Jazz on the African continent has a storied history, one that stretches from the shores of New Orleans back to its source, where the violence inflicted upon Black people during the Trans-Atlantic slave trade reverberated in swinging melodies and blurring horns that dissolve the boundary between past and future.
Today, every corner of the continent has something to offer — from the deeply rooted traditions of South African jazz, to the horn-driven, rhythmically intricate sound of Ethio-jazz, and the vibrant, cascading energy of Afrobeat. Africa has always had a voice, and it continues to speak loudly and clearly.
For this inaugural list, we spotlight music from South Africa’s Zawadi Ya Mungu, Moroccan visionary Ami Taf Ra, Nigeria’s indomitable Seun Kuti, Ethiopian American Meklit, and more.
Ami Taf Ra - “How I Became A Madman” feat. Kamasi Washington
Ami Taf Ra’s voice is operatic, leaping into uncontrollable registers and bending time itself. The U.S.-based Moroccan artist embodies the sound of madness, threading through crashing cymbals, funky drum fills, run-on piano lines, and basslines thick enough to swallow you whole. It unravels like a desktop confessional straight from the pen of the great Kahlil Gibran — “I woke from a deep sleep and found all my masks were stolen” — before crescendoing into manic overtures that reach fever pitch when saxophonist extraordinaire Kamasi Washington ignites his solo.
Meklit - “Tizita”
“Tizita” is an exploration of soul and spirit, of customs and traditions, of fault lines and reconciliations, carried by a rich interplay of horns, piano, drums, bass, and luminous harp passages from Brandee Younger. Meklit takes one of Ethiopia’s most beloved traditional song forms and repurposes it with a breath of new life; the result is nothing short of transcendent. “‘Tizita’ is one of the most beloved traditional song forms of Ethiopia, expressing passionate longing and nostalgia. There have been so many versions of ‘Tizita,’ and I have been brewing mine for nearly a decade,” Meklit shared in a press release.
Zawadi Ya Mungu - “Ngimuhle”
Zawadi Ya Mungu channels the lineage of South Africa’s great women of song, most notably the trailblazing Princess Magogo, whose explorations of the umkhwenyane instrument echo deeply in her practice. Her latest offering, “Ngimuhle,” unfolds as a litany of affirmations — self-love mantras powerful enough to carry nations, urging young women to fall in love with themselves again and again.
Ladysmith Black Mambazo - “You Make Me Happy”
Under the vision of founder Joseph Shabalala, Ladysmith Black Mambazo grew from a fledgling isicathamiya outfit singing in Durban and Johannesburg hostels into a Grammy-winning global force, carrying the sound and soul of KwaZulu-Natal to the world. Their latest, “You Make Me Happy,” ventures deep into jazz terrain, a buoyant fusion designed to make listeners both smile and tremble. With Nduduzo Makhathini at the helm of production and the venerable Mbuso Khoza adding his distinctive vocals, this track feels destined to become a go-to balm for collective decompression.
Etuk Ubong - “Far from Perfection”
“Far from Perfection” is legendary footwork refracted through the pulse of Afrobeat. Etuk Ubong’s nimble fingers on the trumpet, all polished tone and restless phrasing, sketch a map for listeners to follow, letting the music unfurl at its own pace. Traditional Ibibio rhythms collide with jazz’s improvisational spirit, producing a syncopated sprint that leaves no room for pause. It’s the kind of track that belongs on your workout playlist, designed to get bodies moving and sweat flowing.
Angelique Kidjo, The Cavemen., Fally Ipupa - “Nadi Balance” (feat. Sheila Maurice-Gray)
Every so often, a song arrives with such immaculate melody, such harmonically attuned pairing of voices, and such flawless production that it commands full attention. “Nadi Balance” is exactly that: a track grounded in The Cavemen.’s masterful grasp of Afrobeat’s foundations and lifted skyward by the combined brilliance of Fally Ipupa and Angélique Kidjo. It doesn’t ask for much: just step into the rhythm, surrender to its flow, and never let go.
Seun Kuti - “Dey”
Seun Kuti is a giant, a modern-day maverick equally versed in the art of music and the subtle science of conversation. Alongside his brother Femi, he continues to push the Afrobeat sound his father Fela pioneered into bold, uncharted territory. On “Dey,” he discovers kinship in another visionary leader: the reggae and ragamuffin powerhouse Damian Marley. The result is pure joy, distilled through intricate rhythms and vibrant melodies, and served as a rarefied celebration of pan-African musical lineage.
Banda Banda - “Sombhuluka” (feat. Muneyi and Fatoumata Diawara)
While he may be best known for his work with Zoë Modiga, composer and producer Banda Banda’s footprint in South African live music is both deep and expansive. He operates on a frequency entirely his own – one that, as “Sombhuluka” reveals, resonates far beyond local borders. Featuring the masterful voices of Muneyi and Fatoumata Diawara, the track vocalises the things we often dare not say. “Sombhuluka” is love personified: a feeling that travels through language and spirit, completely unbound by geography.
Kujenga - “Ransome, Pt. 1”
Since their debut in 2019, Kujenga have weathered the peaks and valleys of the live music circuit while staying rooted in who they are: impeccable musicians with soul, cultural workers demanding better for Black and Brown lives worldwide. Their latest release tips its hat to Fela Kuti, acknowledging both his towering legacy and the universality of his sound. The project unfolds in two movements: first, a laid-back groove that lingers, then a fiery, on-the-nose burst that insists on attention. Each part feeds the other, mirroring the duality of African existence, with horns amplifying the multiplicity of our lived experiences. Play it in the sun, with your feet on the grass, it’s medicine.
The Ploemies - “Africa”
Cape Town’s jazz tradition is laced with giants. The likes of Abdullah Ibrahim, Sathima Bea Benjamin, and Basil “Manenberg” Coetzee set a foundation that continues to grow in leaps and bounds, guided by the curious minds of a new generation and pushed forward by an audience willing to lean in and engage. Drawing from traditional Cape rhythms such as the goema, The Ploemies navigate a familiar terrain yet leave their own fingerprints – bright, scattered across all cardinal points, actively refusing passive listening. This is movement music, made for dancing, for feeling, and for being fully present in the moment.
Benjamin Jephta - “One For The Plein (revisited)” feat. feat. Siya Makuzeni, Marcus Wyatt, Sisonke Xonti, Mthunzi Mvubu, Llewelyn George, Damian Kamineth
It’s almost unfair how some musicians can effortlessly gather entire worlds around them, creating a vibrant ecosystem whose feedback mechanism produces excellence at all times. On “One For The Plein,” bassist and composer Benjamin Jephta revisits a centerpiece from his debut album, layering textures and flavors that leave the song bursting at the seams. It’s melodic, with thematic motifs that orbit the original composition while venturing boldly into new terrain. Siya Makuzeni shines, as per usual, her voice weaving seamlessly through the rich tapestry of trumpet, saxophone, piano, and bass, perfectly balancing with each instrument’s voice while adding her own luminous dimension.
