TRIBUTES POUR IN FOR GWANGWA
LEGENDARY jazz trombonist Jonas Gwangwa has been lauded by the music industry as a gentle giant and massively talented artist.
The 83-year-old died on Saturday morning, 14 days after his wife Violet Molebatsi’s death, according to a family statement.
His friends and people that had worked with him praised his deep understanding for music that allowed him to compose for other musicians and for film and television.
The legendary musician is known for his popular hits like Morwa, Kgomo, Batsumi, Flowers of the Nation and Diphororo which got crowd dancing whenever he performed.
His passion for writing music scores saw him receive a Grammy nomination in 1988 for the score he wrote for Cry Freedom.
Born in Orlando East, Soweto, Gwangwa played a big role in SA’s liberation struggle.
Friend and music promoter Oupa Salemane explained that Gwangwa founded the Amandla Music Ensemble while in exile to raise funds for the ANC.
Salemane, who organised Gwangwa’s welcome back gig, which featured the late Wilson Mankunku Ngozi, said he had lost a friend and father.
“Bra Jonas was not only glued to music, he had broad knowledge about travelling and politics. When we had an idea about a concert he was always available to assist. In 2019 he got admitted to hospital and underwent surgery. When I visited him, the saddest thing he mentioned to me was that he would be unable to play his trombone again,” Salemane said.
Salemane said Gwangwa’s music was inspired by social and political issues and was packed with parables and political connotations.
Former president Thabo Mbeki also paid tribute to the late jazz icon.
Mbeki said together with other artists of his era, the 83-year-old harnessed the enthralling capacity of music not just to entertain, but also to hold up the mirror to society and bare the evil soul of the apartheid regime to the world.
He related how the censoring and banning of his music by the apartheid government forced Gwangwa to flee the country in the 1960s as part of Todd Matshikiza’s musical King Kong.
“In the 1970s, together with fellow exiles Caiphus Semenya and the late Hugh Masekela, Gwangwa returned to South Africa through song. Their album called Union of South Africa captured the hearts and minds of the oppressed masses and its tracks became parts of a National Anthem to many in the townships, rural areas and within the Black Consciousness Movement.”
He added: “In 1976, while touring Botswana with Caiphus Semenya and Letta Mbulu, he chose not to return to the United States. Gwangwa formed a band composed of artists from around Southern Africa, called Shakawe. Amongst its members were the renowned late trumpeter, Dennis Mpale and tenor saxophonist, Steve Dyer. Shakawe later played an important role, together with other South Africans in Botswana such as Wally Sorote, the late Thami Mnyele and Tim Williams, in the formation of the cultural organization, MEDU Arts Ensemble. MEDU played a pivot role in strengthening ties between the exiled South Africans and their Botswana hosts.”
Gwangwa’s son, Mojalefa, who was also his manager, reminisced about the bond he had with his father in a statement, saying: “I feel like I am waiting for him to finish his interviews after a show, given that today is a Saturday...
“Re mo kae . . . ? He would ask. We are in Polokwane, papa, I would reply. Did I perform GaMashashane? Looking at the stage.. I would say . . . Papa, you were the only one left on stage as it was raining hard and the crew had to remove all the equipment and electricals before any damage is done...”
The song is a tribute to his ancestral land in GaMashashane, Limpopo.
TV executive producer Mfundi Vundla said he had always admired Gwangwa’s writing talent and he had composed theme songs for the original Generations and the sequel, Generations: The Legacy and Soweto Green.
“I chose him because he demonstrated fully that he was talented because he got a Grammy nomination. He was very diverse, having also written music scores for stage shows like King Kong and music for other artists,” Vundla said.
“He was an all-rounder and it was pleasure for me to work with him. He was very reserved but he had a great sense of humour. He was a great grootman. - Sowetan.