The word ‘more’ is a common theme when coming to jazz pianist Melorie Jane. She called her 2012 Afro-jazz funk band All the More, and her current album is titled More or Less. KEANETSE MOKHOTHU ventured to get more insight into this contemporary jazz muso’s love of the word ‘more’ in her composition style, album title, debut ensemble and all things South African jazz a la Melorie Jane.
Being the free-thinking composer that you are, what has the sound of South African jazz come to be?
South African jazz in its tradition has been an artform of protest, of expression and excellence, created through an amalgamation of elements of traditional and urban styles of local music and elements of American jazz. It is well known that, during the apartheid era in South Africa, it was a style of music that represented, to quote Nomfundo Xaluva in Andrew Lilley’s book The Artistry of Bheki Mseleku “a language of celebration for all that was black and excellent – a music that spoke so eloquently of black culture across the globe”.
These days, it seems, South African jazz still contains influences of traditional and new local styles of music, although it seems that the range of styles have broadened to include more modern styles of music. Artists might include styles like maskanda and rock in the same piece, or mbaqanga and neo-soul together with free jazz. I like the fact that many artists are experimenting with new styles, especially when looking for more influences from further afield in the continent, rather than just South Africa. I like this trend, as I feel that Africa has such a rich and diverse amount of music to be appreciated, and it is often overlooked.
I like the fact that South African jazz artists are dealing with current issues as well, like gender-based violence, still racial inequality and even environmental issues. In contrast to this, jazz is also a joyous music and it should also just sometimes bring joy to the audience.
Your definition of South African jazz?
It seems that there might not be one right answer to this question, since South African jazz seems to be ever-changing. It is always the product of the collective work being done by artists and currently that is quite diverse. When I think of South African jazz, I always think of collaborative playing, conversation, interacting and being present. Perhaps to me South African jazz is the coming together, talking and sharing in music form. The music naturally has certain parameters that could be considered relatively set, like improvisation, certain harmonic sounds, often quotes or references to previous jazz performers, however even these elements might be quite blurry.
When forming ensembles, what skills do you look for?
I enjoy booking band members who are happy people, respectful of one another and of the fact that we are playing original music and who know and love South African jazz. I do like to try and book people that I can learn from as well.
When you’re soloing, when is enough, enough?
Solos are very personal. Although you sometimes plan more or less how long they should be, they sometimes have their own little life and don’t go according to plan. The main idea is that they be honest and not just a repetition of a lot of notes or lines. I think you should be aware of when enough is enough, eish, but sometimes I think we all can get carried away.
Thinking more practically, it is usually fun and effective to end off a live solo with an obvious sharp or high ending, to ramp up the energy in the band and in the audience and to indicate that you are done soloing. I love having a bit of fun on stage, so it is great to go big every now and then, especially if the audience and the band is having a good time, then it is a win-win for everyone to ‘gooi’ a big solo, if your hands are up to it.
How does the audience impact you as the maestro?
The audience is always different, and if you are playing to them, which is what you should be doing at a live show, then it is a give and take between the band and the audience. We are there to share music and experiences with them. Their reaction encourages us to play with soul and feeling. We as the musicians appreciate the audience and their feedback, irrespective of how big the crowd is.
Will there be a follow-up to More or Less, after all, the last track is Mr Tswai, can we expect to hear a Mrs Tswai?
Absolutely, yes! I am currently working on new music, which I am super excited about. In fact we will be debuting one of my new songs at The Blue Room in Cape Town on 20 October.
See Melorie Jane Live in Cape Town 2022
Piano Bar
Saturday, 15 October, 7.30pm
47 Napier Street, De Waterkant, Cape Town
Bookings: thepianobar.co.za
Grub & Vine, The Blue Room
Saturday, 20 October, 7.30pm, 9.30pm
R200
103 Bree Street, Cape Town City Centre
Tickets: www.grubandvine.co.za
Piano Bar
Saturday, 19 November, 7.30pm
47 Napier Street, De Waterkant, Cape Town
Bookings: thepianobar.co.za
What: Pianist Melorie Jane
Web: www.meloriejane.co.za
Social media handles: Facebook @melorie.jane, Instagram @melorie_jane, Twitter @melorie.jane
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