Lunar 5, Respect, Little Wing . . . a last hurrah to re-live the sixties?

Respect . . . from left Issy Mohamed, Mel Da Silva, Noel Kistima and Issy Ariefdien. There is talk, just talk at the moment, of a reunion. And there may be other bands involved.

In the Sixties and early Seventies, three of the top bands in Cape Town were the Lunar 5, Respect and Little Wing/Big Daddy. Each, in its own way, had huge support.

There were others, of course, too many to mention. For the moment, let’s focus on those three because something very interesting is bubbling under with some of the members of these old bands.

All three are talking of having one final reunion.

Those who were in the Lunar Five – Charlie Ismail, Mel da Silva, Bernie Brown, Raymond “Vonkies” Charles, would all be aged in their 70s (Raymond Meade, the drummer, has died).

In Respect, Issy Ariefdien, Noel Kistima, Ivor Wagner and Bernie Lawrence are all still with us, And, of course, Mel da Silva played with Respect. (Original vocalist Issy Mohammed hasn’t been seen for years and their other vocalist Tyrone McCranus has died.)

Mel Da Silva and Charles Ismail when they were part of the Lunar 5 back in 60s.

In Little Wing the personnel was Randall Bezuidenhout, Mikey Smith, Jimmy Engelbrecht, with Noel Kistima and Bernie Lawrence being part of them as well.

As wonderful as the idea sounds – and wouldn’t it be a blast if it were to happen – it would take one helluva logistical exercise to pull one of them together let alone all three. They would have been living separate lives.

Interestingly, the Lunar Five guys were talking independently of a reunion, as were the guys in Respect and Little Wing.

Bernie Brown . . . could be part of a Lunar 5 reunion in Cape Town and belting out She’s A Yum Yum and HI Hi Hazel.

Given that there was an overlap of membership – Da Silva played with the Lunar 5 and Respect; Ariefdien, Kistima and Lawrence played with Respect and Little Wing/Big Daddy. Also, Bernie Brown sang with the Lunar 5 and had guest spots with Respect.

The biggest hurdle would be for the overseas players to get themselves to Cape Town. Bernie Brown lives in Brisbane, Noel and Randall live in Sidney and Mel lives in Canberra.

Here’s me just thinking aloud: What if there was a suitable venue, like say the Wittebome Civic Centre where people could sit down as well as dance?

And what if all three bands were on the same bill? Two or three bands at one gig was all the rage those days. Bands would do a two-hour set, pack up and head off to another club to do another two-hour set.

The nice thing about having all three at one venue on one night would be the opportunity for fans of music and bands of that era to enjoy a nice walk down memory lane.

A set from the Lunar 5 would include their hits like She’s A Yum Yum, Field of Yellow Daisies and Hi Hi Hazel and Bernie’s Sing Out Glory.

This slideshow requires JavaScript.

Respect never recorded but their fans would certainly like to hear, one more time, their take on Hendrix’s Hey Joe, Joe Cocker’s Please Don’t Let Me Be Misunderstood, Spooky Tooth’s Society’s Child, Vanilla Fudge’s You Keep Me Hanging On, and The Kink’s Tired of Waiting.

Likewise, fans of Little Wing grooved on Jeff’s Beck Jody, Santana’s No One To Depend On, and Cream’s Crossroads at the home venue, St Aiden’s in Lansdowne.

The Little Wing/Big Daddy sound is still being heard through the group New Beginnings. With Clive Fester and Bernie Lawrence steering the ship, New Beginnings has regular gigs around the Peninsula, offering a ’60s-’70s sound to a solid following who like to reminisce.

This may all be pie-in-the-sky stuff, but let’s all to do a bit of positive channelling and maybe it’ll happen.

Below is Respect’s Mel da Silva (bass) and Noel Kistima (drums), and Issy Ariefdien (lead) and Ivor Wagner (organ) as they are today. Click on the image to see the full picture/

Related articles on this blog

Bernie Brown . . . the Sixties Sensation who had so much to give

The life and times of Ivor Wagner

Material on this blog is copyrighted. Permission has to be obtained to publish any part thereof.

