Envy the neighbours of Hugh Masekela, who didn’t have to cough up for the best seats in the house to hear the father of South African jazz perform.
“After he died, when I met people who lived in his apartment block, they told me they would always wait for that hour when he was going to practise, because they could listen to him while he rehearsed on his trumpet,” recalled Barbara Masekela — poet, activist and former ambassador — a few days after the great trumpeter, and her elder brother, would have turned 87.
We were standing in the foyer of the Joburg Theatre on Thursday evening at the opening night of Tribute to Hugh, a limited-run concert series ending today, staged by the Braamfontein theatre in partnership with the Hugh Masekela Heritage Foundation.
The evening drew a who’s who of jazz lovers, musicians, artists and friends — both in the audience and on stage — for a production directed by James Ngcobo, with musical direction by Sydney Mavundla.
Among the attendees was fashion designer and entrepreneur Thula Sindi (who, after seven years is moving his landmark designer emporium, Africa Rise, from Sandton City to the oh-so-swish Nelson Mandela Square around the corner), pianist Luyanda Madope, and theatre regulars Renata Stuurman, Elinor Sisulu and Judi Nwokedi (who brought along former Turkish ambassador to South Africa, Aysegul Kandas).
I catch a glimpse of actress Connie Ferguson in the crowd, while browsing a concession stand of branded merchandise alongside fine artist Nelson Makamo who, with his spouse Keabetswe Mafora, arrived dressed head-to-toe in MaXhosa Africa in the boldest hues.
“When you’re this dark, you need to wear something this bright,” quipped the artist, whose evocative portraits of children and urban life have earned him international acclaim.
Arriving just as guests were making their way into the auditorium was Pearl Thusi, wrapped in a spectacular coat by Ghanaian sustainable brand Cacao, founded by designer Kwaku Bediako last year.
“He takes cacao fibres left over from chocolate production to make sustainable fashion,” explained the actress.
Inside the theatre, as the lights dimmed, male a cappella group iComplete were the first of an impressive roster of talent to take the stage, channelling the jazz legend’s fire.
With moody lighting, and vintage images of Bra Hugh projected onto screens, it felt as though you were transported to a smoky club from a bygone era.
But thinking back to Barbara’s vignette about the close proximity of Bra Hugh’s neighbours to the piercing pitch of his brass, I slipped backstage to catch up with one of the evening’s magnetic headline acts.
Past the dressing rooms of blues-meets-folk king Vusi Mahlasela, Zoë Modiga, Tresor and female vocal group Baobab Sisters, I head down another flight of stairs and knock on a door featuring the name of the undisputed Queen of Afro-Jazz.
“Come in!” called Judith Sephuma, who put down her makeup brush to give me the warmest of hugs as manager Lisa Loeb looks on, smiling.
The A Cry, a Smile, a Dance hitmaker doesn’t need much prodding to share her memories of Hugh.
“Bra Hugh drove us insane, but we loved him so much,” she said, once her face was done and she had changed into a dramatic emerald gown by Thandi Masondo of Sandton boutique Luxury by Design.
“I loved what he represented for all of us: hard work, regardless of what challenges you might have. He was a fighter. He left such a great legacy, and to be able to sing his songs is an absolute honour.”
Then, touching her coif, the women with the breezy angelic voice giggled.
“He would be so proud of me because I still have my dreadlocks. He was all about us being natural — and about the most beautiful part of us being South African.”
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