#makaya ntshoko

[onetwofeb]

Abdullah Ibrahim Band 1968 NDR (G) 

Abdullah Ibrahim  (p) John Tchicai, Gato Barbieri (reeds) Barre Phillips (b) Makaya Ntshoko (d):  Jabolani (= "Joy")

[slackville-records]

The Blue Sound of the day

JOHNNY DYANI QUARTET – WISH YOU SUNSHINE

composed by Johnny Dyani

https://youtu.be/dQWE0vut-D4?si=FXGBx-gz6ZBOWWd-

Johnny Dyani - bass

Don Cherry - cornet

Dudu Pukwana - alto sax

Makaya Ntshoko - drums

From the album 'Song For Biko' recorded on July 18, 1978 and released by the SteepleChase label.

[ozkar-krapo]

Joe McPHEE

"The Willisau Concert"

(LP. Hat Hut rcds. 1976 / rec. 1975) [US]

[merzbow-derek]

ABDULLAH IBRAHIM, 1968

Abdullah Ibrahim (p) John Tchicai, Gato Barbieri (reeds) Barre Phillips (b) Makaya Ntshoko (d): Jabolani ("Joy")

[dustedmagazine]

Joe McPhee – The Willisau Concert (Hat Hut/Corbett vs. Dempsey)

Numerous are the musicians who adopt the DIY tack and launch record labels to document their work. Relatively few are those that can claim an enterprise founded by others with the express purpose of releasing their music. Joe McPhee holds that latter distinction thanks to Werner X Uehlinger and the Hat Hut imprint. Up to 1975, McPhee had been dividing his time between occasional teaching engagements at Vassar College and a day gig at a factory in his hometown of Poughkeepsie, NY, fitting music into the time between and off from both. The Willisau Concert, Uehlinger’s second release on his fledgling label, documents an eponymous Swiss leg of a European tour undertaken by McPhee and his colleague John Synder in the fall of that year. South African drummer Makaya Ntshoko joined the group, but the chemistry between the three players was apparently off leading to a truncating of the tour soon after.

Comprising four McPhee compositions in lengthy forms, the original album tests the limits of vinyl duration. “Touchstone” is a volatile duet for drums and tenor with Ntshoko forcefully framing the ensuing interplay at start and finish with solo features. That dominance in approach may be in part what McPhee hints at in later reflections of the incongruous fit between sensibilities, but the piece is bursting with action as it moves from free form raucous blowing to a more measured and melodic conclusion. Early on, McPhee resorts to shouts and screams, his horn momentarily insufficient in voicing an appropriate amount of ecstatic release. “Voices” brings Snyder’s analog synthesizer and looped voice into play in a layering of low monastic drones that joins legato tenor phrases that are at once raw and delicate. The entrance of Ntshoko’s flexing tidal beats changes the tenor of the piece drastically, but they are sporadic and at times almost subsumed by the swirling electronic textures that pour forth from Snyder’s consoles.  

“Bahamian Folk Song”, a piece composed in honor of McPhee’s family ancestry opens from a place of diffusion. Audience whoops and hollers overlap with a synthetic rhythm by Snyder augmented by Ntshoko’s drum kit. McPhee’s explores a chirruping and soulful calypso motif, but once again the pervasive electronic elements of the music threaten repeatedly to overwhelm the acoustic ones. “Harriet” also honors heritage in an ode to the activist answering to the surname Tubman. McPhee’s tenor traces a fine-grained line as Snyder eases up on the volume and density of his contributions. The result still feels subtractive rather than additive in sustaining a mood of reflective reverence and Ntshoko’s disjointed press rolls carry the air of a player somewhat uncertain as to his role. The Corbett vs. Dempsey reissue duplicates the original LP gatefold packaging down to the calligraphic script describing concert particulars. Even more valuable is a bonus version of “God Bless the Child” ripe with resplendent McPhee tenor. Ultimately a mixed bag, the album is still an important entry in the leader’s near-half century as a recording artist.

