The Town Hall & Le Poisson Rouge Present

Apr

27

The Jazz Epistles ft. Abdullah Ibrahim & Ekaya + Lesedi Ntsane The Jazz Epistles ft. Abdullah Ibrahim & Ekaya + Lesedi Ntsane

with Dorothy Masuka feat. Bakithi Kumalo

Thu April 27th, 2017

8:00PM

The Town Hall

Minimum Age: All Ages

Doors Open: 7:30PM

Show Time: 8:00PM

Event Ticket: $55 / $75

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event description event description

South African Freedom Day

Legends of South African music reunite for a historic concert to tell the story of The Jazz Epistles, arguably the most important jazz album ever recorded in its country’s history. Abdullah Ibrahim welcomes special guest musicians from his youth to reimagine music for his Ekaya Chamber Ensemble. This music was almost lost forever — only 500 copies were made in 1959, buried, and rediscovered decades later after the tyranny of apartheid. These giants of South African jazz tell their story at this extremely rare concert at The Town Hall in New York City.  This unique performance will be captured for Jazz Night In America on NPR and The Checkout produced by WBGO.

***IMPORTANT UPDATE: THE JAZZ EPISTLES***

We regret to inform ticket buyers that due to a medical emergency, Hugh Masekela is unable to perform this Thursday.

We will proceed with this concert and celebrate South Africa Freedom Day with ABDULLAH IBRAHIM & EKAYA performing the music from the historic Jazz Epistles album.

Young South African trumpeter LESEDI NTSANE will sit in for Hugh Masekela. “This concert is very special to me…The Jazz Epistles are legendary. They are the blood of the soil. We all grew up on them. They gave us life and this is historic.”

We are also pleased to present a special opening set by South African vocalist DOROTHY MASUKA. She will be joined by legendary bassist BAKITHI KHUMALO.

Please watch this special video message from Hugh Masekela:

“South Africa’s Mozart.”
– Nelson Mandela about Abdullah Ibrahim

“It’s the first all-black modern South African jazz recording.”
– Gwen Ansell, author

“This story hasn’t been written yet. It’s a hidden history and it’s waiting to be told.”
– Sazi Dlamini, ethnomusicologist

“At a time when apartheid itself was very backward looking, you had a collection of black musicians who were saying very defiantly: We are here, we are modern-city people, there is no way you are going to exclude us from modern life. And that is the beautiful undertone in that music.”
— Gwen Ansell, author, Soweto Blues—Jazz, Popular Music & Politics in South Africa

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2

The Jazz Epistles ft. Abdullah Ibrahim & Ekaya + Lesedi Ntsane

Adbullah Ibrahim official site | Hugh Masekala official site

We regret to inform ticket buyers that due to a medical emergency, Hugh Masekela is unable to perform this Thursday. 

Young South African trumpeter LESEDI NTSANE will sit in for Hugh Masekela. “This concert is very special to me…The Jazz Epistles are legendary. They are the blood of the soil. We all grew up on them. They gave us life and this is historic.”

Please see the statement and video in the event description above for more info.

Abdullah Ibrahim’s new solo program transcends category, combining the intimate and the universal in a unique way that is hinted at in its title. SENZO means “Ancestor” in both Chinese and Japanese. SENZO also echoes the name of Abdullah Ibrahim’s Sotho father, in whose language the word translates as “Creator”.

Abdullah Ibrahim, South Africa’s most distinguished pianist and a world-respected master musician, was born in 1934 in Cape Town and baptized Adolph Johannes Brand. His early musical memories were of traditional African Khoi-san songs and the Christian hymns, gospel tunes and spirituals that he heard from his grandmother, who was pianist for the local African Methodist Episcopalian church, and his mother, who led the choir. The Cape Town of his childhood was a melting-pot of cultural influences, and the young Dollar Brand, as he became known, was exposed to American jazz, township jive, CapeMalay music, as well as to classical music. Out of this blend of the secular and the religious, the traditional and the modern, developed the distinctive style, harmonies and musical vocabulary that are inimitably his own.

He began piano lessons at the age of seven and made his professional debut at fifteen, playing and later recording with such local groups as the Tuxedo Slickers. He was in the forefront of playing bebop with a Cape Town flavour and 1958 saw the formation of the Dollar Brand Trio. His groundbreaking septet the Jazz Epistles, formed in 1959 (with saxophonist Kippie Moeketsi, trumpeter Hugh Masekela, trombonist Jonas Gwanga, bassist Johnny Gertze and drummer Makaya Ntshoko), recorded the first jazz album by South African musicians. That same year, he met and first performed with vocalist Sathima Bea Benjamin; they were to marry six years later.

