REVIEWS
ALBUMS
The Jazzanians: We Have Waited Too Long
Album review by Mike Rossi, January 2024.
(Emeritus Professor, University of Cape Town)
Personnel: Johnny Mekoa: trumpet/valve trombone, Andrew Eagle: guitar, Zim Ngqawana: alto saxophone/flute, Nic Paton: tenor & soprano saxophones, Melvin Peters: piano/keyboards, Victor Masondo: bass, Lulu Gontsana: drums/percussion.
Released by Ubuntu Music 2024.
Originally recorded and mixed at Sound Crew Studio, Natal, South Africa, 1988.
Album track order: Bayete, Zandile, Peace Meal, Badisa, We Have Waited Too Long, The Rainbow, Se Hamba Nabo.
The Jazzanians: We Have Waited Too Long, (2024 version) takes the listener to another time and place – South Africa in the late 1980s. Originally recorded and released as a vinyl LP in 1988, The Jazzanians was a history-making mixed race student jazz ensemble formed by Darius Brubeck following his introduction of the first Jazz Studies course in Africa at the University of Natal in 1984.
The group would go on to achieve international fame in 1988 following their invitation to perform at the Detroit NAJE (National Association of Jazz Educators) Conference. The late 80s would also witness a watershed period in South Africa’s history where apartheid would be mainly dismantled by the decade’s end with Nelson Mandela’s prison release in 1990. Throughout South Africa’s darkest period, many people associated with the Arts often protested against apartheid through their works and projects. The Jazzanians were part of a struggle that went well beyond music. Following the success of the 1988 US tour and visit, as the saying goes, things would never be the same. For example, throughout the ensuing forty years South Africa witnessed and experienced a countrywide explosion in the field of Jazz education in the informal and formal sectors from school to university level. This re-release is an important reminder of the power of music and also acknowledges those who participated and contributed in some way to The Jazzanians: We Have Waited Too Long.
The 1988 recording showcases a group of eager jazz studies students from the University of Natal, Durban, who would all later attain success across a wide range of fields within the music industry. Each member gets an opportunity to shine and plays with a young wide-eyed abandonment, and musical maturity that represents a seasoned sounding group despite their short time together. Sadly Johnny, Zim and Lulu would pass on but not without leaving an indelible mark on jazz and jazz education in South Africa. For example, Johnny Mekoa went on to complete his M. M. at Indiana University, returned to South Africa and literally built a music school from the ground up in Gauteng. Zim Ngqawana also went on to study in the States and create an international name for himself as a South African jazz icon with his composing talents, incredible playing and multi-faceted ensembles. Lulu Gontsana performed and recorded with top local and international bands and artists, including Darius Brubeck’s Afro Cool Concept. On a personal note, with regard to music curriculum changes that have taken place throughout South Africa over the last decade, this album is an important resource that documents this unique and popular group and a fascinating period in South African history.
Five out of the seven numbers on the album were composed by the ensemble members. Bayete by Andrew Eagle and Zim Ngqawana opens the CD with a bit of maskanda guitar before the infectious groove kicks in. The rhythm section, and particularly Lulu Gontsana on drums and Victor Masondo on bass, go about their business in setting the groove on this piece as well as throughout the album. Fine solos are played by Johnny, Andrew and Zim.
Zandile, composed by Victor Ndlazilwana, co-founder along with Mekoa of the famed Jazz Ministers, is now included in The South African Jazz Real Book Vol. 1 (published by jazz.co.za). The opening bass riff by Victor Masondo with Lulu at his side sets things off before the alternating themes enter. The piece is reminiscent of 60s cool and the vibe continues with thoughtful and un-rushed ideas by Johnny on trumpet and Zim on alto saxophone. Peace Meal slows the tempo and quiets the mood by featuring a lovely keyboard introduction by Melvin Peters. Following this, Mekoa, Eagle, Ngqawana and Peters (again) offer up melodic solos, often exchanging ideas.
Badisa by Nic Paton places the spotlight on the horn section and features the composer on soprano saxophone. The choral like intro establishes a warm glow before kicking into a higher gear and mbaqanga groove. Some tasty bass playing throughout by Masondo brings a smile to listeners before Peters launches into his solo that demonstrates his prodigious technique as a topflight pianist.
