Latest news with #LouisMoholoMoholo
Mail & Guardian
17 hours ago
- Entertainment
- Mail & Guardian
Blue Notes for Bra Louis: The final beat of a jazz revolutionary
Louis Moholo-Moholo performing at The Orbit in Johannesburg on 25 May 2017. Photo by Siphiwe Mhlambi. Free jazz flowed through the streets of Langa when visiting the Moholo family home. Outside in the courtyard facing the street, Louis Tebogo Moholo-Moholo and his late wife Ma Mpumi would sit with visitors armed with a sound system and a speaker blasting some of the wildest avant-garde music at high volumes. People walking in the street would come in to greet, while children were in and out of the yard, often being handed sweets. The drummer — revolutionary, mentor and friend to many — died on the morning of Friday 13 June at the age of 85, sending sadness echoing throughout the jazz world. Bra Louis, or Bra Tebz as he was often fondly referred to, was one of the greatest musicians in the world. He lived with energy; a vibrant and fiery spirit that never stopped fighting for freedom and for uplifting the people of South Africa. Those lucky enough to watch him perform over seven decades witnessed an intense passion that embodied freedom in every way. 'Yes baby, no baby!' he would often shout while playing, which audiences would shout back. He was also very stylish with his Fedora hats and cool T-shirts (some of which he painted himself). 'We love you, we love you, you don't have to love us, but we love you!' was another famous saying. These signature chants were known worldwide, as Moholo's reach was far beyond what we might imagine. He lived and breathed music, in every possible way. Louis Moholo-Moholo performing at Guga S'thebe in his community of Langa in 2018. Photo: Terence Visagie. The Blue Notes 'That band was made in heaven,' is what Moholo would say when talking about The Blue Notes, one of the finest bands in South African history, the members of which all died in exile. He was the last remaining one. Moholo was born on 10 March 1940 in Langa, Cape Town. The street where the family lived was home to several musicians, including the great Christopher 'Columbus' Ngcukana. Langa is one of the oldest townships in the country, which bred many great artists, such as Brenda Fassie. He started playing drums as a child, after being inspired by marching bands, and later joined the Young Rhythm Chordettes. Moholo was mentored by musicians like Cups Nkanuka, who also lived in Langa and took many musicians in the 1950s under his wing. Apartheid laws oppressed black musicians, and in That same year, he left South Africa with The Blue Notes, made up of bassist Johnny Dyani, trumpeter Mongezi Feza, pianist Chris McGregor, and saxophonists Nikele Moyake and Dudu Pukwana. The band was invited to play at the Antibes Festival in France and what was initially a temporary departure became permanent exile. They moved to Zürich in Switzerland and played at the Club Africana, assisted by Abdullah Ibrahim and Sathima Bea Benjamin. The Blue Notes playing at the Antibes Festival in France in 1964, after first leaving South Africa. The band then moved to London, after an invitation to appear at Ronnie Scott's. They were hugely influential on the British jazz scene. The The Blue Notes embodied an attitude of revolution — it showed through their music and the way they lived. Moholo later continued with Brotherhood of Breath (led by Chris McGregor), and was the bandleader of The Dedication Orchestra, Viva La Black and 4 Blokes. In her biography, influential Swiss free jazz pianist Irène Schweizer —who died last year — describes at length Moholo's influence on her. She met him at Club Africana in 1964, when the Blue Notes landed in Zürich, and performed with him throughout his life. In the book, Moholo is quoted as saying on arriving in Zürich, 'We gave the audience the satisfaction of that high-level music, because this band was made in heaven. So unlucky that they all died; it's like I have been fired from the band and I think maybe they're having a big, big show in heaven!' A life well lived Life in exile was tough, with setbacks such as surviving without a passport or having a drumkit lost. But Moholo had a champion spirit and kept playing through the struggle. He has played on hundreds of records — the true figure is not known. Every time we sat together to listen to music, he would pull out a new album that he had recorded with someone somewhere in the world. Throughout