Mandisi Dyantyis
The trumpet is brass wind instrument as old as time, dating back Before Christ, the (B.C) eon. It is an instrument that connotes depth, attention and eminent calls, be it ethereal spaces, upheavals or revolts. Even in social calls the trumpet is a clarion voice of change. This thread sounded at the twenty fifth Standard Bank Joy of Jazz anniversary, where a handful of the horn graced the gathering, along with various other instrumentalists, exuding the synergies parallel within, and into the depth of jazz. With five stages set for the audiences, timbre, textures and taste catered and coloured the depth in all forms.
Kicking off the notable festivities were the sounds of Joe Nina accompanied by the South African Air Force Band. This collaboration is plausibly set to soar. Nina is a performer that has made us dance and court with the ultimate Ding Dong. One cannot mention him without the mega hit. Recently his music addressed the social ills and tainted fabrics of our communal surroundings. He is as relevant as current affairs. It is in the criss-cross between the stages where one realises the magnitude and indecisiveness that comes with the milieu of music packaged for the audiences.
Mpumi Dhlamini
The aptly named Tribute of Note by Mpumi Dhlamini, gave us a sterling and octane remembrance of our fallen Giants that have, and had an indelible trademark of reverence gained from the their continued contribution. Tshepo Mngoma ascended and attested that indeed Sibongile Khumalo will forever be remembered as a powerhouse of voicing and song.
As the tributaries ran, Baritone voice etched Lishonile iLanga, a Victor Ntoni Composition fell into place. The rumbling edition titled Hymn for the Creator, composed by pianist Sibusiso Mash Mashiloane affirms the reason why we should give thanks to our forbears and our Creator for the joys the thrills and the undesired. Mash like his alias is a motley of all jazz, and a clear vessel of the spirited realm of purity without parity. Of the many great splinted acts of the day, Mashiloane is in the thicket and deep canals of South African jazz.
Seeing Fezile Feya Faku on stage remains a marvel. One can never quell the insatiable taste of his unpredictable approach to the trumpet. Siding with old time dear friend Sidney Mnisi is concise and clear, whether approaching sophomore albums or new compositions: the sound is always an ear opener. In this particular performance, Feya invited us and shared his personal experience on the tumultuous loss and passing of his contemporaries and his mentors.
Fatoumata Diawara
A funky Prof.Karen Devroop with his notable, effable and intense sound proves why the giant is so well respected. Into the high octane of the Second day, Bass maestro Victor Masondo grooved and swayed to throwing blast into the past with a string ensemble presenting his album “As Promised”. Masondo does give off that despite trotting the globe and playing for throngs, performing for the home audience is an honour and is priceless. Keiko Matsui is a personal favourite. Many argue that the pianist is too smooth and light for her genre. I differ. One stand-out sound that she presents is the distinct and resolute influence of South African Jazz. Her phrases and progressions speak directly to the Mzantsi audience. Her presence even brought out President Thabo Mbeki, albeit Tutu Puoane did the same with her inspiratory wording.
A particular crosscurrent sound of the Standard Bank Young Artist of the Year was Darren English who traversed along with Kenny Bank Junior and connected the linear of change. The luminaries from abroad featured Chris Botti, The horn covered a number of jazz and classical music standards throughout his two-day performance. Without a doubt, the audience had been looking forward to Matthew Halsall. The Englishman’s sound resonated with the audience, and his performance packed the open spaces.
Keiko Matsui
A festivity of this nature would be incomplete without our brothers and sisters from the northern part of the continent. In this edition Fatoumata Diawara delved into the Mali groove and folk, while exploring the further stretches of Africa.
The Mbira stage is a transitory breeze of the festival. Here, the lighter on the ear yet heavy jazz sounds are presented. In consistency it has remained packed. Tributes to Oliver Mutukudzi fell into place as the crowd danced and remembered the fallen humble and modest giant.
As the night peeped into the wee hours Mandisi Dyantyis closed the quarter century chapter of the festival with his melancholic yet happy renditions. This sums up why his pioneering voice speaks to the sense of authenticity and what it means to be a conduit of sounds and songs.
This year’s edition proves that jazz if far from dead. What is also exciting is that it hosts newer and younger audiences that revel and take interest in the music, certainly in the next chapter the younger listeners are in thrills.
