THE 26th edition of South Africa’s premier jazz shindig, viz, the Standard Bank Joy of Jazz had audiences converging on Johannesburg’s Sandton Convention Centre for a sheer sonic extravaganza delivered by more than 60 performers from across 15 countries and three continents – over three memorable days on the last weekend of September.
The event lived up to the billing of its producer Mantwa Chinoamadi’s stated objective of “projecting and cementing Africa’s premiere jazz event that is rooted in South Africa’s undeniably rich and varied musical traditions” – in addition to supporting younger musicians and honouring the enduring contributions of women in jazz.
Both Chinoamadi and sponsor Standard Bank’s intentions were manifested through an eclectic line-up consisting of an intergenerational mix of local, Pan-Africanist and international performers who had festivalgoers spoilt for choice.
South African female performers included Soshanguve-raised 2018 Standard Bank Young Artist for Jazz recipient, pianist and vocalist Thandi Ntuli who on the Friday evening of the 26th on the Dinaledi Stage transported her audience on a narrative of her metaphorical Meroe landscape, whilst hypothesizing it as children undertaking a journey of awakening in which she explored a higher version of herself named Blk Elijah.
Fellow Young Artist Award alumni, trombonist-singer Siya Makuzeni returned to the fest on the Dinaledi Stage on the 27th leading a 17-piece big band showcasing some of the country’s emerging young practitioners such as pianist Bokani Dyer, tenor Muhammad Dawjee, alto-saxophonist Mthunzi Mvubu, et al.
Also on Saturday 27th, on the Conga Stage, another talked-about local, the Mamelodi-raised Gabi Motuba – whose repertoire converses with politics, black and religion studies – presented material from her 2024 album The Sabbath, which paid homage to those who contributed to her becoming a musician.
The afore-mentioned trio constituted a roster of local female artists who included singers Nomfundo Xaluva, Xolisa Dlamini, Elaine, et al.
Notable Pan-African female performers comprised “honeyed-clouds” voiced eSwatini alternative afro-pop singer-songwriter Velemseni; Lesotho folk music singer Leomile; Mali’s Oumo Sangaré, who proferred the contemporary beats defined by the interweaving of traditional West African instruments and those appertaining to the blues – she has over time come to be synonymous with.
Sangaré’s performance on the Conga Stage occurred concurrently with that of American bassist-singer Esperanza Spalding who put a crowd which included erstwhile president Kgalema Motlanthe, through a spell of her “Eaabibacliitoti” renditions encompassing improvisation, singing, poetry, storytelling and miscellany – whilst she moved from piano to bass playing on the Dinaledi Stage.
Spalding was part of a lineup of American participants who included veteran singer-bassist Meshell Ndegeocello. The duo’s presence was augmented by compatriots, saxophonist Lakecia Benjamin, vocalist Jazzmeia Horn – as well as vocalist Jean Baylor who performed alongside her drummer husband Marcus, as The Baylor Project.
The US sojourners were further amplified by the 15-member Jazz at Lincoln Center Orchestra accompanied by bandleader Wynton Marsalis, which presented the world premiere of the virtuoso’s new work “Afro”, on the stroke of midnight.
Resplendent in identical suits, the mostly male outfit which included alto & soprano saxophones player Sherman Irby and trombonist Christopher Crenshaw et al., was accompanied by guest artists, Ghana-born djembefola Weedie Braimah – who exuded trance-esque energy – and intrepid vocalist, Shenel Johns.
Representing local young male talents were the ilk of Tshivenda folk singer-guitarist Muneyi, a UJ Arts Academy alumni whose music – by which he weaves stories of heritage, identity through indigenous folk sounds – has been described as “a gift from the gods.”
The 2025 Standard Bank Young Artist Award for Music recipient – who mentioned he drew inspiration from L’wei Netshivhale (a fellow Tshivenda guitarist mastering in the Malende and Tshikona reed dance folk music – who also played at the event) – performed on the Mbira Stage on Sunday afternoon.
Another was Soweto-raised Mandla Mlangeni, who’s Amandla Freedom Ensemble (the music collective of young musicians dedicated to the advancement and preservation of the South African music legacy) presented The Oratorio of a Forgotten Youth – a multi-disciplinary genre-bending intergenerational collaboration.
Also in the mix was Benjamin Jephta, one of the country’s premier double and electric bass players, whose quintet delivered the Homecoming 10th Anniversary – an album he had debuted at the event ten years ago.
Jephta had also accompanied South African bandleader Peter Auret as part of a trio, the previous night.
Throughout, the event presented solo and collaborative performances – from FrenchCanadian pianist Simon Denizart, et al., to Ababhemu Quartet (SA/SE/Nor) featuring South African pianist Nduduzo Makhathini, Swedish saxophonist Karl Martin Almqvist and Norwegian bassist Magne Thormodsaeter, et al.
Pan-African male participants included Senegal’s bass virtuoso Alune Wade, Ghanaian reedman Steve Bedi, the DRC’s Tresor, et al.
Event organizer, T-Musicman also offered a Jazz Joburg Market at which – in betwixt migrating to and from the quadruple stages – attendees could purchase merchandise ranging from sought-after vinyls to artisanal goods, from some 25 local vendors exclusively showcasing arts and crafts.
A pop-up kiosk named MoAfrika Jazz Boutique waring in exclusive jazz records had aficionados in bespoke attire, converging on it to seek imported sonic delights to add to their distinct collections.
Regarding the innovation, Chinoamadi averred that the market gave “festivalgoers the opportunity to support small businesses and take a piece of Joburg home with them.”
Presented in tandem with Joburg Tourism Company, the vibrant hub had been initiated in support of SMMEs – an intention acknowledged by JTC’s Chairperson, Nandipha Zonela who reminded one and all that “SMMEs are the backbone of our economy.”
Throughout the duration of the festival, it also became a rendezvous for novices and connoisseurs to suss out one the other’s respective tastes, network and simply chill – in between dashing to and from scheduled performances.
All images Jacob MAWELA ( In full voice. Esperanza Spalding, the American bassist limned performing at the Standard Bank Joy of Jazz festival).