The title track We Have Waited Too Long mellows the mood, opening with a rubato acoustic guitar statement by Eagle followed by question-and-answer phrases traded between the horns and rhythm section. Masondo’s excellent solo clearly demonstrates why he is considered one of South Africa’s top electric bass players and a master of trade-mark South African jazz style and technique. Zim displays his instrumental versatility on the flute and is given ample room to stretch out.
The Rainbow, composed by Darius Brubeck has become a standard within the South African jazz cannon and is still performed by the Darius Brubeck Quartet. Fun is had by all with solos from around the ensemble. Johnny Mekoa’s snippet of Giant Steps brings a chuckle! The final track, Se Hamba Nabo finds the Jazzanians riding off into the sunset not knowing that some forty years later they would return and remind the jazz world of their extraordinary contribution to jazz and jazz education in South Africa.
Overall, the album offers what could now be considered a case study for appreciating South African performance styles and techniques. Listeners and young musicians alike will appreciate the powerful “ensemble” style, as well as individual solos from each band member that contribute to the “sound” of jazz in South Africa.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
*The Jazzanians: We Have Waited Too Long will be released on CD and vinyl in April 2024.
For more information about the Jazzanians and the formal introduction of jazz education in South Africa, please refer to Darius and Catherine Brubeck’s Playing the Changes: Jazz at an African University and On the Road (UKZN Press and University of Illinois Press) and the documentary film, Playing the Changes: Tracking Darius Brubeck, (Red Cloak Films, Amsterdam).
Album review by Mike Rossi, January 2024.
(Emeritus Professor, University of Cape Town)
Personnel: Johnny Mekoa: trumpet/valve trombone, Andrew Eagle: guitar, Zim Ngqawana: alto saxophone/flute, Nic Paton: tenor & soprano saxophones, Melvin Peters: piano/keyboards, Victor Masondo: bass, Lulu Gontsana: drums/percussion.
Released by Ubuntu Music 2024.
Originally recorded and mixed at Sound Crew Studio, Natal, South Africa, 1988.
Album track order: Bayete, Zandile, Peace Meal, Badisa, We Have Waited Too Long, The Rainbow, Se Hamba Nabo.
The Jazzanians: We Have Waited Too Long, (2024 version) takes the listener to another time and place – South Africa in the late 1980s. Originally recorded and released as a vinyl LP in 1988, The Jazzanians was a history-making mixed race student jazz ensemble formed by Darius Brubeck following his introduction of the first Jazz Studies course in Africa at the University of Natal in 1984.
The group would go on to achieve international fame in 1988 following their invitation to perform at the Detroit NAJE (National Association of Jazz Educators) Conference. The late 80s would also witness a watershed period in South Africa’s history where apartheid would be mainly dismantled by the decade’s end with Nelson Mandela’s prison release in 1990. Throughout South Africa’s darkest period, many people associated with the Arts often protested against apartheid through their works and projects. The Jazzanians were part of a struggle that went well beyond music. Following the success of the 1988 US tour and visit, as the saying goes, things would never be the same. For example, throughout the ensuing forty years South Africa witnessed and experienced a countrywide explosion in the field of Jazz education in the informal and formal sectors from school to university level. This re-release is an important reminder of the power of music and also acknowledges those who participated and contributed in some way to The Jazzanians: We Have Waited Too Long.
The 1988 recording showcases a group of eager jazz studies students from the University of Natal, Durban, who would all later attain success across a wide range of fields within the music industry. Each member gets an opportunity to shine and plays with a young wide-eyed abandonment, and musical maturity that represents a seasoned sounding group despite their short time together. Sadly Johnny, Zim and Lulu would pass on but not without leaving an indelible mark on jazz and jazz education in South Africa. For example, Johnny Mekoa went on to complete his M. M. at Indiana University, returned to South Africa and literally built a music school from the ground up in Gauteng. Zim Ngqawana also went on to study in the States and create an international name for himself as a South African jazz icon with his composing talents, incredible playing and multi-faceted ensembles. Lulu Gontsana performed and recorded with top local and international bands and artists, including Darius Brubeck’s Afro Cool Concept. On a personal note, with regard to music curriculum changes that have taken place throughout South Africa over the last decade, this album is an important resource that documents this unique and popular group and a fascinating period in South African history.
