# **BHEKI MSELEKU The Artistry of Andrew Lilley**

**THE ARTISTRY OF BHEKI MSELEKU**

 **Andrew Lilley** 

**AFRICAN MINDS**

,

Bheki Mseleku is widely regarded as one of the most gifted, technically accomplished and emotionally expressive jazz musicians to have emerged from South Africa. His individualistic and eclectic sound draws on American, classical and township influences. He had no apparent formal music training and grew up in a poor village on the outskirts of Durban where, at the fairly late age of seventeen, he discovered that he had an innate ability to play. He has become a key inspiration for aspiring young South African jazz

Despite being entirely self-taught, Mseleku was the

most technically sophisticated of jazz musicians, though the abiding experience of hearing him play was one of

The Guardian

musicians and has left an infinite source of knowledge to draw on.

*The Artistry of Bheki Mseleku* is an in-depth study of the Mseleku's

**Andrew Lilley** is an associate professor at the University of Cape Town, and assistant director of the South African College of Music where he lectures in jazz piano, theory and improvisation. He is a graduate of Berklee College of Music in Boston where he studied with the celebrated hard bop pianist and composer Donald Brown, and with Enja recording artist Bruce Barth. He holds degrees from the University of Cape Town. He is a well-respected member of the South African musical fraternity and appears on numerous recordings with local

in the world.

an unjazzlike simplicity.

– John Fordham,

and international artists.

Cover image © Siphiwe Mhlambi

compositional works and improvisational style. The annotated transcriptions and analysis bring into focus the exquisite skill and artistry that ultimately caught the eye of some of the most celebrated international jazz musicians

# THE ARTISTRY OF BHEKI MSELEKU

*Andrew Lilley*

**AFRICAN MINDS**

Published in 2020 by African Minds 4 Eccleston Place, Somerset West 7130, Cape Town, South Africa info@africanminds.org.za www.africanminds.org.za

is work is published under a Creative Commons Attribution 4.0 International License (CC-BY).

ISBN Paper 978-1-928331-66-7 ISBN eBook 978-1-928331-67-4 ISBN ePub 978-1-928331-68-1

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### **Contents**

Foreword / vii Preface / x Acknowledgements / xv Explanatory notes / xvi

#### **PART ONE – ANALYSIS OF COMPOSITIONS / 1**

#### **Chapter 1 – Cycles / 3**

'Cycle' (*Celebration*) / 10 'Melancholy in Cologne' (*Star Seeding*) / 13 'Aja' (*Beauty of Sunrise*) / 15 'Angola' (*Celebration*) / 19

#### **Chapter 2 – Lineage / 23**

'Monk the Priest' (*Home at Last*) / 23 'rough the Years' (*Timelessness*) / 28 'e Messenger' (*Celebration*) / 32 'Supreme Love' (*Celebration*) / 34 'Woody's Tune' (*Beauty of Sunrise*) / 37 'Monk's Move' (*Beauty of Sunrise*) / 46 'Nearer Awakening' (*Beauty of Sunrise*) / 47 'LA Soul Train Blues' (*Star Seeding*) / 51 'e Age of Inner Knowing' (*Celebration*) / 53

#### **Chapter 3 – Roots / 59**

'Closer to the Source' (*Celebration*) / 60 'Monwabisi' (*Home at Last*) / 66 'Mbizo' (*Home at Last*) / 70 'Nants' Inkululeko' (*Home at Last*) / 71 'Home at Last' (*Home at Last*) / 73

#### **Chapter 4 – Blueprints / 76**

'Mamelodi' (*Home at Last*) / 76 'Adored Value' (*Beauty of Sunrise*) / 81 'Timelessness' (*Timelessness*) / 82 'Blues for Afrika' (*Celebration*) / 86

#### **Chapter 5 – Aesthetic / 88**

'One for All, All for One' (*Celebration*) / 93

#### **PART TWO – IMPROVISATION / 97**

#### **Chapter 6 – Considerations for analysis / 98**

e pianist / 99 Stride / 99 Bud Powell voicings / 102 Rootless voicings / 104 Modal voicings / 106 Construction of the improvised line / 108 Symmetrical scales / 114 Scale rendering / 117 Bebop phrasing / 118 Repetition and common property phrases (licks) / 119 Alternate harmony as source for improvisation / 122

#### **Chapter 7 – Solo transcriptions / 124**

Solo on 'Adored Value' (*Beauty of Sunrise*) / 124 Solo on 'Aja' (*Beauty of Sunrise*) / 129 Solo on 'Angola' (*Celebration*) / 133 Solo on 'Blues for Afrika' (*Celebration*) / 140 Solo on 'Home at Last' (*Home at Last*) / 146 Solo on 'Mamelodi' (*Home at Last*) / 150 Solo on 'Melancholy in Cologne' (*Star Seeding*) / 156 Solo on 'rough the Years' (*Timelessness*) / 165 Solo on 'Timelessness' (*Timelessness*) / 170

#### **Appendix A / 177**

*e South Bank Show* with Melvyn Bragg (Ep. Bheki Mseleku, 1992) 177

#### **Appendix B / 187**

Transcriptions of compositions / 187 'Adored Value' / 188 'Aja' / 190 'Angola' / 192 'Blues for Afrika' / 195 'Closer to the Source' / 197 'Cycle' / 203 'Home at Last' / 205 'LA Soul Train Blues' / 207 'Mamelodi' / 208 'Mbizo' / 210 'Melancholy in Cologne' / 211 'Monk the Priest' / 212 'Monk's Move' / 217 'Monwabisi' / 219 'Nants' Inkululeko' / 221 'Nearer Awakening' / 224 'One for All, All for One' / 226 'Supreme Love' (Dedicated to John Coltrane) / 229 'e Age of Inner Knowing' / 230 'e Messenger' (Dedicated to Bud Powell) / 232 'rough the Years' (Lyrics: Abbey Lincoln) / 237 'Timelessness' / 240 'Woody's Tune' / 242

#### **References / 246**

### **Foreword**

Who are the beneciaries of the South African jazz legacy? Who are the forebears and architects of this rich cultural heritage? Who gets to choose them and what criteria are employed to identify and crystalise their status? So many questions, so many answers. We often consume ourselves with arriving at the "right answer". Dare I say, there *is* no right answer. is legacy is not reserved for a chosen few who t a particular narrative shaped by an often distorted and lopsided history but rather for those who possess a relentless curiosity, passion and respect for this music and its tradition. Jazz is inherently an African-American art form. However, there is a tendency to focus on "American" and not so much on "African". Some will go as far as to say jazz is black music. is belief is not without merit, considering the very origins of jazz emanate from the African descendants of slavery in New Orleans.

Fast forward to the 1950s and 1960s, a period of parallelism between South Africa and America with the apartheid regime and the American Civil Rights Movement, respectively. eir common experience was that of racial oppression by white rule. Jazz was the language of freedom, protest, rebellion but also a language of celebration for all that was black and excellent – a music that spoke so eloquently of black culture across the globe. is was a time when black South African jazz musicians absorbed and mimicked the sound of American jazz through the smuggling of recordings. Not only were they mimicking the sound, but the tradition of jazz as a whole. Many artists during this period and beyond, to the 1980s, left the country to live in exile. One such musician was Bhekumuzi (Bheki) Mseleku. Highly inuenced by the music of John Coltrane, McCoy Tyner and Bud Powell, he remains one of South Africa's most iconic jazz masters both as a pianist and a composer.

ose familiar with Mseleku's artistry describe him as being deeply spiritual. He was a man whose music was the source of meditation. ere's a story about how Alice Coltrane, wife of John Coltrane, gifted Bheki Mseleku with the very mouthpiece that John Coltrane used to record his seminal album *A Love Supreme*, recorded in 1964. is record is positioned in jazz history as one of the most spiritually charged albums of all time – a work premised on Coltrane's relationship with religion. Jazz pianist and emeritus professor of Music at Rugters University in Newark, New Jersey, Lewis Porter notes *A Love Supreme* as "the denitive statement of the musical and spiritual aspirations of this quiet, unassuming man". is description of John Coltrane could easily be used to describe Bheki Mseleku whose music career ourished outside of South Africa. Not lost in this story is the symbolism of a mouthpiece as a powerful baton passed on to Bheki who himself was a spiritual conduit of his rich Zulu identity. Bhekumuzi in isiZulu means "keeper or watcher of the home". rough Andrew Lilley's writing of this book, he seeks to visit the very home of Bheki's jazz artistry. *UBheke umuzi womsebenzi kaMseleku* (You are keeping watch over the home of the works of Mseleku). ere's power in the naming of an African child.

Bheki's energy and inuence transcended racial, religious and cultural dierences. ese are worldly boundaries that fell outside the ambit of Bheki's spiritual calling as a musician. is is evidenced by the diversity of the musicians Bheki worked with in America, Europe and especially in the United Kingdom. ese musicians are referred to in the body of this book in magnicent detail. Bheki's legacy is the very embodiment of jazz as an expression of democracy. Founder of the Jazz and Democracy Project, Dr Wesley Watkins believes that the correlation between jazz and democracy is underpinned by individual freedom within a collective process. Andrew Lilley nely details some of the most poignant recordings Bheki has created with musicians from dierent walks of life. ese iconic works are the outcome of a democratic process by virtue of these unique individuals expressing themselves in a safe space, propelled by the spontaneity of improvisation and inspired by each other's synergies.

South Africa has been a democratic country since 1994. Jazz played a pivotal role in the ght against the apartheid regime. Fittingly, in the context of my contribution to this book, my master's dissertation was tirelessly supervised by Dr Andrew Lilley himself. Together, we immersed ourselves in the life and times of those who used jazz to speak truth to power whilst also analysing musical inuences and technical commonalities between South African and American jazz with a particular focus on Miriam Makeba, one of the most prolic cultural gures of the liberation struggle. e tide has turned as Andrew pens his own documentation of a South African great. I'd like to believe that both our motivations to write about these musicians' works are commonly driven by a desire to arouse curiosity and strengthen the research and archiving of South African jazz and its pioneers. e mere fact that Andrew Lilley can take under his wing a young, black girl child all the way to a master's degree in jazz studies from the University of Cape Town is testament of his unwavering

#### FOREWORD

commitment to the preservation of this sacred art form as practised by our own.

As I conclude, I return to the meaning of Bheki's name: *keeper of the home*. e way I see it, through this book, Andrew is visiting the home of Mseleku's artistry. I have yet to come across someone who speaks as passionately about Bheki as Andrew Lilley. e baton has been passed on to him. He is the carrier of the spiritual mouthpiece now. rough this book, he invites others to visit the home of Mseleku, a colourful musical home furnished with intricate designs, sonic paintings of the jazz forebears and sculptures of the fallen heroes and heroines whose blood runs through the veins of jazz – a spiritual home that welcomes all. To the reader – walk in.

#### **Nomfundo Xaluva**

*Award-winning artist, educator and vice-chair of the SAMRO Foundation*

### **Preface**

Bheki Mseleku is an exceptional artist. e intention of this study is to focus on the exquisite detail of his art through the analysis of his compositions and improvisatory style. e author presumes the reader has a knowledge of the musical style of jazz as well as an interest in and an understanding of its theoretical practice.1

As an author, one is always subject to criticism in respect of any adopted methodology used for a study such as this and, without wanting to argue a case for a positivist or a non-positivist approach, it is important to note that this book is not intended as a biography or a humanistic enquiry of Bheki Mseleku's artistry, but is rather an analytical study (from a specic and informed angle) with input from the artist's own deliberations on his musical approach. e case of whether an analytical study of this nature is of value has been exhaustively argued and discussed. Ko Agawu tackles this rather sensitive topic in How We Got Out of Analysis and How to Get Back in Again.2 He notes the timeline of arguments for and against the value of pure analysis and tackles the important questions around the use of musical language in analysis. He notes in his summary that analysis enhances the experiences of both the performer and the listener through a better understanding of the music.

Although it makes epistemological points indirectly, its aim is not to explain or teach as such; it is rather to overwhelm, entertain, amuse, challenge, move, enable indeed to explore the entire range of emotions, if not in actuality then very denitely in simulated form, at a second level of articulation, so to speak. And composition as the art of making, of putting together, shares with analysis the speaking of music as a language.3

<sup>1</sup> The author acknowledges that the term 'jazz' is often used to describe a wide range of music forms; however, in this text, the term primarily refers to the African-American art form and its heritage.

<sup>2</sup> Agawu (2004)

<sup>3</sup> Agawu (2004: 280)

ere are many analytical studies of great composers in the classical stream. Some, like *eory of Harmony*, 4 are in themselves written by esteemed composers (in this case Arnold Schoenberg) but also analyse the works of others to illustrate concepts in music such as consonance or dissonance. Composer Paul Hindemith puts forward a clear form of analysis to interrogate the works of great composers such as Richard Wagner so that the reader can inform their own creative work.5 He notes, however, that while all musical styles and periods may be analysed using his method of analysis, the advantages his methods oer the composer do not necessarily translate into creative work.6 e intention of musical analysis is to provide a deeper understanding of and an appreciation for a particular composer's works by bringing the reader into close contact with the musical material. For the author this is not merely a description of what note followed another, but is more an investigation that seeks to reveal the composer's approach or inuences by interrogating the overall design and concept of the works.

Jazz is primarily an aural tradition with the principal vehicle of study being the actual recordings of the music. Even an experienced jazz player will always return to the recordings for reference for it is the subjective absorption of the knowledge contained in the aural interface that personalises the voices of those following in the footsteps of the great masters. It is important to note, however, that while there are many in jazz who remain ear and hand players, there are also just as many who have augmented their knowledge with theoretical study. Pianist Kenny Barron, for example, played by ear for some time before he got into the theory of chord nomenclature.7 What is generally absent in jazz literature are books that provide analysis of great players; there are many transcription books but few that explain what occurs in the music and there are none, that I know of, that explore South African jazz artists in this way. I am reminded of trumpet player Benny Bailey's words in this regard:

It may be helpful just to see what someone like Miles played, but the books don't really teach you anything about why Miles did what he did – what his thinking was. at's what's needed.8

Contrary to what some (in my experience) would like to believe, there does exist a clear knowledge base in jazz – carefully constructed and beautifully organised in a way that makes the language of improvisation

<sup>4</sup> Schoenberg (1978)

<sup>5</sup> Hindemith (1937)

<sup>6</sup> Hindemith (1937: 202)

<sup>7</sup> Berliner (1994: 73)

<sup>8</sup> Benny Bailey, in Berliner (1994: 104)

in the discipline clearly discernible. is is a knowledge available to us through the teachings and workshops of the actual masters, like Barry Harris, who carry the pedigree of their forebears – the architects of the style, like Charlie Parker, Bud Powell and elonious Monk. Although Harris has not produced a book, there are some (perhaps more academic in character) like Howard Rees who have written down and published Harris's teachings for others who might have been unable to attend Harris's workshops.9

Whether Mseleku subscribed to a particular theoretical practice and whether this informed his work, however, is not the discussion of this study. My intention is merely to lift the bonnet of the vehicle of his music, look inside and note with curiosity, enthusiasm and wonder (more importantly because I love his music) that it is most exquisitely put together in a way that has a structure that can be analysed and explained.

Mseleku is probably one of the most accomplished jazz musicians to come out of South Africa, but unlike many of his celebrated peers (and this is my personal opinion), he is likely appreciated more for skill than the blended narrative informed by political context that so often characterises our South African jazz legends. His comprehensive mastery of the jazz idiom, combined with his home roots, has created a unique voice that has become the inspiration for many young South African artists seeking a relevant identity in the style. Producing a book of this nature answers a call to focus the learning processes, that have mostly been channelled through American artists, on our own homegrown artists.

A jazz musician's skill is always measured against the best and for a seasoned player or even an aspirant young musician, musical depth and complexity are always revered – an appreciation implicit in the lengthy process required in developing skill and prociency in the discipline. It is not surprising that Mseleku recorded with some of the most esteemed jazz musicians in the world like Joe Henderson, Pharoah Sanders, Charlie Haden, Billy Higgins, Ravi Coltrane and Abbey Lincoln, for it is here where his music resonates at the highest artistic level and it is here where I believe he has been most appreciated. It is also interesting to note that most of Mseleku's albums are recorded with players outside of South Africa.

ere are many ways in which to view an artist's work and there are obviously also limitations to analysis in that one can never get into the mind of the artist and know how they think or how they manifested their creative work – some artists are unable to describe the process themselves – but I believe an artist's work can be analysed and unpacked in a way that is useful. e value of this far outweighs and osets its limitations.

<sup>9</sup> Rees (1994)

If an artist is lucky enough to be reviewed, at least a pot is being stirred somehow, but to have the kind of luck where everyone really knows what an artist is actually doing is too much to ask. Somebody's got to be talking and so often the artists aren't talking, and they are probably smarter not to say any words about their work.10

e question for myself as the author of this study was what methodology would be appropriate and relevant in understanding the artist's work. ankfully, in the case of Mseleku, there is a valuable video archive in which the artist discusses his music.11 e lens through which his work is viewed is guided by this as well as by Mseleku's armation of great players like John Coltrane, elonious Monk and Bud Powell who inspired him and whose lineage and thinking are well documented. e assumption is that the approach that informed these players is an appropriate one (although obviously not the only one) through which to view Mseleku and this is a reasonable assumption as the inuence of their collective style is clearly apparent in his harmonic and melodic vocabulary. is is armed directly by highly respected players like Joe Henderson who noted that Mseleku's writing reminded him of the writing that went on in New York City between 1960 and 1968,12 and indirectly through other well-respected players like Elvin Jones, Billy Higgins, Charlie Haden and Ravi Coltrane, all of whom worked with Mseleku and by association share a common musical language of expression. Analysis is thus formulated around an accepted theoretical practice that is consistent with the discipline. e construction of the harmonic language of Mseleku is easily analysed through this lens precisely because it ts perfectly into the concepts underpinning the discipline. Within this, Mseleku brings a distinctive South African voice that advances the music further and bears testimony to its endless ability to absorb and mutate.

In conceptualising how to approach the layout of this book, the intention was not to give an academic note-by-note account of his music, but rather to examine the artist through the transcription of key works and solos, and begin to unpack a narrative that traces clear developmental ideas, inuences and concepts that are consistent throughout his music. While there is obviously an analysis of chords and notes, it is the relationship between them that is of interest. e fact that we are able to identify an artist by their sound and melodic approach is already indicative of a consistency that is present and that speaks to an overall character. In the case of Mseleku, this is informed by a wealth of inuences and an attraction

<sup>10</sup> Keith Jarrett, in an interview with Doug Watson (1999)

<sup>11</sup> Bragg (1992)

<sup>12</sup> *Bheki Mseleku: Talkin' Jaz*z

to a particular harmonic approach. e extent of his inuences is evident in his compositions and especially those dedicated to his inspirations.

