A COMPILATION OF COMMENTARIES AND INTERVIEWS FOR THE JAZZ ENTHUSIAST THE MUSIC LOVER. Interviews with Moses Molelekwa, Robbie Jansen, Gito Baloi, Ezra Ngcukana, Miriam Makeba, Louis Moholo, Theo Bophela, Hugh Masekela, Sathima Bea Benjamin, Carlo Mombelli, Marcus Wyatt, Claude Deppa, Morris Goldberg, Abdullah Ibrahim, Moses Khumalo, Vince Colbe, Mr Brookes, Mac Mackenzie and the Goema Captains of Cape Town. Together with running commentary of a life lived and learned through the lens of heart centred South African jazz musical vibration.The Story of SA Jazz Volume One isa great journey into exposing one of the most profound musical languages to ever come out of this country. Jazz it is said is the classical music of the 20th century. Through a collection of interviews, articles and commentaries, 'The Story of SA Jazz Volume One' exposes the extraordinary role South African musicians have played in the development of jazz music and humanity worldwide.

Tells the remarkable story of how jazz became a key part of South Africa's struggle in the 20th century, and provides a fascinating overview of the ongoing links between African and American styles of music. Ansell illustrates how jazz occupies a unique place in South African music.Through interviews with hundreds of musicians, she pieces together a vibrant narrative history, bringing to life the early politics of resistance, the atmosphere of illegal performance spaces, the global anti-apartheid influence of Hugh Masakela and Miriam Makeba, as well as the post-apartheid upheavals in the national broadcasting and recording industries.

Musical Echoes tells the life story of the South African jazz vocalist Sathima Bea Benjamin. Born in Cape Town in the 1930s, Benjamin came to know American jazz and popular music through the radio, movies, records, and live stage and dance band performances. She was especially moved by the voice of Billie Holiday. In 1962 she and Dollar Brand (Abdullah Ibrahim) left South Africa together for Europe, where they met and recorded with Duke Ellington. Benjamin and Ibrahim spent their lives on the move between Europe, the United States, and South Africa until 1977, when they left Africa for New York City and declared their support for the African National Congress. In New York, Benjamin established her own record company and recorded her music independently from Ibrahim. Musical Echoes reflects twenty years of archival research and conversation between this extraordinary jazz singer and the South African musicologist Carol Ann Muller. The narrative of Benjamin’s life and times is interspersed with Muller’s reflections on the vocalist’s story and its implications for jazz history.

"South African jazz is a unique and all inclusive channel of real freedom, touching down in all the major cities of South Africa and the world. The story draw from a network of spoken words, interviews, articles, commentaries, anecdotes, mentorship, lived experiences and oral history of many music masters. The story of South African jazz describes an evolution and involution across five distinctive golden periods of social and self realisation."--Back cover.

A CHOICE 2018 Outstanding Academic Title In Jazz Transatlantic, Volume I, renowned scholar Gerhard Kubik takes the reader across the Atlantic from Africa to the Americas and then back in pursuit of the music we call jazz. This first volume explores the term itself and how jazz has been defined and redefined. It also celebrates the phenomena of jazz performance and uncovers hidden gems of jazz history. The volume offers insights gathered during Kubik's extensive field work and based on in-depth interviews with jazz musicians around the Atlantic world. Languages, world views, beliefs, experiences, attitudes, and commodities all play a role. Kubik reveals what is most important--the expertise of individual musical innovators on both sides of the Atlantic, and hidden relationships in their thoughts. Besides the common African origins of much vocabulary and structure, all the expressions of jazz in Africa share transatlantic family relationships. Within that framework, musicians are creating and re-creating jazz in never-ending contacts and exchanges. The first of two volumes, Jazz Transatlantic, Volume I examines this transatlantic history, sociolinguistics, musicology, and the biographical study of personalities in jazz during the twentieth century. This volume traces the African and African American influences on the creation of the jazz sound and traces specific African traditions as they transform into American jazz. Kubik seeks to describe the constant mixing of sources and traditions, so he includes influences of European music in both volumes. These works will become essential and indelible parts of jazz history.

