Hotep Idris Galeta, the South African jazz pianist, who died last Friday in Johannesburg (of an asthma attack), was a another member of South Africa’s greatest generation of jazz musicians that have passed on in the last year (others: Robbie Jansen and Ezrae Ngcukana. The jazz historian Vincent Kolbe also passed.)  Born Cecil Barnard in Cape Town in 1941, Galeta started playing as a youth. He became friends with another pianist, Abdullah Ibrahim, at a high school musical event. Ibrahim, slightly older, became his mentor. After making a name for himself on the local circuit, he left for the United States in the 1960s (where he changed his name to Hotep Galeta), played at Woodstock, was in bands with Jackie McLean, Rene McLean, Archie Shepp, Herb Alpert, among others). In the late 1970s he formed a band with Hugh Masekela and Rene McLean.  He eventually returned to South Africa in 1991, taught music at the University of Fort Hare in the Eastern Cape, and performed widely. Reflecting on Galeta’s passing, Rene McLean wrote on his Facebook page: “… It would not be an overt exaggeration of facts to state that Hotep is one of the most important and innovative pianist and composers to emerge from South Africa.  At the same time, it must be stated and realized that Hotep’s significance and contributions to South Africa’s musical culture have yet to be fully realized and acknowledged.”

I would recommend buying Galeta’s albums Malay Tone Poem and the less well known “The Tempest,” an album of 11 piano solos, to get a sense of his musical genius. RIP.–Sean Jacobs

Further Reading

No one should be surprised we exist

The documentary film, ‘Rolé—Histórias dos Rolezinhos’ by Afro-Brazilian filmmaker Vladimir Seixas uses sharp commentary to expose social, political, and cultural inequalities within Brazilian society.

Reading List: Barbara Boswell

While editing a collection of the writings of South African feminist Lauretta Ngcobo, Barbara Boswell found inspiration in texts that reflected Ngcobo’s sense that writing is an exercise of freedom.

Kenya’s stalemate

A fundamental contest between two orders is taking place in Kenya. Will its progressives seize the moment to catalyze a vision for social, economic, and political change?

An annual awakening

In the 1980s, the South African arts collective Vakalisa Art Associates reclaimed time as a tool of social control through their subversive calendars.

More than a building

The film ‘No Place But Here’ uses VR or 360 media to immerse a viewer inside a housing occupation in Cape Town. In the process, it wants to challenge gentrification and the capitalist logic of home ownership.