At Montreal: Anatomy of a hit song that gets them moving in Cape Town

The late Tony Schilder . . . composed At Montreal more than 30 years ago to boost the profile of a club and the song turns out to be one of the most popular tunes on the Cape scene.

 26 May 2018

At Montreal, you can always have a ball

Where the girls are so pretty

And the guys seem to know they have it all

Picture this: a jol or a stage show is as flat as last week’s beer and going nowhere fast. Then someone plays Montreal and voila! – the joint comes alive and everybody’s clapping, stomping their feet, dancing!

That’s it! That’s what that song can do. It’s like an adrenaline shot for a slow-moving gathering that’s just short of rigor mortis.

But why? It’s not as if it is purple prose. It’s not an international hit. It’s not even a South African hit. But it is a Cape Town hit. A big hit.

What is it about Montreal and the people of Cape Town, particularly those from the Cape Flats, (and those in the diaspora in Melbourne, Sydney, Toronto . . .)?

This is my little effort to try to put it all on the record, as it were: how Montreal came to be one of the most popular songs around. Music historians like to do it for songs like Hogey Carmichael’s Georgia On My Mind and Paul McCartney’s Michelle. 

So let’s unpack Montreal.

Bassist Gary Kriel . . . was with Tony in the recording studio to lay down tracks for At Montreal. 

 

Tony composed the song almost 40 years ago, with his daughter, Delene, contributing to the lyrics.

But there is so much more to the story than just those bland facts.

The song refers to a nightclub in Manenberg that was extremely popular in the late ’70s and early ’80s. Initially the venue was called The Sherwood, also very popular in its early days, but the patronage dwindled after a few years. To get the place back on its feet again, the management called in Taffy du Toit who sang with jazz combos in Cape Town nightclubs before moving, briefly, to Canada.

“They gave me carte blanche to get the place up and running again,” Taffy, who now lives in Adelaide, said. “I had been in touch with Tony, with whom I had sung in a white club before I left. When I came back he was playing in The Surwell with Gary Kriel and Leslie Kleinsmith. It wasn’t exactly a swinging joint with hipsters.

“When the time came to launch the revamped Sherwood, I didn’t have to ask them twice.”

Taffy du Toit . . . named the new club Montreal.

How did it come be called Montreal, then? “I had spent some time in Montreal in Canada and I found it to be such a vibrant  place, it left a lasting impression on me. When it came to naming the place, I couldn’t help but think of the good time I had in Montreal.

“One night, Tony and the band surprised me by playing At Montreal. It blew me away. It was such a nice gesture. The crowds just loved it.”

The song itself was recorded in 1984 at UCA Studios in Bloem Street for Paddy Lee Thorp’s Mountain Records. Tony recorded all three of his albums on that label.

“I don’t know how many takes were necessary in the recording it but I suspect that Tony and the guys were pretty well rehearsed. It would have been recorded rather quickly,” Paddy said. “Montreal first appeared on the album Introducing Tony Schilder. It was quite popular and went out of print pretty quickly.”

Ten years later, Paddy took the group back into the studio to redo the track for a CD and add Jonathan Butler’s voice as a duet with Robbie Jansen.

A feature of the recorded song was the fact that neither Jonathan nor Robbie sang the lyrics the way Tony had written it.

“It annoyed the shit out of Tony from the very beginning,” Paddy said. “I think the only guy that knows what the real lyrics are is Leslie Kleinsmith. He was the one who used to sing it with Tony at the club.

“Jonathan and Robbie come from a school of singers who don’t pay a helluva lot of attention to lyrics. They will get it right and see to it that it rhymes but they would come with the most incredible lyrics.”

