Jazz
From this period and throughout the 70’s, he would record prolifically for a variety of labels, further expanding and extending his free form tonality and African infusion of spatial melody accompanied by a sometimes whispered rhythm, as ancient as Africa itself, he would go on to say that he was just a channel for this manifestation. It was during this creative period that he recorded “Ode to Duke Ellington” in Germany in 1973. This was his tribute to his good friend and mentor, and is a masterpiece. He does a magnificent job of intertwining his piano voicing with Dukes melodies. He returned to Capetown in 1973 and from ’74 to ’76 recorded with South African musicians. It was there that he recorded the legendary “Capetown Fringe”, under its original name of “Mannenburg”, (named after his tenor player at the time) it would become the anthem of the uprisings in the Soweto township, expressing musically the anguish of his people under the oppression of apartheid. He followed immediately with “Soweto”, which elevated his status back home and brought him international recognition for the effort. This album contains the classic cuts ‘Soweto’ on one side and ‘African Herbs’ and ‘Sathima’ (for his wife) on the other. This creative period was fueled by the political and social turmoil brewing back in Capetown, which affected and inspired him profoundly. For those of us lucky to have been listening, it was a time of musical resistance, solidarity, bewilderment, angst, and admiration. Right on!!
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Paul Michaels- Bass
Monty Weber- Drums
Dollar Brand- Piano
Robbie Jansen- Alto Sax, Flute
Basil Coetzee- Tenor Sax, Flute
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A. Cape Town Fringe 13:36
B. The Pilgrim 13:00
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