Legendary jazz pianist Tony Schilder died at Booth Memorial Hospital in Cape Town last night after a long illness. He was 73.
Schilder, who started playing the piano at a young age, went on to make a name for himself as one of the greatest jazz musicians in the city. He was regularly referred to as the gentleman of jazz.
He was a band leader at Club Montreal in Manenberg and contributed to many jazz compilations.
Schilder came from a family of musicians. His mother was an accomplished musician, his father made a living as a musician and his brothers – Richard, Jackie, Philip and Chris – are all musicians, as is his son Hilton.
This year a number of his peers – Robbie Jansen, Winston Mankunku Ngozi and Ezra Ngcukana, trumpeter Alex van Heerden and vocalist Jeff Weiner have all died.
This morning Western Cape Musicians Association Chairman William Rezant said Schilder had been bed-ridden for two years. Two months ago he suffered a stroke and was treated at Somerset Hospital.
Howzit-HongKong.com will feature a YouTube clip of one South African music legend every Friday as part of what we like to call The Victoria Harbour Sundowner Sessions. I am fortunate to be living right next to one of the most stunning working harbours in the world… Hong Kong’s Victoria Harbour. I often find myself staring across the Harbour at night, with the lights dimmed and one of my favourite musicians from home over the speakers. I hope you enjoy them as much as I do…
Freshlyground formed in early 2002, and is made up of seven talented and diverse musicians from South Africa, Mozambique and Zimbabwe.
Fronted by the diminutive but dynamic Zolani Mahola, the band exudes a live performance energy that has been the bedrock of their success. The experienced rhythm section of Peter Cohen (drums) & Josh Hawks (bass) is complimented by guitarist Julio Sigauque, keyboardist Seredeal Scheepers, Simon Attwell (flute, mbira, sax and harmonica) and violinist Kyla Rose Smith. Although hailing from diverse backgrounds, between them the band’s members weave a musical magic that is highly infectious and undeniably groovy.
In 2003 Freshlyground launched their debut album, Jika Jika under their own Freeground Records label, the immediate success of which firmly cemented the band as one of South Africa’s most successful young acts.
Freshlyground released their second studio album Nomvula in July 2004. Nomvula was recorded and produced by JB Arthur and Sibusiso Victor Masondo.
The album sparked interest from Sony BMG Africa, who signed the band and released Nomvula in September that year. Radio quickly picked up on the single ‘Doo Be Doo’ and the catchy song went on to become a crossover favorite amongst a diverse spread of stations and their listeners. ‘Doo Be Doo’ was the most played song in South Africa in 2005. The major success of ‘Doo Be Doo’ was followed by the singles ‘I’d Like’, ‘Zithande’, ‘Things Have Changed’ and the title track of the album Nomvula.
Freshlyground gained further international recognition when they performed the catchy “Waka Waka” together with international superstar Shakira at the 2010 Football World Cup in South Africa.
Howzit-HongKong.com will feature a YouTube clip of one South African music legend every Friday as part of what we like to call The Victoria Harbour Sundowner Sessions. I am fortunate to be living right next to one of the most stunning working harbours in the world… Hong Kong’s Victoria Harbour. I often find myself staring across the Harbour at night, with the lights dimmed and one of my favourite musicians from home over the speakers. I hope you enjoy them as much as I do…
Here at Howzit-HongKong.com we have posted about 16 artists under the “Victoria Harbour Sundowner Sessions” category and, not taking anything away from the previous 16 artists, this next one is a particularly special one.
Those who know me will know about my penchant with Cape Jazz, especially the genre known as “Ghoema.”
Cape Town, being a port-city, is known for the fact that it took the sounds of all the nations who came calling and fused it’s sounds into a unique genre popularly known as “Ghoema.”
Bands such as this week’s featured artists VJR took this sound and further internationalized it into a sound that was more “acceptable” to foreign ears. However, it was (and is) still a particular Cape Town sound and staunch “Capetonians” like me, no matter where in the world we found ourselves… will forever identify with this special Cape Town sound.
Thanks to outfits like Virual Jazz Reality.
Like me, as a teenager growing up in Cape Town in the 80′s and 90′s, you will be frowned upon if you claimed not to know Ian Smith.