his career, he played with celebrated musicians of the free jazz world like Cecil Taylor, Archie Shepp, Keith Tippett, Wadada Leo Smith, Evan Parker, Stan Tracey, Alexander Hawkins, Irène Schweizer, Enrico Rava, Roswell Rudd, Peter Brötzmann, Derek Bailey, John Tchicai, Saadet Türköz and more. In October 1969, jam session with Frank Zappa, Philly Joe Jones, Earl Freeman, Louis Moholo-Moholo, Johnny Dyani, Grachan Moncur and Archie Shepp at the Festival Actuel in Amougies, Belgium. Photo: Jacques Bisceglia (Supplied by family). A programme for the UK's Bracknell Festival from 1979 quotes British music journalist Steve Lake saying, 'Louis draws rhythms out of nowhere, brings a sense of cohesion and righteous logic to the most uncompromising free blowing, even while stoking the excitement to almost unbelievable plateaux of intensity. His intuitive balance — between control and intensity — is very rare: most drummers possess either one quality or the other.' Moholo played mostly in the UK, but also all over Europe, and even lived in Argentina. A friend in Italy, Riccardo Bergerone, describes that once, while on tour with Viva La Black in 1989 in Turin, Moholo had a heart attack on stage. He had health issues over the years but was not one to dwell on serious things. In September 2005, he returned to South Africa with Ma Mpumi, and though the couple could live in an upmarket suburb in Cape Town, they missed Langa and opted to return. It was through visits to his home that we cemented a friendship that would last for his remaining years. He loved drinking rooibos tea and had a penchant for sweet things like chocolate cake and peanut butter. Ma Mpumi and Louis Moholo-Moholo at a performance. Photo: Supplied by the family. One of the most captivating things about watching Moholo on stage was how he did not care who musicians were or how old you were, as long as you could play. 'Play, man! Play!' he would sometimes urge younger band members, insisting that they give everything they had to the music — a defiant spirit dedicated to the sound. In 2019, Moholo played one of his last gigs at Guga S'thebe in Langa. For many years after, he struggled to walk and could no longer play, but in his head, he was always composing or singing, and always listening. In times when he was bed-ridden, we would gather, just like in the courtyard but now in his bedroom, where he would listen to many albums — very loudly. Musicians from all over the world would come to visit him. On his playlist often were free jazz tunes, and repeatedly music by Abbey Lincoln, in particular the songs They Call it Jazz, Skylark and Through the Years (composed by Bheki Mseleku). And often, accompanied by a spliff of sorts, Moholo would sing and croon the words. It is impossible to capture Moholo's life in one article — he lived large and beautifully — and will be remembered by all who knew him. UK musician Shabaka Hutchings says: 'We've lost a giant of creative music in the passing of Louis Moholo-Moholo, one of those elders who have lived a life in service of sound and energy and feeling…I learnt so much from this man that it's difficult to fully articulate the lessons passed down…I remember the last tour we did with him, supporting him as he walked onto stage whispering, 'Yes baby, no baby, yes baby, no baby,' as he hyped us all into that subtle dance we were preparing to engage.' Shabaka Hutchings, Louis Moholo-Moholo, Tumi Mogorosi and Siyabonga Mthembu performing with Shabaka and the Ancestors in 2017, Photo: Eitan Prince. For his contributions to music, he received several awards including a What happened to the Blue Notes in the end? Moyake had returned to South Africa in 1965, and died a year later. Feza died in London in 1975 (at only 30 years old), and the remaining band members recorded the tribute album, Blue Notes for Mongezi. Dyani died in 1986 in Berlin, Germany, and another tribute album was made titled Blue Notes for Johnny. McGregor died in 1990 and a month later, Pukwana. For all his bandmates, Moholo released an album, For the Blue Notes, in 2014. Now with his death as the final note, we can honour his life, music, humour and long-standing influence as Blue Notes for Louis Moholo-Moholo. Bra Louis's death is a massive loss for us but there is comfort in knowing that he is reunited with his family, Ma Mpumi and his beautiful band — all of whom he loved so much. ____________ **Louis Moholo-Moholo's funeral will be held on 28 June 2025.