An artist can never be divided into separate entities and although one can categorise works in particular streams, it is important to remember that everything that has brought them to a point of mastery is evidently interconnected. Some of Mseleku's compositions may give emphasis to a particular style or quality but may also draw on other inuences. is is what truly advances him as a profoundly signicant artist and one whose deep knowledge and reverence for his own roots and the medium of expression extend into the vast and wide-ranging inuences that have informed the discipline.

e book is subdivided into two parts. Part 1 focuses on Mseleku's compositional style and looks at his inuences and stylistic inclinations through the analysis of his compositions. Part 2 focuses on his improvisatory style through the analysis of transcriptions of his improvised solos. Stylistic elements are highlighted and comparisons are drawn with key jazz players in the stream who inuenced Mseleku. Appendix A is a transcription of the dialogue taken from *e South Bank Show* documentary on Mseleku. is documentary serves as a valuable resource and gives much insight into the artist's approach. Musical examples have also been extracted and transcribed from the documentary and these are included in the book. Appendix B includes the complete transcriptions of Mseleku's compositions discussed in the study.

#### **Andrew Lilley**

*Cape Town August 2019*

### **Acknowledgements**

I wish to thank the University of Cape Town and the Academic and Non-Fiction Author's Association of South Africa for awarding grants toward the writing and printing of this book. I would also like to thank François van Schalkwyk and African Minds publishing for the encouragement and support in the writing process. Special thanks also to Anri Herbst for her sound advice and to Mikhaila Smith for her tireless editing.

### **Explanatory notes**

#### **Recordings**

e transcriptions used in this book are taken from six key albums and provide a perspective of Mseleku's work from 1991 to 2003. Additional musical excerpts have been transcribed from *e South Bank Show* documentary providing valuable insight from the perspective of the artist himself.

All the albums are studio recordings except for *Meditations*. Apart from *Home at Last*, the backbone of the rhythm sections on the balance of the recordings is all American. is includes well-known musicians Michael Bowie on bass and Marvin "Smitty" Smith on drums, both of whom appear on *Celebration* and *Timelessness*, as well as drummer Billy Higgins and bassist Charlie Haden who appear on *Star Seeding.* Older players like Higgins played with many of Mseleku's inuences and inspirations including, and especially, elonious Monk.13 An unmistakable focus of players who had association with John Coltrane is also distinctly noticeable on *Beauty of Sunrise*. is includes Coltrane's son Ravi Coltrane, an established saxophonist in his own right, as well as trumpeter Graham Haynes – the son of drummer Roy Haynes. Several other players who worked directly with Coltrane are also present, particularly drummer Elvin Jones who formed part of John Coltrane's celebrated quartet, as well as saxophonist Pharoah Sanders who appears on Coltrane's seminal *Ascension* and *Meditations* albums14 – the latter interestingly being the same title as Mseleku's solo album. Although Mseleku plays saxophone on some of his own recordings, additional and signicant horn players also appear on various tracks. ese include proled American jazz saxophonist Joe Henderson on *Timelesssness* as well as Jean Toussaint on *Celebration*. Toussaint played with Art Blakey and also worked with some of the great American bebop and post-bop jazz pianists like Horace Silver, Cedar Walton and particularly Mseleku's boyhood idol McCoy Tyner.

<sup>13</sup> Monk (1960)

<sup>14</sup> Coltrane (1965a and 1965b)

#### EXPLANATORY NOTES

Mseleku's debut album *Celebration* was recorded on the World Circuit label during the latter half of 1991 through early 1992. e liner notes indicate two sessions, the main body of the compositions being recorded at Raezor Studios in London in December 1991 with the addition of a single track recorded with British saxophonist Courtney Pine and Sowetoborn percussionist ebe Lipere at CTS studios (London) in January of the following year. Mseleku moved to London in 1985 and a residency at Ronnie Scott's jazz club (through the help of well-known hard bop pianist and composer Horace Silver) appears to have been critical in attracting artists like Courtney Pine and Steve Williamson who appear on the album and who, by association, helped him advance his career options.15

*Meditations* is the only solo album and was recorded live at the Bath International Festival in London in June 1992 on the Verve label.16 Other albums recorded on Verve are *Timelessness*, recorded at Power Station Studios in New York in August 1993, and *Star Seeding*, recorded at Conway Recording Studios in Los Angeles in March 1995. *Beauty of Sunrise* was recorded in November of the same year on the Polygram label at Clinton Recording Studios, New York City. e only album recorded in South Africa is *Home at Last*, recorded on the Sheer Sound label in January 2003 at SABC studios, Johannesburg.

#### **Transcriptions**

All the notated music used in this book has been transcribed from original recordings by the author himself and is representative of the performances on specic recordings. ese are intended to serve as notated evidence of the artist's work and are for study and analysis. However, the true essence of Mseleku's music will always lie in the original recordings. e transcriptions of his compositions are presented in a lead sheet format intended to outline the basic framework of the tunes as they appear on the albums, including melody, chords and form. e transcriptions of improvised solos played by the artist are intended to highlight the interpretation and thinking of the artist visually within the framework of the harmonic structure of a tune and while they can be read and played, they are primarily intended as a reference for study rather than performance.17

<sup>15</sup> Ankeny (2018)

<sup>16</sup> The online biography of Mseleku (ibid.) states that he had left London after recording *Celebration* and that he had disappeared off the scene for some two years. This was to seek retreat at a Buddhist temple to deal with his health and well-being. The dates, however, do not to line up with this indication as both *Meditations* and the BBC feature were recorded in the same year as *Celebration*.

<sup>17</sup> Transcription reduces music to a one-dimensional representation of a performance, the intention being to provide a graphic from which to address particular features that characterise the artist – the lines, choice of phrasing, use of scales, substitutions and rendering – within the context of his influences and the overall medium of expression.

#### **Chord nomenclature**

Chord symbols indicate the basic functional sensibility of the tune, but it is important to note that the artist often deviates from the chords. is is common practice. e expression of chords is always exible and players generally apply their own harmonic language within the framework of the tune. is speaks to the inuences, interpretation and approach of the player. ere are many conventions for chord nomenclature. is text uses commonly adopted shorthand symbols including 'Ma7' for a Major 7 chord, '-7' for minor 7 and '7' for a dominant seventh. Additional tensions on chords, where applicable, are included in brackets after the chord, for example, C7(#11). A circle crossed with a single diagonal line refers to a half-diminished chord also notated or referred to as a '-7b5' – a minor 7 chord with a attened fth.

#### **Rhythmic notation**

e swing-eighth note is the primary driver of the melodic line in jazz and is notated as an eighth note at times with the added musical term 'swing' as the indicator of how it is to be played. is is to avoid endless triplet groupings of a quarter note followed by an eighth note. Each player interprets the swing feel dierently; however, it is generally felt as a triplet. At faster tempos, the middle note in the triplet begins to disappear and we simply hear the 'swing-eighth note feel'.18 e delivery will change depending on the player, with some playing behind the beat and others either on top or slightly ahead of the beat. is is a key factor in characterising the identity of a player but can never really be accurately notated. If it were at all possible to give accurate notation to this 'feel' it would most certainly be at the expense of the conceptual framework that informs the construction of the music and for purposes of analysis is of no real value. Swing eighths are thus indicated as eighth notes. At tempos where both swing and triplet eighths are present, however, or where the middle eighth note in a triplet group is an integral part of the rhythm, a composite form of notation is often adopted. is can be seen in tunes like 'Mamelodi' (see Fig. i-v below), where both swing eighth notes and triplets are written.

e choice to notate in a particular division is informed by the overall concept of the tune. In the case of a tune like 'Mamelodi', although a 12/8 feel predominates in the introduction, the overall tune is played in a swing feel. Notating in 12/8 does not really speak to the concept of the tune as a whole and although the A section reads adequately in both time

<sup>18</sup> Drummer Peter Erskine articulates the complexity of notating this time feel in *Drum Concepts and Techniques* (Erskine 1987: 14).

signatures (Fig. ii and iii), the B section does not reect the swing feel properly when notated in 12/8 (Fig. iv and v).

Traditional notation is not ideal for capturing the essence of the rhythmic complexity of jazz. Fig. vi shows three possible ways to notate the rhythm of the rst four bars of 'Meditation Suite'. Two tiers of complex time are felt with 3 against 2 in the quarter note and eighth note subdivision. e tune can be notated as a combination of swing eighths and notated triplets or with all the triplet groupings notated or as 9/8 (Fig. vi). e

choice to notate in a particular way must inevitably be informed by the overall concept of the tune.

Comparison of the notation of the first four bars of 'Meditation Suite'

Ballads are particularly complex to notate as the rhythm can often uctuate between halftime, double-time, triplet and 12/8 feels. No feel predominates over the other and often they coexist. Typically, a ballad is notated with two chords per bar and played in a two-feel. is is consistent with classic tunes in the jazz standard repertoire like 'Body and Soul', 'Skylark' and 'Round Midnight', etc. Interpretation of the time and feel is left to the players and is generally not notated. e complexity of rhythm is compounded in the notation of solos on ballads as there are numerous tiers of 'swing-eighth' and triplet-note lines at play. In this case it is common practice to divide the bar in two, eectively doubling the time such that sixteenth notes are read as swing eighths (Fig. vii and viii). A good example of this can be heard in Herbie Hancock's solo on 'My Funny Valentine'.19 Transcriber Bill Dobbins divides his notation of the solo into two parts. At the point where Hancock begins to play what feels like medium tempo swing, he indicates 'Double time' above the stave so

<sup>19</sup> Davis (1964)

#### EXPLANATORY NOTES

that a single bar becomes two bars of medium swing.20 is, however, only works if the rhythm section remains in this feel for a suciently long period of time. In a performance where the player keeps uctuating from double to half time, or where both eighths and sixteenths are sometimes played as swing, it becomes dicult to notate the feel accurately without excessive written instructions. In cases like these, accompanying the transcription with the recording becomes crucial.

In Mseleku's 'rough the Years', the triplet-eighth note is emphasised in a way that requires indication of metric modulation at certain points. is occurs in the head where ve eighth notes are played in the time of the previous triplet swing eighths. Although a 12/8 time signature would negate the complexity of such metric modulation, the main body of the tune would look visually complicated and hence the tune is probably better notated as per a typical ballad with indication of the metric modulation (Fig. vii and viii).

**Fig. vii** 

<sup>20</sup> Dobbins (1992: 51-55)

#### **Fig. viii**  Opening bars of the solo on 'Through the Years' – notated in double time

#### **eoretical practice**

Establishing a practical framework of principles that form the basis of how jazz musicians communicate their art is necessary for relevant analysis in the style to take place. e theoretical practice used in this study is consistent with generally accepted practices in jazz.21 e author assumes that the reader has an understanding of common theoretical practices. Below is a brief description of the analytical methodology used in this book.

Harmony is divided into three basic categories: functional or established key harmony (following the rules of harmony), key related harmony (the use of chords drawn from the key but not necessarily in functional order) and ambiguous harmony (the use of any chord). Often there exists an interrelationship between all three and some compositions may include aspects of all. Understanding functional harmony, however, is central to grasping Mseleku's conceptual approach as this aligns directly with the construction of his compositional and improvisational sensibility.

Fig. ix serves as a guide to the analytical notation used in this book. Harmonic analysis is indicated in Roman numerals above the chord symbols and chords are described by position, quality and function in

<sup>21</sup> Texts such as Mark Levine's *Jazz Theory Book* (Levine 1995) are generally accepted as indicative of practices for theoretical thinking in jazz.

#### EXPLANATORY NOTES

respect of the key. An arrow up or down refers to a change in key in which the numerical interval indicated next to the arrow determines the intervallic relationship to the new key. A minus sign (-) before the number indicates a minor interval, for example, -3 (minor third). Relationships of II-7 to V7 are bracketed (as seen in bars 1 and 2, for example). Some chords have dual function as seen in bar 1 of Fig. ix where F-7 is both I-7 in the key of F minor as well as the related II-7 of the subsequent dominant. e bracket recognises that a II-V relationship still exists even though the rst chord (I-7) is analysed according to its diatonic function. Brackets around a dominant 7th indicate that the expected resolution of the dominant has not been functionally realised. is mostly occurs at points of modulation as seen in bar 1 where the function of Bb7 could be heard both in the key of F minor or Db major. Here, the old key analysis is placed above in brackets. Where a dominant 7th has indirect resolution, brackets are not indicated as the expected resolution has been met, only 'indirectly'. is occurs where the dominant 7th chord of resolution has been preceded by its related II-7 chord. For example, in the key of Bb, C7 should resolve to F7 but may do so indirectly via the related II-7 chord of F7 (C-7).

### **PART ONE**

### **Analysis of Compositions**

Mseleku's conceptualisation of harmony and his use of form are consistent with approaches found in African-American jazz. e added texture of his traditional roots, however, brings a unique and lyrical quality to his work that is distinctly African and this, combined with other inuences like classical and Latin-based music, has seen his style branded more in the world music genre than that of pure jazz. Some of his inuences are more present in certain works than others; however, a consistent musical approach is evident in all and this resonates in the conventional structures and chord progressions typical of the jazz style.

Established harmonic practice in jazz is evident in the extensive use of typical root-based harmonic progressions from which thousands of tunes have emerged. ese form the backbone of the repertoire and have facilitated innite possibilities for composition as well as tremendous freedom for musical expression. It is through this that the melodic language of jazz ultimately developed. Mseleku noticeably subscribes to this in his compositions and his unique and original voice within the medium is testimony to its endless potential for creative expression.

e compositions selected for analysis are grouped under dierent headings not to isolate them in specic categories but rather to unpack and draw attention to the artist's inuences and stylistic inclinations across a spread of compositions. All the compositions on the listed albums are instrumental except for 'rough the Years', which has lyrics written by Abbey Lincoln. ose that include voice, either sung by members of the ensemble or by the artist himself, are generally not in a traditional accompanied song format, but rather include voice as a form of chant in the music. Several compositions have clear African-American jazz inuences – some being directly dedicated to American jazz legends like pianist Bud Powell and saxophonist John Coltrane. Mseleku's traditional African heritage is also distinctly present in several compositions as well as Afro-pop and traditional township inuences, particularly those on

#### THE ARTISTRY OF BHEKI MSELEKU

the *Home at Last* album. More subtle inuences include elements of western classical Romantic music and some Latin-based inuences. A particular fascination with cyclical harmony also forms a signicant part of Mseleku's conceptual approach to composition. In some instances, it forms the foundation of the entire harmonic structure of a tune. is is discussed by the artist and is perhaps an appropriate point of departure for unpacking his harmonic approach to composition and improvisation.

### **Chapter 1 – Cycles**

Expectation and predictability are hardwired into the harmonic system in jazz and this gives a particular structural sensibility to the music. Chords behave a certain way in respect of their function and we are comfortable with typical progressions appearing over and again. Like short musical equations, they invite predictable outcomes but also generate innite possibilities for composition. ese are the bedrock of the jazz standard repertoire. Many tunes use identical progressions and some repeat entire sections in dierent keys with recurring themes. For instance, the classic I-VI-II-V progression underpins the opening statements of 'Time After Time', 'I'll Take Romance', 'Let's Fall in Love' and 'When I Fall in Love' and the I-IV-III-VI-II-V progression at the beginning of 'I ought about You' also appears in bars 5-7 of 'When I Fall in Love', bars 13-16 of 'Gone with the Wind' and in bars 3-4 of 'at's All' and 'Our Love Is Here to Stay'. Melodic repetition and thematic construction are also found in many classic tunes like 'All the ings You Are', 'Joy Spring' or 'You Must Believe in Spring' where entire sections reappear transposed to dierent key centres. Chords are often reharmonised or disguised with substitutions giving much scope for creative exploration within a basic predictable harmonic framework.

e mathematical nature of harmonic expectation allows for chords to be combined in ways that can endlessly full expectation of resolution with no real ending point. ese are cyclical progressions, a simple example being a cycle of dominant 7ths where each resolves to the next in an endless realisation of resolution. More complex examples can be found in combinations of chords that explore the symmetry of the harmonic system. ese are of particular interest to this study as they form a central thread in Mseleku's compositional approach. Mseleku discusses this in the BBC programme22 and demonstrates his use of it in an improvisation over a common chord sequence found in the rst eight bars of the jazz standard 'Autumn Leaves'.23 is 'conventional' progression also forms

<sup>22</sup> Bragg (1992). For the transcription of which, see Appendix A.

<sup>23</sup> Mseleku does not refer to 'Autumn Leaves' as the inspiration for this extended progression; it just so happens that the chord sequence is the same.

the foundation for his extended improvisations on both 'Closer to the Source' and 'Meditations'. In this example, a continuous cycle is created through a pivot modulation at the point in which the progression resolves to the relative minor facilitating an endless progression that passes through all twelve keys. Each chord progresses as expected from II-7 to V7 to I, creating a natural harmonic cycle in which there is endless scope for expression (Fig. 1.1).

ere's a lot of things you can do into it and – I don't know *–* for some reason I get attracted to play these kind of changes*,* like going from the key where I started until I've played twelve keys in a whole because of the ow.24

Endless variations are possible and motivic melodies naturally emerge from the cycle as a direct result of the symmetry of the progression. Below (Fig. 1.2), Mseleku plays a motif that traces the symmetry by continually targeting scale degrees 9-1-7-6 in each bar, making a repetitive threebar unit. Mseleku uses additional harmonic devices like the suspended dominant in bar 1 on E7 or the diminished approach chords in bars 4 and 7 to enhance the complexity and delivery of the progression.

e cycle provides innite scope for expression, creating an almost meditative quality that has profound signicance for the artist in his spiritual practice. is is reected in the title of his *Meditations* album on which the cycle is used as a source for the improvisation.

<sup>24</sup> Mseleku, in Bragg (1992). See Appendix A.

I know that what I've just been playing most of the time is repetitious*,* but somehow, for me, it ows without any denite knowledge of where it will end. It seems like it can go forever. I tried to end this piece because it's not a piece as such and I had problems with ending it because it just wanted to ow. is is what happens when I go out of time*,* like not having to worry that we're lming now, or worry in terms of the gig that it starts at a certain point and ends at a certain point, or with a recording as well. ese things create a problem*,* but for me, music should just be [an] experience every time, all the days of your life. It should be a spiritual thing *–* a ritual.25

is same chord sequence appears at the end of 'Closer to the Source' in which the piano improvises alone for a short duration through the cycle, eventually settling on a repetitive melodic theme that moves through two of the cycles (Fig. 1.3). is is played freely and expressively.

<sup>25</sup> Mseleku, in Bragg (1992)

### **Fig. 1.3**

After two cycles, the saxophone and piano play a second melodic theme (Fig. 1.4). is is also played freely with the piano improvising under the saxophone. e cycle eventually ends on the tonal centre of C minor.