OK, maybe I shouldn’t be as harsh. You will be frowned upon if you claim not to know the bands Concert Boulevard, Pound Seats, MJ-9, The Tony Schilder Quartet, Airborne or Inside Out. If you were a regular at Cape Flats clubs and concerts back in the days, you WILL know these outfits. You WILL also know the trumpeter called Ian Smith.
I was fortunate to see both Ian Smith and Sammy Webber in action when I attended the birthday party for the late Robbie Jansen at the G-Spot in Epping (Cape Town) during my annual visit home last year. It was the last time I saw Robbie alive so that night at the G-Spot in Epping is forever etched in my memory.
Trumpeter Ian Smith with the late Boeta Robbie Jansen (Pic: Mike Jansen)
Ian Smith (right) with Sammy Webber (middle) at Boeta Robbie’s birthday jam (Pic: Mike Jansen)
The quartet has built a reputation for refined fusion, performance finesse with razor sharp improvisations and syncopation. Their repertoire includes impressive contemporary jazz originals and inspirational takes on timeless classics such as: John Coletrane’s ‘Naima’ and Eddie Harris’s Freedom’s Jazz Dance, brought to you in true inventive jazz style by the quartet.
Comprising Ian Smith (trumpet, flugalhorn, and vocals), Andrew Ford (keyboards, drums and bass), Sammy Webber (bass and vocals) and Frank Paco (drums and vocals), VJR have impressive individual pedigrees as bandleaders, studio musicians, music educators and performers.
Having played with numerous ensembles of his own creation including: Concert Boulevard, Pound Seats, MJ-9, The Tony Schilder Quartet, Airborne and Inside Out, Ian Smith has acquired the reputation as one of the most sought after studio musicians. His prowess as a trumpet player has also earned him a place as a soloist for the UCT Big Band and for the CAPAB and CTSO orchestras. He was also one of the influential figures, along with Prof Mike Campbell, in the formation of the Cape Jazz Orchestra.
VJR’s Ian Smith pays tribute to Boeta Robbie Jansen (Pic: Mike Jansen)
Andrew Ford has studied piano and percussion, both classical and jazz, for the past sixteen years and in 1980 began performing with the Richmond-Upon-Thames Youth Band in London. Despite having performed extensively with his own trios and groups (Inside Out) as well as a regular with the CAPAB, CTSO and Cape Jazz Orchestras his talents as a producer are extensive. His appointment as musical director for B&S Studios while at the same time running his own successful recording studio the ‘Nuthouse’ bare tribute to this fact.
Andrew Ford in his comfort zone (Pic: Andrew Ford on FaceBook)
Sammy Webber has been playing bass from the impressionable age of 17 and started playing in his first band at only 19. Since then he has played with the successful duo U-Turn with Tony Paulse and is also the bass player for Inside Out and MJ-9. As news of his ability begins to spread he is increasingly in demand as a session musician and is considered a vital contributor by the members of VJR.
Sammy Webber (left) with Robbie Jansen (Pic: Sammy Webber on FaceBook)
Self-taught musician, Frank Paco started playing drums at the age of 16 whilst living in Mozambique. He has performed with Zairian born, French singing sensation Pap Wemba, South African renowned vocalist Miriam Makeba and has toured with Afrojazz band Sakhile. More recently he featured on the FNB and Gold album by Jimmy Dludlu, “Echoes From The Past” and is currently studying music at the UCT College of Music.
Drummer Frank Paco with Samuel L Jackson (Pic: Frank Paco on FaceBook)
Virtual Jazz Reality is innovative and new. Not only are their tracks listenable, but the band also manage to balance cerebral dexterity with emotive fire while at the same time gently surfing gnarly time signatures with ease. Chunky muscular bass tones, delicious piano melodies, distinctive brass runs and fluid like percussive stick work combined with an impressive stage presence make VJR a truly inspiring contemporary jazz outfit catering for the connoisseur and music lovers generally.
