The curtain fell on the 26th Standard Bank Joy of Jazz last night with Malian powerhouse Oumou Sangaré bringing down the house at the Sandton Convention Centre.
Her soaring Wassoulou vocals, laced with kora and ngoni, had the audience on its feet, closing the festival on a high note that summed up three days of world-class music, culture and unity.
From September 26 to 28, more than 60 artists from 15 countries transformed Sandton into Africa’s jazz capital.
This year’s theme, “Deep in the HeART of Jazz, Take Me There,” captured the spirit perfectly: a journey into jazz’s roots and its bold future.
What began in 1997 as a modest local showcase has grown into the continent’s premier jazz event, now stretched into a full weekend across four buzzing stages – the Conga Stage, Mbira Stage, Lounge Stage and Diphala Stage.
Friday night was ablaze with international flair. Esperanza Spalding lit up the Conga Stage with her genre-bending mix of bass, soul and jazz, while saxophonist Lakecia Benjamin raised the roof with her fiery Coltrane tributes on Mbira.
South Africa’s own Nduduzo Makhathini took the audience to church with a spiritual set that felt like a national prayer.
On Diphala, 24-year-old trombonist Siya Charles, fresh off winning the 2025 Standard Bank Young Artist Award, made his much-anticipated debut.
“This is our time to roar,” he told Sunday World backstage after an ovation that confirmed jazz’s future is in safe hands.
Heritage-driven textures
Saturday turned the spotlight on homegrown magic. The Conga Stage belonged to Benjamin Jephta, who returned to Joy of Jazz as a headliner a decade after first playing with the Youth Jazz Band. “From student to headliner – it’s a dream come true,” he reflected.
Thandi Ntuli wowed with piano-led fusions alongside Sipho “Hotstix” Mabuse and Om Alec Khaoli, while Senegal’s Alune Wade bridged Africa and bebop in style.
The soul contingent sparkled with Amanda Black, who had the audience belting out Amazulu, and Elaine, whose velvet R&B tones melted seamlessly into the night.
Rising stars like Muneyi added heritage-driven textures, proving jazz’s ability to evolve without losing its roots.
Sunday brought the big guns. Wynton Marsalis reaffirmed Joy of Jazz’s global gravitas with a blistering straight-ahead set, earning a standing ovation.
Meshell Ndegeocello pushed boundaries with bass-heavy explorations, and José James wrapped fans in neo-soul with his heartfelt Erykah Badu tribute.
The gospel-inspired Baylor Project lifted spirits high, while Sangaré’s closing set on Conga sent the festival out in a blaze of African pride.
Across the venue, the Guitar Convergence with Billy Monama, Moss Mogale and Vusi Mahlasela drew huge cheers, and Jazzmeia Horn capped the Diphala Stage with youthful fire.
Economic boost
This year’s edition was about more than the sound. From the Follow the Blue Note heritage installations to buzzing merch stalls and fashion by Nondumiso Magubane’s Ubuhle Bembali, the festival doubled as a cultural and economic boost for Joburg.
Hotels filled, vendors thrived, and social media lit up with clips and praise.
For Standard Bank’s Bonga Sebesho, the vision was realised: “Joy of Jazz is a catalyst for cultural exchanges that promote camaraderie through the universal language of music.”
As confetti fell and fans poured out into the Joburg night, one truth remained clear: Joy of Jazz is more than a festival.
It’s a communion, a heartbeat, and a reminder that jazz doesn’t just survive it thrives, adapts and unites. Until 2026, Joburg, keep the blue note alive.
