Music in motion in the Winelands

Backing up the producers’ claim to “present some of the most exciting talents from the South African jazz and classical scene”, Sibusiso ‘Mash’ Mashiloane and his sextet set the tone from the beginning. Within minutes, they had festivalgoers dancing to effervescent soundscape. More than a supremely talented pianist and composer, Mash has a talent for gathering gifted musicians, who are currently working with him to showcase his latest album Music from My People, which is billed as a multigenerational exploration into self-identity. The musicians include Buddy Wells (sax), Muneeb Hermans (trumpet) and Wandithanda Makandula (vocals), whose rhythmic phrases dipped and soared, weaving band and audience in joyous harmony. Holding it together, and making space for the notes and trills to run, were the amazing Kurt Bowers (drums) and the equally amazing Nick Ford (bass). Despite his youth (19 years old), Ford plays with the maturity and presence of a future star. Remember this name.

The Kirby Ensemble were competent and rehearsed, but in contrast to the opening set, they appeared stilted and uninspired. Sure, they were playing classical music, and it’s a different bag to the vibrant African-influenced jazz of the first set, but playing without passion leaves the audience applauding politely rather than enthusiastically. The bulk of their performance employs a string quartet, and it wasn’t until the four were joined by pianist Gerhard Joubert that their set took on another colour. 

Ayanda Sikade is one of those subtle and understated drummers – in the mould of Charlie Watts: silky and skilful, without needing showy drum solos to prove his worth. And his worth is enormous, particularly when it comes to mentoring emerging young artists. Showcasing his album Umakhulu, which means grandmother in isiXhosa and which is dedicated to her, he led a magnificent quartet consisting of master pianist Bra Andile Yenana, the highly competent and in-demand bassist Nhlanhla Radebe and alto saxophonist Kagiso Ramela, the rising star of the night.

Sikade spent time at the Zimology Institute, working with musicians such as Nduduzo Makhathini, Kyle Shepherd, Shane Cooper and Mthunzi Mvubu. One of the lessons that he has carried through his work since those days is the idea that while melodies can be written on charts, there is something beyond the charts that can only come from the experiences a musician brings to the music. He asks his horn players to “make this melody your own.” And that is exactly what his young saxophonist Ramela did. He owned the stage during his solos, playing with the verve of a master, and made the melody his own, despite the obvious discomfort of an injured left leg. The audience knew they were witness to the birth of a star – the whoops, whistles and applause rattled the hadedas – to say nothing of the rafters.

The next act featured the remarkable flautist, Khanyisile Mthetwa. More than ably accompanied on piano by the unrivalled Peter Cartwright, the multi award-winning Ms Mthetwa took my breath away from the opening notes, and the clarity and purity of her tone gave me gooseflesh. It’s not surprising that the Mail & Guardian rates the virtuoso as a “Top Young South African”. Apart from being nominated in three categories at the 2022 South African Music Awards for her debut album African Bird, Ms Mthetwa also holds a licentiate and fellowship in flute performance from Trinity College London. As the principal flautist of the Johannesburg Philharmonic Orchestra, she is an accomplished and awe-inspiring young woman who is an absolute joy to hear and watch. Saturday night’s audience thought so as well. A special touch from her was to tell the audience that while it is not a tradition to applaud during a classical performance, she likes audience participation and “I encourage you to cheer and clap!”

Are there any superlatives that have not already been used to describe Herbie Tsoaeli? Unique, legendary, inspiring, soulful, uncompromising, adroit. This veteran bassist is all of this, yet he is also much, much more. ‘Playful’ and ‘tender’ come to mind, so does Pata, Pata. Perhaps you need to see him perform to really understand. On stage, close-up and personal with his beloved Mma Sandi, this incredible musician whispers and croons, hollers and groans, as he caresses her body and dances her around the stage. This is a man in love – with Mma Sandi, with life, with music. A man in touch with his roots, deep in African soil, rich in culture and tradition. On stage, he is a joy and a revelation. On Saturday night, ably backed by Keegan Steenkamp (trumpet/flugelhorn), Steven Sokuyeka (trombone), Andile Yenana (piano) and Tefo Mahola (drums and percussion) and carrying a dancing and singing audience on waves of passion and adulation, Herbie Tsoaeli was in his element.

His new album At This Point in Time was the primary focus of this set, but in the spirit of his statement that, “I do not have a setlist, I have a waiting list – it’s channelled to me on stage”, the songs were impromptu. In the nature of his improvisational style, he held us all captivated as we danced and sang the final set with him. Bravo, Bra Herbie, bravo! What a way to end an extraordinary line-up of musical delights.

Thanks to the festival organiser and co-producer, Aymeric Péguillan of Pegs Music Project – in association with Penny Lane Studios, Spier Wine Farm, Ian Burgess-Simpson Pianos and Fazioli – for the effort and organisation that goes into bringing this calibre of musicians to the stage.