In recent years, several texts have been published on South African jazz by various authors, but attention has been focused largely on the musicians who went into exile. Unsung is a book on jazz in our country, but from the performer?s perspective. The musicians featured are the musicians who stayed. These men have had rich, enriching lives, and the best way to explore their story would be to give them the opportunity to tell it themselves.

Born in 1936 Graham fought for human rights from all angles. He saw himself as a white man in Africa, here to set right the wrongs of his tribal line. Graham shared a deep spirituality with the ancestral heritage of the African continent. He found no greater enemy than the apartheid government of South Africa's cruel foreign invasion. In this period 1952 - 1974 he was a hunted man and spent most of his time labeled a notorious criminal and incarcerated, where he was starved and tortured. He fled South Africa in 1969 by foot in a futile attempt to join the P.A.C. in Tanzania. In 1975 he married Jenny Clark. Jenny had polio as a child and is 95%%%% physically disabled. Graham was never involved in any political party and fought for freedom, justice and equality from the unwavering truths of his heart.

Popular Afrikaans music artists have done well in post-apartheid South Africa and enjoy the enthusiastic support of loyal fans. This support is fuelled by a complex set of emotions linked to "e;being Afrikaans"e; in a culturally pluralistic society. In On Record, van der Merwe investigates the interplay between popular music and the unfolding of Afrikaans culture politics from the start of the twentieth century to the present. It includes a search for the earliest recorded Afrikaans songs and documents subsequent phases of music development that reflect the agency of ordinary individuals - artists and listeners - against a background of fundamental societal and political change. It regards both the music mainstream and the alternative, and reveals, among other things, historical cases of compliance and resistance regarding the master narrative of Afrikaner nationalist ideology, the attempts by cultural entrepreneurs to establish authority over popular Afrikaans culture, class tension, lasting racial exclusivity, protest and censorship, and the post-apartheid invocation of Afrikaner nostalgia and white victimhood. Ultimately, On Record provides an uninterrupted account, and a critique, of the entire history of recorded popular Afrikaans music up to the present.

Populere Afrikaanse musiekkunstenaars het sover goed gedoen in post'apartheid Suid-Afrika en geniet die entoesiastiese ondersteuning van lojale volgelinge. Hierdie ondersteuning word aangevuur deur 'n komplekse stel emosies wat verband hou daarmee "e;om Afrikaans te wees"e; in 'n kultureel pluralistiese samelewing. In Plate en Politiek ondersoek Van der Merwe die interaksie tussen populere musiek en die ontvouing van 'n Afrikaanse kultuurpolitiek vanaf die begin van die twintigste eeu tot die hede. Dit sluit 'n soektog in na die eerste opgeneemde Afrikaanse liedere en dokumenteer die daaropvolgende fases van musiekontwikkeling wat die agentskap van ordinere mense - kunstenaar en luisteraar - weerspieel teen die agtergrond van fundamentele sosiale en politieke verandering. Dit besin oor beide die musiekhoofstroom en meer alternatiewe musiek, en ontbloot onder andere, historiese voorbeelde van die akkommodering van, en verset teen, die meesternarratief van die Afrikanernasionalistiese ideologie, pogings van kulturele entrepreneurs om beheer uit te oefen oor populere Afrikaanse kultuur, klassespanning, blywende rasse-eksklusiwiteit, protes en sensuur, en die post'apartheid oproeping van Afrikaner nostalgie en wit slagofferskap. Uiteindelik bied Plate en Politiek 'n on-onderbroke weergawe van , en 'n kritiese blik op, meer as 'n eeu van opgeneemde Afrikaanse musiek.

Created by professors for professors, the Faculty Awards compendium is the first and only university awards program in the United States based on faculty peer evaluations. The Faculty Awards series recognizes and rewards outstanding faculty members at colleges and universities across the United States. Voting was not open to students or the public at large.