Vibrant discourse weaves a variety of influences and styles
GENRE: Jazz FORMAT: Video DURATION: 1hr LANGUAGE: Music AGES: All ages AVAILABLE FROM: June 28, 2020
“Lento yam”. This is my thing.
Siseko Pame, while billed as a jazz artist, gives the audience so much more than that.
The East London-born singer and violinist opens his performance with a voice that channels the ancestors. It may sound like hyperbole, but Pame has a unique sound that grabs your attention and holds it long after his performance is over.
Hailing from Duncan Village, Pame won his first SAMA award in 2018 for Best Contemporary Adult Album with his first album Ilanga (The Sun) when he was still a newcomer to the recording industry.
His parents were both musicians, so it is not surprising that he was quickly immersed in music, studying violin to the point where he was selected to play in the East London Classical Players’ Orchestra in 2004.
He has since performed around South African to great acclaim.
Pame’s performance for vNAF, while pre-recorded, has the spontaneous feel of a live show, which in itself is no mean feat with a full band and backup singers. The sound production was expertly done, and the set list was perfectly balanced.
His song choices were made to reflect aspects of his musical journey. Lento Yam, one of his more well-known numbers which he describes as a deeply personal song, and Malowe, his nod to Jabu Khanyile, an artist who paved the way for young African artists, are two of his stand-out numbers.
While Pame’s music is sometimes described as Classic Soul, it is deeply rooted in traditional African musical traditions, and to those audience members from his home-town, the Eastern Cape vibe is very strong.
His music is harmonically interesting, and for jazz fans there are some heady moments. Pame delivers complex harmonies and chord progressions in a way that will be enjoyed by the average music lover.
This show is filled with energy and passion, and you find yourself totally immersed in the joy that Pame exudes in his singing and stage presence.
It is interesting to note that like Jabu Khanyile, Pame’s approach to his music seems to be that of uniting different African musical styles.
His style of violin-playing resembles that of an endingidi, a Ugandan tubed, string instrument, and his song construction is reminiscent of the call-response found in Southern African choral music.
Overall, this is a feel-good performance that, even with a slight technical hitch which only added to the illusion of a live performance, was most entertaining.