Nobuhle Ashanti – pianist, composer, performer – hails from Cape Town. Her musical journey performing with various ensembles has led to her very own project, Ashanti Tribe. The project’s concept and compositions are brought to life by various Cape Town-based artists. For Ashanti Tribe’s performance at the First Thursdays Sessions on 5 March the band will consist of Jodi Fredericks (vocalist), Sean Bratz (bass guitar), Kurt “Kurt B” Bowers (drums and percussion) and Nobuhle on keyboard. We asked Nobuhle a few questions in the lead up to her performance at the Gin Bar. Read on to see what she had to say. 

What has your journey been as a jazz musician so far? Where did it all start? Over the past couple years, my journey in music has been a rewarding one. I’ve been extremely fortunate and blessed to have had many great experiences and opportunities leading me to where I am now. With music, I have been exposed to art in its most magnificent form, and the many beautiful people placed on my path because of it.

Where did it start? My earliest memory of music was Natalie Cole’s “Unforgettable, With Love” album at the age of 5 (maybe 6). Obsession would be an understatement. Over the years performing at various festivals with local ensembles, the countless workshops, masterclasses, mentors’ guidance and the consistent listening to not only American but South African Jazz has been undeniably inspiring.

What is it like to be a jazz musician in Cape Town in 2020? And what would it be like if you could have it any way? It’s interesting being surrounded by musicians who respectfully tribute and celebrate the older generation of musicians and their music (Bheki Mseleku, Hotep Galeta, Chris McGreggor), as well as celebrate the moulding and evolution of the “New School”.

If I could have it any way, there’d be more venues for live music performances, where people are able to sit and listen, and artists are respected during a performance – not pegged as background.

How did you end up on keys? Or do you play any other instruments? My father, him being a pianist, started me off with a jazz standard “Blue Bossa”. He’d only ever teach me a new song once I’d gotten the first one right. So when he’d leave on tour, I’d practice till playing piano was the only thing I KNEW how to do. I picked up the violin around the age of 9 (It’s harder than it looks! And more rewarding than it seems).

If you could rewind a few years, what advice would you give yourself as a young jazz musician trying to break onto the scene? Practise! Not only your technical ability, but practise improvisation – the spontaneity and creativity of it all, practice the freedom jazz provides you.

Network. Walk up to the artist, introduce yourself. Even the smallest conversation helps show him/her you’re there and keen to work.

Who else is doing interesting stuff on the local scene that you’d recommend checking out? Mandisi Dyantyis, Refentse Ramathlodi, Sean Sanby, Blake Hellaby, Digital Sangoma, Maya Spector, The Unity Band, Dylan Fine, Brathew Van Schalkwyk, The Pedestrians, Androgenuis and SO MANY MORE! These artists are incredibly inspiring and just genuinely dope at what they do.

Top 5 desert island albums (of any genre)?
Seba Kaapstad – “Tagores”
Solange – “When I get home”
James Morrison – “Undiscovered”
Bheki Mseleku – “Home at last”
Bob Marley and The Wailers – “Uprising”

Where can people follow your musical movements and find more of your music? In the meantime, my music can be found on Soundcloud and YouTube under “Nobuhle Ashanti”. And to follow my musical movements (and the release of our album) on Instagram: @nobuhle_ashanti and Facebook: Nobuhle Ashanti

Nobuhle performs with her band Ashanti Tribe at the March edition of the First Thursdays Sessions, presented by Grolsch. The performance takes place at the Gin Bar, 64A Wale Street, and is free to the public. The performance kicks off at 9pm sharp, followed by a DJ set by Illa N (JHB). Swing by from 6pm for Opihr Oriental Spice Gin tastings, and try one of the Opihr signature cocktails served up by the Gin Bar team.

Sean Sanby headlines the February 2020 edition of the First Thursdays Sessions jazz programme. Sean has been performing on the Cape Town jazz scene for a number of years – playing with artists such as Mandisi Dyantyis, Zoe Modiga, Frank Paco, and Mandla Mlangeni. For the past year Sean has been on tour with the international tour of Matilda the Musical, having recently returned to release his new album, coming out on 5 March. We asked Sean a few questions. Read on to see what he had to say.