Let’s hear from the band themselves in this promotional video:
Howzit-HongKong.com will feature a YouTube clip of one South African music legend every Friday as part of what we like to call The Victoria Harbour Sundowner Sessions. I am fortunate to be living right next to one of the most stunning working harbours in the world… Hong Kong’s Victoria Harbour. I often find myself staring across the Harbour at night, with the lights dimmed and one of my favourite musicians from home over the speakers. I hope you enjoy them as much as I do…
Bakithi Khumalo on ‘You can call me Al’ (Paul Simon’s African Concert)
SOUTH AFRICAN composer, vocalist, and bassist Bakithi Kumalo was born in the Alexandria Township of Johannesburg.
Abandoned by his father as a toddler, he was raised by his mother, who was a singer, and his family in nearby Soweto. He was exposed to local musical styles such as mbaqanga (a groove peculiar to the townships), mbube (a cappella vocal music), and jive (electric, urban pop) while he was very young.
At an early age, he decided to become a musician and at seven, was already performing in his uncle’s band.
Due to his persistence, he quickly became a regular on the wedding and party circuit around the township. At ten, he went on a tour into Zululand where he remained for a year and a half. During that time, he practiced the bass tirelessly. It was at this time that he developed his unique approach to bass playing.
With a reputation as a prodigy now established, Bakithi started to get recording session work, but the record companies were exploitative (he was paid as little as $2.50 per side) and money remained scarce. He did any work he could do to get by, including selling newspapers. As an only child, he felt a profound sense of responsibility towards his mother, but never doubted that he would someday become a famous musician and would be able to take good care of her.
In addition to economic hardships, Bakithi was also dealing with an oppressive political system, Under Apartheid, the police could commit any atrocities they pleased against people of color and never be held accountable. When Bakithi had a recording session in the city proper, he had to carry papers that authorized his presence in town. Without them, he would have risked arrest and detainment.
Bakithi’s fame grew, but his musical career was still a terrible struggle and he was seriously considering taking a job as a car mechanic at the time Paul Simon came calling in 1985.
Simon was in South Africa to assemble a band for his “Graceland” album. A well-known Johannesburg producer suggested Bakithi for his unique ability. Simon was entranced by his sound and, after some preliminary sessions in South Africa, he flew Bakithi to New York City to complete the tracks.
Bakithi was both thrilled and terrified to be in New York City. He had always longed to go to New York, but he barely spoke English and was understandably overwhelmed by this sudden dramatic change in fortune. However, his misgivings did not affect his playing and his indelible contributions to the Grammy-winning “Graceland” album gave him major visibility in the American music industry.
He found himself in much demand for recordings and tours with many great artists such as Chaka Khan, Harry Belafonte, Cyndi Lauper, Laurie Anderson, Jon Secada, and Gloria Estefan.
Today, Bakithi has put down roots in Brooklyn with his wife, singer Robbi Hall, and two children. They went to the new South Africa during 1997, and again in 1998 where Bakithi and Robbi performed at the Capetown Jazz Festival with Regina Carter, Carl Anderson and Donald Harrison. Having been in South Africa as a free man, Bakithi is relieved that his people will never suffer the oppression of apartheid again. The Kumalos are planning to keep a home on both continents.
Howzit-HongKong.com will feature a YouTube clip of one South African music legend every Friday as part of what we like to call The Victoria Harbour Sundowner Sessions. I am fortunate to be living right next to one of the most stunning working harbours in the world… Hong Kong’s Victoria Harbour. I often find myself staring across the Harbour at night, with the lights dimmed and one of my favourite musicians from home over the speakers. I hope you enjoy them as much as I do…
Selaelo Selota was born and grew up in a rural village in the northern region of South Africa near Pietersburg where he was greatly inspired by the traditional musical practices that were around him.
On completing high school, and not having financial resources to further his studies, he found employment in gold mining. Working in the mines and living amongst the migrant workers, he was exposed to the traditional songs and dances from many other Southern African tribal groups. After three years, he left the mines and went to Johannesburg in search of new directions in life.
In Johannesburg he worked at the Market Theatre as an usher and later as a cleaner at Kippies Jazz Club. He seized every opportunity to learn from the musicians he heard performing there. During that year 1988; he bought his first guitar and began studying music theory through FUBA (Federated Union of Black Artists) Academy.