In another example, Mseleku improvises over a series of dominant 7th chords played through a cycle of fourths. Here, the emphasis is on tensions consistent with the diminished scale (b9, #11 and 13) using a constant structure comprising a minor third, perfect fourth and minor third built on either b9, 3, 5 or b7 of the dominant (Fig. 1.5).

is, for me, sounds more like elemental sounds. It could be like thunder or whatever. Like nature can seem very unorganised sometimes, producing earthquakes and winds which can disturb a lot of people. So sometimes I guess, because of what we pick up, we can play these things otherwise there would be no necessity in them. I think another part of us live in another realm, which is not aected by any outward things that are happening, so it's always still and peaceful and I try and tune to this part. Hence, I try sometimes to play things that move gently and harmoniously in the way that they move. Like my tunes. Some of them are very simple tunes because I feel attracted to this part of me that is like a child.26

Repetitive melodic motifs are generated naturally from the cycle and the use of the diminished scale results in four-note symmetrical segments of alternating whole steps and half steps over each chord, creating a repetitive symmetrical line (the two-note, whole-step unit is switched from the second bar onwards).

<sup>26</sup> Mseleku, in Bragg (1992)

#### **Fig. 1.6**  Diminished scale segments on a dominant 7th cycle

#### **'Cycle' (***Celebration***)**

Mseleku's attraction to cyclical harmony is evident in the title and construction of his composition*,* the conceptual structure of which is mirrored in both 'Melancholy in Cologne' and 'Aja'. All three compositions are built on a symmetrical axis – 'Cycle' and 'Melancholy in Cologne' on a diminished axis and 'Aja' on an augmented axis. e use of diminished and augmented axes is seen in Coltrane's compositions like 'Giant Steps', 'Countdown'27 or 'Central Park West'.28 Although not purely cyclical, all utilise the augmented axis for compositional structure and tunes such as 'Like Sonny'29 employ both diminished and augmented axes. In 'Cycle', Mseleku utilises two musical 'equations' generated from the expectation of a dominant and its resolution. e symmetry created from progressing up a whole step to a dominant from a minor chord or down a half step from a major 7 chord provides two avenues of movement. If the progression continually moves from a major 7th down a half step to a dominant resolving as expected, an augmented axis will automatically result. If it moves from a minor 7 up a whole step to a dominant resolving to minor, the progression will continue endlessly through a cycle of fths. Mseleku engages the repetitive symmetry naturally generated by these harmonic 'equations' to create interesting harmonic cycles. Repetitive motifs result

<sup>27</sup> Coltrane (1959b)

<sup>28</sup> Coltrane (1964b)

<sup>29</sup> Coltrane (1959a)

naturally from this symmetry and Mseleku uses this to drive the melodic integrity of the compositions.

'Cycle' comprises an eight-bar sequence of minor 7 chords built on the alternating notes of two diminished 7th axes (Fig. 1.7).

Each minor 7 chord is preceded by its dominant 7th, making an eight-bar repeated cycle (Fig. 1.8).

e progression is analysed as a series of dominant 7ths resolving to each of the minor chords built on the alternating diminished axis (Fig. 1.9). Each alternate minor chord has dual function, both as I-7 of the new key and IV-7 of the subsequent key, constituting a subdominant minor to dominant resolution on each of the minor chords built on the C# diminished axis.

e melody of 'Cycle' is constructed on a series of repeated one or twobar phrases that trace the symmetry of the harmony, giving repetitive structure to the line. e action of the melodic line is propelled by the use of tensions #5 and #9 on the alternate dominant 7ths. e strength of movement from the minor chord to a dominant 7th up a major third is reinforced by the #5 also being the major 7th of the previous minor chord. ree eight-bar melodic sequences are used over the chord sequence and appear at the beginning and end of the tune making a twenty-four bar form in total (Fig. 1.10). All three compositions follow a similar format with repeated motifs that embrace and explore the symmetry of the cyclical harmony. Repetition and thematic phrasing are inherently invited by the symmetry of the harmony and this is also present in his improvisations on the same tunes.

#### **'Melancholy in Cologne' (***Star Seeding***)**

'Melancholy in Cologne' is constructed on a diminished axis with a twobar repeated chord sequence descending through the four key centres a minor third apart (Fig. 1.11). e progression moves from IMa7 to IVMa7 via the substitute dominant. IVMa7 has dual function, both as the chord occurring on the fourth degree in the key and as bVIMa7 in the subsequent key. Being a sub-dominant minor related chord, the use of bVIMa7 expresses a variation on the functional movement of the subdominant minor to the dominant seen in 'Cycle'; this time it is expressed as bVIMa7 followed by a dominant 7th a half step lower and via its related II-7 chord (GbMa7- C-7b5 F7).

Like 'Aja' and 'Cycle', three independent two-bar melodic phrases with some small variations trace the symmetry of the progression, making a twenty-four bar form in total. e melodic line generally follows the guide tones of the chords (Fig. 1.12).

**Fig. 1.12**  'Melancholy in Cologne' – melodic analysis

#### **'Aja' (***Beauty of Sunrise***)**

Like 'Melancholy in Cologne', 'Aja' is also constructed on a symmetrical axis. A twelve-bar form comprises a repeated four-bar progression in the three key centres built on an augmented axis (Fig. 1.13).

Bars 3-5, 7-8 and 11-12 have the same functional construction as bars 1-2 and 5-6 of 'Melancholy in Cologne', the only dierence being that the dominant and related II-7 take up an entire bar in 'Aja' as opposed to two beats in 'Melancholy in Cologne' (Fig. 1.14).

#### **Fig. 1.14**

**Fig. 1.13** 

Comparison of 'Aja' and 'Melancholy in Cologne'

As with 'Cycle' and 'Melancholy in Cologne', the head of 'Aja' explores dierent melodic motifs as the primary drivers of the composition. ree distinctive thematic ideas reect on the trilogy of the augmented axis creating a thirty-six-bar head (Fig. 1.15).

16

**Fig. 1.16** 

e thematic development naturally invited by the symmetry is also found in Mseleku's improvised solo with particular melodic sequences repeated several times (Fig. 1.16). Below, an ascending arpeggio followed by a descending scale segment traces the four-bar progression in a similar way several times. e II-7b5 chords in bars 1 and 2 of the progression are replaced with II-7.

17

e cyclical nature of the harmony invites similar phrases that occur multiple times and always in the same place. Fig. 1.17 shows a similarly constructed descending scale line in bar 2 of the progression, occurring ve times in Mseleku's solo.

#### **'Angola' (***Celebration***)**

Cyclical harmonic sequences are also present in compositions that are not purely cyclical in nature but rely on sequences to drive the harmonic identity of the tune. In 'Angola', the movement of a minor 7 up a whole step to a dominant is used throughout the composition to activate harmonic movement between the central themes located in the two primary key centres of C minor and Db major. As indicated earlier, this sequence moves through a cycle of fths, each minor chord eectively having dual function as I-7 in the resolution key and IV-7 in the subsequent key of resolution. Played in its entirety, the sequence will take twelve bars to complete a cycle (Fig. 1.18).

In 'Angola', Mseleku uses incarnations of this cyclical equation to bind dierent sections of the composition together. In Fig. 1.19, the resolution of the subsequent minor is stated before the dominant in the cycle. A similar progression forms part of 'Meditation Suite' (see Fig. 5.3 and 5.4).

**Fig. 1.18** 

Several themes are heard throughout the composition (noted as phrases A-D). e rst cyclical progression begins after phrase B at bar 24. Here, IV-7 (F-7) progresses up a whole step to V7 (G7) and resolves as expected to I-7 (C-7). is cycle repeats through the cycle of fths until bar 31. V7 of A7 is suggested again in bar 32 as F-6, implying the upper structure altered tensions of E7alt. Although F-6 is not dominant in function, the suggestion of E7alt is reinforced by E7 having been just played in bar 30. F-6 has dual function in a sense – both as an implied V7alt of A-7 as well as IV-7 in the home key of C-7. is play on tonality facilitates an ingenious switch back to the key of C minor and establishes a key phrase (phrase C) and a central theme in the new key.

e second cyclical progression also begins after phrase B (after DC) and moves through a diminished axis. e same switch seen in bar 32 occurs at letter D. Here, Gb-6 has dual function both as IV-6 in the key of Db major and as an implied V7alt of Bb minor through spelling the altered tensions of the dominant of Bb minor (F7alt).

**Fig. 1.20**  Analysis of the head of 'Angola'

### **Chapter 2 – Lineage**

e musical heritage of jazz, often referred to as its 'tradition', acknowledges those who have come before as an integral part of the journey of musical apprenticeship. Schools of playing can be traced through a chronology of players like an ancestral chain – not as copies of the past, but rather as an ever-developing line carried forward and informed by multiple layers of innovators and stylists whose contributions have brought the language to where it is.

Mseleku's reverence for particular players in the Afro-American jazz tradition is seen in his dedications to pianists elonious Monk and Bud Powell as well as saxophone legend John Coltrane, all of whom were key innovators in the discipline and whose style had a massive impact on how the music developed. Several of Mseleku's compositions speak directly to this lineage including 'e Messenger', dedicated to Bud Powell, 'Supreme Love' to John Coltrane and 'rough the Years' to elonious Monk and legendary South African saxophonist Kippie Moeketsi. Others give acknowledgement through titles like 'Monk the Priest', 'Monk's Move'30 and 'Woody's Tune' (Woody Shaw).

#### **'Monk the Priest' (***Home at Last***)**

elonious Monk is central to the genealogy of jazz music and his profound inuence continues to ow through the collective musical veins of its progeny. Alongside Bud Powell and Charlie Parker, he was one of the more powerful musicians to emerge from the so-called bebop period, his inspiration extending into many subsequent players including Barry Harris, Kenny Barron, Chick Corea and McCoy Tyner, amongst others, as well as South African pianist Abdullah Ibrahim – all of whose styles and dedications bear direct reference to Monk.31 Monk's classic lines and phrasing have almost become clichés and whether in composition or someone playing along the lines of Monk, his style is always 'instantly

<sup>30</sup> Mseleku affirms this dedication in Bragg (1992) (Appendix A).

<sup>31</sup> Harris (1981), Barron (1982), Corea (1982), Ibrahim (1992) and Tyner (2002).

identiable'.32 ese nuances are all part of a distinctly unique performance style not easily dened by conventional standards, but one that is purposefully and reverently present in Mseleku's 'Monk the Priest'. One is immediately reminded of Monk's poignant ballads like 'Ask Me Now', or 'Pannonica' as well as his renditions of standard tunes like 'Everything Happens to Me' or 'Don't Blame Me'.33 Mseleku's composition is uncannily close to the character of these and one might easily be convinced it was one of Monk's own tunes; the intervallic construction of voicings, use of extended dominant sequences and the ingenious switching of key centres are all straight out of Monk's handbook. e similarities are further reinforced by the performance itself, which is primarily rooted in a stride piano style. Although Monk's overall style was a radical departure from what had come before, he had strong roots in the Harlem stride school34 and presented his modern concepts through this tradition, replacing the rich and ashy technical aspects with an almost poignant barrenness where density and richness are implied through sparing and careful choice of notes. Monk took as his idols primarily James P. Johnson, Fats Waller and Duke Ellington.35 is was a more pianistic approach than was generally adopted by players in the bebop school like Bud Powell. Mseleku follows this brief quite succinctly in his respectful rendering of 'Monk the Priest'.

e composition is constructed on a typical AABA form consistent with several of Monk's ballads including those already mentioned, as well as classic compositions like 'Reections', 'Ruby, My Dear' and 'Monk's Mood'.36 is is usually a thirty-two-bar form; however, in this case the second A section is ten bars in length, making a forty-bar form in total (Fig. 2.1). As is often typical of Monk's compositions, the tune playfully engages dierent keys, beginning in Bb and through a series of extended dominant sequences, moves through A major and settles on Db minor at the end of the A sections and E major in the bridge. Although the tune appears to modulate to A major in bar 5, the point at which one hears this as an actual modulation becomes more of a theoretical argument as AMa7 also nds resonance in both E major and Db minor as IVMa7 and bVIma7 respectively.

<sup>32</sup> Billy Taylor, in *Thelonious Monk: American Composer* (1993).

<sup>33</sup> Monk (1962-1968)

<sup>34</sup> Gourse (1997: 13)

<sup>35</sup> Ibid.

<sup>36</sup> Sickler (1995)

Analysis of the chord sequence on 'Monk the Priest'

Several elements of the composition resonate with Monk's style, particularly the descending arpeggio (bar 3, Fig. 2.2) which characterises the A sections. Although dierently constituted, it is distinctly reminiscent of the opening bars of Monk's 'Ask Me Now'. e use of dyads interspersed with the melody is also a stylistic nuance associated with Monk. Some intervals are more dissonant than others. Examples are seen in bar 3 on the B7 chord where the melody note (tension 13) is combined with the b7, exposing a dissonant major 7th interval; or bar 4 where a less dissonant 6th is exposed on E7 with the 3rd and 9th of the chord. e level of dissonance depends on the relationship of the notes to the chord. In bar 8, the interval of a Ma7th carries more dissonance than is heard on B7 (bar 3) as a result of the melody note being #9 of F#7 being supported by the 3rd of the chord. Other characteristics that speak to Monk's distinct style include the descending whole-tone scale runs (bar 4, Fig. 2.2). e harmonic construction of the bridge, formulated around a simple II-V-I progression, is also consistent with many of Monk's ballads including 'Reections' and 'Ask Me Now' as well as with one of Monk's key inuences, Duke Ellington, whose ballads like 'Prelude to a Kiss' or 'Sophisticated Lady' all have bridges constituted around variations on this simple progression.

26

Mseleku's use of extended dominant sequences is also particularly characteristic of Monk and can be found in Monk's reharmonisations of classic standards like 'Tea for Two', 'Sweet and Lovely' or 'I Got Rhythm'. Fig. 2.3 compares an excerpt of Monk's version of 'Tea for Two'37 with the original chords and melody (shown below the double stave). e rst eight bars move through a cycle of extended dominant 7ths beginning on D7, alternating occasionally with substitutes to bind cleverly with the melody. e progression works out perfectly to resolve on Ab in bar 7. Stride style left-hand voicings (root-7, 7-3), similar to those seen in Mseleku's composition, accompany the slightly altered melody of the tune as well as the use of dyads in the melody (bars 9-10).

37 Monk (1962)

**'rough the Years' (***Timelessness***)**

'rough the Years' is the only vocal tune on all of the albums used for this study. Abbey Lincoln's lyrics beautifully encapsulate the notion of musical heritage, as does Mseleku's rendering of the tune, which clearly resonates with Monk.

rough the years the sounds of love and music come. Come and go some faces of some people we know.

Who bring a haunting melody and play a simple song. Who live to bring a sound, a thrill that lives and lingers on.

e sounds that we hear when earth and heaven are near. A muted trumpet or soulful saxophone, a wail, a singer's moan. 38

<sup>38</sup> Lincoln (1993)

e tune has a rather unusual form of twenty-seven bars, divided into three distinct parts (ABC), each with its own melodic idea (Fig. 2.4). e A section is eleven bars in length and constitutes a six-bar repeated phrase in G major (inclusive of the pick-up bar). e B section is a repeated vebar phrase inclusive of a metric modulation that engages the triplets of the slow 12/8 swing feel. e C section is six bars in length.

e harmonic concept of the A section is entirely formulated on a typical I-IV-III-VI-II-V7 progression. is typical progression is found in many standard tunes like 'I ought about You' (opening bars), 'When I Fall in Love' (bars 5-7), 'Gone with the Wind' (bars 13-16), 'at's All' and 'Our Love Is Here to Stay' (bars 3-4). Two versions appear: the rst as an extended dominant reharmonisation (bars 1-3) and the second beginning with #IV-7b5 (bars 4-6). e latter version is also seen in various forms in numerous tunes in the standard repertoire, including 'Night and Day' (bars 9-16), 'at's All' (bars 5-8) and 'Time After Time' (bars 9-16 of the second A), and is also often used as a reharmonisation for tunes that follow the basic progression like 'ere Is No Greater Love'. Fig. 2.5 shows various reharmonisations of this standard progression.

e B section also utilises a common progression found in the jazz standard 'Autumn Leaves'. Here it nds itself in two dierent keys as part of a quick metrically modulated phrase. Mseleku's ability to use and reuse these typical progressions in various forms is testimony to the endless opportunity for creativity that the harmonic language aords.

e solo section is not over the form of the tune but rather engages aspects of the tune in a way that ows naturally from the melody. All three sections are present in the solo; however, the A and C sections are extended. In the A section, the rst three bars are repeated, making fourteen bars as opposed to eleven and the C section adds two extra bars at the end to facilitate a return to the bridge (Fig. 2.6).


#### CHAPTER 2 – LINEAGE

**'e Messenger' (***Celebration***)**

From 'Priest' to 'Messenger', Mseleku's titles provide telling clues to the ow of knowledge that informs the tradition and his respectful acknowledgement of Bud Powell in 'e Messenger' speaks to the pivotal role Powell occupies in the development of the modern jazz piano style. Where stride dominated the period before the emergence of bebop, Powell's linear approach was more suited to the improvisatory style of the bebop horn players like Charlie Parker. He was quite literally a pianistic translation of the style associated with Parker and remains 'the most important single pillar in the structural underpinnings of modern improvisational piano.'39

'e Messenger' probably does not intend to mimic the style of Powell directly, but rather is a respectful acknowledgement of the player and his profound contribution to the lineage. e tune is constituted around the harmonic language that generally typies the bebop style; however, its form is quite unusual by comparison to Powell's compositions. Where Powell's tunes like 'Hallucinations', 'Bouncing with Bud' or 'Celia' are

<sup>39</sup> Doerschuk (1984:26)

often based on thirty-two-bar AABA forms comprising even-numbered eight-bar sections, 'e Messenger', by contrast, is seventy-two bars in length, each section comprising eighteen bars – the A sections being made up of two nine-bar phrases, inclusive of a 3/4 bar, and the B section comprising a fourteen-bar phrase followed by a four-bar turnaround leading back to the last A (Fig. 2.7). e tune begins and ends in E major but moves through several dierent key centres (C, B, F and Ab). e sensibility of the composition is driven by an opening phrase in bars 1-2 and 9-10 of the A sections, followed by an identical six-bar phrase in two keys – C and F. Bars 12-17 of the A sections are the same as bars 3-8, only transposed up a 4th. e bridge is an entirely new section in the key of Ab, driven by an eight-bar phrase partially repeated up a major 3rd in C major and followed by a series of II-Vs leading back to A. In contrast to the rapidly moving changes of the A sections, the bridge temporarily rests on the two key centres Ab and C, alternating between the major chord and its auxiliary diminished.

e solo section is slightly dierent from the form of the tune. e 3/4 bar disappears and the lengths of the A sections are extended to twenty bars, making a seventy-eight-bar solo form (20+20+18+20). e chords in the solo section are also slightly dierent to the head. Mseleku often includes a dierent solo section in tunes with odd numbered forms. is is consistent with tunes like 'Angola', 'e Age of Inner Knowing' and 'rough the Years'. All have separate solo sections either entirely dierent or slightly dierent to the composition.

