Magwaza a telegram asking them to come to Johannesburg and join him in making what were his first commercial recordings in South Africa since 1960. Produced by Rashid Vally, those records are now lauded as classics:  Dollar Brand + 2 with Victor Ntoni and Nelson Magwaza (Gallo-Soultown KRS110) and “Dollar Brand + 3 with Kippie Moeketsi” - with Ntoni and Magwaza as well. (Gallo-Soultown KRS113).

This concert at the Art Centre in Cape Town also flags the emergence of "the sad man of South African jazz" from a number of years where he did not record or perform much in public. Kippie went on to make major contributions to two of Pat Matshikiza's recordings, and also recorded with Hal Singer: see Matsuli's As-Shams discography which includes Dollar Brand +2, Dollar Brand + 3, Tshona (1975), Sikiza Matshikiza (1976), and Kippie Moeketsi-Hal Singer (1977).

When the plan to bring Kippie to Cape Town was originally hatched, Ian Huntley agreed to pay for the airticket - what was  then a 'substantial' sum of fifty rand. When Danayi Dlova (sax), Victor Ntoni (bass) and Nelson Magwaza (drums) went with Ian to Cape town airport in Ian’s Renault 4L, they found Kippie with a small tog bag in his right hand - no saxophone.

Kippie spent that night at Ian’s flat on Main Road in Rondebosch listening to music from Ian’s already legendary collection of vinyl. Duke Ellington’s big band recordings propelled Kippie to prolonged tears of emotion and appreciation. The next day was spent trying to find a saxophone that Kippie could use for the concert. In the end, Ian made a plan and persuaded his friends Lawrence and Sherlaine Koonen at The Record Centre to give him a loan (Ian would normally spend every spare cent of his modest mapmaker’s salary on buying jazz LP's from them). So, it came to be that Ian bought Kippie a brand new Selmer Mark 6 alto saxophone.  

Victor Ntoni: Pic by Ian Bruce Huntley

Kippie then took up temporary lodging with a Mrs George in Langa, and spent time hanging out with the band members. When I asked Ian how much the band practised together before this Art Centre concert he laughed. “I could never find them at the Langa Community Centre practising, I got quite worried.  They played precisely one jam of a gig at the Langa Community Centre, and then just got up that night at the Art Centre and let this concert just happen.”

As a live recording there are one or two brief moments where Danayi Dlova and Kippie Moeketsi’s saxophones feel around to find each other. There are however sustained flashes of brilliance from Kippie and all of the band members. Sometimes you have to listen carefully to distinguish if it is Kippie Moeketsi or Danayi Dlova playing solo. Kwa-Mashu, Durban-born Nelson Magwaza’s drumming and Victor Ntoni’s bass are really top class.

Less than two weeks later Kippie Moeketsi, Nelson Magwaza and Victor Ntoni took the  train from Cape Town to Johannesburg to make those recordings with Dollar Brand. It is understood that the train ride was quite a party.

It was in 1954 when Dollar Brand joined Mackay Davashe’s Shantytown Sextet when he first met Kippie Moeketsi. Together they embarked upon an epic journey exploring and experimenting with the music of the U.S. jazz and bop greats. Along with Dollar Brand, Moeketsi then went on to form the legendary Jazz Epistles with  Hugh Masekela,  Jonas Gwangwa, Johnny Gertze and Makhaya Ntshoko. Their album, Jazz Epistle Verse One, was recorded in 1960. “Scullery Department” the sixth track featured on this Art Centre recording was originally recorded on Verse One.


Kippie Moeketsi's statue outside "Kippies"
 in Newtown, Johannesburg

A discography of some of Kippie Moeketsi’s recordings can be found at Siemon’s Flat International website here. Another valuable work in progress is a discography of Dollar Brand / Abdullah Ibrahim's prolific outputs here

In September 2009 a bronze sculpture of Kippie was unveiled in tribute by the City of Johannesburg outside the Newtown jazz club bearing his name.
Kippie Moeketsi died penniless in 1983 at the age of 58.

If you have not yet listened to the earlier postings from Ian’s archive, you can find them here: 

Winston Mankunku gem

Love for Free: Hidden South African Jazz Archive revealed

The Blue Notes: A Journey of Faith

Chris McGregor Quintet Live in Geneva

Becoming Free In Cape Town

Last Night at the Room At The Top: Dyani and Pukwana

Kippie Moeketsi: The LP he never made
Recorded Live at the Art Centre, Cape Town - in stereo - by Ian Bruce Huntley
September 1971

1. Un-named Track One (3:49)
2. Body and Soul (9:49)
3. I Remember You (14:15)
4. Lonesome Lover (Max Roach) (14:07)
5. Un-named Track Five (3:07)
6. Scullery Department (10:43) - (Moeketsi)
7. Turnaround  (Ornette Coleman) (14:16)
8. Un-named Track Eight (14:03)
9. Un-named Track Nine (7:23)

Rapidshare here
Mediafire here

Baba "Themba" Mokoena - Themba (1976)