What has your journey been as a jazz musician so far? Where did it all start, and how did you end up where you are right now? I had always done music in school, I played in the big band and almost every other ensemble that I could get into. I think I first encountered jazz at the Grahamstown Jazz Festival. It exposed me to a whole range of music and different approaches to playing – I was hooked. I went on to study jazz performance at SACM, UCT. I loved being immersed in the music. Being surrounded by musicians and lectures all the time pushed me to become familiar with playing and performing music as well as understanding what I was doing. I think in this way I was able to start developing my own sound. Composing has always been a huge part of music for me. I’d always end up trying to practice something and get distracted by other ideas which would then develop into songs. This past year I have been playing bass and traveling around with the international production of Matilda the Musical. It was a big change and an even bigger learning experience coming from a jazz/session world. But it gave me the chance to record and put together my album, which I’m excited to be releasing this March.

What is it like to be a jazz musician in Cape Town in 2020? And what would it be like if you could have it any way? I think it’s a great time to be in jazz right now. In Cape Town we’re surrounded by so many great musicians, some fresh out of studies and some veterans of the scene, and they’re playing all over Cape Town every week. Something I’ve also noticed is how much original music is coming out of Cape Town and how important and special that is. If I could have it any other way I’d just want more venues and spaces to support live music culture, which is why I’m so happy for this opportunity to play this First Thursdays!

You’re principally a bassist. To the layman, explain the difference between an upright bass and a bass guitar, specifically in the realm of jazz music. Upright bass, is an older instrument but still used today, you’ll often hear it in the early jazz years of swing and bebop. Electric bass is the more modern version heading to funk, rock etc. – it’s what most would think a bass guitar would be. Both of the instruments still play a fundamental role in jazz and African music, but each have their different strengths in sound and what they add to the music.

If you could rewind a few years, what advice would you give yourself as a young jazz musician trying to break onto the scene? I’d say just play, play as much as you can. Practicing is great and it’s always the aim to make the instrument less of an obstacle and more of a voice. That said, playing and sharing concepts with others helps you grow so much as well.

Who else is doing interesting stuff on the local scene that you’d recommend checking out? Oh wow so much at the moment! Mandisi Dyantyis is a fire that if you haven’t already found, you’re missing out on! Michael Bester just released a beautiful album, Blake Hellaby as well, Keegan Steenkamp, the Unity Band, as well as Nobuhle Ashanti. I could go on, but I think the list would get too long… Real Wired Music is a great place to follow for gigs going on in the scene as well!

You’ve got a new album coming out soon. Tell us a bit about that. So in the middle of last year I had some down time on tour and decided it was the right time to record, and I knew who I wanted to play with. The music had already been written and slowly worked on through my years at college. The guys did such an amazing job just throwing themselves into the music and afterwards working with Blake Hellaby through the mixing process, I can say it’s something I’m proud of and extremely excited to share.

Top 5 desert island albums (of any genre)?
Malibu – Anderson. Paak
Kind of Blue – Miles Davis
The Second – Derrick Hodge
Stone Flower – Antônio Carlos Jobim
Undercurrent – Bill Evans

Where can people follow your musical movements and find more of your music? You can follow me on Instagram (@san_seanby), Facebook (/SanbyMusic), Youtube and as well all streaming platforms!

 

Sean performs at the February edition of the First Thursdays Sessions, presented by Grolsch. The performance takes place at the Gin Bar, 64A Wale Street, and is free to the public. The performance kicks off at 9pm sharp, followed by a DJ set by Aaron.P (The Other DJs). Swing by from 6pm for Opihr gin tastings.

The performing band includes:
Jesse Julies – Tenor Sax 
Brathew van Schalckwyk – Piano
Sean Sanby – Bass
Damian Kamineth – Drums

Keegan Steenkamp is a Cape Town based trumpeter, composer and trumpet teacher from Muizenberg, Cape Town. At 17 he made his first appearances on the Cape Town music scene in the band ‘Khoitrans’ and at the famed Swingers Monday Night Jazz Jams.

