It’s her Humble Beginnings composition, a piece bursting with every dimension of South African jazz, that best describes Nobuhle Ashanti says KEANETSE MOKHOTHU. This track motivated her to find out more about the composer.
What is central to your musical experience?
Honesty. I try my best to portray the most truthful version of myself, especially creatively. Even when awkwardly explaining the meaning of each song to listeners – it can get cringing. An honest approach, to me, also means an interpretation of what the music/song requires from me within the moment.
It is also the most fulfilling approach to take within each performance; I find. If what I put out there, creatively, is not well received by a listener, I can walk away knowing I did my part in staying true to myself and my sound.
What qualities do you look for in your sidemen and women?
I look for artists who take the initiative to understand the concept behind each composition of mine to fully embody the music. That being said, I do make it a point to create leeway for musicians’ interpretation of my music.
It is a fun process when the band stretches the compositions with their flare creating a slightly different journey to what I initially had in mind for a song. We have come a long way as a tribe building trust, listening to each other, and exercising spontaneity – and we still have ways to go.
I tend to select artists who I know will introduce me to knowledge and skills I have not yet tackled myself with my instrument or arrangement. This stimulates me and is so fun exploring conceptually with these artists.
It is especially important to me the people I work with are respectful of each other and have professional expectations.
Are you just streaming intuitively – how do you approach everything?
I am doing my best to balance preparation with an instinctive approach. I do so with my Ashanti Tribe movement, my radio show “Tribal Gathering,” arranging music, and teaching/curatorship. When I over-prepare, I become rigid and tense up. When underprepared, the session is unproductive.
I like to leave room for fluidity and provide what the moment calls for and preparation helps navigate that energy.
In your solos do you feel you are entering uncharted territory?
If I were to solely associate “jazz” with swing and bebop, I mostly feel like a foreigner visiting a beautiful, yet complex, territory. A big part of me (having been exposed to the genre) still hopes to one day earn citizenship.
Not for ego’s sake, but for knowledge and skill set. I yearn to develop a deeper understanding and use of the language. To sit and listen and appreciate a jazz swing/bebop performance is bliss. To attempt playing wing/bebop style respectfully feels daunting. Every time.
However, to associate “jazz” with the definition of it being a melting pot of different genres into one, I start to feel more comfortable calling my music “jazz.” In my tribe, I feel so comfortable expressing myself through improvisation. Maybe because it is a concoction of different music styles under my terms, with no external pressure to be “jazz enough”, whatever that means.
When it comes to improvisation, whether I feel uneasy or not, I just go for it. I am still learning to trust sounding like myself and trust the journey of exploration in self-expression.
Do you think you have limitations?
I need to equip myself with the skillset in tech production, recording, and engineering. All the tools and expertise I would need to independently record myself and other artists.
What is the latest on the Ashanti Tribe?
I am looking to expand my horizon in collaboration projects. To partner with designers, visual artists, educational institutions, and fund managers would be a dream. I have the vision to spread joy and culture within my space and what I do. The exciting part is it is far more possible to accomplish than I used to think, thanks to networking and engaging.
I am incredibly lucky to be surrounded by people who encourage me and share my vision.
An album in the works perhaps?
My debut album, Bait for Steps Forward, will be released on all streaming platforms in partnership with Platoon. I have been wanting to get my music out and available for streaming for some time and to finally be able to release it is a massive personal achievement. I hope someone, somewhere will listen to appreciate it, and take something beautiful from it.
I feature an impeccable of artists – Aliyah Cloete, Little Sunflower, Caitlin May, Jodi Fredericks, Amy Campbell-Buitendag, Khadijah, Shaw Komori, Steven Sokuyeka, Duncan Johnson, Callum MacDonald, Sean Sanby, Kurt “Kurtie B” Bowers, Seth Grey, Lilavan Gangen, Christian “Fuego” Chandler, Kitso Seti and Def Eff.
The album was recorded and co-produced at Concept Records. The entire recording process (studio day one through to the final listening party) was captured by videographers Lauren Manning, Lauren Hendricks, and Juan Khan.
The footage has been edited into a 45-minute documentary by Cian Small. The documentary will be displayed at The Labia Theatre, CT, and the album will be available on all streaming platforms.
Do you listen to other local jazz pianists?
I do. South Africa has an exquisite range of musicians. I have dived in and listened closely to Bokani Dyer, Chris McGregor, Nduduzo Makhathini, Thembelihle Dunjana, Bheki Mseleku, Blake Hellaby, Thandi Ntuli, and Abdullah Ibrahim. These above-mentioned artists in particular carry something that I am drawn to – in their playing, creative identity, and compositions. I could chat about each of these artists and their albums for a day or two. There are so many South African artists I have yet to dive into.
Here is to a lifetime of listening!
Upcoming gig:
Grub & Vine The Blue Room
15th October 2022
From 7:30pm – 10:30pm
R200
Who: Nobuhle Ashanti Humble Beginnings
Web: www.nobuhleashanti.com, Instagram @nobuhle_ashanti
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