Paddy said there were quite a few versions of Montréal recorded.“

“I have recorded three versions. The latest version is the one that is going to be part of the forthcoming Cape Jazz volume, which is an instrumental version by Ramon Alexander. The Sons of Table Mountain played it as did Tony’s son, Hilton, with his various groups.

“If you talk about standards, it is a jazz standard in the Cape. It is among the top five jazz standards in the Cape, along with Seventh Avenue and Mannenberg.

Paddy point’s to another irony of the song Montreal.

Paddy Lee Thorp . . . released At Montreal on Mountain Records.

“The most popular version of Montréal on the radio was Leslie Kleinsmith’s version. He recorded it with the SABC as part of their transcription recordings. It was never released commercially. It was one of those unfortunate things that used to happen in those days. The SABC only circulated these recordings internally. They never had the commercial rights to the recording. That belonged to my record company.

“Tony was allowed to do the transcription recording and the SABC played the hell out of it .

“Robbie’s version was not as well known as Leslie’s version. When we finally did the Jonathan and Robbie duet, it became the version of choice.”

Leslie has his own particular memories of Montreal.

“Tony, Willie van Bloemestein, Cecil Ricca and myself were playing at Scruples in Welcome Estate when Taffy came in one night and said he was re-opening Sherwood as Club Montreal . . . and two weeks later, there we were.

“We opened Club Montreal and I broke the song. We played at the venue two or three years, every Wednesday, Friday and Saturday.”

What many people ask is: if Leslie was the regular singer in the group, how come he never recorded it with the band for commercial release.

The way he recalls it, it was all a bit of miscommunication about being at the studio on the day they were due to record.

“I got a call from Paddy about 11am wanting to know where I was,” Leslie said. “Well, I had had a late night from coming home from the gig and watching movies until the wee hours.

“Apparently Paddy had organised with Tony and Tony was supposed to give me the message but he didn’t. Words were spoken and I didn’t end up doing the vocals, Robbie did.

“How do I rate the song? For me it is one of those obscure songs that you never really pay much mind to and then it shocks you. That’s how the public reacts to it. For me it is just another song but it turned out to be almost a national anthem for the club goers.

“What amazes me about the song is it’s simplicity; it is straight forward, it’s got a nice dance groove to it. But I do cringe every time I hear it on the radio and I hear the wrong words.

“Everywhere I go I have to sing it. At the recent Suidooster festival, I did a medley that included Club Montreal and Flying High. They crowd hears the introduction and there is this roar from the audience.”

Hilton Schilder said they played the song whenever he did a tribute to his father “and the crowd always goes bonkers”.

“It’s a feelgood song and it’s local song with a local composer, not something imported. It’s just a happy song.”

Last word from Gary Kriel, the bassist on the recording and long-time band member with Tony Schilder: “It was just an advert for the club, man. Nothing more, nothing less.”

Leslie Kleinsmith . . . best known version of At Montreal but never recorded it for release.

MONTREAL lyrics (courtesy of Leslie Kleinsmith)

At Montreal,

You can always have a ball

Where the girls are so pretty

And the guys seem to know they have it all

Club Montreal

the jazz is wild and free

You can swing with your lover

And your wife can discover

She’s a queen

(Chorus) In your jeans or your sable

You’ll find you are able to fly

With a glass in your hand

And the sound of the band you’re not shy

So come one, come all

To the place that has it all

Where the vibe is so happy, ask a girl or a chappie to dance

It’s a social experience, summer winter or fall

When you hear the good vibes call, at Montreal

Material on this blog is copyrighted. Permission has to be obtained to publish any part of it.

Leslie Kleinsmith: now you see him, now you don’t

Leslie Kleinsmith . . . a whirlwind visit to Cape Town. One performance at Artscape on Friday and then he flies out on Sunday back to Europe.

26 April 2018 

Leslie Kleinsmith is back in town and the good news is, he is here to perform.

But blink – and you’ll miss him.   The gig is at Artscape on Friday night and by Sunday he’ll be back on a plane and heading for his regular work, which is performing on cruise liners for those lucky folk who can afford to drift around the Mediterranean.