Five out of the seven numbers on the album were composed by the ensemble members. Bayete by Andrew Eagle and Zim Ngqawana opens the CD with a bit of maskanda guitar before the infectious groove kicks in. The rhythm section, and particularly Lulu Gontsana on drums and Victor Masondo on bass, go about their business in setting the groove on this piece as well as throughout the album. Fine solos are played by Johnny, Andrew and Zim.
Zandile, composed by Victor Ndlazilwana, co-founder along with Mekoa of the famed Jazz Ministers, is now included in The South African Jazz Real Book Vol. 1 (published by jazz.co.za). The opening bass riff by Victor Masondo with Lulu at his side sets things off before the alternating themes enter. The piece is reminiscent of 60s cool and the vibe continues with thoughtful and un-rushed ideas by Johnny on trumpet and Zim on alto saxophone. Peace Meal slows the tempo and quiets the mood by featuring a lovely keyboard introduction by Melvin Peters. Following this, Mekoa, Eagle, Ngqawana and Peters (again) offer up melodic solos, often exchanging ideas.
Badisa by Nic Paton places the spotlight on the horn section and features the composer on soprano saxophone. The choral like intro establishes a warm glow before kicking into a higher gear and mbaqanga groove. Some tasty bass playing throughout by Masondo brings a smile to listeners before Peters launches into his solo that demonstrates his prodigious technique as a topflight pianist.
The title track We Have Waited Too Long mellows the mood, opening with a rubato acoustic guitar statement by Eagle followed by question-and-answer phrases traded between the horns and rhythm section. Masondo’s excellent solo clearly demonstrates why he is considered one of South Africa’s top electric bass players and a master of trade-mark South African jazz style and technique. Zim displays his instrumental versatility on the flute and is given ample room to stretch out.
The Rainbow, composed by Darius Brubeck has become a standard within the South African jazz cannon and is still performed by the Darius Brubeck Quartet. Fun is had by all with solos from around the ensemble. Johnny Mekoa’s snippet of Giant Steps brings a chuckle! The final track, Se Hamba Nabo finds the Jazzanians riding off into the sunset not knowing that some forty years later they would return and remind the jazz world of their extraordinary contribution to jazz and jazz education in South Africa.
Overall, the album offers what could now be considered a case study for appreciating South African performance styles and techniques. Listeners and young musicians alike will appreciate the powerful “ensemble” style, as well as individual solos from each band member that contribute to the “sound” of jazz in South Africa.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
*The Jazzanians: We Have Waited Too Long will be released on CD and vinyl in April 2024.
For more information about the Jazzanians and the formal introduction of jazz education in South Africa, please refer to Darius and Catherine Brubeck’s Playing the Changes: Jazz at an African University and On the Road (UKZN Press and University of Illinois Press) and the documentary film, Playing the Changes: Tracking Darius Brubeck, (Red Cloak Films, Amsterdam).
HOMEGROUND
Mike Campbell Big Band with Mandisi Dyantyis, Amy Campbell, Richard Ceasar, Nomfundo Xaluva, Dan Shout, Mark Ginsburg
Album review by Mike Rossi, 24 May 2024.
(Emeritus Professor, University of Cape Town)
Mike Campbell Big Band with Mandisi Dyantyis, Amy Campbell, Richard Ceasar, Nomfundo Xaluva, Dan Shout, Mark Ginsburg
Album review by Mike Rossi, 24 May 2024.
(Emeritus Professor, University of Cape Town)
| home_ground_may_24_m._rossi_review.pdf |
The Dave Brubeck Quartet Live from the Northwest, 1959
Album review by Mike Rossi - 6 January 2024
Fermo, Italy
Emeritus Professor
University of Cape Town, South Africa
Personnel - Dave Brubeck: piano, Paul Desmond: alto saxophone, Joe Morello: drums, Eugene Wright: bass. Recorded by Wally Helder, April 4 & 5, 1959 at the Multnomah Hotel and Clark College. Brubeck Editions.com
Album order: When the Saints Go Marching In, Basin Street Blues, These Foolish Things, Gone With the Wind, Multnomah Blues, Two Part Contention, The Lonesome Road.
