Inspired by the recent long awaited reissues of Horace Tapscott and Abdullah Sami, this is my second spiritual jazz mixtape – the first one you´ll find here: https://soundcloud.com/joe-le-taxi/linsurrection-qui-vient-or-brother-malcolm-a-revolutionary-spiritual-jazz-mixtape
This time the focus is on black political jazz, mostly from the 70ies but as well featuring new releases by Makaya Mc Craven, The Last Poets or by Johannesburg´s Spaza, whose amazing debut is being released next week.
with tracks & excerpts by :
Sun Ra / Brother Ah / Sarah Webster Fabio / Spaza / Abdullah Sami /
The Ensemble El Salaam / Philip Cohran & the Artistic Heritage Ensemble / The Last Poets / Makaya Mc Craven / Ndikho Xaba & The Natives / Walt Bolen / Doug Carn / The Awakening / Horace Tapscott & The Pan-Afrikan Peoples Arkestra / Philip Cohran & the Hyptotic Brass Ensemble / Pharoah Sanders / Gil Scott – Heron
by joe le taxi
foto is a still from a
Pharaoh Sanders LP
Listen to the amazing eclectic Spaza – Spaza LP from South Africa, released on the Label Mushroom Hour Half Hour 21. June 19
Conceived in the Mushroom Hour Half Hour lab, SPAZA is a band with no permanent personnel, with each lineup assembled for the express purpose of recording once-off improvised or workshopped material. For this, the initial salvo, SPAZA was put together from a group of musicians with individual and collective links to Johannesburg’s jazz, afro funk and experimental electro scenes.
In the context of this completely improvised album, the term “spaza” not only refers to the gallery in Troyeville, Johannesburg where this project was recorded live (and in one take) in the autumn of 2015, but to South Africa’s thousands of informal neighbourhood stores.
In South Africa, “spaza” has come to signify an entrepreneurial spirit, especially in the country’s black townships where economic barriers to business ownership mean that only a few can attain the status of formal business ownership. In the country’s socio-political context, spazas, usually operating out of converted garages, shacks or repurposed shipping containers, are also contested territories. They are sites of often fatal bloodshed where financially disenfranchised South Africans routinely mete out their frustrations on those they consider “foreigners” and “outsiders”. It is these outsiders who have come to dominate the spaza economy. However, spazas are also colourful, with their facades branded, styled and designed by each owner. They can become the nerve centres of social activity in the communities they occupy and are often stocked with an array of iconic South African brands and products, many of which are referenced in the track names of this album.