A history of "Cape Jazz"

The Genuines

Formed in 1986, this quartet breathed new life into the Cape Jazz scene. They took the traditional sounds that had been associated with the genre, and put them in a leather jacket with sunglasses.

This pop-punk attitude broke entirely new ground, and allowed for much greater experimentation with the sounds and styles that Cape Jazz had been boxed into. Not only did they fight against traditional understandings of genre, they also took part in the fight against Apartheid, performing at numerous anti-government rallies.

Their biggest song, Die Struggle tackles the oppressive system head-on, while reflecting both the exasperation and anger of the people it segregated.

Mac McKenzie

The son of a legendary Kaapse Klopse band leader, Mac was a born composer, and was seen as the figurehead of the group. His intention was to bring Cape Jazz & goema into modern times, and evolve the genres past being simply "traditional music". His kaleidoscopic guitar playing was a pivotal gateway to The Genuines' being able to incorporate sounds across musical and cultural barriers into cohesive pieces of work.

Hilton Schilder

As part of a musical dynasty, Hilton is one of many Schilders who have greatly influenced South African music, but still stands as a pioneer in his own right. A jack of all trades, he is proficient with string and woodwind instruments alike, even lending his voice to some tracks, but is always most at home on the keys. His various styles, ranging from 80s synth chords to classical piano harmonies, can always be heard in the background, and even given headlining features on some select tracks, where he can really flaunt his abilities.

Gerard O'Brien

Little is known publicly about O'Brien, save that he was born in Port Elizabeth and was a long-time collaborator of McKenzie's, even before the band got together. As is typical with the bass guitarist persona, he was known for his laid-back demeanour (in sharp contrast to Mac). Nevertheless, his talents were never wasted on any track, always impeccably holding down the rhythm and allowing the sharper & louder instruments to shine at the forefront.

Ian Herman

Despite being the only member not from the Cape region, Herman didn't find any difficulties slotting in perfectly with the rest of the group, able to perform both regular drum beats and traditional goema rhythms. He was replaced by Jack Momple after leaving for the US, however his skill as one of South Africa's best drumming talents was plain to see from early on. Particularly, his ability to drive forward the frenetic, punk-inspired jams on the band's first album is impressive to this day.

After nearly a decade of recording and touring worldwide, the band eventually broke up around the mid-1990s. Despite this, all the founding members continued to play and influence Cape Jazz for decades to come, and stand tall as legends of the scene.

Photo retrieved from Shifty Records.

The Cape Jazz Band

This aptly-named group blended both what is old and new, with artists from different eras playing a mix of classics and new compositions. Their 2013 album, Musical Democracy, is one of the last notable releases from some genre mainstays. Despite having a roster of famous players moving in and out of the band, from Alex van Heerden to Kyle Shepherd, its core members are all extremely important figures in the scene's recent history.

Jack Momple

Despite not actually being from Cape Town, Momple is one of the most experienced veterans in all of Cape Jazz. A nomad, he played across various popular bands in the scene: including Pacific Express, Sabenza, and even had a stint towards the end of The Genuines' run.

With The Cape Jazz Band, Momple was able to show off his compositional and leadership skills. His smooth drumming ability is instrumental to every track, with a signature Cape flair that would make you believe he's lived here all his life.

Spencer Mbadu

Growing up in Nyanga, Mbadu was born into a musical family - with music teachers and church choir players throughout. Despite being a relatively quiet man by most accounts, he did not shy away from making political statements, such as performing at UDF rallies during Apartheid (alongside many of his peers).

In line with his personality, his bass was usually understated, not keen to take the spotlight, but still able to captivate anyone who cares to listen.

Ramon Alexander

Coming into the scene relatively late, Alexander only got into jazz after going to the Grahamstown National Arts Festival at 15 years old. Despite studying at Stellenbosch University to be a winemaker, his casual interest in jazz had grown to true passion in the intervening years, and his focus shifted to that of becoming a musician.

This decision has paid dividends, as Alexander's graceful fingers are one of the main highlights of the band's releases, following a long line of Cape Jazz greats who made their name on the ivory keys.

Errol Dyers

Born in Claremont, Errol Dyers and brother Alvin would spend weekends listening intently to what was being played in the streets, eventually getting a guitar to share between the two of them. From there, the two brothers taught themselves, even having their own band for a short time. Errol was sometimes seen as a distant figure, usually "the quiet one". Much of his career was focused on honing his skills as a solo artist, never staying in any band for long.

Despite this, his work as part of The Cape Jazz Band blended seamlessly with the rest of the group, his guitar phasing in and out of prominence as the moods of each track shifted.

Despite only having one notable album release, the group continued to perform across the country for many years, even touring the Borneo Jazz Festival in Malaysia. Sadly, the group is no longer active, as some of its core members have since passed away. Still, their status as modern greats of the scene remains intact.

Photo received from Warren Ludski.