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Limited Edition ! Books! Africa Is A Country Post on South African Jazz book KEEPING TIME

We feel so strongly about this subject while reading about it on our favorite newsblog Africa Is A Country http://www.africaisacountry.com

that we decided to provide the web link to it:

http://africasacountry.com/new-book-opens-a-window-to-a-little-known-era-of-south-africas-jazz-history/

and repost it as well following the actual link to the book’s site :

http://www.electricjive.blogspot.be/2013/11/keeping-time-get-it-while-you-can.html

Thursday, 14 November 2013

Hidden South African Jazz archive comes to life

Tonight at a public lecture in the City of York there will be a live performance of four South African jazz compositions found in the Ian Bruce Huntley archive. The “original” Ian Huntley recordings are shared here today in celebration of the great work that Jonathan Eato and students at the Department of Music at the University of York are doing in bringing Ian’s archive alive in a most positive manner. Jazz legend Louis Moholo-Moholo will be there tonight, participating in the celebration.

Jonathan is talking to an interested audience about the Ian Bruce Huntley archive, showing some of the pictures, and to illustrate some of the material found in the audio archive, he

Ronnie Beer: Pic © Ian Huntley

has taken the trouble to transcribe the music and give “the dots” as he calls the sheet music, to four students who will be performing compositions by Tete Mbambisa (Leads Dwana); Ronnie Beer (Immediately); Ebrahim Kalil Shihab aka Chris Schilder (Look Up ) and Winston Mankunku Ngozi (Ekhaya).

In writing to me about the planned event tonight, and the process leading up to it, Jonathan had the following to say:

Obviously this couldn’t have happened without Ian’s recordings. They (the students) will play them as part of the Merchant Adventurer talk …. And what’s great is that Mpumi Moholo and Louis Moholo-Moholo will be there (although this is making the drummer both very nervous and very excited). I wonder if these compositions have ever been played outside South Africa?

“When they’re tidied up I’ll send the dots through for Ian (if that’s of interest to him…). In listening to this music in detail so I could transcribe it for the students the interesting thing to me is that although improvisation over blues sequences are ubiquitous in jam sessions and gigs with impromptu bands, ‘Immediately’, ‘Leads Dwana’ and ‘Look Up’ all do this in unusual ways. Probing and exploring the form in one way or another.
“The head for ‘Look Up’ is thirteen bars (the usual 12 with a sort of one bar hiatus added to the end), whereas ‘Immediately’ has an extra two beats added to bars 4 and 12 – which also gives a total length of 13 bars but with the elongations split up and spread throughout the head, if that makes sense. ‘Leads Dwana’ is really doing my head in – it’s heavily modal but I think I’m going to have to do more work on trying to understand how it works (or perhaps hope that Tete will explain it to me – assuming we can find a language that makes sense to both of us). Anyways it’s a 32 bar modal head which covers the main harmonic centres of a typical jazz blues without using the form, or the bebop language prevalent in modern jazz blues.
“Of course these musicians were aware of Miles Davis’ work etc. (hence ‘Milestones’ etc featuring so often in the IBH recordings) – and even though Davis recorded that in 1958, Herbie Hancock’s ‘Maiden Voyage’ (the other great landmark of modal jazz) wasn’t recorded until a year *after* Barney Rachabane, Ronnie Beer, Dennis Mpale, Tete Mbambisa, Max Dayimani and Sammy Maritz recorded ‘Leads Dwana’ in the studios at Thibault Square.”
Jackie, Philly and Chris Schilder
Pic © Ian Huntley
I hope the musically technical stuff made sense to some of you, I just nod my head and happily accept that I can still love and appreciate the music without really understanding the intricacies of how it is constructed.
Ian’s recordings are believed to be the first or earliest recordings of all of these compositions – and as Jonathan wonders aloud, have they even been played outside of South Africa – before tonight? By my amateur reckoning, I do believe, Ronnie Beer’s “Immediately” has the greatest chance of having been  performed in Europe while Beer was there playing with Chris McGregor and the Blue Notes.In addition to the two versions of “Immediately” already shared on this blog (The Thibault Square recording at 7:55) here and (Room At the Top) a 15 min 46sec take here  – we are sharing two more versions. A 9:52 take, from another fine performance by Mpale, Rachabane, Mbambisa, Beer, Mgijima and Dayimani at the Room at the Top – at the end of which you can hear one of the band members commenting about Max Dayimani “hitting the drums”. The second take is a 13min 55sec version, also performed by the same members at the Room At The Top in 1964.
“Look Up” features on the 1968 vinyl holy grail – Chris Schilder Quintet’s “Spring“. The 3:35 version also features on Volume 3 of the great Strut Next Stop Soweto Compilation issued in 2010. The 1966 version of Spring recorded by Ian in District Six, Cape Town stretches to close on eight minutes performed by a Schilder family trio.Tete Mbambisa’s  Leads Dwana also deserves to be heard internationally, and perhaps it has been already. Who knows? Here, the Jazz Disciples – with Sammy Maritz on bass – provide a swinging eight-minute rendition.The recording of Ekhaya is unlikely to have been performed and is not widely known. The recording shared here today was not a public performance and is not of the best sound quality, but those who recognize its importance will forgive that.The musicians playing the four compositions at the live gig tonight are: Will Edwards (drums), Twm Dylan (bass), Joe McGrail (piano), Ben Turner (alto saxophone).In his talk, Jonathan will be outlining the thesis he puts forward in his essay contained in the book “Keeping Time”. Thank you to all of you who have pre-ordered the book – and for your kind and encouraging words. For those of you who have not yet reserved your copy – it might be a good idea. Click on the picture of the book on the side-bar – it will give you an e-mail address. Send me an e-mail requesting a copy, and I will send you further details.
1. Look Up  (7:59) (Chris Schilder): Chris Schilder (piano), Philly Schilder (bass), Jackie Schilder (drums) – recorded at the Moses House, Smart Street, District Six ~1966.
2. Ekhaya (7:35) (Winston Mankunku Ngozi) Winston Mankunku Ngozi (tenor), Ebrahim Kalil Shihab (Chris Schilder) (Piano), Midge Pike (Bass), Selwyn Lissack (Drums). Recorded at a practice session at Selwyn Lissack’s Bantry Bay garage studio – 1966.
3. Immediately (Ronnie Beer) ver a (9:52) Dennis Mpale (trumpet), Barney Rachabane (alto), Ronnie Beer (tenor), Tete Mbambisa (piano), Martin Mgijima (bass), Max Dayimani (drums). Performed at the Room at the Top, Strand Street, Cape Town 1964.
4. Immediately (Ronnie Beer) ver b (13:55) Dennis Mpale (trumpet), Barney Rachabane (alto), Ronnie Beer (tenor), Tete Mbambisa (piano), Martin Mgijima (bass), Max Dayimani (drums). Performed at the Room at the Top, Strand Street, Cape Town 1964.
5. Leads Dwana  (11:32) (Tete Mbambisa) Dennis Mpale (trumpet), Barney Rachabane (alto), Ronnie Beer (tenor), Tete Mbambisa (piano), Martin Mgijima (bass), Max Dayimani (drums). Performed at the Room at the Top, Strand Street, Cape Town 1964.
Rapidshare here
Mediafire here