Derek Taylor

[black-canvas]

[burlveneer-music]

Tumi Mogorosi - Group Theory: Black Music

Group Theory: Black Music is a stunning new statement from South African drummer and composer Tumi Mogorosi. Standing in the lineage of South African greats such as Louis Moholo-Moholo, Makaya Ntshoko and Ayanda Sikade, Mogorosi is one of the foremost drummers working anywhere in the world, with a flexible, powerful style that brings a distinctive South African inflection to the polyrhythmic tradition of Elvin Jones, Max Roach and Art Blakey. Since his international debut on Jazzman Records in 2014 with Project ELO, Mogorosi has been in the vanguard of the South African creative music scene’s burgeoning outernational dimension, taking the drummer’s chair in both Shabaka Hutchings’ Shabaka and The Ancestors formation and with avant-garde noiseniks The Wretched. As Mogorosi’s first project as leader since 2014, Group Theory: Black Music marks a return to the drummer’s musical roots. The sound is anchored in the transnational tradition of Great Black Music, with the core of the group comprising a quintet of newcomers Tumi Pheko (trumpet) and Dalisu Ndlazi (bass) alongside the experienced guitarist Reza Khota, with Mogorosi himself and altoist Mthunzi Mvubu, another Ancestors member, representing the current generation of South Africa’s creative music torchbearers. Motivated by Mogorosi’s driving dynamism, the group create deep-hued modal grooves that burn with a contemporary urgency, while established pianist Andile Yenana brings an elder voice to three of the tracks. Featured vocalists Gabi Motuba (Project ELO, The Wretched) and Siyabonga Mthembu (The Brother Moves On) take differing approaches to the spiritual standard ‘Sometimes I Feel Like a Motherless Child’, while poet Lesego Rampolokeng pours out lyrical fire on ‘Where Are The Keys?’, creating a bridge back to the Black Consciousness movement and figures such as Lefifi Tladi and Wally Mongane Serote. But where Group Theory: Black Music moves an established format dramatically forward is in the addition of a ten-person choir. Conducted by Themba Maseko, their massed voices soar powerfully above every track as a collective instrument of human breath and body, and enter the album into the small but significant number of radical recordings to have used the voice in this way, such as Max Roach’s "It’s Time", Andrew Hill’s "Lift Every Voice", Billy Harper’s "Capra Black", and Donald Byrd’s "I’m Trying To Get Home". At the same time, the presence of this wall of voices brings an inextricable connection to the venerable tradition of South African choral music, and to the importance that the Black choir has had for South Africa’s religious, political and social cultures, including the culture of South African creative music itself. From the Manhattan Brothers and the choral compositions of Todd Matshikiza to figures such as Johnny Dyani and Victor Ndlazilwane, the collective power of voice has been one of the cornerstones of improvised creative music in the country. Andile Yenana – piano [tracks 4,5,9 & 11] Dalisu Ndlazi – upright bass Gabi Motuba - vocals [track 10] Lesego Rampolokeng – vocals [track 11] Mthunzi Mvubu – alto saxophone Reza Khota – electric guitar Siya Mthembu - vocals [track 5] Tumi Mogorosi - drums Tumi Pheko – trumpet Voices Brenda Thulo Cecilia Phetoe Charles Shikwambana Fortunate Jwara Noluthando Biyana Sibongile Mollo Steve Mthombeni Tebogo Magwe Themba Maseko - conductor Thulisile Ntetha

[jazzfunkdid]

Johnny Dyani Quartet ‎– Wish You Sunshine

Johnny Dyani Quartet ‎– Wish You Sunshine Bass – Johnny Dyani. Cornet – Don Cherry. Drums – Makaya Ntshoko. Saxophone Alto – Dudu Pukwana.

[musicletter]

La musica jazz del sudafricano Tumi Mogorosi

«Group Theory: Black Music» è il nuovo straordinario album di musica jazz del batterista e compositore sudafricano Tumi Mogorosi. Un disco che unisce uomini e culture della diaspora africana.

