Press Article

2003 Oct 03   "Session man solo"
Publication: Sowetan
Byline: Eddie Mokoena

Concord Nkabinde, who has indelibly impressed music fans as a session musician performing with a host of local artists, has over the years steadily learnt from these experiences.
His most memorable gig was with renowned trumpeter Hugh Masekela. This was during his third year as a music student at the University of Natal in 1992. “While the experience was overwhelming, I felt I was thrust into something that I was not ready for. However, his(Masekela) professionalism made the atmosphere conducive.”

Also at Natal University he had an opportunity to play with Darius Brubeck, son of the legendary Dave Brubeck. Nkabinde was to later on play with diverse and experienced musos such as Ladysmith Black Mambazo , Abdullah Ibrahim, Johnny Clegg, Ernie Smith, Gloria Bosman, Danny K, Neo Muyanga(BLK Sonshine) and Joyous Celebration.
His decision to go to Natal where he was to remain for five years was influenced by musician Victor Masondo. A member of Friend First, Masondo had an immense influence on the young and promising bass guitarist.
After graduating Nkabinde had wanted to do a Masters degree in performance. “But when I got into the industry I realized that my Masters would come out of my live performances. However, I don’t regret going to Natal. The institution opened my eyes to different cultures, and this is what music is all about.”
Nkabinde who has finally released his debut album, The Time, The Season, says he had to decide whether he wanted to specifically be a jazz player or an all-round musician.
“I decided on the latter. Having played with various artists I can safely say I am broad-minded. I wish other musicians could be afforded a chance to play with diverse musicians. I believe the lack of collaboration is retarding our industry.”
Nonetheless, he says all is not lost if one thinks of bands like Tumi & The Volume. “I feel encouraged and we are getting somewhere. These bands are not afraid of experimenting with new sounds.” But he says jazz musicians are sentimental with the traditional sound “and somehow they don’t believe that sound grows.”
“It’s a pity that I have to use US artists to drive the point home. When Marcus Miller uses modern sounds and modern production, he still respects the history of Miles Davies and Duke Ellington and grows from that.”
“Also an area of concern is that a lot of younger musicians have never experimented with an instrument. That robs them of depth in terms of their musicianship.”

The release of his project, says Nkabinde, came at the right moment. “My involvement in the industry has been a preparation for this album release).” And in terms of the business side, Nkabinde says he’s found his purpose, hence he’s gone independent. Also a composer and arranger he says often musicians don’t get to independently take charge of and release their own music. That needs to change.
If there is one thing Nkabinde refuses to do, is label his music.
“For me it is important for people to experience music in relation to who they are and where they come from. We shouldn’t impose on audiences how they listen to it. I would like to afford listeners a choice of what the music means to them.”