Saturday, 9 November 2013

Keeping Time: Order Yours Now

Saturday 9th November 2013
Dear lover of South African Jazz
RE: “Keeping Time”
160 pages – 30cm x 25cm – 158gsm art paper – hard cover

You are invited to get this book while you can. Keeping Time celebrates the public emergence of an extraordinary visual and audio archive begun by Ian Bruce Huntley in Cape Town fifty years ago.

This limited edition run of 500 opens a window to a little known era of South Africa’s music history, documenting a generation of jazz musicians in 120 selected and carefully restored colour and black and white images. Ian’s pictures and 56 hours of audio recordings capture an ‘underground’ jazz scene that persisted in creative defiance of all that grand apartheid threw at it. Many of the photographed live performances are indexed in this book and all will soon become available for free download through Electric Jive.
A handful of the musicians Ian Huntley worked with are still alive today. Some had few opportunities to record commercially – whilst others remain woefully under-documented. Combined with the loss to exile of yet more key people in South Africa’s jazz  history, and the few previously accessible recordings from these times, there is a deficit in our historical understanding and resources.
The new found accessibility of this previously hidden archive gives lovers of South African music, scholars, musicians, artists, anyone who is fascinated with the achievements of a generation of South African jazz musicians, a small but invaluable means towards

maintaining memory and articulating lost stories.