Leslie is in Cape Town to be part of the Kaapse Khoi Jazz II being presented at Artscape on 27 April as part of the Freedom Day celebrations.

The show also features Allou April, Alvin Dyers, China van Rensburg and Amanda Lois Stone. The classy Camillo Lombard is the musical director.

This is the first time Leslie is performing in Cape Town since Remembering The Lux finished its run two years ago. For the last few years he has lived in France with wife Isabelle and has been a frontline entertainer on the luxury cruise ships.

The Freedom Day gig happened by chance for Leslie, who had been in his hometown about 10 days ago. He was here to fix up documentation for further employment on the ships.

“As it happened, Terry Fortune and I went to a show at Grand West and Camillo spotted us in the audience,” Leslie said.

“One thing led to another and the next thing I was on the Artscape show. The only problem was, I had to go back to France first to sort out some things.”

Leslie left Cape Town about 10 days ago and when I got hold of him on Tuesday, he was in Paris, waiting to get a flight back to Cape Town. He got in Cape Town on Wednesday night, rehearsals on Thursday, show on Friday, and he flies back to Paris on Sunday.

“It’s a bit hectic, ain’t it?” he said. “I’ll be home in France for a few days and then I’ll be back on the boats.”

Leslie says that he has to start thinking about getting more gigs in Cape Town because, come November, he’ll be moving back to Cape Town for longer periods.

“My wife and I bought a place in Cape Town last year, so we are going to be based there for a while.

“It is all still being sorted out. But I am optimistic; whenever I am in Cape Town, the phone tends to ring and gigs start appearing. And I will start thinking about generating work myself.”

Leslie will feature a number of songs from his last CD, All Wound Up. The CD features some of Leslie’s own compositions, and some by Alvin Dyers and the late Al Etto. He will have copies of it available for sale on Friday.

It has been a while since Leslie last recorded. Now he is thinking of his next studio effort.

“I have always had, in the back of my mind, the idea of doing an album of cool jazz standards with a tight trio. Sometimes the trio becomes a quartet and then strings and the like. It will happen.”

In the meantime, those of you who have warmed to Leslie’s sound for the past 40-odd years, catch his show tomorrow night at Artscape. He’ll be gone on Sunday!

Related article:

LESLIE K . . . A MAN FOR ALL REASONS

Material on this blog is copyrighted. Permission is required to publish any part thereof.

 

Diva Sophia Foster does exactly what that last name means

Singing diva Sophia Foster with some of her proteges on stage at the launch of her exciting project, The Fostering Foundation, that mentors young talent in Cape Town.

13 December 2017

Songbird Sophia Foster launched officially last week her young artists mentoring project, The Fostering Foundation. If you’re into nominative determinism, it’s a job Ms Foster was born to do.

For the past year or so, Sophia has been tutoring a group of young performers on how to handle themselves on stage. With more than 50 years’ experience to call on, who better to learn from than an icon of South African stage entertainment?

In true Sophia style, she launched it at a glitzy show that drew rave reviews from those lucky enough to attend, and lit up social media with people praising her for her initiative.

The Fostering Foundation has been set up to “transfer skills and develop the talented youth of the Western Cape”.

For Sophia, it is the culmination of a long-held dream. Mindful of her own experiences when she started in the entertainment business in the mid-Sixties, she nurtured this vision of running a skills program for up-and-coming youngsters.

“The mentoring idea was always there. I spent most of my life mentoring people in the industry. I got this idea that one day I could have my own group of kids who wanted to be in the industry and I’d teach them all kinds of skills,” she said after the launch.

Sophia Foster performing at her foundation’s launch.

“For me, it was always going to be an holistic approach to give them a grounding in all facets of a stage performance . . . microphone control, voice projection, stage presence, choreography.”

It all started to fall in place when her husband, Craig, converted their garage into a mini-studio. It was fitted it out with mirrors, a sound system, microphones.

