Over the years music has been a transformational tool and a vehicle that navigated through the labyrinthine avenues of change. Decades later, the dynamics of this implement can be extended to combat economic and artistic independence. It is an interchange that can subject humanity to accept the responsibility of contentment and exhilaration sought after by citizens worldwide. Jazz is no exception, but in fact a component of sound that is able to lend itself in playing a pivotal role in restoring an interrelated unit, and has the impact of reconnecting the truncated steps to observing neutral human rights.
The Spin Foundation and key stakeholders recently presented the second International Jazz Day in South Africa at numerous venues around Gauteng, with a variety of programmes prior to the main event. The dialogues and conference was a chance for all people that are part of a jazz ecosystem to impart knowledge, have a deep conversation, and join the global village to illustrate what jazz means to the country. The hive was centred around the roots and possible routes that will redefine and edify the foundation without altering the past.
Until of late, the most documented segment of jazz in the country was in the 1950s when an exodus of musicians left for abroad to ply their trade, and while migrant workers relocated around the cities. Without a doubt, early jazz musicians influenced today’s sound, but this should not limit them as the definite curators of jazz. It may not seem plausible but the overseers of jazz are influenced by their native realm. This affirmation can be attested in the United States in the course of the Great Depression. A number of jazz outfits had to play in marked territory in order to keep the sparks flying. Other performers permeated into the surroundings and other parts of the country. Owing to the stance, jazz came to be known as an American classic.
During the festivities of International Jazz Day (IJD) several bands demonstrated attributes that asserted that Mzansi’s sound and interpretation of song that is palatable to the world. A young breed of thespians that know the significance of preserving heritage are impregnating it with infinite possibilities. This development of performers displayed a trait that has survived from the precursors of traditional songs the land has offered, whilst retaining the tacit structure of an arrangement. It is thrilling to be a jazz fanatic in the course of progression where we are certain that jazz is alive in the country. And also where jazz is on the verge of spreading to places where people are not so receptive towards it, for the reason that it is complex to interpret or digest.
Whether the term jazzed was coined by forerunners to give meaning to a genre, or simply because of the mishaps that occurred in the day. As its meaning stands, it is these elements that allow inter dependence and being morphed from one expression to the next, which are the characteristics that have caused jazz to keep its resilience.