Keegan has since gone on to perform at some of South Africa’s biggest stages including Rocking The Daisies and Cape Town International Jazz Festival, and has also performed in Istanbul, Beijing and Shanghai. Over the past 3 years Keegan has performed extensively with MSMF jazz quartet, and features as a sideman for many artists from all over the country.

We asked Keegan a few questions in the lead up to his performance at the First Thursdays Sessions.

Let’s start at the beginning, where did the love for playing music begin and what lead you to pursue the trumpet of all instruments? If we’re talking right at the beginning, probably through hearing a lot of good music from a young age, and fortunately having instruments at home to make noise on. Further down the line, my high school needed wind players, I had a choice between the trumpet and saxophone, and chose the trumpet ’cause the trumpet teacher there had a nice looking red trumpet.

What is your experience of being a jazz musician in South Africa in 2019? I can only speak myself here. So far so good. Lots of young musicians around my age are sounding great and keeping each other motivated. It also feels like somehow we’re creating more places and opportunities to play (not just jazz but music in general). Something Mandla Mlangeni was encouraging musicians to do a few years back. Speaking of which, there’s this star-studded generation slightly older than us doing amazing work and showing a way forward.

What advice would you give to young musicians looking to break into the local and international jazz scene? Practice! I think that if you sound good enough, the right people will notice. It helps if you’re in an appropriate place though. So go to as many jam sessions as you can, and then go overseas and go to as many jam sessions as you can. It’s something I’m still figuring out for myself but as I said, so far so good.

Who’s doing interesting stuff on the local scene that you’d recommend checking out? Sean Sanby is getting some nice music together for an album recording soon. There’s a really nice weekly gig at Hanks on a Tuesday night, people in the audience just talk too much sometimes. Darren English also started a weekly jam on Thursdays. He’s someone I’d recommend having a listen to, and also someone I’d recommend young jazz musicians have a chat to.

Top 5 ‘desert island’ albums (of any genre)?
Only five!? For now, it’s:
Sonny Rollins – The Bridge
Wayne Shorter – Speak No Evil
Bob Marley – Kaya
MF DOOM – Mm.. Food
Roberta Flack & Donny Hathaway – Roberta Flack & Donny Hathaway

Where can people follow your musical movements and find more of your music?
Call me! Also Instagram, YouTube, and music streaming platforms in a couple of months.

The Keegan Steenkamp Trio performs at the First Thursdays Sessions on Thursday 6 June 2019. The event series is presented by Auchentoshan Single Malt Whisky, produced by Thursdays Projects, and hosted at The Gin Bar. The performance starts at 9pm sharp, with a DJ set by Holy Funk from 10pm. Upstairs at the Gin Bar, 64a Wale Street.

Rosie Mudge is an artist based in Cape Town. She’s our selected visual artist for January’s Official Warm Up at The Gin Bar. You’ll be able to see some of her work and catch her DJ set from 6pm to 8pm. We asked her a few questions. Read on for what she had to say.

 

You work as an artist but you also have a ‘day job’. How do you balance everything and manage your art-making practice?

RM: When I left art school I got a job working at my brothers furniture factory. At first I worked part-time and had a lot more time for art. I had a studio and went to it almost every afternoon for a few years. At this stage in my art-making process I was experimenting with new techniques – focusing on my enjoyment of materials like nail-polish, body glitters and make-up – there was no end result in mind. The work I made during that period was truly repulsive to most of the people I showed it to. Even my family couldn’t find anything to like about it. But it satisfied a part of myself, and I kept going. I was also balancing being a curator, with transitory exhibitions put on through Jnr (a project space I co-developed) and curated a number of group shows as well as Mitchell Messina’s first solo exhibition, Mitchy! As my role at the furniture factory grew and developed, I took on more responsibility and physical time for art-making became harder to get. I gave up my studio and started working from the factory after closing hours. As my work has transformed, the techniques I developed lent themselves to an industrial space, and so this ‘balance’ has become less of a dichotomy and more of an absorption – one into the other and visa versa. I am continually ruminating on ideas and have works in progress which I have been thinking about for well on 5 years now. There’s a lot of time and I try not to put too much pressure on myself to finish works in a restricted timeline. They get finished as and when that happens.

Much of your work is produced with automative paint and glitter glue. How did you end up working with these rather unconventional materials?