“All I needed to get going was the space,” Sophia says. “It was a proper, professional set up.”

Through word of mouth, she attracted her first intake last year. They were a diverse group from different backgrounds and came from all over the Peninsula – “Maitland, Belhar, Khayelitsha, even one from Paarl”.

“When they came to me they were quite introverted, they had no confidence. My God, when I looked at them at my launch, it was like day and night.”

“Shortly after I started the project, I managed to get them showcased at Artscape, during Youth Month. I asked Artscape if my kids could open show. Now my kids have been booked to do two shows at that venue.”

Although Sophia is polishing these young entertainers as part of her group, she says if they managed to get opportunities on their own, she would not hold them back.

“They are like family and I have to factor in that they are still at school. It does mean that sometimes I have to put things on hold while they are busy with exams but I was quite firm when I told them I don’t want anyone to put music first at the expense of education. It’s a balancing act for us.

“I also made them understand what opportunities would be available to them if they were properly equipped with the right skills.

“My generation did not have that luxury. They must be aware of the people who came before them. It was a struggle for us and, in choosing songs for them to perform, I opt for music from the likes of Nina Simone and Billie Holiday that epitomises that struggle.

Sophia has had a good response from her friends in the entertainment industry to offer their expertise.

“I got one of the best sound engineers in the country offering to help and a former dancer who made a name for herself at the big hotels up north and in Paris is going to be involved with choreography.

“The response after the launch was phenomenal. I even had offers of sponsorship on the night.”

Obviously running a mentoring academy requires funds and Sophia is hoping that government and business will come to the party with financial assistance in the form of grants and sponsorships.

It is a commendable effort from someone who has paid her dues in the industry over and over again. And it is a long way from the teenage girl who ran away from home in 1967 to strut her stuff on stage.

You can get an idea of what she has achieved  with  the youngsters when they perform at Kaleidoscope in Claremont on Sunday, 17 December.

Click on the link below to read more about Sophia’s career that spans about 50 years.

Sophia Foster — the lady is a vamp

Comments from social media

Student Celeste Florence: No words can express my gratitude. You have planted a seed in me that’s unstoppable. Thank you for taking the time out to groom myself and fellow songbirds to becoming the best at what we do; to give it everything we got inside and leave it all there. We have learnt to be more confident. Thank you so much for doing it so unselfishly. Many thanks to Tills, Salvana and hubby for this journey of love. You are an amazing example to all of us. Many thanks Sophia love you forever.

Businesswoman Roslyn Dantu: Awesome Awesome Awesome.  Thank you Sophia for what you have done.  The kids were confident, excited, happy and really, really talented.  And I loved the wardrobe and the wardrobe changes.  I support all of what you are doing in “fostering” these young adults.  My admiration for you and Craig and Tiffany knows no bounds. Thank you to all three of you for opening your hearts, your wallets and giving this amazing young talent a voice and also an opportunity to shine.  Keep shining Ms Foster.  You are a bright light.  Love you lots.

Singer Melanie Scholtz: Yes, Aunty Sophia Foster. Yesssss !!  I salute you, Queen.

All dressed up with everywhere to go . . . Sophia Foster’s proteges being presented at the launch of The Fostering Foundation last week.

All material on this blog is copyrighted. Permission has to be obtained to reproduce any part of it.

Steve Fataar — the rekindling of a cool old Flame in Oz

Former Flames guitarist Steve Fataar is on a whirlwind tour of Australia starting in Sydney on Friday night. He plays Melbourne, Brisbane and Perth as well.

 

Steve Fataar, once leader of The Flames, South Africa’s top pop/soul group in the Sixties, has shown that he can still “hit the road” and undertake a gruelling tour at the age of 75.  He opens a lightning four-night-four-city tour of Australia, starting this Friday in Sydney.

