Hotep magic

By CORNELIUS THOMAS

HE OPENS with a Herbie Hancock in B-Flat, a smooth yet upbeat rush of sound straight from the Harlem of Langston Hughes and Fats Waller. Bass guitarist Lulama Gawulana spills the heavy heat of a New Orleans night. And drummer Ayanda Sikade balances the act, keeping it in check, now with a trickle, then with a bolder beat. But the pianist is the main act, the most consummate jazzman around: Hotep Idris Galeta.

As promised, Cliffie Freeman of CD's Jazz Café has been bringing big names to the city. He showcased local talents Vibe and Topaz, but also offered jazz lovers Lulama's Quintet and the legendary Pat Matshikiza.

Despite his 30-year exile in the United States, Hotep, 58, has since his return in 1991 become a household name, thrilling jazz lovers all over the country.

Hotep's virtuoso stems from playing with Bobby Hutcherson, Herb Alpert and Wynton Marsalis and performing at Catalina's Bar in Los Angeles and the Village Vanguard in New York City.

He has been into A&M and other studios, collaborating on 18 CDs with SA greats and with Charles Lloyd (of Forest Flowers fame), Jackie McLean and John Handy.

Playing at the premier event on the jazz calendar, the North Sea Jazz Festival, and at the Village Vanguard with Marsalis, though, were the highlights of his career. Hotep, as part of the Jackie McLean Quintet, co-created Dynasty, a CD which features his compositions, Knot the Blues and King Tut's Strut.

McLean said: "Hotep is a gift from the Creator to me, ... his rhythmic lines, his energy, his strength, and the beauty of his concept, which is a mixture of Eastern music, African roots, a love of Horace Silver and a deep devotion ... make him a pleasure to be with on the bandstand."

As he gets into Summer Time from Porgy and Bess, he says of CD's Jazz Café: "The ambience here is international. You could be in New York, Paris of London."

Hotep should know.

In exile, Hotep, who had left because apartheid stifled his creativity, played a part in the anti-apartheid movement. "Just as Dennis Brutus used sport, we used to create awareness of apartheid. Students are a powerful force. They stopped the Vietnam War, you know; and they played a major role in anti-apartheid and divestment campaigns."

He is a scholar-intellectual who was professor of music at the University of Hartford in Connecticut, and who currently teaches at Fort Hare University.

Hotep is not only a mainstream virtuoso; he is a savvy musician who is in tune with the youth and whose magic often tumbles into a hip hop jazz that stems from Harlem, but brings one home to any township.

That Hotep is an icon became clear from the youthful members of Topaz. "I'm here to learn the art of improvisation from Hotep," said drummer Chris Saunders. Keyboardist Matthew Jennings and bass guitarist Reagan Prince agreed: "Hotep is excellent. We can learn a lot from him."

Equally enthralled, vocalist Lizario Roberts hoped he could shake the hand of "Hotep, the great". They got their chance later that night when they chatted with Hotep.

Towards the end of the evening, a Capetonian urged Hotep to play Manenberg, that enduring passion play of Cape Flats life, adding "Please, we're just visiting."

"I know you're visiting; we are all visiting," the maestro quipped. And then he settled into South Africa's other national anthem.

Hotep knew the caustic wit of "Julle ka' ma' New York toe gaan, ma' o' bly hie' in 'ie Manenberg."

And so the talented son returned to serve his country with a medium that binds people, irrespective of race, colour or creed.

A family man, Hotep lives with his wife and three young children in Fort Beaufort. His two older children are United States residents.

Hotep will be back in town the weekend of September 24-25. This time he will bring along an old Cape Town friend, saxophonist Robbie Jansen of the Sons of Table Mountain.