Blending deep intellect with musical genius and artistic wizardry comes naturally for Moreira Chonguica

He is an accomplished songwriter, a renowned saxophonist, a master ethnomusicologist and an award-winning producer rolled into one. This is not an over-the-top description of a fictitious character on Isidingo (a prime-time soapie on SABC3), but a real-life depiction of Moreira Chonguica, one of Africa’s most prominent saxophonists.

When chatting to the amiable 34-year old, one is engulfed by the air of confidence and sense of perfection about him, attributes that probably got him to this station in life. Oozing passion, he animatedly talks about his early love for music, an addiction he picked up at an age when most kids can hardly get out of mummy’s sight.

Spend a moment in Chonguica’s company and you come away feeling converted. He speaks with the conviction of a church minister and the enthusiasm and animation of a Robben Island (peak-time) tour guide. This Mozambican-born star, now domiciled in Cape Town, has really come full circle.

From the early days of playing with ragtag musicians, the types your parents warned you against, he now possesses his own professional band, The Moreira Project – a six-piece ensemble comprising some of Cape Town’s top musicians.

Gifted with a rich musical pedigree, owed much to a privileged background (one that could have fulfilled any childhood dreams conceivable), Chonguica rather strangely set out on a collision course with his academic parents. While the natural thing would surely have been to follow in those scholarly footsteps, he was his own man even at that stage.

This explains why he set upon a career many parents (let alone his) would have trouble encouraging their children to pursue. But perhaps mindful of his role in cultivating his son’s premature appetite for music, Chonguica Sr sat his son down.

The only minutes available from that one-on-one, according to Moreira’s recollection, refer to his father’s resignation over the whole matter, as he curtly told him: “For as long as you assure me you will be able to afford milk – in as much as I do for this family – then that’s all that matters.”

And that is exactly what he has been doing since his debut album, The Moreira Project Vol. 1: The Journey, released in January 2006.

In fact, he has done better than simply afford a sachet of nourishing milk: Chonguica has graced the world stage, performed at prestigious festivals around the globe and won recognition as an accomplished saxophonist of note. He has been making melodious Jazz that has won him three South African Music Awards (SAMAs), fame and respect among peers and fans alike.

He has collaborated with the likes of American saxophonist Najee, Cameroonian superstar Manu Dibango, Alvin Dyers, Jimmy Dludlu and Loading Zone, among other stars.

All this could not have been but for the family’s love for rhythm. Chonguica Sr’s legendary passion for music shaped his son’s penchant for jazz. The family home in Maputo bore slight resemblance to a miniature musical shrine, as stacks upon stacks of musical collections greeted visitors into the Chonguica household.

This collection transcended cultural barriers, perhaps a reflection of Chonguica Sr’s worldly outlook – thanks to his academic background.

This perfect backdrop nurtured Moreira’s zeal for sweet melodies. As he likes to say, destiny – not a conscious decision – got him to this musical plain.

Blowing his own saxophone

By the age of seven, Chonguica had taken his musical talents on a refining expedition, ending up at the Escola Nacional de Música (National School of Music) in Maputo, where he enrolled for early professional grounding – merely one of many steps that paved his way to stardom.

Juggling primary and music schools is a load of work for a seven-year old. While other kids toyed around, he attended primary school in the mornings, going off to music school every other afternoon.

Certainly, this was no ordinary seven-year old. Moreira Chonguica was a unique child in his commitment to music, an ambition that suffered a temporary setback when he dumped music tuition for judo lessons – marking an impromptu end to a three-year tenure at the National School of Music.

And despite excelling at his new pastime, even becoming national champion at the age of 11, the love of music kept ringing in his ears, so much that he turned his back on the dojo to return to the music academy when he was 14.

Chonguica shares fond memories of the moment he fell in love with his favourite toy – the saxophone: “I was asked to try out all the instruments, and one after the other I did; but after playing the saxophone, I just couldn’t resist it. Something just told me this would be the flute of my life,” he reminisces.

This love affair with the golden horn has blossomed into a full-blown career boasting two albums, The Moreira Project Vol 1: The Journey and The Moreira Project Vol 2: Citizen of the World. The third, Moreira Chonguica Pays Tribute To Mozambican Legends, is under way and due for release in November 2011.

Chonguica produced a number of tracks including “S.O.S” and “Saudade” for Angolan artist Afrikkanitha on the album, Aind Sonho.

His other producer credits are for the songs “Ndimi Nawe” and “Ndim iQhawe Pt. One & Two”, plus “Inkwenkwenzi” – all by Simpiwe Dana from her latest album, Kulture Noir.