#### **'Supreme Love' (***Celebration***)**

e inuence of John Coltrane and the modal style associated with his later work are most certainly an inspiration for 'Supreme Love'. e title itself speaks directly to Coltrane's pivotal album *A Love Supreme*<sup>40</sup> and the sound and texture are consistent with the musical identity established by Coltrane's celebrated quartet. is is reinforced by Mseleku's use of the soprano saxophone as the driving instrument for the melody, similar to Coltrane's classic recordings of tunes like 'My Favourite ings' or 'Afro Blue'. Like these tunes, 'Supreme Love' is also in 3/4 with a leaning toward a 6/8 feel. e fact that Mseleku drops out at the beginning of the second chorus of the saxophone solo also speaks directly to a characteristic of Coltrane's quartet and one associated with the musical relationship between pianist Tyner and Coltrane. Tyner often stopped playing at points during Coltrane's solos to allow Coltrane more freedom to explore in the absence of supporting voicings. is is beautifully captured in the solo of soprano saxophonist Steve Williamson on 'Supreme Love'.

<sup>40</sup> Coltrane (1964a)

Coltrane's quartet included both drummer Elvin Jones (with whom Mseleku plays on *Beauty of Sunrise*) as well as Mseleku's boyhood idol McCoy Tyner. Tyner's sound and identity formed an indispensable part of this group and without him, the quality we associate with Coltrane's modal style would likely be entirely dierent.41 e musical identity associated with Tyner includes the use of quartal harmony, modes and pentatonic scales – the adoption of which has been a major inuence in the modern jazz piano style.42 Mseleku's anity with Tyner's style is unmistakable and they both unsurprisingly come from the same lineage of Afro-American players. is includes Bud Powell, who lived in the same neighbourhood where Tyner grew up, as well as elonious Monk who was also inuential in Tyner's development.43 Subsequent pianists such as Kenny Kirkland, Joey Calderazo and Mulgrew Miller all display aspects of Tyner's inuence and Mseleku ts perfectly into this stream – a less European-orientated jazz piano tradition and one more rooted in an Afro-American essence.

'Supreme Love' comprises two main themes: a recurring opening phrase and a refrain. e rst phrase is a repeated four-bar melody played over two dierent modes – D Dorian and F Lydian dominant. e chords are expressed as alternating bars of D-7 to E-7 and Eb/F to F/G (Fig. 2.8). Modal compositions comprise static non-functional harmony over one or two chords. e absence of moving chord changes demands an entirely dierent approach with more emphasis placed on motivic development within the mode rather than the outlining of a chord as in functional harmonic settings. Exploration outside of the mode is also part of the overall design associated with the style and hence Mseleku can be heard outlining the melodic minor at times as well as moving through constant-structure voicings outside of the connes of the mode. Although functional harmony is generally absent in modal settings, the C section ends on V7sus4(b9), inviting some tonal functionality around D minor.

<sup>41</sup> Tyner noted that he believed Coltrane 'wouldn't have evolved in the same fashion' if Tyner had not been his pianist (Postif 1989, in Porter 1999:177).

<sup>42</sup> Kerkstra (2000)

<sup>43</sup> Porter (1999: 177)

#### **'Woody's Tune' (***Beauty of Sunrise***)**

'Woody's Tune' appears under two dierent t itles. I t w as o riginally recorded with lyrics under the title 'A Song for You' by British jazz vocalist Cleveland Watkiss on *Green Chimneys* (1989)*.* 44 It reappears as an instrumental on *Beauty of Sunrise* (1995) and, although not specifically indicated, acknowledges trumpeter Woody Shaw in its title. The tune is written in a style that characterises the post hard bop and modal music of the 1960s of which Shaw was a key player.45 Saxophonist Joe Henderson recalls how he was reminded of this period when he first heard Mseleku's music:

I don't hear this kind of talent. It's like he should have been part of the '60s in America. I mean, his writing reminds me of the writing that went on in New York City between 1960 and 1968. All those wonderfully talented players they had there and so I feel a very strong kinship with him.46

*Beauty of Sunrise* appropriately includes several great American jazz legends and their progeny including trumpeter Graham Haynes (son of Roy Haynes) as well as Ravi Coltrane and drummer Elvin Jones. 'Woody's Tune' is similar to compositions of the post-bop period many of which include a combination of modal, functional and ambiguous harmony – the sensibility of the latter often driven through an implied harmonic functionality. Composers such as Horace Silver, Wayne Shorter, Cedar Walton, Woody Shaw and Joe Henderson all explored a combination of ambiguity and functionality in the harmonic construction of their compositions. An example can be seen in 'Silver's Serenade' where the constant-structure minor 7 chords a tritone apart imply the movement of II-7 –V7alt (Fig. 2.9) – a concept used extensively by the bebop and post-bop players.47 In 'Silver's Serenade', E-9 followed by Bb-9 outlines the movement of the related II-7 of a dominant and its tritone substitute. E-9 thus has dual function both as VI-9 and the related II-9 of V7/V in the key of G. e harmonic sensibility is therefore indirectly driven by the primary power of a dominant cadence. In essence, the opening four bars in context of the key of G imply V7/V-V7 and this is reinforced by the soloists, like trumpet player Blue Mitchell, who utilise the bebop dominant 7th scale built on the corresponding dominant over the II-7

<sup>44</sup> Watkiss (1991)

<sup>45</sup> The link to Woody Shaw is expressed in a review of *Beauty of Sunrise* at https://www.allmusic.com/album/beauty-ofsunrise-mw0000024496.

<sup>46</sup> Joe Henderson, in *Bheki Mseleku: Talkin' Jazz*.

<sup>47</sup> Rees (1994)

chords (A7 bebop dominant over E-7 and Eb7 over Bb-7). As is also characteristic of the writing style of the period, the tune combines keyrelated and ambiguous harmony with functional harmony, as seen in bars 11-16 where the tune clearly modulates to the key of Bb.

#### **Fig. 2.9**  Analysis of 'Silver's Serenade' – Horace Silver

A similar concept is seen in Joe Henderson's 'Inner Urge' where the starting chord F#-7b5 has exactly the same notes as D7 and the mode is derived from the same parent major scale. e source scales Locrian and Mixolydian contain exactly the same notes and focus (Fig. 2.10).

### **Fig. 2.10**

Similarly, the subsequent chords FMa7(#11), EbMa7#11 and DbMa7#11 comprise the same notes as the rootless voicings for G7, F7 and Eb7 respectively. e rst four bars of 'Inner Urge' could therefore be heard as a functional progression of dominant sevenths, the last two inclusive of their related II-7 chords as shown in Fig. 2.11. e pull of harmonic functionality indirectly drives the sensibility of the progression.

Implied function is also found in Woody Shaw's 'Moontrane' where what appear to be unrelated minor chords reveal several layers of functional harmonic sensibility (Fig. 2.12). is can be seen in bars 5-6 of the A section and bars 5-8 of the B section. Both lines ascend through a diminished axis yielding a functional sensibility that forms part of a more obscure harmonic language consistent with modern players like Shaw. e minor chords in bars 5-6 of the A section ascend, following a whole-half diminished scale built on C. e ascending minor chords all relate directly or indirectly to aspects of the dominant 7ths built on the diminished axis of F. C-7 is the related II-7 of F7. e chord tones of the subsequent D-7 chord can relate either to F7 or B7alt. e same goes for Eb-7-F-7, in that Eb-7 is the related II-7 of Ab7 and the chord tones of F-7 relate to both Ab7 and D7alt. In essence, coupled with the DMa7 chord in bar 7 whose triad already has function over F7 (spelling tensions b9 and 13), the entire line suggests a dominant function culminating in the II-7-V7 in bar 8.

Another layer of implied function can be seen on C-7, which comprises all the altered tensions of A7, and by implication gives a strong 'resolution' from C-7 to D-7. e same applies to Eb-7 moving to F-7, in that Eb-7 comprises all the alterations of C7. Adding the related dominants to the minor chords in the B section reveals a set of contiguous II-V7s that suggests an extended dominant progression with indirect resolutions (C7 resolves to F-7 and Bb7 resolves indirectly to Eb7 via the related II-7, etc.). As with 'Silver's Serenade', actual functional harmony is also interwoven into the tune. At the beginning of the B section, the key tonality of Eb is clearly established by a II-V leading into the bridge as well as a secondary dominant function into III-7.

**Fig. 2.12** 

In Mseleku's 'Woody's Tune', minor chords are built o an augmented axis on D (Fig. 2.13). Sensibility is driven by the relationship between the minor chords, in that D-7 is the related II-7 of the substitute dominant (G7) leading to F#-7. D-6 also spells all the alterations on C#7. Dominant function is suggested in the movement from D-7 to F#-7, either as G7 resolving down a half step or C#7alt resolving down a 5th respectively. Similarly F#-7, being the related II-7 of B7, and F#-6 spelling alterations on F7, suggests dominant function resolving to Bb-7. e same goes for Bb-7 resolving to D-7, where Bb-7 is the related II-7 of Eb7 resolving down a half step to D-7. is musical 'equation' plays itself out from any point on the axis.

e form of the tune is complex, comprising a total of eighty-three bars with distinct sections. e arrangement is the same for both recordings except for a change of rhythmic feel between sections as well as some small melodic embellishments in the instrumental version that are absent in the vocal version. Although there is much repetition in the construction of the melody, there is also a considerable amount of variation. is creates a form of uneven numbered sections largely dened by the changes in rhythmic feel from Latin-swing to swing. ere is only one complete eightbar section that could constitute a repeat sign; however, this would require written instruction and multiple signs and codas. Hence, the piece is best written out in its entirety. e form could loosely be read as a principal theme with alternating and contrasting sections – ABACAD (Fig. 2.14). e central theme is built on the chords of the augmented axis and is repeated with variation three times in the tune (A1-3). e A sections are not identical but are essentially of the same thematic sensibility. e rst A is inclusive of what appears to sound like an introduction and is folded into the form of the second A. Even though both A sections are twenty bars in length, the rhythmic feel and distribution of phrasing are dierent. e rst A is in a Latin-swing feel and the second in swing. ere are fourteen bars before the 2/4 bar in A1 and twelve in A2. e time signature change in the second A is extended to make up a decit of two bars. Bars 8 and 14 of the rst A are the same as bars 8 and 12 of the second, giving a sense of identity, similarity and structure to the A sections. e last four bars of both A1 and A2 are identical.

Two dierent sections follow A1 and A2. ese can be seen as B and C. Although they begin on the same note, the chord is dierent and what follows is entirely dierent. e B section is twelve bars in length and is conceptualised around three contiguous II-Vs, descending by a whole step and ultimately leading back to the central theme. GMa7 and E-7 are functionally related and thus interchangeable (E-7 being VI-7 is tonic related and comprises the same notes as G6). GMa7-A7 can be interpreted as E-7-A7. e C section is only eight bars in length and comprises a repeating two-bar phrase that targets tension #9 of the dominant (13 of its substitute), resolving to 5 of the minor 7 in the subsequent bar.

#### **Fig. 2.14**

42

e last A is the same as the rst eight bars of the second A and is followed by a phrase that summarises the harmonic concept of the tune in a single condensed melodic line, outlining the three minor chords built o the augmented axis (Fig. 2.15). It appears to be played in triplets but sounds more like it is in free time. e phrase leads into a twelve-bar D section that sets up the solo form and occurs again at the coda.

As seen with more complex forms in tunes like 'Angola', 'e Messenger' or 'e Age of Inner Knowing', the solo section is entirely separate and not over the form of the tune. e solo section builds entirely on the integrity of the ow between the minor chords built o the augmented axis and plays directly into the symmetrical concept of the composition and its functional and 'mathematical' sensibility. is is driven by a hidden function of the minor chords and their relationship to the dominant, in that they can either be heard as resolution chords or as II-7 chords – the latter with the implication that it functions as a related II-7 of an active dominant. Bb-9 has a natural sense of resolution to D-9 in that it is the related II-7 of Eb7 which in turn is the substitute dominant leading to D-9. A7alt in bar 8 functions as a switch to the other side of the axis wherein D-9 now functions as the 'active chord' leading to F#-9. Similarly, F7alt in bar 16 switches back to the other aspect of the axis. e sixteen-bar solo form essentially comprises two eight-bar units dividing the augmented axis in half so that D-9 of bar 2 functions as a resolution of Bb-9 in the rst eight bars, but becomes the active chord of the subsequent eight bars resolving to F#-9. at aspect of the axis in which Bb-9 becomes a resolution chord is only briey explored in the last bar where F7 leads back to the top of the solo form. On the repeat, Bb-7 has dual function both as a resolution and the active related II-7 of Eb7. Similarly, D-9 of bar 9 has dual function. As the complete symmetrical relationship is not fully realised, bars 7-8 have a dierent relationship to bars 15-16 and although D-9 in bar 15 is active in suggesting resolution to F#-9, it progresses to F7alt whose upper structure is F#-6 – essentially suggesting a dominant followed by a dominant.

### **Fig. 2.16**

**'Monk's Move' (***Beauty of Sunrise***)**

'Monk's Move' is a typical two-horn, medium-up swing tune constructed using a classic hard bop formula; the head is played in unison (at the octave) by the trumpet and saxophone, followed by solos through the form, an alternating eight-bar drum solo and the head played again at the end. e tune is constructed on an AABA form comprising eight-bar A sections and a sixteen-bar bridge. It is characterised by dominant sevenths cantered on two whole-tone axes: the A section on G and the B section on Ab. is plays into the title of the tune as Monk was known for his use of both dominant 7b5 chords and the whole-tone scale. e melody of the A sections is built on three dominant 7#11 chords descending by a whole step, with emphasis on the tensions 9, #11 and 13. e tensions make up a triad built on the second degree of each dominant – the notes of the triad of the previous chord becoming the tensions of the subsequent dominant. Each phrase thus overlaps into the next as seen in bars 1-2 where the 3rd of G7 becomes #11 of F7. e melody is formulated around three basic phrases: two contrasting two-bar opening phrases followed by the same closing phrase, making a total of eight bars for each A section. Apart from the last note of the second A leading into the bridge, each A section has an identical eight-bar phrase.

In contrast to the angular melody of the A section, the bridge comprises a repeated eight-bar phrase constructed entirely on a six-note scale made up of a Bb minor pentatonic scale with an added 9th. e chords have a suspended quality and are built on the opposite whole-tone group to the A section. Substitute dominants D7 and E7 replace the Ab7 and Bb7 at the repeat of the phrase.

**Fig. 2.18**  'Monk's Move' – B section

#### **'Nearer Awakening' (***Beauty of Sunrise***)**

'Nearer Awakening' is a slow, emotive ballad. It sits comfortably alongside 'Monk's Move' and 'Woody's Tune', conjuring up elements of Coltrane's 'Naima'48 in its opening phrase (Fig. 2.19). Like 'Naima', it begins in the key of Ab and mixes modal and functional harmony with a feeling of suspension created through the use of a pedal point.

#### **Fig. 2.19**  Opening bars of 'Naima' (Coltrane) and 'Nearer Awakening'

'Nearer Awakening' consists of four sections congured in an asymmetrical AABCD form totalling fty-two bars. e A and B sections are ten bars in length, the C section sixteen bars and the D section six bars. e tune derives its melodic and compositional integrity from a central thematic idea that is developed through three keys built o a diminished axis (Ab, F and D major). is is similar to many classic tunes like 'All the ings You Are', 'You Must Believe in Spring' and 'Joy Spring', all of which use transpositions of entire sections as a formula for composition.

In 'Nearer Awakening', the theme is established in the A section (Fig. 2.20). It is peacefully set around the primary resolutions of the subdominant, subdominant minor and dominant to the tonic. Played by the trumpet, two melodic ideas are presented in a ten-bar repeated section. e rst melodic statement (A1) is a repeated four-bar phrase suspended over a pedal on the root, followed by a short answering phrase (A2).

'Nearer Awakening' – A section

**Fig. 2.20** 

e B section follows exactly the same chord progression as the A section, transposed down a minor third into the key of F major (Fig. 2.21). e melody begins dierently but follows the same resolution of the phrase seen in A1. e line always closes with #9 to b9 of the dominant resolving to 5 of IVMa7. e closing phrase is the same as that of the A section (A2).

**Fig. 2.21** 

e C section (Fig. 2.22) modulates down a minor third to D Major and is a dierent section entirely. e melody picks up on the opening idea of the B section and climbs through dierent modal perspectives pedalling on the root (D). e chords are key related but are not functional as seen in the A and B sections. As such, they have more of a modal quality enhanced by the intervallic development of the line. e feeling is one of momentary suspension before the nal section of the tune, which could be read as a D section and constitutes the rst and last three bars of the B section in the key of Ab.

**'LA Soul Train Blues' (***Star Seeding***)**

e title of this tune gives clues to its conceptualisation as it was recorded in Los Angeles and acknowledges Coltrane through indirect reference to his classic album *Soultrane*49 and to the tune of the same name written for Coltrane by pianist Tadd Dameron.50 e tune begins with an introduction that hints at the regulated sound of an old steam locomotive train and hence, there is also a double meaning in the title (Fig. 2.23). Mseleku plays both the piano and saxophone on the track and is accompanied by Charlie Haden on bass and Billy Higgins on drums.

**Fig. 2.23** 

e tune comprises functional and ambiguous harmony in an asymmetrical form with a thirteen-bar repeated A section and an eight-bar repeated B section (Fig. 2.24). Its melodic construction embraces strong elements of the blues; however, it is not written on a typical twelve-bar or other blues form. e tune uctuates between major and minor, the introduction and rst chord of the A section being dominant, returning to minor in bar 3 as well as in the B section. e tune ends as it began – on a tonic dominant 7th chord. Beginning on a pedal point, the rst chord is played as a triad a whole step above the root. is could be heard as a tonic #11 chord (through the pedal point) but could also be heard as having dual function as an inversion of A7 (V7/V) with indirect resolution to D7 in the second bar. A standard blues chord sequence in the rst four bars

**Fig. 2.24** 

moves as is expected to chord IV7 in bar 5. However, from this point, the tune engages a dierent and less functional harmonic sensibility, passing through a series of extended dominants and ultimately modulating to Ab. Although the chords in bars 9-12 of the A section can be analysed in the key of Ab, the sensibility of the constant-structure major 7th harmony speaks more to the kind of harmonic construction seen earlier in Henderson's 'Inner Urge'.