We’re not going to post too much information about this week’s featured artist because we have an extra video to show where you can hear Selota speak to Jason Von Berg. You can read more about Selaelo Selota from our source, Music.org.za
Here is Selota speaking for himself on the Von VodCast:
Howzit-HongKong.com will feature a YouTube clip of one South African music legend every Friday as part of what we like to call The Victoria Harbour Sundowner Sessions. I am fortunate to be living right next to one of the most stunning working harbours in the world… Hong Kong’s Victoria Harbour. I often find myself staring across the Harbour at night, with the lights dimmed and one of my favourite musicians from home over the speakers. I hope you enjoy them as much as I do…
This week we pay tribute to yet another jazz great who suddenly passed away this week.
Renowned Cape-born jazz pianist Hotep Idris Galeta has died after suffering an asthma attack.
Galeta was known for a distinguished career, playing with other legends such as Herb Alpert, Abdullah Ibrahim and Hugh Masekela, amongst others.
A biography by his record label Sheer states: “Hotep left South Africa for London and then New York in 1961 and stayed in exile for thirty years.
“In the early 60′s he obtained a scholarship to study privately with noted jazz piano educator John Mehegan.
“(He also held) a Master’s degree with Distinction in Jazz and Contemporary African-American Music and Performance.
“His discography is quite extensive with over 18 albums and CDs recorded with a number of American and South African artists.
“They include his own acclaimed solo piano CD Live At The Tempest and numerous CDs with Hugh Masekela, Herb Alpert, John Handy, Jackie McLean, Joshua Redman, Archie Shepp, Elvin Jones, Bobby Hutcherson, Woody Shaw and David Crosby and the Byrds.
“As a result of his reputation as an internationally recognised Jazz and Contemporary Music educator and pianist, he was appointed lecturer in Jazz studies to the University of Hartford’s Hartt College of Music in Hartford, Connecticut, USA in 1985. This position continued until his return to South Africa in 1991.”
Galeta was 69 at the time of his death.
Hamba Kahle Hotep…
(source: channel24.co.za)
Hotep Idris Galeta, screen-grap from the YouTube clip below (Mike Jansen)
Hotep Galeta: Standard Bank Jazz Festival 2007 Heritage Jazz Show
Howzit-HongKong.com will feature a YouTube clip of one South African music legend every Friday as part of what we like to call The Victoria Harbour Sundowner Sessions. I am fortunate to be living right next to one of the most stunning working harbours in the world… Hong Kong’s Victoria Harbour. I often find myself staring across the Harbour at night, with the lights dimmed and one of my favourite musicians from home over the speakers. I hope you enjoy them as much as I do…
It’s rugby weekend with the All Blacks and Wallabies in Hong Kong as well as the Currie Cup Final back home in Durban, so we’re upping the beat in celebration.
(Go Province!)
McCoy Mrubata
“I don’t compose,” reedman McCoy Mrubata asserts. “I get my songs through dreams. I’ll wake up, write it or tape it – and then go back to sleep again.”
It was in sleep that McCoy first learned the vocabulary of African jazz. Born in 1959 in Cape Town’s historic Langa township, he grew up with the sounds of African music: the soulful hymns of the Zion Church, the chants and rhythms of traditional healers and the brassy jive of the Merry Macs band, who rehearsed opposite his home.
“When I was seven or eight, all there was on the streets was music and boxing. I used to go across to that rehearsal room and just lose myself in the music. I’d wake up, and find myself back at home, with my mom and gran telling me how they found me there and carried me back.”
The reed-man playeth (McCoy captured by Steve Gordon)
When schooling became impossible in the fiery aftermath of the 76 uprising, the young McCoy then playing flute studied informally under Langa greats like the Ngozi brothers, Winston and Thulisile, the Ngcukanas, Ezra and Duke, Blackie Tempi and Robert Sithole.
Howzit-HongKong.com will feature a YouTube clip of one South African music legend every Friday as part of what we like to call The Victoria Harbour Sundowner Sessions. I am fortunate to be living right next to one of the most stunning working harbours in the world… Hong Kong’s Victoria Harbour. I often find myself staring across the Harbour at night, with the lights dimmed and one of my favourite musicians from home over the speakers. I hope you enjoy them as much as I do…
Some time ago, I started a FaceBook Group in support of Cape Town’s own ”gentleman of jazz,” Mr. Tony Schilder. It had been closed for a while until I restarted it about a week ago. I did this because I got word that Tony’s health had taken a turn for the worse and I was hoping that the extra positive thoughts and support would help.
