Music for the thinking man . . .

Ahead of his and his band’s first appearance at the Cape Town International Jazz Fest, Tumi Mogorosi spoke to Helen Herimbi about being in a collective and more.

TUMIMogorosi ( pictured) has been drumming up attention for a few years now. At just 29, the drummer whose work has been lauded by the likes of Gwen Ansell is one to watch. In 2014, he and his band released the eponymous Project ELO.

The collective will be performing this work and others that they have since worked on at the 16th annual Cape Town International Jazz Festival which will take place at the ICC on April 1 and 2.

Sitting down with me at a Joburg eatery, the artist said he was excited to be bringing his music to the world stage.

“This is the first time we’re going to be playing at the festival,” he smiles. “With the stature that it has built over the years, it’s an honour to be featured. I remember the experience that stands out for me the most is when I watched Wayne Shorter play at the festival. It was beyond words. It resonated with a lot of where we were trying to go.”

He says “we” a lot during our conversation. The band includes Thembikhosi Mavimbela (double bass), Sibusile Xaba (guitar), Gabisile Motuba (jazz voice), Mary Moyo (opera voice), Maggie Letsoalo (opera voice), Themba Maseko (opera voice), Nhlanhla Mahlangu (tenor sax), Mthunzi Mvubu (alto sax), Malcolm Jiyane (trombone) and Lerato Kuzwayo (visual illustrations).

Mogorosi makes it clear up front that while he may be collaborating with the likes of American saxophonist, Salim Washington, right now, his success is a collective one.

“The notion of the individual comes with the premise of a Eurocentric way of living life,” he explains.

“It’s important to not go back, but to look back. People ask me if I want them to wear ibeshu, but that’s not what I’m saying, it’s beyond an aesthetic. I’m privileged to have friends and compatriots in the band who deserve for people to hear what they do. A lot of the time, one unit is meant to articulate one voice, but in this set-up, it ceases to just become my show. It’s another thing on its own.”

With 10 members in the band as well as a visual artist who helps to carry the narrative expressed during the band’s set, this group doesn’t feel the need to have just one voice.

As Mogorosi says: “Everyone knows what we’re trying to promote. We’re trying to redefine the notions of colonisation. So everyone is at liberty to bring what they feel to the table based on that. It’s input-related, but still has a narrative. For instance, our trombone player, Malcolm, said he wants to write the next project. It’s great because Project ELOis not Tumi’s project. It’s like a book that everyone can interpret in their own way.”

Project ELO, which is short for “Elohim”, is titled such as a reaction to Mogorosi’s interest in chronotype. Elohim is apparently represented by the number 10 – which is also the number of musical members in this group. “I used to read a lot of metaphysical stuff,” he confesses, “so I think we all exist in a space and time that has different articulations, but is a struggle nonetheless.

“From an art perspective, we’re blessed that we have so many channels to link with other people who aren’t looked at as much in the…” he pauses then says, “‘mainstream’ isn’t the right word for it, but ‘alternative’ isn’t either. I think there’s a way to be in the system, but still be… ‘honest’, for lack of a better word.”

Project ELO had been achieving this honesty through songs like Princess Gabi, which has also received a lot of praise. “It’s a meta-narrative of girl children now,” Mogorosi explains. “A black girl child in particular because violence against women is mostly towards black women.

“And we know this because those are the environments we live in that allow patriarchy to be the norm, so it makes them the most vulnerable. The song says, if given a chance, what are you beyond this victimisation? When you’re not trying to prove anything?”

The group challenge the listener on a number of socially conscious issues, but even on the songs that are devoid of lyrics, the music speaks volumes. For Project ELO, choral voices delivered by four opera singers are ubiquitous. There also seems to be an emphasis on the brass instruments – which can be surprising since Mogorosi has shouldered most of the responsibility of the group and he’s a drummer.

“The brass carry the melody,” he shares, “and if a song is driven by melody, we need the horns there for everyone else’s improvisation. Popular culture puts the drummer at the back on a high-riser, but with jazz, the set-up is different because Project ELO plays in a semi-arc where everyone can have eye contact on the stage. Besides, I’ve always been fortunate to play the music, not the drums.”

Catch Tumi Mogorosi and Project ELO on the Rosie’s stage at the Cape Town International Jazz Festival. The fest takes place at the Cape Town International Convention Centre on April 1 and 2. Book at Computicket.