Album review by Mike Rossi - 6 January 2024
Fermo, Italy
Emeritus Professor
University of Cape Town, South Africa
Personnel - Dave Brubeck: piano, Paul Desmond: alto saxophone, Joe Morello: drums, Eugene Wright: bass. Recorded by Wally Helder, April 4 & 5, 1959 at the Multnomah Hotel and Clark College. Brubeck Editions.com
Album order: When the Saints Go Marching In, Basin Street Blues, These Foolish Things, Gone With the Wind, Multnomah Blues, Two Part Contention, The Lonesome Road.
| live_from_the_northwest-the_dave_brubeck_quartet.pdf |
The Darius Brubeck Quartet featuring Dave O’Higgins, Matt Ridley, Wesley Gibbens: Live in Poland
Ubuntu Music (UBU0033)
Track listing: Earthwise, In Your Own Sweet Way, Matt the Cat, Nomali, Sea of Troubles, Dziekuje, Take Five
Album review by Mike Rossi, March 2020, Cape Town
Ubuntu Music (UBU0033)
Track listing: Earthwise, In Your Own Sweet Way, Matt the Cat, Nomali, Sea of Troubles, Dziekuje, Take Five
Album review by Mike Rossi, March 2020, Cape Town
| live_in_poland-_dbq.pdf |
BOOKS
Playing the Changes: Jazz at an African University and On the Road
Playing the Changes covers a significant passage in South African history (1983–2006) and the transformative effect of jazz at university and at large. It is a memoir, replete with anecdotes and adventures, in part a double biography and a one-off story. From their invented base, the Centre for Jazz and Popular Music at the University of Natal, Cathy and Darius Brubeck managed and organised numerous bands, concerts and tours around the world.
In retrospect, they were ahead of the 'transformation' curve, with their many improvised solutions to social, legal and administrative challenges. The book includes sad and comic incidents as well as insightful portraits of the people who made music throughout this politically turbulent time. The jazz life itself was often chaotic but nevertheless a resilient response to the bitterness of an unjust society. With the patronage of international jazz stars, in particular Darius's famous father, Dave Brubeck, jazz on campus spoke to the times. Playing the Changes is richly detailed with insider knowledge, information Cathy and Darius provide from their own papers and lived experiences.
*My wife Diane Rossi and I both feature in this book with relation to our involvement with jazz and jazz education in South Africa since the 1980s and our long friendship with the Brubecks.
*Available internationally in 2024 from the University of Illinois Press
Playing the Changes covers a significant passage in South African history (1983–2006) and the transformative effect of jazz at university and at large. It is a memoir, replete with anecdotes and adventures, in part a double biography and a one-off story. From their invented base, the Centre for Jazz and Popular Music at the University of Natal, Cathy and Darius Brubeck managed and organised numerous bands, concerts and tours around the world.
In retrospect, they were ahead of the 'transformation' curve, with their many improvised solutions to social, legal and administrative challenges. The book includes sad and comic incidents as well as insightful portraits of the people who made music throughout this politically turbulent time. The jazz life itself was often chaotic but nevertheless a resilient response to the bitterness of an unjust society. With the patronage of international jazz stars, in particular Darius's famous father, Dave Brubeck, jazz on campus spoke to the times. Playing the Changes is richly detailed with insider knowledge, information Cathy and Darius provide from their own papers and lived experiences.
*My wife Diane Rossi and I both feature in this book with relation to our involvement with jazz and jazz education in South Africa since the 1980s and our long friendship with the Brubecks.
*Available internationally in 2024 from the University of Illinois Press
Massimo Morganti: Arrangiate (VI)!
Un manuale che vi guiderà alla scoperta del favoloso mondo dell'arrangiamento. Con video in streaming.
(Arrangiate (VI)! A manual that will guide you to discover the fabulous world of arranging. With streaming video)
Massimo Morganti in Collaborazione con Paolo Del Papa, Volontè & Co, Milano, 463 pages, 2022.
