U presents Tumi Mogorosi
Sat Dec 24, 17:00 - Sat Dec 24, 23:00
Botaki Ba Afrika
ABOUT
U - THE SPACE is a multi-disciplinary Art venue that prides itself in supporting the Arts and Artists both locally and internationally. We excel in showcasing Artists that are doing great work in the Arts sector.
The bold young master drummer Tumi Mogorosi is coming to U on Saturday, 24 December 2022, R150 at the door (R130 online presales) , 5pm - late ( band start playing 6pm), venue; Botaki ba Afrika
U - THE SPACE Live Music Program is in collaborating with Concerts SA is funded by the Royal Norwegian Embassy and SAMRO, administered by IKS Cultural Consulting , with digital partner, Music in Africa.
ABOUT TUMI MOGOROSI;
A bold new project by feted South African drummer Tumi Mogorosi (Shabaka and The Ancestors, The Wretched 2020) – his first recording as leader since 2014’s Project ELO Sanctum Sanctorium 2016, A book call Deaesthetic: writing with and from the Black sonic (2021).With his lastest project group theory dramatically powerful compositions played by Mogorosi’s quintet alongside a nine-person choir, creating spiritualised choral music in the tradition of Max Roach, Andrew Hill and Billy HarperFeatures a cross-generational line-up of celebrated South African musicians including guitarist Reza Khota, pianist Andile Yenana, and vocalists Gabi Motuba and Siyabonga Mthembu (The Brother Moves On)A collaborative project between South Africa and the UK, linking up Johannesburg pacesetters Mushroom Hour Half Hour (SPAZA, Malcolm Jiyane Tree-o) with rising UK imprint New Soil (Theon Cross, Ill Considered)
Group Theory: Black Music is a stunning new statement from South African drummer and composer Tumi Mogorosi. Standing in the lineage of South African greats such as Louis Moholo-Moholo, Makaya Ntshoko and Ayanda Sikade, Mogorosi is one of the foremost drummers working anywhere in the world, with a flexible, powerful style that brings a distinctive South African inflection to the polyrhythmic tradition of Elvin Jones, Max Roach and Art Blakey. Since his international debut on Jazzman Records in 2014 with Project ELO, Mogorosi has been in the vanguard of the South African creative music scene’s burgeoningouternational dimension, taking the drummer’s chair in both Shabaka Hutchings’ Shabaka andThe Ancestors formation and with avant-garde noiseniks The Wretched, who featured on Brownswood’s acclaimed South African showcase, Indaba Is. Mogorosi’s overarching vision on Group Theory: Black Music is encapsulated by the touchstone quotation from Amiri Baraka –
‘New Black Music is this: Find the self, then kill it.’ For Mogorosi, these words speak to an essential feature and function of Black creative and improvised art – the search for the point where individual boundaries collapse into the universal ongoing flow of the music, at the moment of group creation. This flow is not local, it is transglobal, and it joins the music of the diaspora with Africa, allowing connections and relations to range across historic and contemporary spaces of struggle, self-determination and transformation. Such effects are also transtemporal, dropping deep down into the wells of history to bring forth sounds from the present and future, and allowing the music to burrow back into the past. As Baraka’s words imply, the individual cannot escape this search unchanged, and the creative musician does not desire to: in the time of its creation, New Black Music intends to flow into and
through the performers from sources beyond them. The writer of a song is never the only author; the soloist always speaks for others; the leaders are never one but a host of many. Previous times and places, previous performances and compositions, previous souls and struggles are always made manifest in the music; the search for the inner self is also a quest to dissolve the individual into the living soundways of those who came before and those who will come after.
‘The album is under my name,’ says Tumi, ‘but the ideas aim at a decentring of the individual composer or author, and a a decentring of the idea of the “leader” – it tries to encapsulate the idea of a group effect, to go beyond the point of origin, and it refuses geo-specific narratives.’
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