After a jol and a half at Day 1 of #CTIJF2025 Chad and I deserved a very slow and equally late start to our Saturday. I guess we are six years older than the last time we’d done this, and you know what they say about aging and jolling. A greasy brunch, a couple of Red Bulls, and a look at the lineup sorted us out though, and we were off to CTICC for Day 2.
Melorie Jane — Mannenberg Stage
Melorie Jane is an artist who I’ve only admired from a distance, so I was really looking forward to experiencing a performance. Sadly, the stage ran late, and I could only stay for the opening song. Mind you, what I witnessed was majestic – her dress and her piano-playing – a build-up that promised a powerful set, but I had a date with Bombay Lights and was forced to bid Ms Jane adieu.
Bombay Lights — Rosies Stage
Bombay Lights kicked commenced the performance with a single player on stage, playing a traditional Indian flute-like instrument through a looping pedal to create a deep drone, before a mesmerising melody was played over it, lulling us into a sort of meditation, as the other instruments patiently built a wall of sound around it. Their next song blended contemporary piano with Indian folk rhythms and flexible microtonal vocal acrobatics. I was fascinated by their blend of tribal and contemporary folk. But again, the stage was running late and I had to go.
Thembi Dunjana — Moses Molelekwa Stage
A late but most welcome addition to the lineup, I couldn’t wait to witness Thembi Dunjana’s magic live. I was intrigued by her band configuration – two keyboardists, double bass, drums, trombone, sax, and two vocals – and elated that, in addition to her own singing, she’d invited Deslynn Malotana to perform alongside her. She describes Deslynn as “one of [her] favourite voices” and Malotana left no room for debate. Bringing the unique neo-soul flavour she’s been crafting for years to Dunjana’s music, Malotana gave the music new meaning, while Gilson Amaral, (saxophonist) played a couple of stunning solos — he’s definitely one to keep an eye on. I love the groove and feel that De Souza brings to the music and, of course, Dunjana’s playing was fresh, expressive, and adventurous.
Nomfundo Xaluva — Rosies Stage
This year’s jazz fest marked Nomfundo Xaluva’s return to Rosies, floating on the success of her recently released award-winning album, Ndilapha. She danced her way onto stage, letting us know that while she meant business, she was also there to let go and enjoy herself. Her singers (Marzia Barry, Pam Lunguza, and Asemahle Tshobola) complemented Xaluva’s powerful and precise voice, giving her the freedom to dance whenever the spirit moved her. Brathew van Schalkwyk is a remarkable pianist, bringing something special to the set. Xaluva showed many sides of herself: there was the mischievous joker with witty stage banter, the caring mother who dedicated a beautiful ballad to her daughter, the multi-instrumentalist, as she accompanied herself on “Hymn for Bhulie,” and the healer, ‘cause not a single soul left that set unmoved.
Nubya Garcia — Kippies Stage
Returning to jazz fest, the UK-hailing saxophonist came bouncing onto stage looking like a majestic black swan. Armed with her saxophone and accompanied by Sam Jones (monster drummer), Daniel Casimir (bassist), and Joe Armon-Jones (keyboard), they predominantly performed music off her latest album, Odyssey. After blowing a couple of otherworldly sax solos, Garcia put down her sax, lit an incense stick beside her, and lost herself in the reggae rhythms holding down dank neo-soul piano harmony. There was something transcendental about her set, and I was so grateful I didn’t have to rush off elsewhere.
Ritmo — Mannenberg Stage
Composed of nine of Cape Town’s finest musicians (half of whom had performed at jazz fest the night prior), Ritmo came in hot, and they came to party. A sexy fusion of salsa, bossa nova, samba and funk, they authentically celebrated the sounds of South America like Latin locals. Vocalists Keeno Lee and Amy Campbell sang in Portuguese as if it were their mother tongue, including classics like Joao Gilberto’s “O Pato,” and Tom Jobim’s “Dindi.” That earned them each a one-way ticket to my heart. The horn section was tight, the drums, bass, and percussion were locked in and energetic, Hellaby’s (keyboard) montunos and solos were flawless, and when Keeno Lee sang a Latin rendition of Michael Jackson’s “Rock With You,” standing still wasn’t an option.
Thandiswa Mazwai — Kippies Stage
When we got back to Kippies stage, it was more packed than it had been for Black Coffee the night prior, and we were all restless in anticipation of Thandiswa Mazwai’s return to jazz fest. King Tha walked onto stage, draped in an armour of white beads and a crown of shells. She looked like a mystical warrior. Her singers were wearing matching beaded armour, but in red and green respectively. Whenever she opened her mouth, music seemed to come pouring out of her, as if she was channelling it from a heavenly source. She had a powerful message to share as she exclaimed, “Go back and fetch what has been left behind, children of the soil. We are fetching our pride, history, glory, we are children of kingdoms.” Tonight, Rosies was reserved for royalty.
Gotts Street Park — Moses Molelekwa Stage
I’d spent some time with the lads from Leeds at their masterclass the day prior. They were chilled as they let us into their writing process. Their formula involves creating moody instrumentals and inviting vocalists to write and record with them, and they’ve released a long list of chart-topping bangers. They’d invited Olive Jones on tour with them, the vocalist responsible for their hit, “Tell Me Why,” and her voice sounds just as good live as in studio. Honestly, walking out of Thandiswa Mazwai’s set had me on a much higher energy than Gotts Street Park could match, so their set didn’t do much for me. Had it been earlier in the evening, I’d have lapped it all up. That being said, Moses Molelekwa was more packed for them than for any other artist, so it was clearly just a me problem.
Igor Butman Quartet — Rosies Stage
My new four favourite Russians (I’d hung out with them at their masterclass the day prior), Igor Butman (leader and saxophonist), Eduard Zizak (drummer), Nikolai Zatolochny (double bass) and Oleg Akkuratov (piano and vocals) operate on a musical level I have never experienced live before. Their virtuosity, speed, and accuracy is unmatched, each of them a master of their instrument. What really stood out about their set, in addition to their technical prowess, was their showmanship. Butman has an incredible sense of humour, making jokes, dancing silly little jigs, not taking himself seriously at all. Until he starts playing sax, of course. Akkuratov (who Butman referred to, multiple times, as a genius) is such a phenomenal pianist, that it’s almost unfair that he can also sing as well as he can. Zatolochny is so fun to watch as he walks a bass and Zizak performs rhythmic miracles on the drums. From blues, to nostalgic ballads, to classic swing standards, to insane theme songs from Russian cartoons, their repertoire was fun and had us all completely engrossed in their mastery. They were the only set I wasn’t prepared to sacrifice a second of. In fact, I would happily pay good money to relive that performance again.
Both pre and post-festival, I’ve had conversations with people about how this or that act “isn’t jazz enough,” and honestly, I think those people have missed the point. There was more than enough world class jazz to keep you well entertained for the duration of the festival. But the inclusion of other local genres and styles was important, making it one of the most demographically diverse festivals I’ve been to in Cape Town, and it was a beautiful thing to see.