**'e Age of Inner Knowing' (***Celebration***)**

'e Age of Inner Knowing' combines both modal and functional harmony. e tune is in C minor with chords borrowed from the parallel modes, creating a blend of modal textures under a largely diatonic melody. e style of the composition invokes a avour reminiscent of the modal compositional concepts explored by players like Miles Davis and seen in tunes like 'Nardis'51 as well as Wayne Shorter's 'Speak no Evil'52 (which begins with the same opening chords and also mixes major and minor sensibilities with functional and modal harmonies). Tunes like 'Goodbye Pork Pie Hat'53 also have elements of this sensibility in underpinning a largely diatonic and modal based melody with complex chords that engage interesting tensions in the melody.

e melody of 'e Age of Inner Knowing' draws its beauty and simplicity primarily from notes of the C Aeolian scale with the inclusion of a natural 3rd and 6th, drawn from the parallel major, creating a coalescence of major and minor qualities (Fig. 2.25).

e use of modal interchange combined with regular functional harmony provides a wide spectrum of harmonic colours under the melody, resulting in multiple chord qualities occurring on the same positions. e IV7 in bar 4 of the A section is found in both the melodic minor and Dorian mode. is is balanced against the IV-7 in bar 2 of the B section, which is found in the harmonic minor and the Aeolian and/or Phrygian modes. e bIIMa7 in bar 2 of the A section, borrowed from the parallel Phrygian mode, balances against II-7 from the Ionian, melodic minor or Dorian modes, in bar 1 of the B section. V-7 from the Aeolian or Dorian (bar 5 of the A section) is balanced against V7 in bar 15. Fig. 2.26 and 2.27 show the parallel modes used as the harmonic source for composition (chords appearing in the tune are marked with an asterix).

#### **Fig. 2.26**

Parallel modes used in 'The Age of Inner Knowing'

**Fig. 2.27**  Other modes used in 'The Age of Inner Knowing'

e form of the tune is structured on two distinct sections and like 'e Messenger', 'LA Soul Train Blues' and 'Woody's Tune', these comprise odd numbered bars. is includes a repeated A section of seventeen and nineteen bars and a B section of thirty-eight bars, comprising an eightbar phrase repeated four times – the last with an extended section. e tune therefore constitutes a total of seventy-four bars. e solo form is quite simple by contrast, comprising a repeated eight-bar chord sequence constructed on a I-VI-II-V progression.

56

AFTER SOLOS, D.C. AL CODA

### **Chapter 3 – Roots**

Denitely his South African roots are rmly planted; that's the foundation of his music – where it's coming from – the black South African experience.54

Individual expression in music is informed by one's environment and inuences. While Mseleku's style is clearly inuenced by the Afro-American jazz school, his South African roots are what truly dene his art. Some of his compositions draw more on this than others, particularly those characterised by the harmonies and melodies associated with the South African jazz style. Mseleku, however, often brings a level of harmonic complexity to the music beyond the traditional space, providing direction for advancement of the style. In tunes like 'Mbizo' or 'Monwabisi', he can be heard playing rich and thick voicings outside of the basic chord structure and his solos also often explore a exibility of harmonic language more consistent with the Afro-American jazz school. He is somehow able to use the 'licence' of harmonic freedom gained from his other inuences without compromising the essence of the style.

While all of Mseleku's albums have a distinctive South African identity, most are recorded with American rhythm sections. *Home at Last* is the only album that uses South African players entirely. It consists of several more popular-styled South African tunes and provides a valuable opportunity to compare a locally constituted ensemble with the predominantly American ensembles that appear on all his other albums. In addition to *Home at Last*, his solo performance on *Meditations* is also a good example that speaks to his South African identity. Here, he is completely alone and unaected by inuences from ensemble players. is recording reects on the distinctive conversation between piano, saxophone and voice that likely attracted the attention of the international musical fraternity and earned him recognition as an artist.55

#### **'Closer to the Source' (***Celebration***)**

'Closer to the Source' is the nal track on *Celebration* and was recorded in a dierent session to the other tracks on the album. e performance includes British saxophonist Courtney Pine as well as South African percussionist ebe Lipere. e same composition appears on *Meditations* as part of an extended solo performance called 'Meditation Suite'. On this recording, Mseleku sings and plays the melody and improvises extensively.56

e composition can be divided into two dierent parts, the rst of which is a repeated AAB form with solos and the second a freely improvised section played over the cyclical progression discussed in Chapter 1 (see Fig. 1.1). e rst part is divided into a twenty-four bar repeated A section and a nineteen-bar B section constituting the main theme and its bridge. e A section is formulated over a typical I-VI-II-V progression and comprises a repeated eight-bar phrase consisting of a one-bar statement and its refrain. e refrain is extended with some variation to make a further repeated four-bar closing statement (Fig. 3.1).

**Fig. 3.1**  A section of 'Closer to the Source'

**Fig. 3.2** 

e B section (Fig. 3.2) introduces a new melodic idea conceptualised around the resolution of the subdominant minor and subdominant major to the tonic. As III-7 and VI-7 are both tonic related chords, when preceded by bVI and bVII (from the Aeolian mode), the suggestion is the subdominant minor resolving to the tonic, that is, bVII7–I (Bb7-C). bIII (from the Aeolian mode) followed by IV, suggests the subdominant major resolving to the tonic, that is, IV7-I (F7-C) from the blues.

A distinctive piano style emerges in both recordings with the predominant rhythmic sensibility settled in the polyrhythmic relationship of 2 against 3 – the complexity of which is central to the identity of the style. is underpins the rhythmic integrity of the A sections. A feeling of swing is evident in the eighth note groupings with emphasis at times placed on the middle eighth note in the triplet. Swing-eighth notes are notated as regular eighth notes (not as a quarter note followed by an eighth-note pair in a triplet grouping). Where the middle triplet comes into play, the triplet is fully notated (Fig. 3.3).

Traditional notation can never do proper justice to how the music actually sounds, but does provide a graphic indication of how the rhythm is conceptualised. Fig. 3.4 shows how the left hand divides the bar into two halves in which there is always a note on beat 1 and in the last triplet of beat 2. ese two beats are absent in the right hand where more emphasis is placed on 3. e interaction between both hands creates a polyrhythmic quality in which the listener can either hear the rhythm in 2 or 3.

A variation on the sequence is heard at the repeat. Here, the bass line in the left hand descends diatonically by step in the second bar (Fig. 3.5).

Variation on the repeat of the A section in 'Meditation Suite' (1:14)

On the rst repeat of the form, Mseleku changes the focus of the melody to an octave higher (Fig. 3.6). In this example, all the triplets are notated.

#### **Fig. 3.6.**

Variation on the first repeat of the form in 'Meditation Suite' (2:04)

Other variations engage more of the triplet feel between both hands, at times lling all the triplets in a single bar (see bars 7 and 8 of Fig. 3.7).

On both versions, the tune repeats the form (AAB) with improvised solos interwoven with the melody, followed by two dierent shout choruses played over the A sections (Fig. 3.8 and 3.9). ese are swapped around on the two recordings.

**Fig. 3.9**  Second shout chorus over the A section

**'Monwabisi' (***Home at Last***)**

'Monwabisi' is a sixty-four-bar form comprising a repeated eight-bar sequence transposed through four keys built o the diminished axis of C-Eb-Gb-A (Fig. 3.10). e sequence is loosely based on the rst eight bars of the A section of Gershwin's 'I Got Rhythm';57 however, the style and the harmonies used are more consistent with a popular township jazz

<sup>57</sup> The eight-bar sequence of 'I Got Rhythm' has many incarnations but is characterised by several key movements, one of which is the use of V7/IV in bar 5 progressing to IV in bar 6 and moving back to I via IV-7 or #1Vo7.

style. e melody is played in unison with the trumpet and tenor at the octave, with some improvised harmonies at certain points. e bass line remains consistent throughout.

e sequence repeats in each key, with the exception of Gb and A (bars 19- 26 of the form) where only the rst four bars of the sequence are played.

**Fig. 3.11 (a)** 

Mseleku reharmonises the opening bars at times, introducing dominant function resolving to the subdominant and returning back to the tonic via the subdominant minor (Fig. 3.11(b)). is is similar to bars 5-7 of the sequence.

Deviation from the basic harmonic structure is also seen through his use of implied harmonies and the displacement of the line in his solos. Below, an excerpt from the key change to Eb shows the expected chords against his improvised line. e analysis gives indication of how Mseleku masterfully works around the basic harmonic framework often blurring the points at which the chord changes as well as introducing implied harmonic ideas. In Fig. 3.12, where the chord should change to Ab in the second bar of the form, Mseleku stays with Eb and uses chromatic enclosures to highlight an Eb triad. Inasmuch as he simplies this opening section, the second part becomes more complex through a mixture of displacement

#### CHAPTER 3 – ROOTS

**Fig. 3.12** 

and implied harmony. V7/IV is anticipated by a bar such that Eb7 is brought into focus on the II-7-V7 (bar 5 of Fig. 3.12). e voicing of Eb7 (Eb7#5b9) in bar 6 is further suspended in the melodic line over the Ab in bar 7. is displacement forces IV-7 to be played on the EbMa7 in bar 8. Two constant-structure units a minor third apart (F-7 followed by Ab-7 and Bb13b9) spell the nal resolution in bar 9.

#### **'Mbizo' (***Home at Last***)**

Like 'Monwabisi', 'Mbizo' is characterised by the typical I-IV-I-V progression distinctive of the South African jazz style. e rst four bars comprise the same fundamental progression and bass line as found in 'Monwabisi'. Here, the tune is in Db major and consists of two eight-bar melodic phrases (A and B), congured in a thirty-two-bar AABA form. e A section comprises a repeated two-bar phrase with a slight variation at the end and the B section two similar four-bar phrases with minor dierences (Fig. 3.13). Like 'Monwabisi', the head is played by both the trumpet and saxophone. Solos are shared by the trumpet, saxophone and piano – the trumpet taking the rst two A sections, the saxophone the bridge and the piano the last A. e tune has a bluesy quality that is explored by Mseleku in his short solo on the last A of the form.

**'Nants' Inkululeko' (***Home at Last***)**

'Nants' Inkululeko' is formulated on a repeated twelve-bar blues form. e rst section (shown as A in Fig. 3.14) is written in a popular township style.

By contrast, the second section of the tune borrows from the alternate chord changes of the blues found in Charlie Parker's 'Blues for Alice'.58 is section comprises two dierent melodies (shown as letter B and C in Fig. 3.15). e C section is extended by an eight-bar vamp on a Lydian tonic (FMa7#11).

#### **Fig. 3.15**  D and C sections of 'Nants' Inkululeko'

#### **'Home at Last' (***Home at Last***)**

is is the title track of *Home at Last* and probably the most popularstyled tune on the album. It has a typical sixteenth-note backbeat feel and comprises a simple melody entirely derived from the Db major scale (Fig. 3.16).

e tune consists of two four-bar repeated sections (A and B), each with an independent melodic idea in a standard thirty-two-bar AABB form. e A section is based on a typical I-IV-III-VI-II-V progression and the B section moves from V7/IV to II-V7 (Fig. 3.17).

Mseleku explores several variations on the chord structure of the tune both in the head and in his solo. In the introduction and head he implies bIIIo7 (Eo7) in place of VI-7 in bar 2 of the A sections, and later in the solos introduces V7/V as an indirect resolution to V7 via II-7 in bar 3 (Fig. 3.18).

Further reharmonisation of the basic chord progression is seen in his solo. Fig. 3.19 shows the opening line ascending on a Db Major scale with an Ab triad outlining F-7 in bar 3. e line stops on a B natural, implying b9 of Bb7 (V7/II). Mseleku introduces Eb7 in bar 4 immediately before the Eb-7. is has a similar function to bIIIo7 and creates an indirect resolution from V7/V to V7 via its related II-7 chord. e added subtleties of the additional harmony give more focus and action to the melodic line outside of the diatonic space suggested by the basic chords.

### **Chapter 4 – Blueprints**

e typical progressions and structured forms found in the jazz repertoire appear frequently in Mseleku's compositions. Particularly prevalent is his use of the II-V and II-V-I progressions as well as common forms like the blues or binary forms like AABA or AAB. ese standard formats and progressions are used over and again to drive the compositions of many of the great jazz composers. Tunes like Cliord Brown's 'Joy Spring' or John Coltrane's 'Moment's Notice' all explore II-V and II-V-I formulas extensively.59 Several of Mseleku's compositions are entirely constructed around these musical 'blueprints'. Good examples are 'Blues for Afrika', 'Mamelodi', 'Adored Value' and 'Timelessness'. e relationship between melody, harmony and form in these compositions achieves a particular sensibility that speaks directly to the American jazz style and reinforces Mseleku's relationship with this heritage.

#### **'Mamelodi' (***Home at Last***)**

'Mamelodi' is formulated on a thirty-two-bar AABB form. e tune consists of two sixteen-bar sections with an eight-bar introduction. Apart from the introduction, it is entirely constructed on a four-bar minor key progression similar to that found in tunes like Cliord Brown's 'Daahoud'60 or the jazz standard 'Autumn Leaves' (Fig. 4.1).61

<sup>59</sup> II-V-I formulas are also often found in the bridge sections of tunes. For instance, in 'Five Brothers', the bridge comprises II-V-I sequences descending by half steps. In Kenny Barron's 'Voyage', the II-V-I sequences ascend by half steps. In the bridge of the classic standard 'Have You Met Miss Jones', the II-V-I sequences are built on an augmented axis.

<sup>60</sup> Sher (2008: 83)

<sup>61</sup> Sher (1988: 12)

Although a predominant triplet feel exists in the piano introduction, the overall rhythmic pulse of the tune is swing; hence, for notation it is written in 4/4 with the triplets written out. Fig. 4.2. shows the rst four bars of the introduction. e Phrygian mode is clearly established with characteristic chords bII and bVII- resolving to I minor.62

<sup>62</sup> Characteristic chords (those containing the characteristic note) establish the modal flavour. Resolution from a characteristic chord to I is a modal cadence (Ulanowsky 1988).

**Fig. 4.2**  Introduction of 'Mamelodi'

e melody of 'Mamelodi' consists of two four-bar repeated melodic statements. Slight variations in bar 6 and 8 of the A section and bar 7 of the B section make for a thirty-two-bar form (Fig. 4.3). Each melodic phrase in the A section begins on tension 9 with the last phrase in each four-bar segment beginning on #9. e melody is mostly diatonic with the exception of bar 4 where tensions #9, b9 and 13 on the G7 make an upper structure E triad on the 13th degree and #9, #11 and b9 an upper structure Gb triad built on the b5 of C7. ese tensions are consistent with the diminished scale and the consequent triadic relationship between upper structure triads on G7 and C7 is a whole step (E and Gb). Although absent in the melody, Mseleku can also be heard playing an augmented 5th on Ab7 as it moves to Db in bar 2 of the four-bar sequence.

e rhythm section supports a predominantly triplet-driven melody with an accompanying swing feel played in 2. e ride cymbal generally adheres to the swing pattern throughout and emphasis of the triplet feel is expressed in the comping of the snare drum (Fig. 4.4). is feel is similar to those found in tunes like Horace Silver's 'Silver's Serenade'.63

More emphasis is given to the triplet in the piano especially toward the end of the second head, just before the trumpet solo and in the solos (Fig. 4.5).

#### **Fig. 4.4**

**Fig. 4.5** 

'Mamelodi' score – A section

**Fig. 4.6** 

#### **'Adored Value' (***Beauty of Sunrise***)**

'Adored Value' is a classic medium-up tempo swing tune constructed on a thirty-two-bar AABA form. e tune is made up of a repeated eight-bar A section and a sixteen-bar B section. e chord progression found in the A section is the same as that of 'Mamelodi'. Here, it is in the key of Bb minor and the chords are distributed across eight bars as opposed to four. e B section is structured entirely on II-V-I progressions in either fourbar or two-bar units shifting through ve dierent key centres: Eb minor, F minor, Gb Major, A Major and Db Major. e melody in the A section is mostly derived from the Bb minor pentatonic scale, with the addition of the major 7th and 9th in bar 7.

#### **'Timelessness' (***Timelessness***)**

'Timelessness' is structured on an AABA form. Each section is sixteen bars in length, constituting a sixty-four-bar form in total. e A sections are based on a repeated eight-bar chord sequence focusing on the movement from the tonic (in bar 1) to the subdominant (in bar 5). e B section is based entirely on II-V and II-V-I progressions.

e introduction consists of ascending and descending constantstructure major chords, each voiced as an open 5th and 3rd. e tonic note (C) is held in the melody, creating dierent melodic tensions with each chord.

e A section follows the same brief; however, the chords descend by a whole step in the rst four bars, resolving to F in bar 5. e progression follows the contour of a descending C Locrian scale with passing chords EMa7 and D7. I and IV are diatonic to the key and all the other chords (excluding the passing chords) are modal interchange chords – BbMa7 (bVIIMa7) from the Mixolydian mode, AbMa7 (bVIMa7) from the Aeolian or Phrygian mode, EbMa7 (bIIIMa7) from the Aeolian mode, GbMa7 (bVMa7) from the Locrian mode and DbMa7 (bIIMa7) from the Locrian or Phrygian mode.

e rst melodic phrase (bars 1-4) is conceptualised around constantstructure Ma7#11 voicings, outlining 1-3-#11-7 of each chord. e second melodic phrase (bars 9-12) is structured around fourths outlining 7-3-6-9 of each chord. Bars 5-8 of the progression remain the same throughout the introduction and the A sections.

#### **Fig. 4.8**

Melodic conceptualisation of 'Timelessness'

e B section is constructed entirely of II-V and II-V-I progressions (Fig. 4.10). ese can be analysed as moving through three key centres based on a Phrygian turnaround in C Major (C-Eb-Ab-Db). e melodic line targets tensions 13 and 11 over the II-7 chords in the rst eight bars. e second phrase holds the root note in the lead creating tensions over the chords similar to the introduction.

In the solo section, chords are simplied for improvisation. Passing chords fall away in the A sections with the constant-structure major 7 chords descending purely along the contour of C Locrian. e suspended chords in the bridge are also simplied, becoming II-V and II-V-I progressions (Fig. 4.11).

**Fig. 4.12** 

e drum solo at the end of the tune is underpinned by the same sequence found in the introduction. Variations in the voicings appear with triads built on the root and a whole step above the root – the latter inviting a Lydian quality (Fig. 4.12).

**'Blues for Afrika' (***Celebration***)**

Blues is central to the jazz style with typical formats like the twelvebar form being one of the most commonly used. Both major and minor twelve-bar forms abound in the repertoire of the great players, including classics like Coltrane's 'Bessie's Blues' or 'Equinox'. e basic harmonic structure is always honoured; that is, an expectation that the harmony will progress from I to IV in the 5th bar and return to I in bar 7 with some kind of resolution in bars 9-12. Reharmonisations of this common form are extensive and form a large part of the evolution of the music.