RM: I felt massively burned out when I graduated from art school. My previous academic inspirations were all bitter, and my previous techniques felt forced, disingenuous and part of a greater machine of art production, rather than anything to do with myself. So I decided to do a 180 turn and start from the beginning. As it happened, I placed my personal beginning around the age of 12, sitting in my bedroom alone, making things up, playing with polly pocket (yes, still at 12), writing diaries, listening to music, experimenting with make-up and nail polish – enjoying my own solitude, imagination and development of self expression. So, after art school, I spent a few years playing around with materials that inspired me back then, trying to get back into the magic of childhood. After a few years things started to clear up in my mind and I was driven to scale up the visuals I was making. I experimented with manufacturing larger quantities of nail-polish, but then I discovered that automotive paint and nail polish share very similar properties. I loved thinking about those two materials side by side – the tiny, precious nail polish bottles in the hands of girls (and other) vs the industrial automotive paint in the hands of men (and other). On top of this, the enormous tubs of glitter-glue are too good to be true! It’s the real “dip your whole arms in it’ experience.

 

 

In your recent solo show at SMITH, ‘In my room with Mazzy Star’, you refer to your room as a space of psychological safety and creativity. Obviously there’s a specifically domestic or psychological reference there, but the space in which art is made is an equally interesting factor and often one that is hidden from the public. Where do you produce your work and how does it affect what you make?

RM: I guess that in that name I was referring to the psychological space of the mind (your personal, private ‘room’). Although I don’t produce my works in a bedroom, or even a private space, I felt that this analogy speaks to the personal experience of creating things, a private relationship between artist and artwork. Because my current art-making practices are toxic I have to kit myself out with full protection: eye mask, respiratory mask, gloves, fully clothed, sports shoes. Added to that are my playlist and headphones – and I really am blocked off from everything around me. The production process is very physical and gruelling. I usually work for 8 hours at a time without stopping. The music I listen to draws out emotions which feed directly into the works. This goes on and on – it’s very special personal time for me.

How do you find working as an artist in Cape Town – down here at the bottom of the world?

RM: I have no idea what it’s like to be an artist in any other place, I’m not sure being elsewhere would help but I guess I find it difficult here. To feel on the one hand free and at liberty to make what you chose or whatever comes to you, without needing to define yourself, or your practice or outline your own mind. And to have that contrasted by the desire to belong to something, the desire to be understood or related to, to connect to people in conversation… it’s a constant internal battle. I suppose this does not directly relate to Cape Town, but this is how I feel about being an artist in general. If I were at the top of the world, I imagine that it would either be a lot harder, with the saturated markets and art frenzy, or maybe a lot easier as there is more art writing that happens there and two-sided conversations might occur more fluidly.

 

Do you have any advice for people trying to start out in the world of art-making?

RM: Firstly, get a job which gives you enough money to act freely financially with your art-making. It doesn’t have to be in the art world and it doesn’t have to be creative. I have found my ties to a world outside my own creation very energising and the income means that I do not pressurise my art into being successful – it can be a wonderful failure. Having a lot of responsibility outside of your own practice does mean a lot of work, but having less time encourages me to make better use of the time I do have. It also helps me to think quickly in the moment, and ruminate outside of the moment.
Secondly, get involved. Put the ideas you have into practice in any way you can, and try not to rely on the positive affirmation of other people for the valuation of yourself and your art.

Top 5 ‘desert island’ albums?

RM:
MGMT – Congratulations
Of Montreal – The Sunlandic Twins
Beach House – Depression Cherry
Alanis Morissette – Jagged Little Pill
MGMT – Oracular Spectacular

Where can people find you online and find out more about your work?

RM:

https://www.instagram.com/rosiesmudge/
http://www.smithstudio.co.za/content/rosie-mudge
https://rosiemudge.tumblr.com/

 

Catch Rosie Mudge at the First Thursdays Official Warm Up at The Gin Bar, 64a Wale Street. She’ll be doing a DJ set from 6pm to 8pm, with an exhibition of some of her work up as well. The party goes on until late. The First Thursdays Official Warm Up is produced by Thursdays Projects in partnership with Maker’s Mark Craft Bourbon Whisky.