News24
7 days ago
- Entertainment
- News24
Drumming through six decades: Louis Moholo-Moholo's incredible legacy
Louis Moholo-Moholo was the last survivor of South Africa's revolutionary Blue Notes sextet, the only member who lived to return home after decades in exile. His pioneering fusion of traditional African rhythms with free jazz experimentation made him a central figure in European avant-garde jazz and a sought-after collaborator with legends like Cecil Taylor. Awarded the National Order of Ikhamanga (Silver) in 2004, Moholo-Moholo used his drums as 'a weapon against oppression', defying apartheid by forming multi-racial groups As tributes pour in following the news of legendary musician Louis Moholo-Moholo's death, he has been described as a pioneer and hailed for his mastery behind the drums and his fight against apartheid. Family spokesperson Phila Mtwana confirmed the legendary musician's death to News24, saying: 'He died this morning [Friday] in his sleep at home.' Early life and musical influences Born in Cape Town on 10 March 1940, Moholo-Moholo hailed from a musical family and was a self-taught drummer. In an interview with Misterioso, he traced his ancestry to Basotholand (now Lesotho), with his forefathers migrating to the Orange Free State to work on the diamond fields. His father eventually settled in Cape Town, where he met Louis' mother, a Cape Town local. The musician was born at St Monica's Hospital in Cape Town. He was married to Mpumie Moholo (1947-2021), who studied midwifery at St Monica's Hospital and provided significant support throughout his musical career. For any individual described as a maestro, there should have been a beginning, and almost always, people want to dig in to find out where the genius comes from. 'I used to run a ruler against a fence on my way home from school. I discovered rhythm that way,' he said about his early childhood experience, forming what would be his foundation as a renowned drummer. In a Recording of the Week interview with the British Library (initially done by Denys Baptiste), Moholo-Moholo discussed his first encounters with jazz through BBC radio broadcasts in South Africa. He recalled hearing artists like Charlie Parker, 'Big Sid' Catlett, Ted Heath and Duke Ellington, who influenced his musical development. 'We had the BBC. And through the BBC, we could hear Charlie Parker, 'Big Sid' Catlett-oh, I loved that man - Heath, and Duke Ellington,' he said. He also described jazz music in the interview: This is Great Black music. It's not just music to dance to. It's spiritual music, it's intellectual music. When asked why he started in music, he said it was embedded in him. 'My father used to play this British radio station. You could hear Ted Heath, Big Sid Catlett, and Charlie Parker. I liked what I heard, and later, I found out that it was jazz. I loved it and still love it today,' he said in the Misterioso interview. 'Unfortunately, I didn't go to school for music. I'm self-taught. I tried to go to music school, but was chased away from the University of Cape Town during the apartheid years. I tried to apply there, and the guy wouldn't even let me get into the premises. But I taught myself and have no regrets at all,' he said. Musical journey His band, the Chordettes, participated in the 1962 Johannesburg Jazz Festival, where Moholo-Moholo won first prize for drums. After this, Chris McGregor asked him to join the Blue Notes, replacing the original drummer. In the early 1960s, he joined The Blue Notes with Nikele Moyake, Chris McGregor, Johnny Dyani, Mongezi Feza, and Dudu Pukwana. In 1964, facing increasing racial oppression that limited their ability to perform together as a mixed-race group, the Blue Notes left South Africa to perform at the Antibes Jazz Festival in France. What was initially planned as a temporary departure became permanent exile as apartheid's grip tightened at home. After settling in London, he became a central figure in the European avant-garde jazz scene. His drumming style, which merged traditional African rhythms with free jazz experimentation, made him a sought-after collaborator. Throughout his extraordinary six-decade career, Moholo-Moholo's masterful drumming anchored numerous ensembles that shaped jazz history. After the Blue Notes, Moholo powered Chris McGregor's Brotherhood of Breath, a revolutionary large ensemble fusing township jazz with European avant-garde sensibilities, while simultaneously contributing to the Afro-rock band Assagai and Harry Miller's Isipingo. His 1978 album Spirits Rejoice! with the Louis Moholo Octet, featuring luminaries Evan Parker, Kenny Wheeler, and Keith Tippett, remains a landmark recording. Following the loss of his Blue Notes bandmates in exile, Moholo-Moholo established The Dedication Orchestra to preserve their musical legacy, founded the nine-piece Viva-La-Black (the first group he took to post-apartheid South Africa), led the flexible Louis Moholo-Moholo Unit, and in recent years, collaborated with younger generations through his Four Blokes and Five Blokes ensembles, featuring talents like Alexander Hawkins and Shabaka Hutchings, ensuring his percussive innovations continue to resonate across generations. He performed with international luminaries, including Cecil Taylor, Steve Lacy, and Derek Bailey. Of the original Blue Notes, Moholo had the time and inclination to branch out further, making him a very sought-after partner. He reflected on the challenges of playing with both black and white musicians during apartheid. He also spoke about his identity as an exiled musician. 