Published by Chris Albertyn and Associates in partnership with

Electric Jive, this cloth-bound hard-cover book is printed on high quality art paper and is being sold at the price it cost to produce. In addition to a biographical sketch of Ian Huntley, the book offers a substantial essay by Jonathan Eato, a full discography of all 56 hours of the recordings Ian made, and a comprehensive index.
South African artist Siemon Allen is responsible for the design and layout. Photographer Cedric Nunn has painstakingly restored the images.
40 copies are now available in the USA via Siemon Allen. At the beginning of December 90 copies will be available from London, and 320 from Durban.
ORDER YOURS NOW
From USA: $59.99 + $4.00 postage (P&P to anywhere else worldwide $35.00)
From EUROPE: £39.99 + P&P: to UK (£5.00); to EU £10.00; anywhere else in the world £20.00
From SOUTH AFRICA: R438.50 + R61.39 VAT = R499.89. P&P R45.00. (ordinary parcel service)
SADC: R460.00. P&P R270.00
Rest of World – from South Africa: ZAR470.00. P&P ZAR470.00
Yours sincerely
Chris Albertyn
e-mail me: recordforthe AT gmail DOT com to place your order

Here is Africaisacountry.com’s original post by Matt Temple:

image

A new book, Keeping Time, celebrates the public emergence of an extraordinary visual and audio archive begun by Ian Bruce Huntley in Cape Town fifty years ago. In short it challenges a long-held belief that jazz in South Africa went silent after Dollar Brand, Miriam Makeba, Bea Benjamin and the Blue Notes left South Africa in the early 1960s. Produced in a limited edition of 500 copies the publication features some of the first full colour photographs of the underground jazz scene left behind by the exiles.

The book gives lovers of South African music, scholars, musicians, artists, anyone who is fascinated with the achievements of a generation of South African jazz musicians, a small but invaluable means towards maintaining memory and articulating lost stories.

The publication opens a window to a little known era of South Africa’s music history, documenting a generation of jazz musicians in 120 selected and carefully restored images. Ian’s pictures and 56 hours of audio recordings capture the jazz scene that persisted in creative defiance of all that grand apartheid threw at it. Many of the photographed live performances are indexed and the entire book — photographs, essays and discography — will be available for open access via the Electric Jive website, continuing the tradition Ian established.

Below are some of the images featured in the book, with a short description of the artists performing, and a link to where you’ll find some of their recordings.

mpale rachabane beer

Dennis Mpale (trumpet), Barney Rachabane (alto), Ronnie Beer (tenor). Room At The Top, Strand Street, Cape Town 1964. The brass engine room of Tete Mbambisa’s Jazz Disciples played various Cape Town venues for close on two years, including The Room at The Top, Ambassador’s School of Dance, and the Zambezi in District Six. The recording featured here has Dudu Pukwana playing with the Jazz Disciples in one of his last gigs before leaving the country with Chris McGregor and the Blue Notes in July 1964. (Image © Ian Bruce Huntley)

Ebrahim Kalili Shihab

The master plays on: Ebrahim Kalil Shihab (Chris Schilder). Zambezi Restaurant, Hanover Street, District Six, Cape Town 1964. In addition to his impeccable bop jazz pedigree, Chris Schilder was the creative force behind the highly successful Pacific Express. He played the Cape Town International Jazz Festival in 2013. The recording linked here features 84 minutes of live jazz recorded at the Zambezi Restaurant in 1966. (Image © Ian Bruce Huntley)

Mankunku

Winston Mankunku Ngozi, Cape Town 1966. The Bellowing Bull revered John Coltrane. Here Ian Huntley’s recording captures Mankunku and Morris Goldberg going “free”, along with Chris Schilder, Selwyn Lissack, Midge Pike and Philly Schilder at the Art Centre, 20th August 1966. (Image © Ian Bruce Huntley)

Kippie

Kippie Moeketsi, Langa Community Centre, Langa, Cape Town, September 1971. Nearly ninety minutes of Moeketsi playing in public again after years of recluse. Victor Ntoni and Nelson Magwaza, along with Danayi Dlova produce something special. Weeks after this recording Ntoni, Magwaza and Moeketsi caught the train to Johannesburg to record the now legendary albums Peace and Dollar Brand +3. (Image © Ian Bruce Huntley)

Keeping Time is published by Chris Albertyn and Associates in partnership with Electric Jive. In addition to a biographical sketch of Ian Huntley, the book offers a substantial essay by Jonathan Eato, a full discography of all 56 hours of the recordings Ian made, and a comprehensive index. South African artist Siemon Allen is responsible for the design and layout. Photographer Cedric Nunn has painstakingly restored the images. The limited print edition of the book has been produced with significant voluntary contributions of time and has been privately published and sold at the price it cost to produce.

All details here.

Matt Temple runs the Matsuli Music label (matsulimusic.com), dedicated to re-issuing out of print afro-jazz classics from South Africa.

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November 25, 2013 - Posted by | ART, CULTURE, ENTREPRENEURS, HOLIDAY GUIDES, opportunity, Uncategorized, We Recommend | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

1 Comment »

  1. I have to disagree with many of the other feedback mentioned right here, but simultaneously I really do respect them since every man or woman should have their own personal opinion. We appreciate you writing an post about this matter.

    Comment by http://BosleyMusic.net | June 26, 2014 | Reply


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