Eldred Schilder’ Tenziah: no more fretting at the back of the stage

Look up writing about the bass, and you’ll find a fair amount about how it’s the ‘engine’ of an ensemble. Trouble is, just as some drivers trust their mechanic and never look under the bonnet, so some jazz audiences never think about the sound that makes the music so damn compelling. When it gets quiet, because the bass is soloing, that’s when they grab the opportunity to talk.

In the current South African jazz era, it’s been Herbie Tsoaeli who’s been the highest-profile standard-bearer, reminding audiences how much that person at the back of the stage, dancing with a hefty wooden companion, matters. Contemporaneous and and following, a bunch of other thrilling bassists, formerly stereotyped as ‘rhythm’ or ‘side’ players (think Lex Futshane, Mlungisi Gegana, Shane Cooper, more – and we’re still waiting for that album from Dalisu Ndlazi) have stepped forward to demonstrate how skillfully they can also compose, arrange and lead.

Most recent is Eldred Schilder, scion of one of Cape Town’s most distinguished jazz dynasties, who launches his debut as leader, Tenziah, at the Nassau Centre at 3 this afternoon, Sunday Feb 5.

Born in 1959 and growing up in Harfield near Claremont, Eldred Schilder is the child of revered pianist Richard Schilder, nephew to Tony, Chris (Ibrahim Khalil Shihab) and Phillip (Philly) Schilder, and cousin to Hilton. So Eldred’s exposure to music was early and intensive. From a very young age, he picked up facility on a number of instruments but, as he told music writer Warren Ludski, (https://warrenludskimusicscene.com/2021/04/16/eldred-schilder-thinks-its-time-to-stand-tall-with-his-2m-double-bass/): “I think the bass chose me.”

Initially, he played electric bass, and since the mid-1970s has been a familiar figure on the city’s scene, frequently working with cousin Hilton.

But in 2005, inspired by his uncle Philly, whose brilliant jazz career was cut short by mental illness (you can hear him on the Chris Schilder/Mankunku outing, Spring), Eldred bought a big, beautiful contrebass. He’s been playing, and writing for, both instruments since.

Tenziah is a brief album, only 7 tracks and 34 minutes. But it works wonderfully as a showcase for the bassist’s gifts not only as player, but as composer too. The compositions range from the spiky, helter-skelter modal runs of the title track, through the nostalgic tribute Mr P to the classic, Trane-ish (or maybe Mankunku-ish?) explorations of African Blue.

Eldred isn’t a flashy player. Often, he’s content to be the perfectly-judged propulsive presence behind a solo. When he does that, we hear his voice as a composer via his partners in music. On sax, Jed Petersen, displays impressive versatility. He’s perfectly in-period on African Blue; sweetly lyrical on Mr P, urgent and sinewy on the bow-introduced Beatz. Another younger player, drummer Damian Kameneth, resists the temptation to overpower the music with flourishes and rolls; his quiet, clever rhythms provide the perfect frame for what are highly personal, contemplative tunes.  

On piano, we hear three talents: Andrew Ford, Hilton Schilder and George Werner. Ford’s imaginative explorations enrich the title track and highlight the intriguing progressions of Honey Sponge. Hilton and Eldred are perfectly in synch on the yearning Remembrance, with the contrebass a comforting support to the rich emotions of the keys. One of the most beautiful passages is on African Blue, where Eldred’s walking line in conversation with Werner’s piano becomes much more than a walk in its subtle embroideries.

We have to wait for the final track, The Two Richards, though, for a stretched-out bass solo. It’s only 90 seconds long, but gives us everything we hope for from the instrument: textures you can almost touch as the strings vibrate and the heart of the melody sings out.

Eldred Schilder has paid his dues for too long at the back of the stage. Let’s hope Tenziah heralds more gigs as leader, and some of these compositions getting picked up by other players and entering our standard repertoire.

Next week, music from another bassist, Marc Duby. And very soon, a long-awaited album from Gloria Bosman…