Group Theory: Black Music è il nuovo straordinario album del batterista e compositore sudafricano Tumi Mogorosi. Alla maniera di Louis Moholo-Moholo, Makaya Ntshoko e Ayanda Sikade, Mogorosi è un batterista dallo stile flessibile e potente che porta con sé la tradizione poliritmica africana tipica di grandi personaggi come Elvin Jones, Max Roach e Art Blakey. Già a partire dal suo debutto…

[dizarray-blog]

Johnny Dyani - bass; Don Cherry - cornet; Dudu Pukwana - alto saxophone; Makaya Ntshoko - drums Recorded July 18, 1978

[budaallmusic]

Joe McPhee Featuring John Snyder And Makaya Ntshoko ‎– The Willisau Concert #hathut 1976 Drums – #MakayaNtshoko Synthesizer, Voice – #JohnSnyder Tenor Saxophone, Soprano Saxophone, Mixed By – #JoeMcPhee

[maestitiaparva]

Wish you sunshine Song for Biko (1978) Don Cherry - Trumpet  Makaya Ntshoko - Drums  Dudu Pukwana -  Sax Johnny Dyani - Double-Bass

[dude-gimme-a-beat]

Spirit

Paul calls us the temple of the Holy Spirit. Jesus calls us a fountain of the Holy Spirit, because the Living Water flows out from our hearts.  The invitation to us is to open ourselves more fully to the Living Water of light and love that desires to emerge from deep within us, from some mysterious well—and then to flow out from us again. Christ is that temple and fountain; we are that temple and fountain.

-Br. Mark Brown

Full Sermon:  http://ssje.org/ssje/category/sermon/?p=2748

Abdullah Ibrahim – Jabolani (Rejoice)

Recently I’ve come to what I used to think was a disconnect in prayer, but now I think it is something else at work. Pretty much starting at age 6 when I’d walk to school, I have always prayed as I commuted in the morning. I’ve been blessed to have that commute be on foot for many of those years, which is far more conducive than a bus or train or car, although I've prayed on all of them. But I’ve let go of speaking in prayer lately. I say a form prayer as I depart, the Morning Offering, and then I allow myself to drift. The birds in the quiet early mornings always capture my attention to one degree or another. I think things are getting peeled away in my soul and new soil is being layered. Whereas I used to get down on myself and frustrated and feel I was lacking in the past when this happened, taking it as symbolic of other failings in myself, this time I’m not letting that negativity infect me. I’m letting the Spirit do its work and guide me. This meditation expresses what is happening perfectly. There are times for me to act, and there are times when my role is simply to let the Spirit flow. I wasn’t quite sure what song to select with this meditation. The phrase “Living Water” jumped out to me. And it brought Abdullah Ibrahim to mind because of the airy flow of his music. But I had no specific song in mind. So I searched and listened and then found this – and as an aside, right now as I type this, the Spirit is soaring within me, because I am listening to the song and I am simultaneously bawling my eyes out and laughing hysterically – and when I found this song, I knew it was perfect. Taken from German television in 1968, the visual alone is stunning. What a treat to see great music made without frenetic camera edits or spectacle lighting or stage shows; just the dignity and power of the men and the music. And what music it is!!! Once again, I hear so clearly the vast openness of Abdullah Ibrahim’s band, like wind refreshing me. It is truly Living Water to me. John Tchicai kicks it off with a riveting lead on sax, buffeted at the outset by Gato Barbieri’s companionship. As the camera scans, I revel in Makaya Ntshoko’s blistering command of the drums, the ride cymbal in particular. Gato returns for his lead and it too is so uplifting, complex, yet soothing all at once. The title of the song, “Jabolani” is a Zulu word meaning “rejoice”. I do – for the movement of the Holy Spirit, and for this magnificent performance. Wow! I’m an exhausted, exhilarated mess at its end. That’s life at its very best!!

[udomatthias-blog]

(via https://open.spotify.com/album/76yJHEpDEAK23zo7UVOxq6?si=g2e3Z5uTSeyHWWixGE81Ew)