He won best producer (with Mark Fransman) at the SAMAs for The Moreira Project Vol. 1: The Journey, and was nominated for Best Producer for The Moreira Project Vol. 2: Citizen of the World in 2009.

Despite initial reservations about his career choice, Chonguica’s parents always believed in his ability. ”I did not choose this career, it did,” he retorts. “My father always said for as long as my music could pay for my milk, he didn’t mind what I did.”

That reassurance set him off on a musical journey, starting off at the South African College of Music at the University of Cape Town (UCT), where he registered to study jazz, buoyed by the knowledge that the culture of music bestowed on him a greater role than merely being a guitarist, instrumentalist or saxophonist.

This multitalented musical genius, saxophonist, songwriter, producer, researcher and master ethnomusicologist is a case study in musical entrepreneurship.

“I put mystery into my music by adding many elements to it. Some classify my genre as contemporary Jazz,” Chonguica states resignedly.

Making the transition from conventional study to music is a dilemma for anyone with parents to convince. The same applied in Chonguica’s case, but to his parents’ credit, they were the backing vocals – if you like – on The Moreira Project in spite of their initial misgivings. And that is a highlight of his career; the other was going solo in 2004.

Mindful of the need to repay his parents’ faith, he has diversified into other branches of music production. As a music entrepreneur, he combines producing, songwriting as well as making music, in addition to owning an independent record label, MoreStar Entertainment. And there is no better way to achieve this than to work as a soloist.

Asked whether a solo career made better business sense, Chonguica narrows it down to one’s creative capacity. “Fear is my best friend while fate plays a bigger role really, but it’s always important to stick to one’s plan,” he says. ”As musicians, we always evolve, therefore it’s important for one to create a lasting legacy.”

As for his decision to specialise in jazz, he counters this with characteristic irony: “It was the other way round, actually – jazz picked me.

“Otherwise, I am a frustrated piano player,” Chonguica continues. “The piano holds things together,” he adds for emphasis.

Professionally polished in Cape Town, he talks passionately about his second album: “It encompasses classical, funk to jazz, and is a true reflection of who I am. ”This album won two SAMAs in May 2009 for Best Contemporary Jazz Album and Best Album Packaging.

Ascending the world stage

The widely travelled Chonguica is truly a global citizen. In March this year, he was the sole African artist to perform at the Jazz and Blues Festival in Northern Brazil.

While playing with Jimmy Dludlu as saxophonist, between 1999 and 2004, he performed around the globe. The African Summer Festival in Zimbabwe, New Orleans Jazz Festival in 2004 and Chicago Jazz Festival in 2000 (where he spent two years during a cultural exchange programme) are some of his conquests.

Other appearances were at the Lugano Jazz Festival in Switzerland in 2004, Grahamstown National Arts Festival, North Sea Jazz Festival in Cape Town and the UCT Jazz Festival.

Chonguica has also attended the Joy of Jazz Festival, North Sea Jazz Festival in Holland (three times), the Victoria Jazz Festival in Spain and, of course, Africa’s Grandest Gathering, the Cape Town International Jazz Festival.

The smooth-talking muso does not take kindly to being compared to other artists. Not that he does not respect them, but he is quietly confident in his own abilities. In fact, he grew up idolising the likes of Miles Davis, Percy Sledge and rock bands of his era.

“I want to be better than Moreira Chonguica was yesterday. I am driven by other musicians and look up to a lot of people in this industry, but I always want to challenge myself,” he says.

Chonguica is obviously a disciple of William JH Boetcker, the American clergy who said: “Never mind what others do; do better than yourself, beat your own record from day to day, and you are a success.”

New project

His latest offering, Moreira Chonguica Pays Tribute to Mozambican Legends Vol. 1, is a compilation of some of the best music produced by that country’s musical greats. Chonguica decided to pay tribute and honour these icons in their lifetime other than posthumously, as is the industry norm.

The artists featured on this special album are drawn from all over Mozambique.

At the end of June 2011, it was 60% ready and should be on the market from November this year.

Chonguica’s upbringing in Maputo, surrounded by his father’s impressive collection of music from all over the world, obviously gave him privileges of which his musical peers could only dream.

“I had the best of both worlds; was never trapped in narrow-mindedness, but gifted with a mind open to the world around me,” he says.

In noting the role musicians play as cultural ambassadors, Chonguica sums it up thus: “Culture is not static, as it contributes to a better society.“

He has certainly flown the flag for Maputo’s National School of Music.

David Mwanambuyu