THE Sunday afternoon of July 27, 2025 will have the Market Theatre Foundation rolling out celebrations comprising a book discussion at Kippies and a free jazz concert inside The Market Theatre, in honour of the late jazz musician Jeremiah Kippie ‘Morolong’ Moeketsi – who would be turning 100 on the day.
The curation of journalist and author Sam Mathe, the celebrations will commence with a discussion of the writer’s tome, From Kippie to Kippies and Beyond – whose title was inspired by the late reed man, as well as the jazz club named after him – at Kippies located along the precinct, and thereafter culminate with a music tribute to the man largely lauded by cognoscenti as “the father of South African jazz”, by the Tumi Mogorosi Trio comprising of drummer Tumi Mogorosi, saxophonist Muhammad Dawjee and bassist Nhlanhla Radebe, inside the complex’ John Kani Theatre.
Whilst Mathe will expound to select guests inside the intimate 50-seater art-house how his publication covering at least four generations of musicians from the twenties to the contemporary era is a timely addition to the ever-changing contemporary landscape – the host of the shindig promised a larger audience expected to fill-up the adjacent venue, a pulsating performance by the multi-layered trio which would reignite cherished memories of Kippies, with notes evoking rich moments of reflection about the hopes, dreams and frustrations of a pioneering music genius!
Born in the Joburg CBD on 27 July 1925, Kippie Moeketsi hailed from a musical family of 11 brothers and a sister, all but four of whom played an instrument.
Growing up in George Goch, he started out by playing clarinet aged 20 but soon switched to the saxophone, and subsequently commenced his career by playing in shebeens with his Band in Blue. After playing with several bands such as the Harlem Swingsters – he progressed on to realize acclaim by teaming up with Abdullah Ibrahim, Hugh Masekela and Jonas Gwangwa in the outfit, the Jazz Epistles.
An admirer of the Wilson “King Force” Silgee-led Jazz Maniacs, Moeketsi was also referred to as “South Africa’s Charlie Parker”.
Masekela is quoted as having lamented Moeketsi’s public image as a drunkard – pointing out that the truth was that such a perception stemmed from his frustration in his strivings to make the working environment conducive for black artists during the apartheid era.
Towards his demise, frustrated about South African society’s indifference to his prodigious talent, Moeketsi lamented, “They will say: ‘He was certainly the greatest . . . the world’s best – drunk or sober.’ Only when I am dead.”
He died on April 27, 1983. The poet Oswald Mbuyiseni Mtshali summed the genius thus: “When the history of black entertainment – especially jazz – in this country comes to be written, one name that will stand out is that of Kippie ‘Morolong’ Moeketsi.”
One of few visible reminders of Moeketsi’s legacy, Kippies is currently a fringe venue for The Market Theatre Foundation, its halcyon epoch a distant memory from when, for more than two decades, its stage used to be every jazz musician’s dream – commencing with when Abdullah Ibrahim named it after Moeketsi.
In 2009, a life-size bronze sculpture of the saxophonist had been unveiled in front of the jazz club where it adorns the precinct!
Mathe emphasized its significance in context of the centennial celebration thus, “Kippies is a befitting venue for this historic event. Shortly after publishing ‘From Kippie to Kippies’ in 2021, I thought of an event that could be used to celebrate his legacy on his 100th birth anniversary.”
On the other body, the Market Theatre Foundation’s Artistic Director, Greg Homann, added, “As we mark what would have been 100 years of this music icon, we also take a moment to recommit ourselves to keeping our stages alive with bold music and culture-shifting live performances.”
Image John Goldblatt (Kippie Moeketsi limned performing on a saxophone alongside Lennie Lee at an undisclosed venue in 1958).