Soft-spoken Steve, the guitarist who drove The Flames to the pinnacle in South Africa with such memorable hits as Tell It Like It Is, Place In The Sun and For Your Precious Love and then took them overseas, will follow up the Sydney date at the RSL In Paddington, with gigs in Melbourne (Nov 18), Brisbane (Nov 19) and Perth (Nov 20).

“It’s going to be a helluva challenge,” Steve said between rehearsals in Sydney today. “But I love a challenge; I’m looking forward to it.”

Steve has combined the tour with a visit to his mother who lives in Sydney and is in her ’90s.  Steve himself is 75 years old and is quite frank in admitting that these are precious moments in his life.

”I’m still enjoying my music.  If I don’t play my guitar for a few days, I kinda feel a bit off. It’s what drives me.”

He says his shows will feature some of the material he has been performing in recent years as a solo performer but he will include songs from The Flames era.

“I have to include some of the stuff from The Flames,” Steve said. “People want it; every show I do I get asked to do one or two big hits from The Flames. Well, since Blondie [Chaplain] ain’t around, I guess I’ll give them a ‘better understanding’ of what it was all about. It’s a nostalgia thing and people are totally into nostalgia these days.

Steve Fataar, left, with Brother Fataar performing at the Luxurama in Cape in 1970.

Steve will be performing as a support act to comedian South African Masood Boomgaard. He is also excited at the prospect of working with pianist Lance Saunders, the veteran South African pianist who now lives in Perth. Steve generally works as a solo performer these days but has done several gigs in recent years, most notably with the late Errol Dyers. Anyone who has been on Facebook will know when and where he is playing; he uses social media very well.

“It was a pleasant surprise when the promoter told me Lance would be joining me on stage. When I was last in Australia a few years ago, Lance played with me in Perth. It should work well, we’re both from Durban and it shouldn’t take much for Lance to get his head around what I’m doing, he is a seasoned performer who has backed hundreds of musicians over the years.”

Flames fans may have a little more to get excited about if plans to do a documentary on the group come to fruition. It has been spoken about for more than a year now and a promotional trailer is already in the can. It could be that it comes out next year to coincide with the 50th anniversary of the release of For Your Precious.  And maybe a rumoured For Your Precious Love 50th anniversary SA tour. Wouldn’t that be a blast?

In the meantime expat South Africans in Sydney, Melbourne, Brisbane and Perth  have an opportunity to honour a legend of South African music.

 

Gifted musicians — and the gifts that keep on giving

Hilton Schilder accompanying his daughter, Duende at the recent launch of his latest CD, Alter Native.

The festive period will soon be upon us and it’ll be the season for giving. So why not show your heart is in the right place and give someone something deep and meaningful.

Like the latest CD from a few of our local artists. Just off the top of my head there are three available right now: Alter Native by multi-instrumentalist Hilton Schilder, Evolution of an Undefined by young bassist Benjamin Jephta and Hits of Yesterday by one-time Hippies lead guitarist Gammie Lakay.

It’s tough being a local performer. It always has been. They don’t earn big bucks doing live gigs and, from a recording perspective, they don’t get as much exposure on local radio.

Throw in the Internet downloads, piracy and file-sharing and one can see what a mountain it is to climb to make a decent living as an entertainer.

This is why I am quite happy to publicise these three, two of whom – Schilder and Jeptha – I was fortunate enough to see perform live recently.

Hilton launched Alter Native a few weeks ago and the work is in keeping with his musical development to embrace his roots.

Alter Native is Hilton’s 40th that he can pin down, (“there may be others where I was a session musician for other artists”).

Hilton, son of legendary jazz pianist Tony Schilder, says this project was, in a manner of speaking, dedicated to his family.

“The album is dedicated to my grandson, Aiden, but there are individual tracks which I have named after other members of my family (Tesna and Marko’s Polo),” he said.

His daughter, Duenda, sings on the track Use Your Mind, while Mishka Reddy sings on Are You Prepared.