The Soweto uprisings of 1976 were a turning point in South Africa's history, leading to the ascendency of the African National Congress and PW Botha's political-military council as opponents in the battle that would wage through the country until the late 1980s. It was also an incredibly fertile year for jazz, as this album by Themba Mokoena illustrates. These were exciting times, as Abdullah Ibrahim and his wife Sathima Bea Benjamin had returned to record a seminal series of works including Mannenberg, Soweto, African Herbs and African Songbird. Rashid Vally was putting up studio time for jazz musicians such as Dick Khoza, Pops Mohammed, The Beaters, Pat Matshikiza, Tete Mbambisa, Kippie Moeketsi and others to lay down their inspirations. Other producers such as David Thekwane, Hamilton Nzimande and others were also not far behind mining the long grooves of bump-jive and piano led 15 minute jams echoing the single sided LP jazz grooves of Mannenberg etc.

But the optimism of the burgeoning jazz scene soon evaporated under the waves of repression and the evaporation of venues in which to practice and play. The commercial realities of venues that were regularly targetted by authorities for allowing mixed audiences and articulating a different vision of the future were tough.

As compiled on the Strut Next Stop Soweto Vol 3 - Giants, Ministers and Makers here is the complete album recorded under Themba Mokoena's first name. No surprises if the participants were the house band from the Pelican. 

Themba - Themba (Soweto SWA 14017)
1. Themba Themba
2. Ou Kaas
3. Fana Fana
4. Macs Secret

ENJOY!  MF

Love for Free: Hidden South African jazz archive revealed

Chris Schilder aka Ebrahim Kalil Shihab at the Zambezi Restaurant,
Hanover Street, District Six, 1965. Picture by Ian Bruce Huntley

The recorded store of South Africa’s jazz heritage just got a little bit bigger than anybody realised. If you could ask just about any jazz musician who played in Cape Town during the mid 1960s, all would remember Ian Bruce Huntley with an affectionate smile. Ian was this lovable ‘jazz fanatic’ who would be on stage setting up recording microphones from his Tandberg 6 reel-to-reel recorder at many of the live jazz gigs that were played between 1964 and 1966 and then again from 1968 to 1972. Now and then he would also be taking pictures with his Leica M3.

Ian Bruce Huntley in 1967

After more than forty-five years of privately preserving these reel-to-reel recordings, Ian has just concluded a non-profit “public good” agreement that, amongst other things, gives Electric Jive exclusive permission to archive and share this wealth of historically important and amazing music. A new adventure is in the planning stages, and there are some wonderful surprises ahead. I am starting to seek out and have discussions with some good and helpful people, to plot a path which results in a companion book of photos, articles and a full discography of the history that is stored on those reel-to-reel tapes.

Today’s posting serves to announce a jazz musical heritage and excitement which we shall be unpacking on Electric Jive once a month for many months to come. In the medium-term, I am hoping to set up a searchable sub-page archive on Electric Jive to give expression to the agreement whose purpose is “to honour the musicians and their music, to promote the recognition that they are due, and to stimulate wider public interest in and appreciation of this heritage. We do not seek profit or commercial gain in making these recordings available.”

My recent spare time has been focussed on organising and digitising and backing up recordings very few people knew existed. Acutely aware of my own deficits in jazz and musical knowledge I am just excited to keep learning further, and to be able to start sharing this important heritage more widely.

The mid 1960s was an important period of transition, and in many respects Ian’s recordings mirror how the Cape Town jazz scene absorbed, processed and re-packaged that context. While much of the rest of Africa was euphorically bathing in the inception of decolonization, the iron grip of apartheid was really beginning to take hold in South Africa. Globally, the Cold War began to make pawns of countries.

Tete Mbambisa and Psych Big T Ntsele
Pic by Ian Bruce Huntley

In the United States jazz musicians of the African diaspora celebrated Africa’s newly found freedoms, but most walked a careful line on the side of the American Empire’s project of global democratization. A whole new era of musical dialogue between Africa and America was begun.
While many Africans were charting new paths and identities, there was a diverse group of Cape Town-based South African jazz musicians improvising in finding their own meaning and inspiration, listening intently to the likes of Coltrane, Davis, Monk, Mingus, Blakey and a host of other bop musicians.

Robin D.G. Kelley sums the period up well in his recent book: “Africa Speaks, America Answers: Modern Jazz in Revolutionary Times” -: “African musicians did not exist to bring something ancient to African American modernism; rather, they were both creating modern music, drawing on the entire diaspora as well as the world, to do so. Indeed, perhaps with the growth of trans-Atlantic collaborations and dissemination of culture, we can no longer speak so confidently about jazz as an American art form, or render African Jazz musicians outside the pale of the music’s history. And we certainly need to go beyond listening to non-American artists for ways they incorporate “their culture” into jazz – whether we’re talking about South African or Israeli jazz musicians. Jazz reveals that, even in the search for tradition, its chains do not always bind us, and the most powerful map of the New World is in the imagination.

