Stay tuned, folks, as I soon head for Palestine for 3 months!

The Ecumenical Accompanier Program for Palestine and Israel is a World Council of Churches initiative to monitor human rights situations in the illegally occupied West Bank, primarily among Palestinians whose homes, villages, and lives are under threats. As an EA, I will be observing and reporting what I witness, along with my team members, at Check Points, in illegal Settlement areas which encroach onto Palestinians homes and farms, and just generally being an 'accompanier' with a presence among the Palestinians.

Stories and photos will appear as soon as I get settled sometime first week of July!


Stay tuned!

RIP to double bassist Basil Moses

I seem to spending alot of writing time.....writing obituaries... about notable dons in the South African jazz music industry. I'm now counting some 12 souls who have departed for higher callings, within the last 18 months (since December 2009 starting with Winston Mankunku).  Most of these lovelies were Cape Town-based, the most recent being one of my heart-throbs, Basil Moses. In those days of late 1990's, there was a relative dearth of live jazz in Cape Town on Saturday afternoons, which motivated me to drive some 40 kms to hear The Four Sounds perform in a dark, bit dungy hotel in Athlone between 4-8pm on Saturday afternoons.  I still recall Basil's brother, Cliffe, (both who founded the Sounds)  remarking that 'there's someone from the Strand here', noting a car registration plate...which was mine.  I listened in awe to Cliffe play guitar, and his brother, Basil, plunk double bass, along with two other musicians, and the occasional guest players. It was a highlight of my week. Basil, I will continue to hear you and your spirit...even in my dreams....I hope....  Rest in peace, dear bro.

JAZZ EDUCATION RESOURCES …CAPE TOWN TOWNSHIPS very limited......

Khayelitsha Grade 6 trumpets

Some CONCERNS:
I had interesting interviews with UCT sax student, Ethan Smith, who spent a year at Olso’s Conservatory of
Music, and visiting trumpet maestro, Steve Waterman who teaches at Trinity College in London. The theme of
our discussion was: Where are the learning resources that support jazz education in South Africa?
Ethan’s experiences while in Oslo were written about in a previous SAJE Newsletter, but I asked him to contrast that overseas learning with the learning he is receiving now at UCT. “I am curious by nature, so the experiences at both institutions help me create my little ‘bubbles’ of jazz techniques. I just compose along with these experience bubbles,” he said. “Oslo was a time for going inward. My teacher allowed me lots of space and unrushed time to explore my inner leanings. I could comfortably find what informs my music, to include poetry and philosophy.” The Norwegian approach to jazz was indeed quite different from the American standards approach at UCT. Back at UCT, Ethan’s schedule includes classroom work and deadlines for material submissions. Like many students, he pines that there is not more emphasis on South African jazz standards…..

Which leads to the prickly question, also posed to Steve, as to “Where are the jazz charts?” The recent Big Band Jazz Festival at the Baxter, featuring some 21 youth bands, displayed this same issue: Why weren’t more South African jazz compositions heard from the myriad of jazz musicians this country is producing? At least in the UK, as well as Norway, there IS a jazz curriculum and supporting materials. But high school music teachers in South Africa still don’t have adequate resources or training to arrange the unwritten for their respective school bands. Which brings up the question: Where is the Department of Education involved in making learning materials available to music teachers?

Steve Waterman & Khayelitsha Grade 5/6 trombones

 More questions abound. The dearth of learning resources was also highlighted recently during music workshops at a primary school (Ekuxoleni Primary) in Khayelitsha, and with Ian Smith’s Delft Big Band rehearsal at Voorbrug High School in Delft. Steve Waterman created fun for Grade 5 and 6 children who were learning trumpet and trombone, and music theory from another Oslo returnee, vocalist Wathiq Hoosain. “But they need music stands desperately”, according to their teacher, Simphewe from Langa, “if the kids are going to read charts and form their bands.” And where are those charts going to come from? George Werner, who heads up this music program, finds a way. But first, music stands! Oh, what about practice time with the instruments which can only be used at the school? Funding a teacher for that is needed.

Steve Waterman & Delft Big Band trumpets

 In contrast, a few kilometers away in the gang-bereft community of Delft, a high school band gaining notoriety through its shear hard work and director, boasts music stands and music charts for each player! Additionally, each player can take home an instrument assigned for him/her for practicing. This music program operates in alternate 6 month periods at Voorbrug and Rosendal High Schools, respectively. A shoe-string budget allows Ian Smith to rehearse some 30+ youngsters faithfully twice a week for 2 hours each. Two trumpeters have received admission to UCT School of Music. Thanks to his own initiatives to acquire resources, and past start up funds from the Department of Social Welfare, Ian Smith can provide music charts….which are also taken home by the students!   One is left wondering how the better resourced Delft music program could assist, i.e. partner with the little ones in Khayelitsha…… How could their resources be shared, such as the older Delft musicians teaching and mentoring the Khayelitsha kids, sharing instruments, etc.? How to fund other Ian Smith’s? For as Ian said, “It’s not only about making music, but building one’s soul and spirit to care for oneself and community.”

Which comes around to Ethan’s Oslo experience, where he could use his music to strengthen his spiritual self and musical enterprise from within….and grow.