Ditiragalo Tsa Mmino ft Lesedi Ntsane

Botaki ba Afrika became a meeting ground for sound, colour, and improvisation, as trumpeter Lesedi Ntsane takes centre stage alongside a dynamic collective of musicians and a visual artist. The performance was not merely a concert, but a layered artistic dialogue, one that moved fluidly between jazz traditions, contemporary expression, and interdisciplinary collaboration.

At the centre of it all was Ntsane, a seasoned South African trumpet player whose journey into music began in the Salvation Army Church, where he first encountered the cornet. Born into a deeply musical family, his foundation was shaped early, his mother a singer, his father a trumpet enthusiast, and his grandfather the director of the renowned Merrymaker’s Orchestra. This lineage was evident in his command on stage: confident, expressive, and rooted in both discipline and heritage.

Backed by an accomplished ensemble, the performance unfolded with rich textures and interplay. Saxophonist Abraham Mennen brought a refined and exploratory tone, drawing from his extensive international experience and deep grounding in both classical and jazz traditions. Pianist Teboho “DiTeboho” Kobedi added harmonic depth, his playing reflecting a journey shaped by gospel, jazz, and academic rigor. On double bass, Thebe Mmushi anchored the group with subtlety and groove, while drummer Tumi Mogorosi infused the set with rhythmic intensity and political sensitivity, hallmarks of his work as both a musician and thinker.

What distinguished the evening, however, was its multidisciplinary nature. Visual artist Nico Phooko, known as the “music painter,” translated the sonic experience into visual form in real time. As the music swelled and shifted, so too did his canvas, each brushstroke responding to rhythm, melody, and mood. His presence added a visual narrative to the performance, allowing the audience to witness sound becoming image, and improvisation taking on a tangible form.

Ntsane’s own musical journey, spanning from local brass bands in Springs to international stages in New York, was palpable throughout the set. Having studied at institutions such as the Tshwane University of Technology and The New School for Jazz and Contemporary Music, and performed at venues like the Museum of Modern Art and Jazz at Lincoln Center, he brought a global sensibility to the Botaki stage while remaining deeply connected to South African musical idioms.

The synergy between the performers was undeniable. Each artist contributed not only technical skill but a distinct voice, resulting in a performance that felt both cohesive and expansive. It was a reminder of the power of collaboration, how different artistic languages can converge to create something entirely new.