Hotep Idris Galeta was born in Crawford, Cape Town on the 7th of June 1941. He grew up exposed to the rich musical culture in and around Cape Town. His first piano lessons came from his father at the age of seven who taught him some basic keyboard skills. As a young teenager in the early 50's he became interested in Jazz, after listening to a short wave radio Jazz program on the "Voice of America".
After meeting Abdullah Ibrahim, then known as Dollar Brand, at a high school jazz concert in Athlone, the two became close friends and Brand became his mentor. Hotep, or as he was known in the 50's, Cecil Barnard, went on to establish himself as one of the young emerging pianists on the Cape Town Jazz scene, playing in such legendary clubs as the "Naaz", "Zambezi" and the "Vortex" and alongside legendary South African players such as Chris McGregor, Dudu Pukwana, Christopher Mra Ngcukana, Cups and Saucers, Johnny Gertze, George Kussel, Sammy Moritz, Henry Makone, Makaya Ntoshoko, Anthony Schilder and Monty Weber. All of these individuals had a great influence on his musical development.
Hotep left South Africa for London and then New York in 1961 and stayed in exile for thirty years. In the early 60's he obtained a scholarship to study privately with noted jazz piano educator John Mehegan. He now has a Master's degree with Distinction in Jazz and Contemporary African-American Music and Performance. His discography is quite extensive with over 18 albums and CDs recorded with a number of American and South African artists. They include his own acclaimed solo piano CD Live At The Tempest and numerous CDs with Hugh Masekela, Herb Alpert, John Handy, Jackie McLean, Joshua Redman, Archie Shepp, Elvin Jones, Bobby Hutcherson, Woody Shaw and David Crosby and the Byrds. As a result of his reputation as an internationally recognized Jazz and Contemporary Music educator and pianist, he was appointed lecturer in Jazz studies to the University of Hartford's Hartt College of Music in Hartford, Connecticut, U.S.A in 1985. This position continued until his return to South Africa in 1991.
Since then he has served as the Musical Director for the Volkswagen-sponsored "Music Active" performing arts educational program for high schools. He recently returned to Cape Town after four years of lecturing in the Music Department at the University of Fort Hare in Alice, Eastern Cape. He currently manages the Resource Centre at Artscape Performing Arts Theatre Complex in Cape Town, South Africa, and also co-ordinates the Jazz Performance and Community Outreach Jazz Education programs there.
Sheer Sound are proud to announce the release of Hotep's latest album, "Malay Tone Poem". This album was produced by, and features, Zim Ngqawana. The band he recorded with is the Safro Jazz Quintet, comprising Marcus Wyatt, Kevin Gibson and Victor Masondo. The vision behind the formation of the Safro Jazz Quintet, is to use the band as a developmental platform for young, up-and-coming talented South African jazz musicians in the same tradition established by the great African-American drummer Art Blakey and the Jazz Messengers.
He passed away suddenly and unexpectedly in Johannesburg on 03 Nov 2010, following an asthma attack.
Keorapetse William Kgositsile, born September 19, 1938 in Johannesburg is a South African poet and political activist, and was an influential member of the African National Congress in the 1960s and 1970s. He lived in exile in the United States from 1962 until 1975, the peak of his literary career. Kgositsile made extensive study of African-American literature and culture, becoming particularly interested in jazz. During the 1970s he was a central figure among African-American poets, encouraging interest in Africa as well as the practice of poetry as a performance art; Kgositsile was known for his readings in New York City jazz clubs. He was one of the first to bridge the gap between African poetry and Black poetry in the United States, and thus one of the first and most significant poets in the Pan-African movement.
Kgositsile grew up in a small shack in back of a house in a white neighborhood. His first experience of apartheid, other than having to go to school outside of his neighborhood for reasons he did not then understand, was a conflict with a local white family after he fought a white friend of his who hesitated when other friends refused to join a boxing club that denied Kgositsile membership. The experience was a formative one, and joined with other experiences of exclusion that increased throughout his teenage years. For Kgositsile, adulthood—being a "grown up nigger"—meant an entrance into apartheid.
Kgositsile attended Matibane High School in Johannesburg, as well as others in other parts of the country. During that time he was able (with some difficulty) to find books by Langston Hughes and Richard Wright, and influenced by them as well as by European writers (principally Charles Dickens and D. H. Lawrence, he began writing stories, though not yet with any intention of doing so professionally. After working a series of odd jobs after high school, he took to writing more seriously, and got a job for the politically charged newspaper New Age. He contributed both reporting and poetry to the newspaper.
These early poems, anticipating a lifetime of Kgositsile's work, combine lyricism with an unmuted call to arms, as in these lines from "Dawn":
Remember in baton boot and bullet ritual
The bloodhounds of Monster Vorster wrote Soweto
Over the belly of my land
with the indelible blood of infants
So the young are no longer young
Not that they demand a hasty death.
Any early interest in fiction was replaced by the sheer urgency of communication Kgositsile felt. As he said later, "In a situation of oppression, there are no choices beyond didactic writing: either you are a tool of oppression or an instrument of liberation."
In 1961, under considerable pressure both for himself and as part of a government effort to shut down New Age, Kgositile was urged by the African National Congress, of which he was a vocal member, to leave the country. He went initially to Dar es Salaam to write for Spearhead magazine (unrelated to the right-wing British magazine of the same name), but the following year emigrated to the United States. He studied at a series of universities beginning with Lincoln University in Pennsylvania, where he "spent a lot of time in the library trying to read as much black literature as I could lay my hands on."
After studying at the University of New Hampshire and The New School for Social Research, Kgositsile entered the Master of Fine Arts program in creative writing at Columbia University. At the same time, he published his first collection of poems, Spirits Unchained. The collection was well received, and Kgositsile was given a Harlem Cultural Council Poetry Award and a National Endowment for the Arts Poetry Award. He graduated from Columbia in 1971, and remained in New York, teaching and giving his characteristically dynamic readings in downtown clubs and as part of the Uptown Black Arts Movement. Kgositsile's most influential collection, "My Name is Afrika," was published in this year. The response, including an introduction to the book by Gwendolyn Brooks, established Kgositsile as a leading African-American poet. The Last Poets, a group of revolutionary African-American poets, took their name from one of his poems.
Jazz was particularly important to Kgositsile's sense of black American culture and his own place in it. He saw John Coltrane, Nina Simone, Billie Holiday, B. B. King, and many others in the jazz clubs of New York, and wrote to them and of them in his poems. Jazz was crucial to Kgositsile's most influential idea: his sense of a worldwide African diaspora united by an ear for a certain quintessentially black sound.
He wrote of the black aesthetic he pursued and celebrated:
There is nothing like art—in the oppressor's sense of art. There is only movement. Force, Creative power, the walk of Sophiatown totsi or my Harlem brother on Lenox Avenue. Field Hollers, The Blues. A Trane riff. Marvin Gaye or mbaqanga. Anguished happiness. Creative power, in whatever form it is released, moves like the dancer's muscles.
Freedom from a constricting white aesthetic sensibility and the discovery of the rhythmic experience common to black people of all the world were, for Kgositsile's, two sides of the same struggle.
Clay Corley Sr.
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