Ogun and Cadillac Records – 50th Birthday celebration at Cafe OTO, London

This year marks half a century since the launch of Cadillac Records, the DIY label set up by John Jack and Mike Westbrook in 1973 to release Mike’s album Live! (SGC1001); and also Ogun Records, which recorded the famous Brotherhood of Breath - Live at Willesau  that same year (the album OG100, was released in 1974). Cadillac is of course still going strong (and still releasing music) and is in the capable hands of Mike Gavin.

A packed Cafe OTO – many of UK jazz's most illustrious figures were present – was a feast of great music that kicked off with the first showing since the 1970s of The Real McGregor, a film recently re-discovered languishing in a loft by film-maker Dr Paul DJ Moody of International Media Productions; this captures Chris McGregor's group The Blue Notes in 1967 in full flow during their residency at Ronnie Scott’s Old Place. On this occasion the classic quintet included Louis Moholo-Moholo, Johnny Dyani, Mongezi Feza and Ronnie Beer as well as McGregor himself, who is also interviewed in the film, which was prefaced with an illuminating talk by Moody.

Original director Ian Hutchison's mesmerising film still requires further audio and visual restoration, but the energy of the group came through the murk with total clarity. Make no mistake, this is a remarkable and important document that deserves both a full restoration and a wider release. Moody is looking for broadcasters to partner with, so that this film will be seen by a much larger audience.

A beautiful duet by Mike Westbrook (piano) and Chris Biscoe (sax) followed, the great pianist/composer demonstrating on the two 'unpremeditated' pieces played that his invention and touch remain undimmed by time. The 40-year partnership between the musicians was evident, particularly on the second number, a moving, bluesy tribute to the late John Jack.

Then, pianist Alexander Hawkins led an explosive septet in tribute to The Blue Notes. Hawkins and his partners – saxophonists Ntshuks Bonga, Jason Yarde and Roberto Ottaviano, bassist Neil Charles, drummer Steve Noble and flugelhornist Claude Deppa – powered non-stop through a dozen or so numbers, barely pausing for breath. The energy and commitment coming from the stage was palpable, as was the sheer joy the musicians exuded. I've seen Hawkins do this kind of thing before, but never so well, and never with such gusto and intensity, and the ecstatic ovation from the audience at the end was fully deserved. This was the spirit of The Blue Notes that we'd witnessed earlier on film brought vividly back to life: raucous, committed, uninhibited; it was a celebration of all that is best not just in South African jazz, but jazz more widely.

Apparently the evening, which was, it has to be said, very intelligently programmed, was professionally recorded – great news, because this concert-cum-celebration needs to be heard by those who weren't there.