'Blues for Afrika' is formulated on a twelve-bar blues in D minor. Like Coltrane's 'Moment's Notice', the opening bars are constructed on a variation of the 3:2 clave rhythmic pattern. e head of the tune engages extended dominant reharmonisations, creating interesting tensions against the mostly diatonic melody (Fig. 4.13). Solos occur over a standard minor blues progression except in bars 9 and 10 of the form wherein Mseleku substitutes E-7b5-A7alt with a bar each of F-7-Bb7 followed by E-7-A7. (Fig. 4.14).

**Fig. 4.13** 

Analysis of 'Blues for Afrika' – twelve-bar minor blues form

### **Chapter 5 – Aesthetic**

Jazz is a synergy of cultures and musical practices with players often classied according to their predominant focus or inuence. Hence, although a player like Bill Evans had role models in African-American jazz,64 he is often seen to have more of a European musical aesthetic in comparison to a player like McCoy Tyner, who is generally viewed in the African-American jazz aesthetic.65 Similarly, Mseleku displays many facets in his style; however, his traditional roots are what characterise him most as a unique artist. Despite the many aspects that may form part of an artist's style however, the methodology of acquiring technical prociency on an instrument, especially the piano, is generally consistent throughout, with many players having had their youthful musical foundations rooted in the traditional practices found in classical music.66 Here, Mseleku is distinctly dierent in that he taught himself to play and consequently absorbed the essence of the music in a dierent way.67 Inasmuch as his traditional roots have signicance in recalling aspects of the jazz tradition, which originate in the rhythms and melodies of Africa, his absorption of Western musical practices outside of the traditional methodologies is also symbolic in bringing together facets of the discipline in a less formal way – a form of expression that sees no boundaries between various aspects of the style. His familiarity with a style that could be associated with that of the Romantic era gives recognition to a realisation that the harmonic and melodic qualities explored by Romantic composers like Chopin are not unlike those found in jazz. Although improvisation may have faded in classical music and been replaced by technical exactness and prociency, the musical language engraved in its manuscripts archives all the melodic and harmonic devices familiar to the jazz style. Attributes found both in jazz and Western practice support a link between styles. Pianist Barry

<sup>64</sup> Evans acknowledges pianist Sonny Clark as an important influence (Pettinger 1998: 71).

<sup>65</sup> Kerkstra (2000)

<sup>66</sup> This includes key players like Miles Davis who studied at Julliard (Davis 1990: 48) or Keith Jarrett whose roots in classical music are evident in his recordings (Jarrett 1992). Pianist Barry Harris also attributes his facility as an improviser in part to his early study of classical music. Pianist Cedar Walton also noted how he derived ideas for voicings from his analyses of Beethoven sonatas (Berliner 1994: 118).

<sup>67</sup> Bragg (1992)

Harris rearms this by identifying classical composers, in particular Bach and Chopin, as important inspirations in jazz.68 Fordham also draws attention to this aspect of Mseleku's playing style.

In the jazz revival that's happened on this side of the Atlantic, I think Bheki has been a very important gure because I think he has been one of the most prominent musicians who've been coming from what you might call a world musician's perspective – that all kinds of material that are related to South African music and to African-American jazz derived music particularly, and also with some involvement in a kind of classical Romanticism as well – the kind of 19th century classical quality in the people that have inuenced him further back. I think that broad world musical perspective of his has made him a key gure in it.69

ese qualities are distinctly audible in Mseleku's playing and he makes little distinction between the various forms of music that inform his style.

ese terms we use in terms of jazz and classics – they're wrong, but there is what you call spontaneous improvisation, and obviously based on a form, because maybe there would be a tune that you have already composed and then you're going to improvise on it afterwards – or it's just improvisation from the beginning (which there's nothing wrong in it being in a conventional way in terms of what people think of what that is – that it is composed in a systematic way).70

His improvisation over the chord progression used at the end of 'Closer to the Source' is as much spontaneous improvisation as composition, in that the ideas are actually informed by the same concepts. e excerpt below (Fig. 5.1) shows how his melodic phrasing carefully reects the harmonic movement with characteristic elements speaking both to the classical and jazz styles. e integrity of the harmony is carefully articulated in the melodic line by targeting key chord tones through the use of correctly placed passing steps – a system of scale application in jazz ensuring that chord tones land on downbeats to provide the illusion of moving harmony.71 e opening line describes the movement from C-7 into D7, expressed as an F7 dominant scale with a passing step between 1 and

<sup>68</sup> Minelli (2014)

<sup>69</sup> Bragg (1992)

<sup>70</sup> Ibid.

<sup>71</sup> Rees (1994)

b7, running into and stopping on the F# of D7. F# falls on a downbeat and facilitates a characteristic diminished phrase on the 3rd of the dominant which resolves to the 5th of G-7. e construction of this line is found frequently and is especially used extensively by the bebop players. Mseleku's repeated use of devices and enclosures shows uniformity in the construction of his lines consistent with the overall style. is gives it its recognisable character and even though the ideas are repeated, they often occur on dierent beats and in dierent places. ese are heard as being part of a owing and sensible melodic line that reects on the harmonic sensibility of the progression rather than as repetition. A good example is seen in bar 5 and bar 10 where Mseleku uses the same construction of line to articulate the resolution of the dominant.

<sup>72</sup> Fig. 5.1 is a transcription of the melodic line only.

Other elements that could be interpreted as having classical inuence are intertwined with the jazz phrasing, forming a single voice of expression. In bar 7 for instance, the phrase alternates between a minor chord and its dominant (D- and A7) by targeting chord tones of D minor alternating with chord tones of A7, expressed as a diminished 7th built a half step higher than the root. A phrase from Chopin's 'Etude Op.10 No.4' outlines a very similar idea. e excerpt below (Fig. 5.2) is transposed into the same key for analysis.

Another example of a classical style of playing can be heard in 'Meditation Suite'. In part of his solo performance, Mseleku uses a cycle of minor chords played through fths – each minor being preceded by its dominant 7th. is same progression is found in 'Angola' in a dierent context. In 'Meditation Suite', it is disguised through suspensions and inversions more characteristic of a classical style.

**Fig. 5.3**  Cycle of fifths in 'Meditation Suite' (10:00)

> Similarly, the gure below shows another manifestation of the same cycle also found in 'Meditation Suite'. Here, the minor chord is voiced in its second inversion followed by the dominant in rst inversion and resolving to a root position minor chord. e passing diminished chord leads to the following minor chord a fth higher in its second inversion – and the cycle continues. e use of inversions is more in line with a classical aesthetic and contrasts the predominantly root-based harmony typical of the jazz style.

#### **'One for All, All for One' (***Celebration***)**

'One for All, All for One' evokes elements of classical inuence in its treatment of harmony. e tune is in 3/4 with a straight eighth-note feel. e structure of the tune is a standard ABA form with the A sections sixteen bars in length and the B section, thirty-two bars. It begins in C major and modulates to the relative minor in the B section. e quality of the harmony centres on the resolution from dominant to tonic expressed in the A sections as a diminished structure built a half step below the tonic and in the B section as a minor-major 7 chord, a major third lower than the tonic minor. Although the rst chord could be heard as a subdominant, it is voiced as a diminished structure (E/F) and constitutes the same active notes that spell the dominant (G13b9). As such, the rst four bars essentially dene dierent aspects of dominant function. e melody highlights the action of the dominant in its resolution to the tonic by articulating the dierence between the two so that the b9 of the dominant resolves naturally to the 5th of the subsequent major.

In the B section, the chords alternate between the relative minor and its dominant, expressed using the same voicing a major third lower (F-Ma7). F-Ma7 expresses dominant function as Bb7#11 (subV7) or E7alt. A similar use is seen in the bridge of Antonio-Carlos Jobim's tune, 'Dindi',73 and speaks to a quality less rooted in the typical functional jazz harmonic sensibility. e tune briey modulates to Ab (bars 37-41) with AbMa7 also having dual function as bVI in the home key of C. e nal resolution in the last four bars of the B section could be heard as a tonic I7, but also has function as V7/IV with dierent perspectives of the dominant either as a suspended chord or an altered dominant.

73 Sher (1988: 71-72)

## **PART TWO**

**Improvisation**

### **Chapter 6 – Considerations for analysis**

Jazz is a language. Understanding the vocabulary, syntax, everything involved, and putting it together – that's what jazz musicians have to do.74

Communication is an unconscious action and although we practise things to say at times, it is for the most part unprepared. For a language to make sense it has to have clear construction and an intelligible vocabulary, but for it to tell a story that is engaging or evokes emotion, it requires artistry.

Improvisation and composition are essentially informed by the same creative source, where improvisation can be seen as spontaneous composition – an ability to create in the moment. is denes the discipline of jazz and forms a substantial part of its practice – the melodic style of which comprises a recognisable 'vocabulary' that speaks to its development and to those who contributed to its construction. Players are identied by the phrases and concepts they use in their improvisations. Analysis seeks to discover the conceptual approach that informs the skill set of the improviser so that we can learn, absorb and regenerate the music. More specically, it attempts to explain the relationship between a phrase and the underlying harmony, in which the former is viewed as the horizontal counterpart of the latter.75 ere are always limitations in that we can never see into the mind of the artist and know what informed their choice(s) in any single moment. We can, however, unpack the construction of a phrase and this gives us clues about the player, their inuences and, more importantly, what may have been part of their practice in acquiring their skill. e point is not to try to describe the moment scientically but rather to understand its design. is could be as simple as noting that Mseleku plays a minor 7th rather than the half-diminished chord in each of the sequences of 'Aja'. We may never know why he chooses to do that, but we can note that this is his choice and that that in itself is interesting and yields an overall result. ere are so many ways to identify with the

<sup>74</sup> Larry Ridley, in Gourse (1997: 257)

<sup>75</sup> Berliner (1994: 105)

performance and its detail. What can be identied are the characteristic devices that point to key inuences and ways of doing things – an overall concept. is is almost like trying to get inside the mind of the artist and understand the language that facilitates their ability to make the choices they do. In ne art, the apprentice sets up his easel in the gallery to copy each skilful stroke of the master in the hope it will rub o in some way.

#### **e pianist**

For the most part, the improvised line reects concepts consistent with all players; however, for a pianist, the delivery of the line is dependent on the support of the left hand. Dierent styles having emerged over time, all of which point to formative players who have been a part of the development of the jazz piano style and from whom subsequent players like Mseleku adopted their own style. Mseleku exhibits classic stylistic elements relating to the support of the left hand in its relationship to the improvised line. ese are consistent with the players who inuenced him and include elements of stride, bebop and contemporary left-hand voicings.

#### **Stride**

elonious Monk, one of Mseleku's key inspirations, had strong roots in the stride tradition associated with pre-bebop players like James P. Johnson, Fats Waller and Duke Ellington.76 is style is more suited to solo piano; however, it has developed to suit ensemble playing in abbreviated form and is generally characterised by the root note of a chord played on the rst and third beats of a bar (sometimes inclusive of a 7th or 10th depending on the player's hand size) followed by a chord played on beats 2 and 4.77 As an example, in Monk's solo rendition of 'Sweet and Lovely',78 the rst and third beats are played as root-7 voicings followed by a closedposition chord on beats 3 and 4 (Fig. 6.1). In his solo on 'Tea for Two',79 Monk abbreviates this approach to suit the context of the ensemble using only root-7, root-3 and 3-7 voicings (Fig. 6.2).

<sup>76</sup> Gourse (1997: 13)

<sup>77</sup> Levine (1989: 155)

<sup>78</sup> Monk (1964)

<sup>79</sup> Monk (1962)

#### **Fig. 6.1**  Thelonious Monk on 'Sweet and Lovely'

e stride style has been modernised to include more contemporary lefthand voicings. is is seen in Mseleku's playing on 'Monk the Priest' and 'Melancholy in Cologne' where he uses a stride approach but includes some variation in the voicing style.

**Fig. 6.3**  'Monk the Priest' – stride piano

#### **Bud Powell voicings**

In the bebop and hard bop styles, the left and right hands work together to play the melody and chords. e left hand generally plays root-7 or root-3 voicings and the right hand plays the melody as well as other chord tones. is is common to players like Bud Powell and subsequent players like Barry Harris. 'e Messenger' (dedicated to Powell) is a perfect example of the right and left hands working together to support the melody in an integrated piano style. Mseleku plays open fths or root-7 and root-3 voicings in his left hand, while the right hand plays the melody as well as other notes below it to complete the chord voicing. e excerpt below includes other typical techniques associated with the style, including drop-2 voicings and voicings in thirds (Fig. 6.5).

**Fig. 6.5** 

Improvisation in the bebop and hard bop styles is typically supported by root-7 or root-3 voicings and on occasion (depending on the size of the player's hand) complete root-7-3 voicings. e positioning of the left hand allows for the improvised line to utilise the resonant middle area of the piano in conjunction with the chords. Below (Fig. 6.6), an excerpt from the bridge of Bud Powell's solo on 'Jeannine'80 shows typical voicings placed under the improvised line.

80 Powell (1961)

Mseleku uses these voicings on occasion depending on the context. Fig. 6.7 shows root-7 voicings used in his solo on 'Timelessness'. e improvised melody is accentuated with octaves adding the 3rd of the chord at points in the right hand.

#### **Rootless voicings**

Mseleku uses a mix of voicing styles; however, he tends more toward the use of rootless left-hand voicings to support his improvised lines. ese comprise mostly two, three or four-part structures played in the middle to lower-middle range of the piano (often in anticipation of beats 1 and 3) and are constructed around the same principles as closed-position voicings used in big band writing. Typically, the chords are voiced either from the 7th or 3rd (or the 6th if there is no 7th in the chord). e other chord tones (the root and 5th) are often substituted with tensions depending on the function of the chord. Fig. 6.8 shows chords derived from a closedposition F7 chord. Tensions 9 and 13 replace 1 and 5 to create a denser structure with alterations depending on the function of the key.

is technique is consistent with the comping style developed by players like Bill Evans and Wynton Kelly81 and is utilised by many of the post bebop players like McCoy Tyner or Herbie Hancock. A voicing can also have multiple meanings; for instance, F13 is also used for C-6, B7#9, EbMa7#11 and A-7b5 (Fig. 6.9). is brings a consistency to the voicing style especially in the movement from one chord to another.

#### **Fig. 6.9**

#### Left-hand rootless voicings – multiple use of the same voicing

McCoy Tyner (one of Mseleku's key inuences) often uses rootless voicings in his solos. Below is an example from his solo on 'Bessie's Blues'.82 Here, chords are mostly voiced from the 7th and utilise the same structure of a tritone with an added 4th above, spelling the dominant 7th and tension 13 (Fig. 6.10). Fig. 6.11 shows similar left-hand rootless voicings played by Mseleku in his solo on 'Aja'. Typical of the technique associated with these voicings, Mseleku switches between chords voiced from the 3rd and 7th in order to facilitate good voice leading and keep the voicings in the same register. Some chord structures are denser than others; for instance, the C-7 in the rst bar is voiced as b7-9-b3-5, whereas the B-7 in the subsequent bar is absent of its 9th degree. Patterns of voicing begin to emerge across dierent solos so that we are able to see a preference for particular densities and constructions. e key will also have an impact on whether the construction of a voicing is from the 3rd or 7th. For instance, Mseleku tends to play DMa7 as 3-6-7-9 and AMa7 as 7-1-3-5. is is purely because of the register. DMa7 played from its 7th would either be too low and muddy or too high in register. In this case, choices are informed by the practicality of the instrument with the key dening the voicing type.

Excerpt from McCoy Tyner's solo on 'Bessie's Blues'

81 Levine (1989: 155)

82 Coltrane (1964c)

#### **Fig. 6.11**

Rootless and Powell left-hand voicings on the last chorus of 'Aja'

#### **Modal voicings**

Mseleku also uses a style of comping in which fourth-based structures consisting of notes drawn from a mode are used to create a sense of harmonic movement in harmonically static environments. is style is generally associated with the modal period in jazz and is used by players such as McCoy Tyner. Fig. 6.12 illustrates Tyner's use of fourth-based voicings shared between the right and left hands in the opening statement of 'Miles' Mode'.83 All the notes are drawn from the Dorian mode on B and the chords are predominantly in fourths, except for the voicings built on degrees 1 and 2 of the mode. e sequence is referred to as the 'Dorian row'.84

#### **Fig. 6.12**

'Dorian row' on B minor – Tyner on 'Miles' Mode'

In the solo sections, the left hand supports the right with three-part fourth voicings diatonic to the mode. e example below (Fig. 6.13) illustrates an excerpt from Tyner's solo on 'Impressions'.85 For the most part, the melodic content remains within the Dorian mode. e voicings are entirely drawn from the mode, with only those built on scale degrees 1, 2 and 3 being used.

83 Coltrane (1997)

84 DeGreg (1994: 220)

85 Coltrane (1985)

Mseleku employs similar voicings in his solo on 'Blues for Afrika' (Fig. 6.14). Here, he uses fourth-based chord structures built o scale degrees 1, 2, 3, 4 and 5. ese t well with the normal rootless left-hand voicings o the 7th and 3rd and the combination speaks to both a modal and functional context in the blues.

#### **Fig. 6.14**

Mseleku's use of fourths in 'Blues for Afrika'

#### **Construction of the improvised line**

It is common to indicate the relationship of a scale to a chord and accepted practice governs which scales t which chords.86 It is important, however, to dierentiate between the use of a scale as the primary source of improvisation and its use as a means of outlining the movement of

<sup>86</sup> Rees (1994)

harmony in the melodic line. In static chord settings, a scale can be used to drive the colour of a mode – the improviser's intention being to create a melody within the connes of the scale. is is generally referred to as a 'modal approach'. By contrast, for a line to carry the movement of harmony, it must give focus to harmonic action so that in the absence of the chords, it conveys the story of moving harmony. In some cases, an improviser may choose to use a single scale as the primary source for improvisation despite the underlying harmonic changes. Here, a source scale (often diatonic to the key) becomes the driver of melodic content, absent of harmonic function. e dierence in approaches is well demonstrated on 'Home at Last'. In Feya Faku's solo on 'Mamelodi', Faku derives the entire melodic content of his opening statement from the Ab major scale (Fig. 6.15). e line oats above the changing harmony, concentrating on motivic and melodic development. In the absence of the underlying chords, there is no indication of the harmonic movement in the line.