After the notorious Sharpeville massacre of 1960, mixed-race bands and audiences were defying the increasingly strict apartheid laws, and jazz symbolized resistance, so the government closed a number of clubs and harassed the musicians. Some members of the Jazz Epistles went to England with the musical King Kong and stayed in exile. These were difficult times in which to sustain musical development in South Africa. In 1962, with Nelson Mandela imprisoned and the ANC banned, Dollar Brand and Sathima Bea Benjamin left the country, joined later by the other trio members Gertze and Ntshoko, and took up a three-year contract at the Club Africana in Zürich. There, in 1963, Sathima persuaded Duke Ellington to listen to them play, which led to a recording session in Paris – Duke Ellington presents the Dollar Brand Trio – and invitations to perform at key European festivals, and on television and radio during the next two years.

In 1965, the now married couple moved to New York. After appearing that year at the Newport Jazz Festival and Carnegie Hall, Dollar Brand was called upon in 1966 to substitute as leader of the Ellington Orchestra in five concerts. Then followed a six-month tour with the Elvin Jones Quartet. In 1967 he received a Rockefeller Foundation grant to attend the Juilliard School of Music. Being in the USA also afforded him the opportunity to interact with many progressive musicians, including Don Cherry, Ornette Coleman, John Coltrane, Pharaoh Sanders, Cecil Taylor and Archie Shepp.

The year 1968 was a turning point. Searching for spiritual harmony in an increasingly fractured life, Dollar Brand went back to Cape Town, where he converted to Islam, taking the name Abdullah Ibrahim, and in 1970 he made a pilgrimage to Mecca. Music and martial arts further reinforced the spiritual discipline he found. After a couple of years based in Swaziland, where he founded a music school, Abdullah and his young family returned in 1973 to Cape Town, though he still toured internationally with his own large and small groups. In 1974 he recorded “Mannenberg – ‘Is where it’s happening’”, which soon became an unofficial national anthem for black South Africans. After the Soweto student uprising, in 1976, he organized an illegal ANC benefit concert; before long, he and his family left for America, to settle once again in New York.

Determined to manage his own affairs in America, he founded with Sathima, the record company Ekapa in 1981. The 1980s saw him involved with a range of artistic projects that depended on his music: Garth Fagan’s ballet Prelude (first performed 1981), the Kalahari Liberation Opera (Vienna, 1982), and in 1983 a musical, Cape Town, South Africa, featuring the septet he formed that year, Ekaya. In 1987, he played a memorial concert for Marcus Garvey in London’s Westminster Cathedral, and the following year he played at the concert in Central Park, New York, commemorating the seventieth birthday of Nelson Mandela.

In 1990 Mandela, freed from prison, invited him to come home to South Africa. The fraught emotions of reacclimatizing there are reflected in Mantra Modes (1991), the first recording with South African musicians since 1976, and in Knysna Blue (1993). He memorably performed at Mandela’s inauguration in 1994.

Abdullah Ibrahim has been the subject of several documentaries: for instance, Chris Austin’s 1986 BBC film A Brother with Perfect Timing, and A Struggle for Love, by Ciro Cappellari (2004). He has also composed scores for film, including the award-winning soundtrack for Claire Denis’s Chocolat (1988), as well as for No Fear, No Die (1990) and Idrissa Ouedraogo’s Tilai (1990), and he was featured in the 2002 production Amandla: A Revolution in Four-Part Harmony.

For more than a quarter-century he has toured the world extensively, appearing at major concert halls, clubs and festivals, giving sell-out performances, as solo artist or with other renowned artists (notably, Max Roach, Carlos Ward and Randy Weston). His collaborations with classical orchestras have resulted in acclaimed recordings, such as African Suite (1999, with members of the European Union Youth Orchestra) and the Munich Radio Philharmonic orchestra symphonic version, “African Symphony” (2001), which also featured the trio and the NDR Jazz Big Band..

Abdullah Ibrahim celebrated his seventieth birthday in October 2004, which occasion was marked by the release of two CDs by Enja Records (the Munich-based label with whom he has recorded for three decades): the compilation A Celebration, and Re:Brahim, his music remixed. His discography runs to well over a hundred album credits

When not touring, he now divides his time between Cape Town and New York. In addition to composing and performing, he has started a South African production company, Masingita (Miracle), and established a music academy, M7, offering courses in seven disciplines to educate young minds and bodies. Most recently, in 2006, he spearheaded the historic creation (backed by the South African Ministry of Arts and Culture) of the Cape Town Jazz Orchestra, an eighteen-piece big band, which is set to further strengthen the standing of South African music on the global stage.

A martial arts Black Belt with a lifelong interest in zen philosophy, he takes every opportunity to visit his master in private trips to Japan. In 2003 he performed charity concerts at temples in Kyoto and Shizuoka, the proceeds going to the M7 academy.

