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I could not have asked for a better Sunday sundowner in Muizenberg this past weekend. The afternoon was magical, dreamy, immensely uplifting and full of awesome surprises.
South African jazz composer and prolific left-handed guitarist Bheki Khoza (64) was in his element. The sun was shining, and the sometimes-windy coastal town on the Cape Peninsula was perfect for the good times.
Gallery director and curator Claudia Braude was hosting what promised to be a special jazz event, featuring the celebrated jazz guitarist in a historic collaboration with master percussionist and vibraphonist Kazakiyah Ben Israel.
He met the 63-year-old Kazakiyah in 2002 at their Passover festival in Dimona, Israel.
In this third largest city in southern Israel, almost 40 000 black people continue to agitate for full citizenship in the land of their forebears. It was an important occasion for Khoza who, like his friend, belongs to the African Hebrew Israelites community.
“When I saw Kazakiyah perform, he stood out for me for his ability to create magic by playing the vibraphone with five sticks, and not two as most musicians do. His soulful sound is so phenomenal, it feels like it comes from another planet yet to be discovered.”
At first, we were anxious as Khoza kept everyone waiting for almost 30 minutes, constantly on the phone, asking virtuoso drummer Denver Fernus how far he was.
The drummer, who was running late, was making everyone anxious.
So many in the immaculate white gallery possibly felt the same. Indeed, what made the show even more special for those of us who know Khoza as one of the finest jazz guitarists in South Africa today was when we were kept on the edge of our seats by his towering talent on the piano.
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Khoza opened with a memorable meditative piece called Revival of the Spirit, featured in his largely unknown self-produced 2014 solo album of the same name.
As his haunting and smooth piano signature set the mood, heads could be seen bopping and feet tapping. The mood was sombre, memorable and deeply evocative.
As the quartet comprising Khoza, double bassist Valentino Europa, Fernus on drums and Kazakiyah on vibraphones, percussion and body movements did their magic, joy was in the air.
We did not know what to expect as the band brought a blend of familiar and unfamiliar jazz sounds.
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The band did wonders as Khoza led his charges to belt out a fresh, smooth and edgy rendition of Winston Mankunku Ngozi’s Yakhal’inkomo.
There was a rumble of sorts at this seaside town, as the band improvised and took charge – in the mode of jazz maestro Dave Brubeck. Even the rehearsals were a big gamble, held an hour or so before the concert.
As Khoza told the audience: “To my shock, and utter relief, jazz musicians are busy in Cape Town. I tried so many people I have known and played with before, and all were just busy. Please forgive us our sins, we were late for a good reason. The musicians were nowhere to be found.”
“My God, the whole experience was deeply nourishing”, said Pires afterwards.
Since last year, Khoza, who is known for his work with iconic bands such as Sakhile and the African Jazz Pioneers, has been frequenting Cape Town.
He held several sold-out concerts in the city, and even gave masterclasses at the University of Cape Town.
The Durban-born musician recently returned to the Banana City after thirty years in Johannesburg, working with the likes of Mike Makhalemele, Tu Nokwe and Sipho Gumede.
But he is now considering moving down to Cape Town. “There is nothing for me in my hometown, gigs happen left and right, and nobody is calling my name. It’s time for me to pack my bags and move. I must follow the music. I must keep the spirit high and at peace through performance. That’s the duty of an artist.”