Book review - Mike Rossi, June 2022
Un manuale che vi guiderà alla scoperta del favoloso mondo dell'arrangiamento. Con video in streaming.
(Arrangiate (VI)! A manual that will guide you to discover the fabulous world of arranging. With streaming video)
Massimo Morganti in Collaborazione con Paolo Del Papa, Volontè & Co, Milano, 463 pages, 2022.
Book review - Mike Rossi, June 2022
| m._morganti_arranging_book_review_by_m._rossi_2022_.pdf |
MASSIMO MORGANTI IMPROVVISAZIONE IMPRO(VE)!
Un percorso ragionato per la pratica dell’improvvisazione a tutti i livelli
Volontè & Co, Milano, 2019. 189 pages
ISBN 978-88-63878-50-1
Book Review - September 2019
Un percorso ragionato per la pratica dell’improvvisazione a tutti i livelli
Volontè & Co, Milano, 2019. 189 pages
ISBN 978-88-63878-50-1
Book Review - September 2019
| improve_-_massimo_morganti_book_review.pdf |
TESTIMONIALS
MAWIP: Mechatronically Assisted Wind Instrument Platform
https://www.mawip.eu/en/testimonials_en/
Mike Rossi: The densoon and the revolution of assisted mechatronic fingering for wind instruments: Mike Rossi’s experience“It is a great pleasure and honor to be involved with one of the Densoon prototypes, thanks to Gianfranco de Nicolo’s generosity and his passion for the creation of the first hybrid bassoon. Having not played bassoon for many, many years, I found the Densoon to be a woodwind doubler’s dream with the simplified key system. With a little bit of practice, I was soon off and running, playing simple standards and etudes. The sound of the instrument is amazing and the practical range is that of a traditional bassoon. The redesigned key system eliminates many of the optional and tricky cross fingerings that bassoon players routinely use, thus allowing for the student and professional alike to quickly get to the enjoyment of music making. At a lower cost than a traditional bassoon, Schools, Community and University programs can all benefit from having the Densoon as part of their instrumental equipment arsenal, and as an important and often underused voice of the woodwind section. Throughout my teaching career, I would have loved to have the Densoon in my studio as part of a fully comprehensive woodwind course that included saxophone, clarinet, and flute students. For present and future woodwind doublers, the transition to the Densoon will be less complicated, due to its simplified fingering system and pleasing tone production. Bravo to Gianfranco de Nicolo and his fine team for creating an extremely versatile acoustic – analogue instrument.”
Mike Rossi - Fermo, Italy 2024
Professor Emeritus: Jazz and Woodwinds
University of Cape Town, Cape Town, South Africa
https://www.mawip.eu/en/testimonials_en/
Mike Rossi: The densoon and the revolution of assisted mechatronic fingering for wind instruments: Mike Rossi’s experience“It is a great pleasure and honor to be involved with one of the Densoon prototypes, thanks to Gianfranco de Nicolo’s generosity and his passion for the creation of the first hybrid bassoon. Having not played bassoon for many, many years, I found the Densoon to be a woodwind doubler’s dream with the simplified key system. With a little bit of practice, I was soon off and running, playing simple standards and etudes. The sound of the instrument is amazing and the practical range is that of a traditional bassoon. The redesigned key system eliminates many of the optional and tricky cross fingerings that bassoon players routinely use, thus allowing for the student and professional alike to quickly get to the enjoyment of music making. At a lower cost than a traditional bassoon, Schools, Community and University programs can all benefit from having the Densoon as part of their instrumental equipment arsenal, and as an important and often underused voice of the woodwind section. Throughout my teaching career, I would have loved to have the Densoon in my studio as part of a fully comprehensive woodwind course that included saxophone, clarinet, and flute students. For present and future woodwind doublers, the transition to the Densoon will be less complicated, due to its simplified fingering system and pleasing tone production. Bravo to Gianfranco de Nicolo and his fine team for creating an extremely versatile acoustic – analogue instrument.”
Mike Rossi - Fermo, Italy 2024
Professor Emeritus: Jazz and Woodwinds
University of Cape Town, Cape Town, South Africa