The Group currently has 23 members and I hope you too will join it after reading this tribute.
Cape Jazz pianist and composer, Tony Schilder, was born in 1937 to a well known Jazz Family in retreat. His parents, brothers and children are all musicians. Tony grew up on the Cape Flats in a family of 14 children which included 4 step sisters.
His brother Chris Schilder is also brilliant composer and was a key member of the successful jazz rock group Pacific Express.
Being a completely self-taught musician and having never taken a single lesson in his life, all Tony’s compositions and everything he’s ever played is completely from memory.
His mother was into jazz and his father a classical music fan which indicates his influences from both of these genres.
At the age of 5 he discovered the piano and by the time he was 6 he was already playing for parties. He had to wait in line to take turns at the piano at home as most of the family members were musicians.
The entertainment bug had fully manifested itself when he got his first professional gig at a roller skating rink in Wynberg when he was 11 years old.
Whilst growing up he was exposed to the music of Errol Garner and Oscar Petersen and draws his inspiration from these two Jazz maestros of the piano.
At a time when the political climate in this country was in turmoil, he opposed the regime but as a musician under apartheid he faced challenges which concerned the welfare of his family and had to be careful not to be too outspoken for fear of being detained.
His son, Hilton, became very much an activist and expressed this in his music with indigenous and controversial sounds.
Some of Tony Schilder’s musical landmarks include his debut vinyl [LP] in the early 80’s called Introducing the Musicof Tony Schilder, which was produced by(another Son of Cape Town) Jonathan Butler.
This was later re-released on CD and spawned the(Cape Flats) “anthem” Montreal.
Another significant production is a live recording at The Baxter as a guest with Morris Goldberg in 1982 called Jazz in Transit.
His latest offering is called B Positive and also features his son Hilton.
The title track which is his blood group is a song he penned in hospital after undergoing surgery a few years ago.
Last year he became seriously ill again and was rushed to hospital upon where an emergency life saving operation had to be performed.
The medical costs came to a staggering R195 000 and being an inactive musician Tony had no income to pay for this exorbitant bill.
Royalty payments were few and far between and the little life savings he and his spouse had accumulated had to be accessed and emptied to pay for the operation but was not nearly enough.
(Source: Western Cape Musicians Association/WCMA)
William Rezant from the WCMA has been supporting Tony Schilder (Pic: WCMA)
The WCMA has been instrumental in arranging fundraising events to pay for Tony’s treatment.
Last week I got word that Tony’s health had taken a turn for the worse and that he was admitted to hospital once again.
I have been planning to include Tony Schilder as part of the Victoria Harbour Sundowner Sessions but could never find anything by the pianist on YouTube. However, Paddy Lee Thorpe of Tony’s record company Mountain Records recently added the following two clips and we thankfully share them with you.
Ladies and gentleman:
Mr. Tony Schilder.
Levitation (Tony Schilder)
Dedicated to his mother, the Tony Schilder Trio performs “Hymn for Hettie”
Howzit-HongKong.com will feature a YouTube clip of one South African music legend every Friday as part of what we like to call The Victoria Harbour Sundowner Sessions. I am fortunate to be living right next to one of the most stunning working harbours in the world… Hong Kong’s Victoria Harbour. I often find myself staring across the Harbour at night, with the lights dimmed and one of my favourite musicians from home over the speakers. I hope you enjoy them as much as I do…
Over the years, the local Cape Town radio stations have had some fantastic shows dedicated to not only jazz, but local jazz. Music made right there in South Africa and closer to home: Cape Town.
I remember fondly washing my car on a lazy Sunday afternoon back in the days listening to the likes of Lee Downs, Natalie Becker, Shado Twala, to name but a few of my favourite DJs. Another one who is still on air with Heart 104.9fm promoting local jazz is a DJ called Clarence Ford, who I know share my passion for this week’s featured artist on the Victoria Harbour Sundowner Sessions, Bheki Mseleku.
The track we feature today is called Angola and it’s just such a lekker tune with a distinctly Cape Town beat. I do believe that that’s the reason both Ford and myself still love the music of Mseleku, despite his passing in 2008.
