These three recordings come from the mid-1970s, a bleak time in the evolution of South African jazz. Black cultural life at the time was subject to a myriad of petty regulations intended to strengthen apartheid’s grip with the clear intention of annihilating political activity and protest. Clubs and dance halls were forced to close, since the authorities considered places where people gathered could potentially be hotbeds of dissent and protest; “Work was scarce,” said tenor saxophonist Winston Mankunku Ngozi, “we’d be at home. Some work practising, listening, it’s just we weren’t seen.”

Township jazz, an expression of local black cultural identity, was stamped on. In America, the funky backbeats of Earth Wind & Fire, Kool and the Gang and James Brown, and smooth jazz were dominating the FM stations and Hugh Masekela, whose impact on the American scene with an updated Township Jazz was widely admired back home, tuned his music to take account of this. In South Africa, commercial influences were seen as a route to making music and money and besides, American influences were less likely to command the ire of the authorities.

It is against this backdrop that these albums were made. In 1968, Winston Mankunku Ngozi’s Yakhal Inkomo had sales of almost 100,000, which put it up there with the best-selling South African jazz albums of all time. Translated, the title is ‘Bellowing Bull’, its memory invoked in the album title The Bull and the Lion from 1976 by Mike Makhalemele and Winston Mankunku Ngozi. The rhythm section is from the funk/rock band The Rabbits with no pretensions to jazz, who provide a competent, if rigid, funk-influenced backing of a good semi-pro standard that could be heard at the time on either side of the Atlantic.

Harmony is in the main static, contrasted by a ii-V-i section or similar in contrast and Rabbits’ function in the way of a Music-Minus-One recording, a familiar aid to students of all ages. Ngozi and Makhalemele are limited by the pop format aimed at broadening their audience from the specific (jazz) to a broader pop orientated audience so out and out jazz solos are held in check to fit the context of the music.

Makhalemele’s profile cover photo on his album The Peacemaker evokes allusions to the cover of Yakhal Inkomo. With Jabu Nkosi turning up the tremolo effect on his Fender Rhodes to max, Makhalemele is confronted with another funk/pop rhythm section underlined by the production job mounted on ‘Rainy Day’ with electronic keys and voices that echo Grover Washington Jr’s recordings in the States. On Alex Express with the soul group The Cliffs, Winston Mankunku Ngozi heads into Stax-Mar-Keys, Motown-Junior Walker, Bar-Kays territory, albeit with a Music-Minus-One feel, with Ngozi competent but derivative.

Johannesburgian trumpeter Stompie Manana, at various times a member of The Cliffs, whose career embraced a whole slice of South African jazz, is lost in the ensembles. In a postscript to these sessions – Ngozi became disillusioned by the South African recording industry and not until his resurgence in 1990s was his talent fully appreciated. And when when, during this period, pianist Dollar Brand (Abdullah Ibrahim) briefly returned to his homeland, he reflected, “After all those years in the States playing traditional South African music, I told musicians this is it, this is what we should be playing. But most wanted to play straight American jazz, they didn’t recognise the worth of their own music.”