Abdullah Ibrahim remains at his zenith, as a musician and a tireless initiator of new projects. In his own words:

“some do it because they have to do it
we do it because we want to….so we do not require much sleep…
so we have to do it “

The recipient of many awards and honorary doctorates, spiritually strong as both teacher and disciple, Professor Abdullah Ibrahim is a true inheritor of the ancestral name SENZO.

***

 

Hugh Masekela is a world-renowned flugelhornist, trumpeter, bandleader, composer, singer and defiant political voice who remains deeply connected at home, while his international career sparkles. He was born in the town of Witbank, South Africa in 1939. At the age of 14, the deeply respected advocator of equal rights in South Africa, Father Trevor Huddleston, provided Masekela with a trumpet and, soon after, the Huddleston Jazz Band was formed. Masekela began to hone his, now signature, Afro-Jazz sound in the late 1950s during a period of intense creative collaboration, most notably performing in the 1959 musical King Kong, written by Todd Matshikiza, and, soon thereafter, as a member of the now legendary South African group, the Jazz Epistles (featuring the classic line up of Kippie Moeketsi, Abdullah Ibrahim and Jonas Gwangwa).

In 1960, at the age of 21 he left South Africa to begin what would be 30 years in exile from the land of his birth. On arrival in New York he enrolled at the Manhattan School of Music. This coincided with a golden era of jazz music and the young Masekela immersed himself in the New York jazz scene where nightly he watched greats like Miles Davis, John Coltrane, Thelonious Monk, Charlie Mingus and Max Roach. Under the tutelage of Dizzy Gillespie and Louis Armstrong, Hugh was encouraged to develop his own unique style, feeding off African rather than American influences – his debut album, released in 1963, was entitled Trumpet Africaine.

In the late 1960s Hugh moved to Los Angeles in the heat of the ‘Summer of Love’, where he was befriended by hippie icons like David Crosby, Peter Fonda and Dennis Hopper. In 1967 Hugh performed at the Monterey Pop Festival alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix. In 1968, his instrumental single ‘Grazin’ in the Grass’ went to Number One on the American pop charts and was a worldwide smash, elevating Hugh onto the international stage.

His subsequent solo career has spanned 5 decades, during which time he has released over 40 albums (and been featured on countless more) and has worked with such diverse artists as Harry Belafonte, Dizzy Gillespie, The Byrds, Fela Kuti, Marvin Gaye, Herb Alpert, Paul Simon, Stevie Wonder and the late Miriam Makeba.

In 1990 Hugh returned home, following the unbanning of the ANC and the release of Nelson Mandela – an event anticipated in Hugh’s anti-apartheid anthem ‘Bring Home Nelson Mandela’ (1986) which had been a rallying cry around the world.

In 2004 Masekela published his compelling autobiography, Still Grazing: The Musical Journey of Hugh Masekela (co-authored with D. Michael Cheers), which Vanity Fair described thus: ‘…you’ll be in awe of the many lives packed into one.’

His story is far from over, and as Bra Hugh approaches his 75th birthday he shows no signs of slowing down.

He maintains a busy international tour schedule as his fan base around the world continues to grow.

In June 2010 he opened the FIFA Soccer World Cup Kick-Off Concert to a global audience and performed at the event’s Opening Ceremony in Soweto’s Soccer City. Later that year he created the mesmerizing musical, Songs of Migration with director, James Ngcobo, which drew critical acclaim and played to packed houses. Songs of Migration will visit Amsterdam, London and Washington in October 2012.

In 2010, President Zuma honoured him with the highest order in South Africa: The Order of Ikhamanga, and 2011 saw Masekela receive a Lifetime Achievement award at the WOMEX World Music Expo in Copenhagen. The US Virgin Islands proclaimed ‘Hugh Masekela Day’ in March 2011, not long after Hugh joined U2 on stage during the Johannesburg leg of their 360 World Tour. U2 frontman Bono described meeting and playing with Hugh as one of the highlights of his career.

2012 has already been a busy year with Hugh just returning to South Africa from touring Europe with Paul Simon on the Graceland 25th Anniversary Tour. He has opened his own studio and record label, House of Masekela which has already put out its first release: Friends – a 4 CD collection of jazz standards featuring his dear friend, pianist Larry Willis.

Hugh is currently using his global reach to spread the word about heritage restoration in Africa – a topic that remains very close to his heart.

“My biggest obsession is to show Africans and the world who the people of Africa really are,” Masekela confides – and it’s this commitment to his home continent that has propelled him forward since he first began playing the trumpet.

