His stellar career in music began while he was still at school and took him to world stardom, writes Sam Mathe.
In 1966, three pupils performed a music item for their schoolmates during a bursary fundraising event. Sipho Mabuse remembers that performance at Orlando West High School in Soweto with a sense of achievement, as well as joy and gratitude for the support he has enjoyed from South Africans and the world.
He describes 2016 as a remarkable year, which witnessed amazing shows to mark his golden jubilee. However, he has dedicated 2017 to more special concerts to celebrate his milestone achievements in the industry.
The multi-instrumentalist’s five decades in the industry were defined by unwavering commitment and a pioneering contribution to South African music.
Among his numerous landmark achievements he lists producing Miriam Makeba’s platinum-achieving album, Welela (1989), as well as performing alongside Stevie Wonder, Aretha Franklin and Baaba Maal at the 46664 concert for Nelson Mandela in New York.
Born Sipho Cecil Peter Mabuse on November 2, 1951, in Orlando West, he has distinguished himself as a versatile musician who has played everything from township disco to jazz.
Mabuse’s seminal recordings set the tone for the Afro funk and Soweto soul era in the late 1960s and spearheaded the golden decade of township pop in the 1980s.
Born into a musical family, his father, a coal merchant, played harmonica. Baba Manuel, a neighbour and traditional healer, influenced his love of drums.
His greatest influences included Early Mabuza, Gordon Mfandu and Gerald Khoza - all of them top drummers in the history of South African jazz.
“One of my fondest memories that I will cherish for the rest of my life was when I was 14 and Early Mabuza walked into the studio and asked to sit on my drum kit to practise,” he recalled.
Mabuse was playing drums as a member of his school’s cadet band when he was spotted by fellow pupil, Selby Ntuli. Together with a schoolmate and bass player, Alec "Om" Khaoli, they formed The Beaters.
Guitarist and keyboard player Ntuli was the band leader until his death in 1978. Their creative and original music became the soundtrack of the black consciousness movement. It was called Soweto soul.
“There was a void our music filled,” he said. “It served a much higher purpose, which was to mentally emancipate black people from a feeling of passive helplessness into a world of strength through song.
“We were all the sons and daughters of Africa, working on our strengths to take what we did to another level. As scary as those dark days were through the 1970s, strangely I remember them with fondness."
The Beaters listened to a wide variety of styles, which included The Manhattan Brothers, Miriam Makeba, The Ink Spots and foreign artists such as Nat King Cole, Elvis Presley, Otis Redding and Jimi Hendrix. Their first album, Soul-A-Go-Go, was released in 1969, a year after the band’s formation.
Bacon and Eggs (1970) and Mumsy Hips (1971) followed later. In 1975, Mabuse and Khaoli joined pianist Pat Matshikiza and the great altoist Kippie Moeketsi in a studio as members of the rhythm section for a recording of Tshona, an album that became one of the popular classics of South African jazz.
“As a young musician I had a high regard for Bra Kippie because he was an incredibly talented musician who has raised the profile of South African jazz.
"We met at a time when he was a very angry and disgruntled musician who felt that his talents had gone unappreciated by South African society. During the Tshona sessions his mastery of the alto sax was clear, and we decided to feature him on our next album, Rufaro (1978).”
In 1976, they toured the then Rhodesia. What was intended as a three-week visit became a remarkably successful three-month tour. On their return they released an album, Harari, as a tribute to the people of the township of the same name outside Salisbury, the capital. It inspired the band's name change to Harari.
The band attracted some of the country’s hottest guitarists, Funky Masike Mohapi, Saitana Ndimande, Doc Mthalane, Condry Ziqubu and Zimbabwean-born Louis Mhlanga.
Seasoned jazzmen like Kippie Moeketsi, Themba Mokoena, Barney Rachabane, Dennis Mpale and Stompie Manana also featured on Harari albums. In 1978 Hugh Masekela invited Harari to the US, but Selby Ntuli’s death robbed them of the opportunity to go.
Mabuse effectively became the band’s new leader. Highlights of those years included supporting and backing Percy Sledge, Timmy Thomas and Brook Benton during their South African tours. They were all impressed with Harari’s incredible musicianship.
In 1979, they became the first black pop group to appear on SABC TV. The following year they became the first black group to headline their own show at the Colosseum, a landmark music venue in Joburg.
In the same year they were featured in a BBC documentary.
They were the aristocrats of South African pop. Heatwave (1980) was released in America. Party (1982) entered the American Disco Hot 100 charts.
At the pinnacle of their career in 1982, Harari disbanded - its members pursuing solo careers or forming new bands.
Mabuse retained the name and used it to nurture young talent. Future stars like Chico Twala and Kamazu were part of the new youthful Harari.
His other project at the time was the Soweto Soul Orchestra, which involved 40 musicians - something unheard of among black artists at the time.
In 1983 he launched a groundbreaking solo career as Sipho "Hotstix" Mabuse - the nickname he was given by fellow musician Condry Ziqubu because of his hot style of drumming.
His debut album, Rise (1983) sold an incredible 132000 copies. “The break-up of Harari on the threshold of an international breakthrough was the most heartbreaking experience for me, second to Selby’s passing. I needed an emotional lift. Rise became that lift,” he explains.
Its successor Burn Out (1984) made recording history with half a million units and stayed on top of the charts of every radio station for weeks. It was a crossover hit that captured every South African across the racial divide.
undefinedThe album changed the texture of Afro pop and township jive like no other song or artist in local pop history. Burn Out also became an international multiplatinum phenomenon.
The artist signed a R1.5million deal with Virgin Records to have it released in the UK. It was also released in Germany, Japan and the US. The CBS deal in the US placed him in an elite stable of international superstars like Michael Jackson and the Rolling Stones. The success of Burn Out made him one of the most sought-after performers at concerts and festivals in Europe.
His next album Afrodizzia (1986) underscored his newfound status as a world-class performer with global acclaim. Produced by Virgin Records, it reached platinum status within three weeks of its release.
The album’s single, Shikisha, became such a monster hit the album was sold as Shikisha for the European market. It is a soundtrack on Throw Momma from the Train (1987), the American comedy film starring Danny de Vito, Billy Crystal and saxophonist Branford Marsalis.
Chant of the Marching (1989) features Miriam Makeba and was banned on SABC radio. What About Tomorrow (1991) and Township Child (1996) are among the albums he released under a free South Africa.
An artist of many parts, Mabuse has also produced albums for other top South African artists including Hugh Masekela, Miriam Makeba, Ray Phiri and Sibongile Khumalo.
In the early 1990s he made his mark in radio broadcasting when he presented jazz shows on 702 Talk Radio and Metro FM.
In the mid-1990s he took over Kippies as the popular Joburg jazz venue’s manager.
During his tenure he hosted international superstars like Stevie Wonder, Jonathan Butler, Al Jarreau and Thelonius Monk jr.
In 2011 he celebrated his 60th birthday in style when he finally obtained his matric certificate - having attained pop stardom as a schoolboy made it impossible for him to finish his studies.
“There are so many more wonderful stories, through my 50-year-long pilgrimage, that have made this ride truly extraordinary.”
At 65 he is convinced he still has a critical role to play in the South African music scene.
One thing is for sure. Mabuse has already created an outstanding legacy in South African music.
Mabuse will celebrate his golden jubilee when he shares the stage with Freshlyground for the first time at Spier Amphitheatre, Stellenbosch, on March 25 between 6pm and 9pm.