“The tone of the album is definitely roots music,” Hilton says. “There isn’t that steroid style of piano playing. I’m into landscapes. It’s more from the heart.

“As I’m getting older I find I’m more and more into the spirituality of music.”

A good example of his direction these days is in the essence of the title track.

“It is such a beautiful work. I used five musical bows and then added the percussion and stuff. I enjoyed making that, in the way it grew.”

Hilton also plays keyboards, percussion, melodica, guitar and bass on the album. He is joined by Mark Veldsman, (sax, flute), Brydon Bolton (upright bass) and Carlo Fabe (drums).

His next project is a solo piano and solo guitar album. (“I was around some of the best guitar players around . . . Russell Herman, Mac Mackenzie and Philly Schilder.”)

Benjamin Jephta’s The Evolution of An Undefined follows on from his Homecoming album, which was all about discovering his inner self.

Benjamin Jephta, second from left, with Kyle Shepherd, Sphelelo Mazibuko and Marcus Wyatt. [Photo sourced from the web]

This latest effort, as the title indicates, focuses on what he says “who I will be . . . modifying, reconstructing, progressing”.

It goes without saying that it is deeply personal stuff and understanding it would require having an insight into the mindset of the person creating it.

I gave it a listen and found an amalgam of intricate rhythms and arrangements. Benjamin was recently named the 2017 Standard Bank Young Jazz Artist. But this album goes a bit beyond the jazz genre. There’s a bit of fusion, some electronic and hip hop.

The tracks are Jump Interlude, Still I Rise (Revisited), Dear Mr Hodge, The Path, Evolution (Part 1 and 2), Mombelli (Part 1 and 2), Identity (featuring Jitsvinger and Eden Myrrh), Identity Interlude , Choice (featuring Thapelo Lekoane of SA Idol fame) and Song for Ellen Pakkies (featuring Jitsvinger).

It is the song for Ellen Pakkies that really resonated with me. Despite having a pretty catholic taste in music, I am not big fan of hip hop, particularly when it is peppered with a liberal spicing of “motherfuckers”, “hos” and “bitches”. Must be an age thing.

Ellen Pakkies is the Lavender Hill woman who killed her tik-addicted son in an act of tough love. Hip hop artist Jitsvinger, in the patois of the townships, addresses the social issues that surround the tik epidemic on the Cape Flats. I just wish my ear was more attuned to his rapid delivery. It would help to understand it better.

Benjamin has Kyle Shepherd on piano, Keenan Ahrends on guitar, Sphelelo Mazibuko and Reuben Crowie on drums, Marcus Wyatt on trumpet, Sisonke Konti on tenor sax and Nhlanhla Mahlangu on alto sax.

Benjamin also plays organ, keyboards and synthesizer on the album which he also produced.

Like Hilton Schilder’s album, Benjamin’s is cerebral stuff. You’re probably not going to find it on the playlist at your local jazz-funk club. It’s classy material and indicative of the growing maturity of our musicians in developing their own styles.

Our radio stations should sit up and take note!

Gammie Lakay’s new CD, Hits of Yesterday, includes songs like Last Date, When Somebody Loves You, You’ll Never Find, Affirmation and Storybook Children. You have to be of a particular vintage to be able to relate to those songs. It’s all late-Sixties early-Seventies stuff that is like a fix for the nostalgia junkies.

Gammie Lakay’s home-studio production, Hits of Yesterday, with re-arrangement of old pop standards, including Storybook Children.

Storybook Children deserves special mention. It was covered in Cape Town back in the day by Harold and the Hippies. That is the first group Gammie played with and they had quite a following on the Cape Flats. The song was a big hit (when vinyl seven singles sold by the thousands).

Gammie has revived it and found Rashaad Adams to do the vocals. He was the original Harold from Harold and the Hippies.

“He just happened to wander into my home studio while I was busy with the project and we took it from there,” Gammie said. He has re-arranged most of the songs on the album.

Three artists. Three albums. Support them. Local is Lekker!!!

