Six-string wizardry is the focus of Billy Monama, who is part of a new generation of South Africans who are joyfully sharing our music with the world. JANE MAYNE found out what drives this guitarist, composer and bandleader.
Billy’s tutorial videos are one of the standout features of this music historian. While he published his first tutorial book, Introduction to South African Guitar Styles Vol.1 – Five Decades of Ukuvamba (1930s – 1980s) in 2022, it’s his earlier videos about South African guitar styles that are most useful for anyone wanting to learn local techniques.
This project demonstrates different styles of local guitar in seven chapters: maskanda, African jazz, the development of the jazz guitar, African jazz post 1960s, kwela, mbaqanga, and xiTsonga.
He says, “The most subscribed video is maskanda, because people are so curious about that music because it’s not the same as other music, it’s unique. We believe that harmonically it is not influenced by European music, or by American jazz. Other music that came afterwards is influenced by American jazz music, like marabi; and African jazz is almost like what Glen Miller did back in the day, and Scott Joplin and so forth. But maskanda and xiTsonga is the music of the people from the north in Limpopo – players like Thomas Chauke. The articulation and phrasing is different.”
Homage to the legends
For his showing at The Cape Town International Jazz Festival (CTIJF), which takes place on 3 and 4 May, 2024, he’s chosen to play original compositions. “Previously when I was there, I came with the Grazroots collaboration project, so this time I’m going to be playing my own music and some tunes that will be on my forthcoming album which will be released in April. But for every city that I go to I always pay homage to the legends of that city, so I will also do a small dedication to Cape Town masters like Abdullah Ibrahim.”
He adds: “The band is currently on tour and we have tours until the end of May, so by the time we get to The Cape Town Internation Conference Centre (CTICC) the band will be tight, and we’ll be ready. We are looking forward to performing at the festival.”
The Grazroots Project
As the curator of Grazroots Project, why did he set out to reconnect people with their musical heritage? “I believe that someone has to do it, as we need to be the custodians of this music because one day it will die away. Young people today are chasing after quick money, rather than investing in the future. I’m thinking of the future, that in the next coming 60 years our languages and our traditions and culture would have evolved and it will be difficult to find this material. The preservation of it is a continuation of what Hugh Masekela always preached about, he was talking about the heritage revival until he has passed on.”
Billy started documenting this music from a young age. He shares that, “When I was at school, there was no material about South African music. Back then there was very little (information), and it was very difficult for us to do assignments. So that was a wakeup call, as there was no book material or point of reference. That’s when I thought to do something, and founded Grazroots. Now I also have a project called Mayibuye iAfrika which celebrates composers that were in exile. So, everything I do has to do with the memory of African people.”
Are there any new stylistic nuances that he thinks will be long-lasting? “Yes, for sure, amapiano. I was initially critical about it and said it was too vulgar, dangerous and polluting young people’s minds as it demeans women. But then after a year or two that music switched and evolved. It became contemporary, the lyrics became easy on the ear for the pubic. Now I believe that music is going to be the next music that we’ll be studying. Even though its electronic and doesn’t feature live instruments, I think we’ll still be talking about in the next 100 years.”
Gibson, Orange Amps
One coup for this performer was securing brand endorsement deals from Gibson, Sennheiser, Elixir Strings, and Orange Amps. Owning a prestigious. Gibson guitar is always something of a status symbol, and out of his nine six-strings he’s fortunate to have four Gibsons in his arsenal.
“Gibson guitar is a brand that was played by Allen Kwela and all the generations of the jazz guitar, so for me to play it is the continuation of the preservation of the legacy of the guitar,” he enthuses.
Any advice for young guitarists just starting out?
“They need to practice. Back in the day we were practicing not to show off on social media. Some young people today don’t even know how to play a full scale or a full chord progression and already they’re posting themselves – I think they must wait a bit. They need to get their practice in order, so everything falls into place. They also need to study the music business, because the world out there doesn’t deal with talent only. It’s also how you market yourself as a musician.”
One of the good things about being an independent artist Billy says is that one can collaborate with anyone, anywhere, without anyone’s permission. That means that with his due-to-be-released album, titled The Y Factor, we’ll get to hear composers and musicians close to his heart. One of these will be Langa Mavuso – “one of the soul singers I love so much,” he says. “It’s a beautiful album, and I’ll be showcasing all my experience that I developed through the years playing my guitar.”
Get your Cape Town International Jazz Festival tickets here.
Who: Guitarist Billy Monama interview
What: Cape Town International Jazz Festival (CTIJF)
Where: Cape Town International Convention Centre
When: 3 and 4 May, 2024
WS