Mseleku uses a similar approach in his improvised solo on 'Adored Value' (Fig. 6.16). Here, he uses a Bb minor pentatonic scale as the source for the development of his melodic line over a part of the A section. e ve note pentatonic scale has a commonality with all the chords except C7 and F7. is gives focus to the central tonality of Bb minor. e II-V-I in Gb is thus not stated as a functional harmonic action and Gb is heard as bVIMa7 in the key of Bb minor. e concept of the melody is driven by the scale and not the harmony.

**Fig. 6.16** 

Pentatonic scale over the chord changes of 'Adored Value'

By contrast, in 'Mamelodi', Mseleku focuses on harmonic function so that we are able to hear the movement of the harmony in his line (Fig. 6.17). e improvised solo line explores all the detail of the progression. is includes recognition of the function of diatonic chords in their relationship to primary structures of the tonic, subdominant and dominant, as well as the articulation of secondary dominant functions, and the use of typical devices associated with the language and style, including pivoted arpeggios and enclosures targeting primary chord tones. Mseleku marries the melodic freedom aorded by the 'modal' approach (absent of harmonic function) with lines that speak directly to the functional sensibility of the harmony. e skill of creating a beautiful melody whilst still making the chord changes and exploring the potential complexities of the harmony is what makes Mseleku such an exceptional artist.

At times, Mseleku also uses modal scales to drive melodic improvisation; however, as in the example below (Fig. 6.18), he gives deliberate focus to the character of the mode in its relationship to the harmonic structure of the tune. Although the notes add up to form a scale, the design of the line is often conceptualised in a particular way that addresses aspects of the mode. Similar phrasing is seen in McCoy Tyner's improvisations. In Fig. 6.13, Tyner divides the Dorian scale into two parts: a minor triad or four-note group built on the root and a major triad or four-note group built on the 4th degree. Although the notes add up to form a Dorian scale, the division of the scale into two parts becomes the conceptual thinking behind the construction of the line rather than the scale itself. e resultant phrasing has a very particular quality that speaks to Tyner's approach and inuence. Mseleku can be heard using a similar approach on 'Blues for Afrika'. Here, he divides D Dorian into segments that target the character of the mode (Fig. 6.18).

Further inuence of Tyner is also seen in the symmetrical construction of Mseleku's improvised lines. is is achieved in part through repeated use of melodic groups that outline essential chord tones or tensions. As an example, the opening phrase of Mseleku's solo on 'Blues for Afrika' comprises melodic groups that speak to both dominant and minor function. e ascending line comprises segments that give focus to the harmonic transaction of a dominant 7th resolving to a minor chord, where the minor chord is expressed as a four-note group (1-2-b3-5) and the altered dominant as a minor chord of the same grouping, a half step higher than the root of the dominant. e melodic relationship of the groups determines the structure of the phrase. As an example, G-7 into Bb-7 also spells E-7b5 into A7alt. A single group as 1-2-b3-5 can have multiple meanings as well as multiple permutations, so that when used as the concept to drive improvisation, a very particular balance of line is achieved (Fig. 6.19).

e repetitiveness of this approach gives an almost mathematical quality to the improvised line. is is masked by the varying harmonic contexts in which a melodic group can function. e interrelationships allow groups to ow easily into each other making for logical and symmetrical lines. Innite results for phrasing are aorded by the direction and permutation in which each group is played. is method of line construction is articulated by Jerry Bergonzi in *Melodic Structures*<sup>87</sup> and speaks to a dierent approach to playing than found in the bebop school.

<sup>87</sup> Bergonzi (1992)

In the example below on 'Open Sesame',88 Tyner can be heard using the same four-note group several times in dierent contexts, thus creating a symmetrical consistency to his phrasing.

Mseleku can be heard using a similar type of phrasing in sections where changes move rapidly between dierent key centres using typical II-V-I sequences. A good example is seen in the bridge of 'Timelessness'.

<sup>88</sup> Hubbard (1960)

**Fig. 6.21** Excerpt from Mseleku's solo on 'Timelessness'

#### **Symmetrical scales**

e use of symmetrical scales – specically the whole-tone and diminished scales – is also evident in Mseleku's improvisations. Both scales have distinctive qualities that speak to particular tensions associated with dominant function. Fig. 6.22 shows the diminished scale used on C7 with characteristic tensions 13, #11, #9 and b9. e scale comprises two diminished chords which, when combined, create numerous combinations including minor and major triads as well as symmetrical dominant 7th voicings built on the diminished axis. e symmetry of the scale naturally invites sequences, some of which have become common property through extensive use by key players.

In the excerpt below, Mseleku uses three symmetrical diminished scales as the concept of his improvised line in his solo on 'Blues for Afrika'. He explores the symmetry of the scale through a common property symmetrical pattern of triads built on each degree of the diminished chord.

**Fig. 6.22** 

Another example of diminished scale use is seen over the extended dominants in 'rough the Years'. Here, the phrase is made up of two symmetrical segments a half step apart, each unit constituting the interval of a whole step and a minor third, outlining 1-b7-5 and #11-3-b9 on each dominant.

In the excerpt below from 'Melancholy in Cologne', Mseleku uses the whole-tone scale over the dominant 7th as it resolves to IVMa7 in each sequence.

#### **Scale rendering**

A particular characteristic of Mseleku's playing style is his use of additional notes placed above the improvised melodic line. ese give accent to the phrasing in a particular way by adding notes drawn from the function of the chord at certain points in the line. In the excerpt below from 'Melancholy in Cologne', the character of the phrasing is driven by this idea.

#### **Fig. 6.26**

Added notes above the line – 'Melancholy in Cologne'

#### **Bebop phrasing**

e running of dominant 7th scales into each other as a method of expressing many dierent contexts of moving harmony is common practice in the bebop language. Here, a single scale can carry the movement of multiple chords; for example, F7 caters for C-7, C-6, F7 and A-7b5.89 Repetition in the conceptual approach of lines using this methodology is evident in tunes with the same functional progressions. In 'Aja', 'Melancholy in Cologne' and 'Mamelodi', the movement from a Ma7 to a II-V a attened fth away is conceptualised with two primary scale movements; for example, DbMa7 into G-7b5-C7b9 is expressed as Eb7 running into C7. All the phrasing consistent with the expression of Eb7 becomes the driving force of the line until it moves into C7. Similarly, the movement from G-7b5 to C7alt is expressed as Eb7 running into Gb7.

<sup>89</sup> Rees (1994)

e intervallic relationship of the melodic line is in minor 3rds whilst the harmonic relationship is in 4ths. Whether Mseleku consciously engaged this approach or whether he just picked up on it, it is clear that he is very familiar with the concept, especially in light of the fact that he is particularly attracted to these kinds of progressions in his compositions.

#### **Repetition and common property phrases (licks)**

e use of repeated ideas is consistent with all the great jazz players. Charlie Parker, for instance, intentionally played many of the same phrases recurrently in his solos. ese were part of his 'practised' vocabulary. Many of his phrases have become common property and appear in the improvisations of all the great players. ese are indicative of a chain of inuence within the overall style and hence we see the application of the common language devices by all players, including Mseleku. is does not mean that everyone who may have emulated a player like Parker sounds exactly like him. is would be impossible as each spontaneous moment in music is always informed by context and the choice of the individual. It is the way in which the language is creatively applied that denes the player. As an example, Bud Powell, who was formative in adding to and developing the language, can be heard using a typical phrase repeatedly in his solo on 'All God's Chillun'.90 is particular phrase spells a diminished 7th on the 3rd of a dominant chord. e same device is employed frequently by Mseleku in his own improvisations and is not so much a 'lick' as the logical outline of the tones that gives focus to the dominant. Hence, it is not by accident that Powell and Mseleku happen to use these notes to outline the movement of a dominant in spelling out its function. In his solo on 'All God's Chillun', Powell uses variations on this lick nine times in the space of twenty-eight bars. ere is, however, innite variation in the delivery and placement in the bar; thus, we do not hear it as a lick but rather as part of a phrase that outlines the action of a dominant and its resolution. Fig. 6.27 shows variations employed by Powell in his introduction to the tune.

<sup>90</sup> Stitt (1949)

Tyner is heard playing the same line in 'Open Sesame' (Fig. 6.20) and Mseleku can be heard using it several times in 'Adored Value' (Fig. 6.28). Both use the line because the construction of the harmony invites improvisation that is consistent with the language, its vocabulary and its lineage.

**Fig. 6.28**  Diminished on the 3rd of the dominant – Mseleku in 'Adored Value'

In tunes like 'Aja', the symmetry of the cyclical progression (being based on a four-bar progression played through an augmented axis) naturally invites repetition in the improvised line and this provides a natural balance to the phrases in Mseleku's solo. Fig. 6.29 shows a repeated idea in which an ascending arpeggio is followed by a descending scale line with a resolution to the 3rd of the Ma7.

#### **Alternate harmony as source for improvisation**

e use of alternate harmony forms a large part of the explorative work of jazz musicians. Expected chord changes are often substituted with alternate changes that inform the improvised line, resulting in dierences between the actual harmonic construction of a tune and what is played by the soloist. From an analytical perspective, addressing the relationship between the prescribed harmony of a tune and the implied harmony appearing in the performance is crucial to understanding the thinking of the player. Alteration of the harmony could entail replacing a single chord with one that has a functional relationship to the overall progression as seen in 'Mamelodi', where Mseleku replaces the G-7b5 with Db7 (Fig. 6.30) or entire sections with a string of substitute chords.

#### **Fig. 6.30**

Use of alternate harmony in 'Mamelodi'

A distinction is made between the use of alternate harmony and the displacement of harmony. ese often coexist, but it is an important

distinction to be made. In displacement, the improvised line may override the bar-to-bar chord relationship, blurring the actual moment of chord change in the line but retaining the overall harmonic integrity of the progression. In the excerpt below from Mseleku's solo on 'Blues for Afrika' (Fig. 6.31), the line speaks to the chord changes but deviates from the chord-to-bar conguration. Mseleku anticipates the F-7 – Bb7 by two beats and this aspect of the line crashes into the bar of E-7 – A7, causing this, in turn, to be displaced by two beats. e A7 is still being stated in a bar that eectively should be D-.

Alternate harmony and displacement can also occur simultaneously, as seen in the excerpt below from Mseleku's solo on 'Timelessness' (Fig. 6.32). Here, he adds IV-7 (F-7) between the V7 (G7) and IMa7 (CMa7) creating a dominant to subdominant minor to tonic resolution in place of the II-V-I. Displacement occurs as the F-7 is being stated in the CMa7 bar, meaning that the resolution to tonic happens two beats later.

**Fig. 6.31** 

### **Chapter 7 – Solo transcriptions**

e transcriptions are intended as templates for study. ey provide the graphic manuscript from which to view how the improvised line relates to or deviates from the harmonic structure of the tune. Notes are placed in the score where applicable to indicate relevant aspects highlighted in Chapter 6, including the use of scales, substitution, displacement, etc. e intention is not to give a scientic account of each phrase but rather draw attention to conceptual ideas, repeated use of devices, scales and/or patterns that inform the solo.

#### **Solo on 'Adored Value' (***Beauty of Sunrise***)**

Over the A sections, Mseleku mostly uses either the Bb minor pentatonic scale or the Bb blues scale as a source for improvisation. is speaks to the function of the chords being centred on the Bb minor tonality. Eb7 in bar 2 of the A sections is thus not seen as a dominant with a resolution to Ab-7, but rather as IV7, where the G natural functions more as the 6th of Bb-6. Similarly, Db7 in bar 4 of the A sections is also not an active dominant and hence GbMa7 in bar 5 functions more as bVIMa7 in Bb-7 rather than as IMa7 in the key of Gb. Ab-7 is also never outlined and is rather seen as part of the harmonic generalisation of the Bb minor tonality with Gb functioning as bVI. F7 is the only functioning dominant in the A sections. is is reinforced by the repeated use of the diminished chord on the 3rd of F7 resolving to the 5th of Bb- (bars 14-15, 38-39, 46-47 and 54-55). Similar phrase conceptualisation is seen in the B section on C7 where it resolves to F-6 (bars 22-23). Repetition of phrase construction is seen at bars 35-37 and 51-53. Both phrases are similarly constructed using a Bb minor pentatonic scale.

Mseleku uses the 6th on the tonic (bars 23-24). is is a resolution chord functioning as I-6. e use of added upper notes on scales is seen in bar 14. e melodic line runs from 3-b9 with a 5th added above the b9, giving emphasis to the tension in its resolution. Use of added notes above the melodic line is also seen in bar 21 and bar 38.

Mseleku uses a mix of voicing techniques in his solo including rootless lefthand voicings with the 3rd or 7th as the lowest note, as well as root-based 1-7 or 1-3 voicings on occasion. Chords generally fall on the anticipations of the beat in the bar. In the bridge sections, he also uses full voicings shared between the left and right hands.

#### **Solo on 'Aja' (***Beauty of Sunrise***)**

In his solo, Mseleku replaces the II-7b5-V7b9 sequences in bars 1 and 2 of the head with regular II-7-V7 sequences. e construction of the lines is quite similar throughout the solo (see Fig. 6.29). For instance, bars 10-15 are very similar to bars 34-39 – only the latter is an octave higher. Sequential lines are seen on the II-V sequences in bars 21-22, 25- 26 and 29-30. Here, Mseleku uses variations on a common property lick starting on the 11th degree of each II-7 chord. In bar 3 of each four-bar sequence, Mseleku articulates V7/IV either by targeting the b7th of the chord or using an augmented arpeggio built on the root of the dominant. Resolution to IVMa7 is also often on the 3rd. He also makes frequent use of the 3-b9 diminished line on the dominant in bar 2 of each sequence, resolving to the 3rd of the subsequent major. is is seen in bars 2-3, 13-14 and 38-39. Left-hand voicings are predominantly closed-position rootless structures with 3 or 7 at the bottom of the chord. Chords generally fall on the anticipations of beats 1 and 3. In the 5th chorus he also uses the typical root-based jazz voicings shared between the right hand and left hand (see Chapter 6, Fig. 6.5 in this volume).

#### THE ARTISTRY OF BHEKI MSELEKU

**Solo on 'Angola' (***Celebration***)**

e ute and the piano trade choruses over the solo form as well as on the vamp at the end of the tune. e cyclical progressions and complex time signature changes that characterise the head are entirely absent in the solo and replaced by a twenty-six-bar solo form comprising more of a modal setting in the key. is is reinforced by the distribution of chords being extended over several bars providing space for scales to be used as the source for melodic improvisation (see Chapter 6, p. 118). e opening line of Mseleku's solo is entirely scalar in nature and is predominantly driven by the C Dorian scale (with the exception of the major 7th in bar 3 which suggests G7). e line covers C-7, A-7b5 and D7alt and follows an ascending scale pattern in groups of three, played in triplets. In the last four bars of the same chorus, the A melodic minor scale is used as the predominant source for the improvised line over the CMa7#5 with emphasis on the E and D triads in the line. In the second chorus, C7 is used as the primary source scale for the line construction from bars 36-44.

Mseleku also uses a mix of modal and bebop phrasing in his solo. At the beginning of the second piano chorus he uses a similar idea seen in the rst chorus. Here, however, the line develops into phrasing more reective of the kind seen in the bebop style, with more chromaticism engaging dominant function (G7). is kind of phrasing could be used over any of the related chords (C-7, F7 or A-7b5) and ows naturally into the subsequent D7alt chord. In the bebop language, the running of scales into each other constitutes a form of expressing harmonic movement. Here, the running of the F7 scale into the Ab7 scale expresses the movement from C-7 through A-7b5 to D7alt. e melodic line is thus driven by a relationship of scales a minor third apart while the harmony moves down a minor third from C-7 to A-7b5 and up a fourth to D7alt. e use of constant-structure four-note groups in the line creates a consistency in the phrasing similar to that seen in Tyner's playing (see also Chapter 6, Fig. 6.19). Similarly, bars 63-64 constitute the movement from AbMa7 through G7alt, resolving to C-7 expressed as the scale of Bb7 running into Db7, and resolving to the 5th of C. Here, the Bb7 scale runs over the G7 chord and only changes to Db7 on the last beat of bar 64, giving more action to the dominant and its resolution. Further bebop-styled phrasing using a single scale source is seen in bar 72 in the fade section of the end of the tune. Here, typical phrasing seen over F7 is used to drive the line over C-7. Other bebop phrasing is seen in the ascending arpeggiated lines on G-7 in bars 10-13 and bars 36-37.

Mseleku targets tension notes on V7 (G7) to enhance the resolution of the dominant to tonic. In bar 22, the substitute (Db) provides a strong resolution to the subsequent tonic and in bars 50-51, b13 provides action to the resolution of the 3rd of the tonic.

Other interesting aspects to his solo include the use of upper structure triads (bars 66-69 and a common property II-V7 lick on A7 in bar 16).91

<sup>91</sup> This is often referred to as a 'contrapuntal expansion of static harmony' (Coker 1989: 87).

#### THE ARTISTRY OF BHEKI MSELEKU

#### **Solo on 'Blues for Afrika' (***Celebration***)**

Mseleku plays ten choruses over the minor twelve-bar blues form. He adheres to the standard chord changes except in bars 9 and 10 of the form wherein he substitutes E-7b5-A7alt with a bar each of F-7-Bb7 followed by E-7-A7.

Mseleku's solo constitutes a mix of modal and functional lines supported by a combination of fourths and rootless left-hand voicings. e solo is carefully paced with improvised melody alternating with choruses of mostly chordal playing. Concerted voicings combining lefthand rootless with upper structure closed-position voicings are seen in chordal sections (bars 25-28 and 61-63). e use of Dorian scale lines supported by voicings in fourths typies the modal approach explored by players like McCoy Tyner. Chords are built in fourths following the Dorian scale and played mostly in anticipations of beats 1 and 3. Modal scales for the Dorian and Mixolydian are derived from the same parent scale and hence can be used over either chord. is is seen in bars 11-12 where the line targets the 6th degree of D minor in a way that could easily be interpreted as a line on G7. Mseleku's improvised melodic lines also include chromatic enclosures that speak to typical bebop phrasing seen on dominant seventh scales. Similar line construction occurs frequently as part of Mseleku's phrasing; for instance, the phrase spanning from bar 1 to bar 5 has a similar conguration to that found in bars 11-12 and 47- 48. Sometimes the line is displaced by an eighth note and its placement in the bar is dierent, but the intervallic concept is the same. Other typical phrasing includes displacement of the melodic line (bars 36-40), additional harmonic movement implied in the line (bar 42) and use of common property patterns like the diminished-scale patterns based on triads seen in the ninth chorus.