With the way distribution goes these days, I suggest you contact each via Facebook to find out more.

Blogger’s note: I became aware of the latest initiative, AzanziMusic.com (which offers consumers a secure platform to buy the recordings of local artists) shortly before this was to be published. It’s early days but let’s keep our fingers crossed that it can deliver on what it promises.  Check it out at azanzimusic.com

Four Sixties guitarists and their gun manager call back the past

Blasts from the past . . . guitarists who started their careers in the Sixties: from left, Issy Ariefdien (The Magnets and Respect), Ivor Wagner (The Big Beats), Bernie Lawrence (Excitement) and Basil October (The Raiders).

Four guitarists  who go back a long, long way – some more than 50 years in fact – caught up again this month for what one could only call a “gathering of the ages”.

Issy Ariefdien, Ivor Wagner, Basil October and Bernie Lawrence were brought together in a surprise “party” to reminisce about the good old days when pop was in its infancy and disco and rap unheard of.

Three of them – Issy, Ivor and Basil – are in their Seventies and Bernie is in his Sixties. Each had started their music career around the mid-Sixties  in different bands but their paths crossed numerous  times back in the day when bands shared gigs at venues.

Issy started his career in a group called The Magnets in Elsies and they were  known for their superb vocal harmonies. He later helped form Respect with Mel da Silva and then went to launch Pacific Express and was part of Love Supreme, Big Daddy before an extended period playing overseas.

Ivor Wagner started out with The Big Beats and for a few years it was one of the top groups in the country, playing a distinctly  Shadows style of guitar instrumentals which was so popular  back then.  He then joined Issy at Respect and finished his career in in Cape Town playing  with Tony Schilder.  He moved to London where he qualified as a solicitor.

Basil October was rhythm guitarist and lead  singer with a group called The Raiders. They had a huge following in the Maitland-Elsies River area and regularly packed out venues like popular Stardust spot in Woodstock and The Reo Hotel in Elsies River. Basil could sing raunchy, rock tunes all night without raising a sweat.

This slideshow requires JavaScript.

The last guitarist in this “seniors” quartet, Bernie Lawrence, started in a group called The Excitement and they caused a fair few ripples where they played. Bernie moved on to have a spells with Respect, Little Wing, Big  Daddy, Mahogany (among others)  and now is part of a group called New Beginnings playing the best of the ’60s and ’70s for those who love the sounds of Hendrix, Chicago, the Beatles and Clapton.  I caught a gig of theirs three weeks ago and the dance floor was packed all night.

Issy and Ivor  are still working on taking their “private” jam sessions to a venue.  Watch this space.

Ivor was effusive in his praise for the get-together: “It was a brilliant idea to throw together a bunch of retired musicians of the 60s and to let them simply indulge themselves. The togetherness, the nostalgia, the reminiscing, with all the anecdotes, formed the ingredients of a most wonderful afternoon.”

Issy, Bernie and Basil pretty much echoed the same sentiments for an occasion where each one trotted  out hilarious moments those early days.   I should have recorded it. Bugger!

There was one other guest at the party – one Charles Jeremiah Dette. No, he wasn’t on stage, he was a backroom boy. He was the manager for  both The Raiders and Respect and, as such, had more than just a bit of a role in the careers of all  four.  Charles hadn’t seen Issy, Bernie and Ivor since the Sixties and only recently made contact with Basil.

His take on the party. “It was bloody marvelous, I could have gone on talking to them about the good old days into the early hours of the next day.”

Sixties band manager Charles Dette, centre,  with the four guitarists who played in the groups he managed.

Related articles:

https://warrenludskimusicscene.wordpress.com/interviews-3/the-life-and-times-of-ivor-wagner/

https://warrenludskimusicscene.wordpress.com/2017/04/01/issy-ariefdien-finds-his-mojo-again-thanks-to-ivor-wagner/

Material on this blog is copyrighted. Permission is required to reproduce any part of it.