Bhekumuzi Hyacinth Mseleku, generally known as Bheki Mseleku (3 March 1955 – 9 September 2008) was a jazz musician from South Africa. He was a pianist, saxophonist, guitarist, composer and arranger who was entirely self taught.
Mseleku’s father was a musician and teacher, and a Cambridge University music graduate, who had religious beliefs which prevented his children from ready access to the family’s upright piano in case any of them should pursue something as “devilish” as music. His mother gave him the keys while his father was away, but the piano ended up as firewood one winters evening.
During his childhood, Mseleku suffered the loss of the upper joints of two fingers in his right hand from a go- carting accident. He explained in a 1994 South Bank Show dedicated to him that this was wholly due to the restricted health care available to Black South Africans under Apartheid.
Mseleku started his musical career in Johannesburg in 1975 as an electric organ player for a R&B band, Spirits Rejoice. After performing at the Newport Jazz Festival in 1977, Mseleku settled in Botswana for a time, moved to London, England in the late 1970s and made an attempt to settle into the jazz scene in Stockholm from 1980 to 1983, but then returned to London. It was not until 1987 that Mseleku made his debut at the prominent Ronnie Scott’s Jazz Club, playing piano unaccompanied by other musicians, with a saxophone in his lap.
Howzit-HongKong.com will feature a YouTube clip of one South African music legend every Friday as part of what we like to call The Victoria Harbour Sundowner Sessions. I am fortunate to be living right next to one of the most stunning working harbours in the world… Hong Kong’s Victoria Harbour. I often find myself staring across the Harbour at night, with the lights dimmed and one of my favourite musicians from home over the speakers. I hope you enjoy them as much as I do…
A few years ago, while I was still living and working in Cape Town, I was traveling on the N1 near Tygervalley when I tuned into the local P4 radio station.
I was listening to Shado Twala who was having a chat with a local songstress called Tina Schouw.
At the time, while I was familiar with the name I couldn’t say that I knew much about her music.
To say that I was smitten while listening to Tina over the airwaves would be a understatement. I fell in love with the voice and the person behind the voice.
Even before she sang a note.
I have loved the way she sings, what she sings about as well as her passion for her craft ever since that day.
By the time I reached the N1 City Mall, Shado’s show was over. I turned off the freeway and found my way to the nearest Musica CD store and promptly bought Tina Schouw’s album called “Bleed.”
What made Bleed such a special album is that my family had also fallen completely in love with it. My daughter Micaela was only about five years old and my son Ethan still in diapers but they too adore Tina and promptly dubbed her the “Tick-Tock Lady” after their favourite track, needless to say, called Tick Tock.
Shortly before we left Cape Town for the Far East a few years ago, we were excited to hear that Tina was going to be performing at (if my memory serves me right) the Canal Walk shopping mall. Needless to say we attended the performance and were not disappointed as she sang almost all the tracks from the Bleed album. What made it such a special occasion was that Tina even came over, had a chat and promptly signed our CD!
That CD has pride of place in my music collection and has traveled with me all over the world. I fondly remember sitting on my backpack on the floor at Amsterdam Sentraal Station, having arrived in the Dutch capital by coach from London in the wee hours of the morning, listening to Tina Schouw on my CD player while the city woke up around me.
The Missus and I again had the pleasure of attending a performance by Tina, together with Dave Ledbetter at the lovely Kirstenbosch Restaurant on an annual visit home to Cape Town a couple of years ago.
It was a typical winters-evening at the foot of Table Mountain. It was cold and wet outside but inside Tina Schouw, a cozy fireplace and some fine locally-bottled reds made it all good.
I am proud to call Tina Schouw my Cape Town connection and FaceBook friend and would like to introduce her as this weekend’s featured artist on the Victoria Harbour Sundowner Sessions:
Howzit-HongKong.com will feature a YouTube clip of one South African music legend every Friday as part of what we like to call The Victoria Harbour Sundowner Sessions. I am fortunate to be living right next to one of the most stunning working harbours in the world… Hong Kong’s Victoria Harbour. I often find myself staring across the Harbour at night, with the lights dimmed and one of my favourite musicians from home over the speakers. I hope you enjoy them as much as I do…