#### CHAPTER 7 – SOLO TRANSCRIPTIONS

0

0

Open 5th followed by 4ths (Dorian)

D7#9

**Solo on 'Home at Last' (***Home at Last***)**

'Home at Last' includes four short solos of one chorus each, including the guitar, trumpet, saxophone and piano. e tune is largely constituted around the Db major tonality moving to Db7 in the B section. Trumpeter Feya Faku adheres to the modal context throughout his solo using only the Db major scale in the A sections and the Db Mixolydian in the B section as the source for his improvised line. By contrast, Mseleku engages the functionality of the harmony giving particular focus to the dominants at the points of resolution. Typical bebop styled phrasing is seen throughout his solo. is includes the use of pivoted arpeggios (bar 6), chromatic enclosures (bars 7, 8, 15, 25, 26 and 29), alterations (bar 7), substitute harmonies like Bb7 (bar 11) and Eb7 (bars 12-13), as well as typical arpeggiated lines over dominant 7th scales (bars 12-19).

**Solo on 'Mamelodi' (***Home at Last***)**

'Mamelodi' provides an opportunity to compare modal-styled playing with a more bebop-styled approach (see p. 119). Where Feya Faku keeps to the tonality of Ab major throughout his solo, Mseleku uses a combination of both modal and bebop approaches. Some lines are purely driven by a pentatonic scale (bars 5-6) with slight alterations that engage function of the harmony (bars 3-4), and others fully engage the harmonic movement in the line using typical bebop phrasing (bars 15-16).

Similarly constructed lines are seen in bars 15-16 and 19-20. Here, a continuous line conceptualised around an Eb7 scale running into C7 speaks to the movement of DbMa7 running into G-7b5 – C7b9. Similar lines are seen in tunes like 'Melancholy in Cologne' and 'Aja' where the same harmonic progression is used. Additional notes played above the melodic line are seen in bars 14-16.

Ab 7

151

E-7

#### **Solo on 'Melancholy in Cologne' (***Star Seeding***)**

e tempo of the tune facilitates typical double-time lines with the swingeighth feel played in the sixteenth-note subdivision. Sequential lines based on repeated motifs appear several times in the solo. is gives structure and provides a sensibility to the solo that speaks to the cyclical nature of the tune. is is seen in bars 10-16 where the improvised line follows a similar contour through several sequences and bars 22-24 where the line comes o the 7th of each of the major 7 chords. Similarly constructed lines are seen in bars 18, 20 and 50 with lines often targeting the 3rd of the chord.

Extensive use of the whole-tone scale is seen throughout the solo as well as the augmented arpeggio on the root of the dominant. Other characteristic elements include the use of the four-note group 5-3-2-1 in the line (bars 28, 29 and 64) as well as additional upper notes in the melodic line (bar 19 and bars 60-63).

Seventh chorus

#### **Solo on 'rough the Years' (***Timelessness***)**

Mseleku's solo is reminiscent of elonious Monk's style brought about mostly by extended dominant sequences and the use of the whole-tone scale both of which Monk used extensively. e solo form is slightly dierent to the head and is notated in double time. Similar lines conceptualised around the diminished scale are seen over the dominant 7ths and the extended dominant sequences (see Chapter 3). Mseleku adds implied harmonic activity in his improvised line over the II-V progression in bars 8-9 and 20-21. He plays three similar congurations alternating between A-7 to D13b9 over bars 8-9 and replaces A-7 with A7 in bar 20. All the dominant sevenths use the same diminished scale tension structure of #11, 13 and b9, and function often as an upper structure triad built on the 13th of the dominant. Other symmetrical structures from the diminished scale are seen in bars 24-26. ese are congured using two constant-structure symmetrical units a b5 apart and built on the root of each dominant in the sequence. e phrases are embellished with some added chromaticism. Mseleku uses a modal approach over bars 48-53 with the E minor pentatonic and E blues scales as the primary drivers of the improvised line. He also generally adheres to the melody when negotiating the metric modulation sections.

**Solo on 'Timelessness' (***Timelessness***)**

Mseleku plays two choruses through the form and uses a mix of conceptual approaches in his improvisation. is includes the use of three and fournote groups as well as pentatonic scales to drive the line. e left hand supports with a combination of open fth, root-7 and rootless voicings. He generally sees the A sections as segments that focus on a tonic-dominant 7th sound resolving to IV in bar 5, similar to the blues. His phrasing reects this attitude and is often focused on a modal approach with either a mutating motif based on three or four notes or pentatonic scales forming the focus of the line. Phrasing often targets the 3rd of chords I and IV (see bars 9, 13, 17, 21 and 25). Consistent construction and conceptualisation of the line are seen throughout the solo resulting in a fair amount of repetition. is is highlighted in the notated transcription.

#### THE ARTISTRY OF BHEKI MSELEKU

### **Appendix A**

#### *e South Bank Show* **with Melvyn Bragg (Ep. Bheki Mseleku, 1992)**

Transcription of the conversation between Bheki Mseleku (BM), Courtney Pine (CP), Hugh Masekela (HM), John Fordham (JF), Melvyn Bragg (MB), Abbey Lincoln (AL) and Marvin Smith (MS)

MB: Since moving to London in 1985, South African Zulu pianist and composer Bheki Mseleku has been making a big impression on the British jazz scene, although he's not at all widely known. e success of his 1992 debut album *Celebration* earned him some international acclaim. Bheki's individualistic and eclectic sound draws on American, classical and township inuences, and yet, he's had no formal musical training at all. He grew up in a poor village on the outskirts of Durban and at the age of seventeen simply sat down at a piano and discovered that he had an innate ability to play. *e South Bank Show* lmed this remarkable musician recording his new compositions in New York and brought him together for an informal jazz session with legendary trumpeter and fellow South African Hugh Masekela, and British saxophonist Courtney Pine.

[Live session of 'Here is Freedom – A Song for Mandela', translated as 'Nants' Inkululeko' as known on his albums. Below are comments made during the performance.]


and how he radiates it to the other musicians. So the next thing you know you're playing the melodies without him saying 'Oh, can you play this? It's a C sharp? It's a D sharp?' You know, it's not about that; it's about the sound and the feeling.

BM: In my growing up I didn't have any formal training in music. It was by accident that I played music in a way, because even by that time the piano was chopped at home for re, you know, and obviously when my father died, we were poor – but I don't think that's the only reason. It's just that people at home maybe didn't value that this was priceless – that it was a good thing to have. So I, also not being interested in music, I'm sure I was helping in chopping that piano, you know, to nd out that I was going to be a musician later, and I didn't have an instrument.

 When I started playing I discovered that I could play eortlessly, you know? I must have heard a lot of music when I was young and I guess it has to do with that – and plus, South Africa is a very musical environment, just in terms of blacks by themselves.


['Ntyilo Ntyilo' with BM and HM]


#### APPENDIX A

with them during the day and then at night I would go back and practise alone until maybe early in the morning, then go and sleep a few hours and wake up and practise with them, so that by six months I would've done [such an amount of] work, which maybe would [usually] take two or three years to complete, you know?


life will change a little bit nancially and can probably be able to buy a house and buy myself my rst piano. I've never owned a piano in my life.

['Song for Pharoah']

CP: I rst came across Bheki in the… mid-80s. ere was a group of us developing a sound and style, and all of a sudden this piano player appeared from nowhere. When he did appear, he was very… he was ready, you know? A lot of musicians, like I'm still preparing… he was ready. He's just a phenomenal musician and a very open person. He picks up the vibes of what everybody is doing and he works, starts on the piano and things develop, and the next thing you know – Bheki's implying certain things to you. He's not telling you to play what he's implying. en once you get that, he goes somewhere else and the next thing you know – you've got a fully formed piece.

 Whenever we get on the band stand and things get kind of crazy – 'cause sometimes I do get a bit deep into what I'm doing – whenever it gets to Bheki's solo, there's always a sense of hope we can succeed. I'd like to translate some of that into what I'm doing. at's, to me, what Bheki has – what he gives to me. ere's this great sense of no matter what's happening on the outside, there's this spirit that is positive and will succeed.

['Closer to the Source']


that have inuenced him further back; I think that broad world musical perspective of his has made him a key gure in it.

BM: ese terms we use in terms of jazz and classics – they're wrong, but there is what you call spontaneous improvisation and obviously based on a form, because maybe there would be a tune that you have already composed and then you're going to improvise on it afterwards, or it's just improvisation from the beginning, which there's nothing wrong in it being in a conventional way in terms of what people think of what that is, that it is composed in a systematic way – like what I was doing before [plays solo piano].

 ese are chords that fall o from one chord to the next in a kind of conventional way – like this… [plays solo piano].

 ere's a lot of things you can do into it and, I don't know, for some reason I get attracted to play these kind of changes – like going from the key where I started until I've played twelve keys in a whole because of the ow. is has to do with trying to heal myself and to heal the vibration where I'm in, rather than maybe distorting things, but I get into dierent moods, like I'll be playing something else like: [plays solo piano].

 is, for me, sounds more like elemental sounds. It could be like thunder or whatever. Like nature can seem very unorganised sometimes, producing earthquakes and winds which can disturb a lot of people. So sometimes I guess, because of what we pick up, we play these things otherwise there would be no necessity in them. I think another part of us live in another realm, which is not aected by any outward things that are happening, so it's always still and peaceful and I try and tune to this part. Hence, I try sometimes to play things that move gently and harmoniously in the way that they move. Like my tunes – some of them are very simple tunes because I feel attracted to this part of me that is like a child.

HM: He's very, very sincere and committed to his spiritual beliefs, and for him, it's great. It helps him [because] obviously he's a great guy. I don't say he leans on it, but I think some of his magic comes from there. If he didn't have that kind of fragile sensitivity that he sometimes has, I think that he wouldn't have a guide. He wouldn't have a focus. I'm glad that he has something like that.

[Bheki plays solo piano and sings. Below are comments made during the performance.]


#### APPENDIX A

had problems with ending it because it just wanted to ow. is is what happens when I go out of time, like not having to worry that we're lming now, or worry in terms of the gig that it starts at a certain point and ends at a certain point, or with a recording as well. ese things create a problem, but for me, music should just be [an] experience every time, all the days of your life. It should be a spiritual thing – a ritual.

HM: Greatness is a mysterious thing. You can say anything about it except, 'God damn, he's great!' and that's how I feel about Bheki from the rst time I heard him. When I met him, I didn't realise how great he was, and then he pulled out the saxophone and I said: 'God damn! What is he going to do next?'

[Bheki plays saxophone and piano simultaneously]


[Band continues to play 'Nants' Inkululeko']

MB: Late last year, *e South Bank Show* followed Bheki to New York where he went to record his new album *Timelessness* with some of today's jazz greats including Joe Henderson, Elvin Jones, the singer and actress Abbey Lincoln, and Pharoah Sanders.

[Clip of band recording 'Monk's Move' in studio]

BM: I decided to do it [record] in New York because New York has such special energy and I think there's a special vibe that place has. I don't know. I don't know what it means for other people. For me, it had to be done there.

 So in most of the gigs that I've done, as well as my rst album, Michael (Bowie) has been the bass player we've been using in the group and he's a very sensitive cat and we have such a good vibe with him. I've also been working with Marvin "Smitty" Smith who's on drums on this record. We did *Celebration* together. We've been doing a lot of gigs together.

 'Monk's Move', a tune which Pharoah Sanders features in, is dedicated to elonious Monk.

[Pharoah Sanders improvising on 'Monk's Move']

 Pharoah is such a musician. He's so spontaneous. He doesn't concentrate so much on the intellect, though he uses it, but he's so spontaneous in his playing, and I think Monk was like that. We didn't have rehearsals with Pharoah so I had to help him out in the tune to get it right.

[Bheki helping Pharoah with the phrasing of the melody of 'Monk's Move']

 Just going to the studio like that and working [parts] out just before you actually record, it's very dicult, but because of spontaneity sometimes you can capture the aliveness of the music because it's so fresh.

 e ballad song that I do on the album with Abbey came through like most of my songs and it's a ballad which immediately when it came I dedicated it to Kippie Moeketsi and Monk again. I never heard the lyrics; I heard them there for the rst time [in studio]. So it was the rst time we got together to work out how the song should go.

[Abbey Lincoln (AL) and Bheki working out the phrasing of the lyrics against the melody]


[Clip of recording 'rough the Years']


[Bheki teaching band singing parts of 'Vukani']

BM: *Vukani, madoda*, which means 'wake up, men'*.* Although, when we sing it again in the song we say 'wake up, children'. *Vukani, madoda* is in Zulu which is my native tongue and it has a message of waking up to a new world of peace – and this involves South Africa as well and all the turmoil that is happening in the world to wake up to a new consciousness of being loving beings and peaceful beings, and that's the message behind the song.

 I have a lot of inuences coming from South Africa in dierent ways that other people ... maybe it's hard for them to understand that South Africa is multicultural really; there's Hindus, there's Muslims, there's all kinds of people. So for me, when I was born, I grew up under that kind of South Africa, obviously as a Zulu, but there's all those elements. at's what I've known and that's what comes to me, so that's for me South African.

[Practising vocal parts for 'Vukani']

BM: is is the good thing about these musicians – they all sing when they're playing their instruments. You might not hear it that much. I think the best musicians are those that sing what they're playing and this was their chance just to sing without playing and there was a great spirit.

 I've always loved the saxophone. Most of the musicians who inuenced me played saxophone and even the rst piece that I ever played, the composer was a saxophone player – Mankunku Ngozi.

[Bheki playing tenor saxophone]

… but I always liked the saxophone, so one day I took a

saxophone to play it. I never get time to play it, playing with another piano player, so I thought we might as well have a go at it this time. So Rodney (Kendrick) is the proper guy to do that because we have such a good vibe with him.

[Bheki on alto teaching Kendrick the piano part for 'Homeboyz']

 Obviously we had to communicate and I know it takes quite a sensitive musician to be able to look to me to be able to feel where we're going through, so we decided to use 'Homeboyz', which was a very grooving tune – a dancing tune – like a jam session, and I think it came out beautiful.

[Band playing 'Homeboyz']

 Like I was saying, I chose a simple song which had a denite rhythm which we all could relate to in terms of our bringing up, because it's like a ghetto song. It has that jamming mood in it. In other words, it has spontaneity in it. I think we're missing a lot of that in the music today.

### **Appendix B**

#### **Transcriptions of compositions**

e following are complete transcriptions (by the author) of the compositions referred to in the text. ese include the head, chords and form of each composition, either in a lead sheet format or double stave (where appropriate). e transcriptions reect the performance played on specic recordings listed in the titles.

### **'Adored Value'**

(As played on *Beauty of Sunrise* Polygram FPBCD 128)

'Adored Value' continued

'Aja' continued

#### **'Angola'**

(As played on *Celebration –* World Circuit WCD 028)

'Angola' continued

'Angola' continued

'Blues for Afrika' continued

#### **'Closer to the Source'**

(As played on *Celebration –* World Circuit WCD 028)

#### APPENDIX B

'Cycle' continued

#### **'Home at Last'**

(As played on *Home at Last –* Sheer Sound SSCD 094)

'Home at Last' continued

#### **'LA Soul Train Blues'**

(As played on *Star Seeding –* Verve 529142-2)

#### **'Mamelodi'**

(As played on *Home at Last –* Sheer Sound SSCD 094)

'Mamelodi' continued

#### **'Mbizo'**

(As played on *Home at Last –* Sheer Sound SSCD 094)

(As played on *Star Seeding –* Verve 529142-2)

#### **'Monk the Priest'**

(As played on *Home at Last –* Sheer Sound SSCD 094)

#### 'Monk the Priest' continued

#### 'Monk the Priest' continued

#### **'Monk's Move'**

(As played on *Beauty of Sunrise –* Polygram FPBCD 128)

#### 'Monk's Move' continued

#### **'Monwabisi'**

(As played on *Home at Last –* Sheer Sound SSCD 094)

'Monwabisi' continued

#### **'Nants' Inkululeko'**

(As played on *Home at Last –* Sheer Sound SSCD 094)

'Nants' Inkululeko' continued

#### **'Nearer Awakening'**

(As played on *Beauty of Sunrise –* Polygram FPBCD 128)

'Nearer Awakening' continued

#### **'One for All, All for One'**

(As played on *Celebration –* World Circuit WCD 028)

'One for All, All for One' continued

#### 'One for All, All for One' continued

#### **'Supreme Love' (Dedicated to John Coltrane)**

(As played on *Celebration –* World Circuit WCD 028)

#### **'e Age of Inner Knowing'**

(As played on *Celebration –* World Circuit WCD 028)

'The Age of Inner Knowing' continued

#### **'e Messenger' (Dedicated to Bud Powell)**

(As played on *Celebration –* World Circuit WCD 028)

#### **'rough the Years' (Lyrics: Abbey Lincoln)**

(As played on *Timelessness –* Verve 314 521)

#### 'rough the Years' continued

'rough the Years' continued

#### **'Timelessness'**

(As played on *Timelessness –* Verve 314 521)

'Timelessness' continued

#### **'Woody's Tune'**

(As played on *Beauty of Sunrise –* Polygram FPBCD 128)

'Woody's Tune' continued

'Woody's Tune' continued

DS AL CODA

'Woody's Tune' continued

### **References**

Aebersold, Jamey & Slone, Ken (1978) *Charlie Parker Omnibook*. New York: Atlantic Music


#### REFERENCES

Fordham, John (1993) Liner notes on *Meditations.* Verve, 521 337-2


Ibrahim, Abdullah (1992) *Africa Dawn.* Enja, R2-79621


Despite being entirely self-taught, Mseleku was the most technically sophisticated of jazz musicians, though the abiding experience of hearing him play was one of an unjazzlike simplicity.

> – John Fordham, The Guardian

,

Bheki Mseleku is widely regarded as one of the most gifted, technically accomplished and emotionally expressive jazz musicians to have emerged from South Africa. His individualistic and eclectic sound draws on American, classical and township influences. He had no apparent formal music training and grew up in a poor village on the outskirts of Durban where, at the fairly late age of seventeen, he discovered that he had an innate ability to play. He has become a key inspiration for aspiring young South African jazz musicians and has left an infinite source of knowledge to draw on.

*The Artistry of Bheki Mseleku* is an in-depth study of the Mseleku's compositional works and improvisational style. The annotated transcriptions and analysis bring into focus the exquisite skill and artistry that ultimately caught the eye of some of the most celebrated international jazz musicians in the world.

**Andrew Lilley** is an associate professor at the University of Cape Town, and assistant director of the South African College of Music where he lectures in jazz piano, theory and improvisation. He is a graduate of Berklee College of Music in Boston where he studied with the celebrated hard bop pianist and composer Donald Brown, and with Enja recording artist Bruce Barth. He holds degrees from the University of Cape Town. He is a well-respected member of the South African musical fraternity and appears on numerous recordings with local and international artists.

Cover image © Siphiwe Mhlambi

**THE ARTISTRY OF BHEKI MSELEKU**

 **Andrew Lilley** 

**AFRICAN MINDS**

**BHEKI**

**The Artistry of**

**Andrew Lilley**

**MSELEKU**