While he is not a musician, Ian Bruce Huntley has made a significant and until now, unrecognised contribution in recording and preserving an extremely valuable, important and invigorating legacy. Despite attentions of South Africa’s State security apparatus, it was still possible in the mid 60s for racially mixed bands to perform at select public places such as the Zambezi Restaurant in Hanover Street, District Six, The Ambassador’s Jazz Club In Woodstock, The Vortex in Upper Long Street, The Art Centre, Kings Hotel and the Grand Prix Restaurant in Sea Point, The Room At The Top. All of these venues hosted an ebb and flow of South African jazz musicians – those that stayed and those that left the country and returned occasionally.

Ian’s recordings were always made with the permission and blessing of the musicians concerned. Often, after gigs, he would head back with band members to his flat in Main Road, Mowbray, and play it all back to them, way into the early hours. Ian’s Xhosa friends gave him the name “Ka-Nini”(Gwanini?), literally meaning ‘of the night’ – or, someone who comes alive at night.

Friends saying goodbye to Ian who had to leave Cape Town in February 1967: Left to Right - top: Harold Schlensog; Peter Buchanan; Paddy Ewer; Margaret Schlensog; Selwyn Lissack; Ian Huntley; Willie Nete; Themba Matola; Martin Ngijima (with pipe); Front: left to right: Roger Khoza; Howard Sassman; Chris Schilder; Winston Mankunku Ngozi.

In 1967 Ian was suddenly transferred out of Cape Town via somewhat mysterious instructions sent to the government map-making office where he worked. At around the same time he was also evicted from his flat because he was allowing black friends to sleep over there. Ian has many stories to tell, and I look forward to sharing some of these, and his recordings and photos, on this blog.

For today’s post I have selected an introductory sample of single tracks from some of the tapes I have digitised so far. In addition to making many of his own recordings, Ian also collected an impressive legacy of local and international jazz recordings. Some of the recordings are of excellent quality and leave me in wonder of how this amateur enthusiast with minimal equipment in the 1960s was able to achieve this. Some of the tapes have not lasted as well, while the levels in others are not ideal. Once you start listening, I am sure you will agree that the minor blemishes pale into insignificance.

Kippie Moeketsi, Victor Ntoni and Dani Ndlovu - Langa Community Centre 1971
Picture by Ian Bruce Huntley

I have to start with a ten-minute Kippie Moeketsi rendition of Body and Soul that just blows me away. Back in Cape Town in 1971, Ian was persuaded by friends to part with fifty rands to pay for an airticket to get Kippie Moeketsi to come down from Johannesburg and play a gig. When Ian and the band picked Kippie up at the airport in his Renault 4L, Kippie had arrived without an instrument. Ian persuaded his friends Lawrence and Sherlaine Koonen at The Record Centre to give him a loan, and bought Kippie a brand new Selmer Mark 6 alto saxophone. This concert involved Kippie Moeketsi and  Danyi Ndlovu on saxophones, a really top-of-his-game Victor Ntoni on bass and Nelson Magwaza on drums.

Body and Soul: Mediafire here Rapidshare here

Two more recordings at the Art Centre during 1966, not long before Winston Mankunku Ngozi was to catapault to national fame as 1967 Jazzman of the year for his Yakhal’ Nkomo.

First up Winston “Mankunku” Ngozi (tenor saxophone), Chris Schilder (piano), Phil Schilder (bass), Monty Weber (drums) – Love for Sale. Mediafire here Rapidshare here

Next is a striking recording of a Coltrane composition, “Ole” made at The Art Centre on 20^th August 1966: Morris Goldberg (alto saxophone); Winston Ngozi (tenor saxophone); Chris Schilder (piano); Midge Pike (bass); Philly Schilder (bass); Selwyn Lissack (drums). At nearly 18 minutes long, your patience through the gathering free introduction will be rewarded.

"Ole" - Mediafire here Rapidshare here

Ronnie Beer and Tete Mbambisa
Pic: Ian Bruce Huntley

Going back further in time at The Room At The Top in 1964 we uncover a whole lot of gems, including an 18-minute rendition of “Arabia” featuring Dennis Mpale (trumpet);  Dudu Pukwana (Alto sax);  Ronnie Beer (tenor sax); Tete Mbambisa (piano); Martin Ngijima (bass); Max Dayimani (drums).

Arabia: Mediafire here Rapidshare here

Martin Ngijima. Pic by Ian Bruce Huntley

 The final track I share with you today is of Chris McGregor and the Blue Notes playing Mingus’ Boogie Stop Shuffle at Wits University on 22^nd March 1963. The recording was made by Professor John Blacking. Ian just happened to transcribe this rarity onto reel-to-reel. The band: Chris McGregor (Piano); Elijah Nkwanyana - trumpet (and also a little baritone sax); Dudu Pukwana – (alto saxophone); Martin Ngijima (bass); we are not certain of the drummer, but believe it to be Early Mabuza. The tape of the full concert will become available in due course.

Boogie Stop Shuffle: Mediafire here Rapidshare here

I look forward to sharing more with you next month. Cheers!