'I am the spirit of the exile,' he said, encapsulating his personal journey and the broader themes of displacement and resistance that defined his life. Coming back home Moholo-Moholo's used his music as a powerful protest against apartheid, amplifying the struggles of black South Africans and raising awareness among European audiences. Unlike his Blue Notes bandmates, all of whom died in exile, he lived to see the end of apartheid and returned to South Africa in 2005, settling in his hometown of Langa in Cape Town. 'I have this incredible feeling. It's an incredible feeling to be among your people. I tell you, if I were born again, I would never go into exile. I missed my people for all those years. Most likely, I would never indulge myself in music because, somehow, it made me suffer and gave me some pain. But there is nothing better that I know now than music; it's all that I know,' he said about coming back to South Africa. David Redfern/Redferns/Getty Images Musical legacy His extraordinary six-decade recording career showcases his evolution from exiled South African jazz pioneer to globally respected free jazz innovator. His discography includes: Early Years & Blue Notes Era • Brotherhood (1972) with the Blue Notes on RCA Records, capturing the exiled South African group's revolutionary sound. • Bremen to Bridgwater (1971-75), documenting live Blue Notes performances later released by Cuneiform. • Spirits Rejoice! (1978), his landmark Ogun Records debut as bandleader. Expanding Collaborations • Alarm (1983) with Peter Brötzmann Group. • Letter to South Africa (1986) and Live at the Bimhuis (1988) with the Curtis Clark Quintet. • Freedom Tour (1993), the emotional document of Moholo's return to post-apartheid South Africa. • Bush Fire (1997) and Foxes' Fox (1999), significant collaborations with Evan Parker. Later Career Highlights • Khumbula (Remember) (2005) and An Open Letter to My Wife Mpumi (2009). • Sibanye (We Are One) (2008), featuring pianist Marilyn Crispell. • For the Blue Notes (2014), a tribute to his former bandmates who died in exile. • Uplift the People (2018) with his Five Blokes ensemble. • Viva La Black (2024), his most recent release via Bandcamp. His contributions to music and anti-apartheid activism earned him the National Order of Ikhamanga (Silver) from former president Thabo Mbeki in 2004. Among his many awards is this 2004 South African national honour granted to him as part of the Blue Notes by Mbeki for: 'Excellent achievement in the genre of jazz music, contributing to the development of music in the South African townships and defying apartheid laws by forming a multi-racial group.' More recently, he was honoured during KwaLanga's centenary celebrations with legacy projects designed to introduce his pioneering work to younger generations of South Africans. Moholo-Moholo leaves behind an unparalleled legacy as not just a master drummer, but as a cultural ambassador who used music as a weapon against oppression and a bridge between traditions.
News24
13-06-2025
- Entertainment
- News24
Farewell to Louis Moholo-Moholo: Jazz revolutionary and anti-apartheid voice dies at 85
Louis Tebogo Moholo-Moholo, who died at 85, was the final surviving member of South Africa's pioneering Blue Notes sextet. He was also the only member who lived to return home after decades in exile. Moholo-Moholo's work protesting against apartheid raised global awareness about South Africa's struggle and earned him the National Order of Ikhamanga from President Thabo Mbeki in 2004. The South African jazz world has lost one of its greatest pioneers. Louis Tebogo Moholo-Moholo, the internationally acclaimed drummer and last surviving member of the Blue Notes sextet, died at age 85. Family spokesperson Mr Phila Mtwana confirmed the legendary musician's death, saying, 'he died this morning in his sleep at home.' Moholo-Moholo was one of the founding members of the Blue Notes, along with pianist Chris McGregor, trumpeter Mongezi Feza, bassist Johnny Dyani, and saxophonists Dudu Pukwana and Nikele Moyake. He was the only member of this influential group to survive their years in exile. Born on 10 March 1940 in Cape Town, Moholo-Moholo's journey through music began in the townships of apartheid South Africa. In 1964, facing increasing racial oppression that limited their ability to perform together as a mixed-race group, the Blue Notes left South Africa to perform at the Antibes Jazz Festival in France. What was initially planned as a temporary departure became permanent exile as apartheid's grip tightened at home. After settling in London, the legendary drummer became a central figure in the European avant-garde jazz scene. His drumming style, which merged traditional African rhythms with free jazz experimentation, made him a sought-after collaborator. He performed with the Brotherhood of Breath, a big band that combined South African exiles with British free jazz musicians and worked with international luminaries, including Cecil Taylor, Steve Lacy, and Derek Bailey. His music protested apartheid, raising awareness among European audiences about the struggles faced by Black South Africans. Unlike his Blue Notes bandmates, all of whom died in exile, Moholo-Moholo lived to see the end of apartheid and returned to South Africa in 2005, settling in his hometown of Langa, Cape Town. His contributions to music and anti-apartheid activism earned him the National Order of Ikhamanga in Silver from former president Thabo Mbeki in 2004. More recently, he was honoured during KwaLanga's centenary celebrations with legacy projects designed to introduce his pioneering work to younger generations of South Africans. Moholo-Moholo leaves behind an unparalleled legacy as not just a master drummer but as a cultural ambassador who used music as a weapon against oppression and a bridge between traditions.