Dorothy Masuka feat. Bakithi Kumalo

Dorothy Masuka was born and raised in Zimbabwe. A talent scout discovered her when she sang in a school concert and immediately she signed up as Troubadour. By the time she was sixteen, Dorothy had become a top recording star and after running away from school several times, she was released. She left for Johannesburg by train and it was during this journey that she composed the song Hamba Nontsokolo that launched her career as a professional musician and has since been regarded as a classic in South Africa.

Dorothy’s status as top pin-up and glamour girl in South Africa soon started to pose as a challenge to the likes of Dolly Rathebe, and she became the principal star in Alf Herbet’s African Jazz and Variety show. A lot of Dorothy’s performances were as a soloist accompanied by close-harmony groups and other big bands that featured in the 1950s. By composing her own songs that were inspired by events occurring in the South African townships in the 1950s, she provided a lot of insight into socio-political issues of township life. It was as result of this commentary that she left South Africa abruptly.

In 1961 she traveled into Malawi and Tanzania and through her musical talents she became the champion of the independence cause in Africa. She then traveled to London and stayed in Kensington, but people in the U.K. were not interested in African music. She performed whenever possible and played at the London Palladium and at Wimbledon, after this stint she returned to Zimbabwe. Dorothy’s life was threatened while living in what was then Rhodesia (Zimbabwe) as a result of her political affiliations, and as life became too dangerous, she fled to Zambia. In Zambia Dorothy’s musical career took a backseat and she worked as an airhostess, while raising a family. After sixteen years in exile she returned to Zimbabwe in 1981, after their independence. She became a professional singer once again and only returned to South Africa after the release of Nelson Mandela. She currently lives is Johannesburg with her grandchildren and has recently released an album.

***

Bakithi Kumalo‘s musical career has been characterized by a series of serendipitous events, ranging from his debut gig as a precocious seven-year-old filling in for the bassist in his uncle’s band to his enlistment into Paul Simon’s group during the recording sessions of the pop star’s landmark Graceland album in 1985.

Kumalo creates a singular electric fretless bass sound teeming with double stops that sound like human voices and the African grooves of his homeland, and has garnered him a stellar reputation as a sideman. In addition to touring with Simon, he’s also recorded and/or toured with the likes of Gloria Estefan, Derrick Trucks and Susan Tedeschi, Chico Ceasar, Harry Belafonte, Laurie Anderson, Cyndi Lauper, Gerald Albright, Miriam Makeba, Randy Brecker, Grover Washington Jr., Bob James, Angelique Kidjo, Jon Secada, Josh Groban and Chris Botti.

Kumalo has also been active as a solo artist, with four fine albums to his credit — 1998’s San’ Bonan, 2000’s In Front of My Eyes, 2008’s Transmigration, and 2011’s Change — as well as three award winning children’s albums recorded with his wife, vocalist Robbi K.

Kumalo’s bass-playing history began in Soweto where he grew up surrounded by music. His mother sang in a church choir and his uncle, a saxophone player, was always at his house rehearsing his band. “Every weekend, everyone would be at my house singing and playing all day,” Kumalo says. “Plus there were bands on every block of my neighborhood. So, music surrounded me. There was traditional African rhythmic music as well as a cappella vocal groups. I picked up the bass early and realized I could follow the groove of a tune with it. I could play the bass lines from a cappella music, and I learned how to develop lines based on the left-hand work of accordion players in the township bands.”

However, it was an 18-month road trip with his uncle’s band to Zululand when he was 14 that helped to solidify his bass voice. The band gigged as well as played at schools and hospitals, but got stranded there. During that downtime, Kumalo had a dream where he saw someone playing, using his thumb in a particular way. That set him on the path of bass discovery.

Kumalo says it wasn’t until later that he heard the fretless sound by people like Stanley Clarke, Marcus Miller and Victor Bailey. “And, of course, there was Jaco Pastorius,” he says. “I heard him, and I thought, ‘hey, that’s like me.'”

While Kumalo became a professional at an early age in his uncle’s band, life in apartheid South Africa posed many challenges; so many, in fact, that Kumalo began to look for work outside the music field. However, a producer friend introduced him to Simon, whose music he was largely unfamiliar with. Despite his nervousness in meeting the American pop star in a studio setting, Kumalo says Simon immediately gravitated to his bass style.

Kumalo’s work on Graceland opened the doors for him to pursue other avenues, including recent recordings with Herbie Hancock, Randy Brecker and Cyndi Lauper. Plus, he hooked up with former Grateful Dead drummer Mickey Hart, who took the bassist on tour with him. “Mickey was great,” Kumalo says. “There was no audition. He told me to pack up my bass and not to worry about learning the music because that would happen on the road. It was a great time.”

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