Katherine McVicker, who founded and directs Music Works International and co-founded Arts Connect Africa (ACA), has worked alongside her team at previous events. /Handout
This week, as the globe celebrated International Jazz Day, attention was drawn to jazz’s ability to bring people together, spark inspiration, and advocate for peace ideals—particularly poignant across the varied cultural tapestry of African nations.
For Katherine McVicker, who established Arts Connect Africa (ACA) and leads Music Works International (MWI), jazz transcends mere melody; it serves as a potent instrument for learning, international relations, social cohesion, and young people’s upliftment.
McVicker, a seasoned professional with experience representing many of the globe’s leading jazz musicians, feels that Africa possesses a wealth of undiscovered artistic potential along with audiences eager for vibrant musical events.
She is leveraging Arts Connect Africa to link global artists with African performance spaces, events, and spectators in a manner that fosters enduring cross-cultural interaction.
Her message is clear: “Africa is ready for jazz, and jazz is ready for Africa.”
The observance of International Jazz Day arrives as Kenya is progressively integrating jazz into its cultural tapestry.
The Safaricom International Jazz Festival has significantly contributed to fostering an appreciation for jazz music, simultaneously providing a stage for emerging local artists to showcase their skills.
Introduced in 2014, the Safaricom Jazz Festival has showcased international icons including Hugh Masekela and Branford Marsalis, along with local talents like Shamsi Music, Nairobi Horns Project, and Jacob Asiyo.
“One of the organizers mentioned during an earlier event, ‘We weren’t sure about Kenya’s reaction when we began.’ However, they were astonished by the attendance. Jazz has a universal appeal—it resonates with something profound within each of us,’” he added.
McVicker shares this view. She emphasizes that jazz resonates well with African listeners due to its foundation in improvization, rhythmic patterns, and narrative aspects—all of which align closely with numerous musical practices indigenous to Africa.
“Jazz was born from struggle and resilience,” she says. “It tells stories. And that resonates strongly in Africa.”
Through the ACA, McVicker is also building a touring circuit for jazz artists across the continent, aiming to reduce the logistical and financial hurdles that have long hindered music tours in Africa.
Her partnership with Kenyan venues like The Elephant in Nairobi—a creative space run by Eric Wainaina—and collaboration with local promoters are laying the foundation for consistent live jazz programming in the region.
Kenya boasts an enthusiastic, inquisitive, and music-savvy crowd,” she remarks. “The opportunities aren’t limited to Nairobi; they extend throughout the nation—from Mombasa to Kisumu to Nakuru. All we require now is additional infrastructure and funding.
With this intention, Arts Connect Africa is initiating mentorship and educational programs aimed at developing competencies among emerging professionals in arts administration, event organization, and promotional strategies.
McVicker observes that numerous skilled artists throughout Africa do not have access to the same level of industry support structures as those found in Western countries. Through backing local talents from within, ACA aims to make music careers feasible and enduring options for young people in Africa.
Kenyan jazz artists are already setting the pace. Groups such as Shamsi Music merge indigenous Kenyan melodies with modern jazz components to produce music that retains strong local flavors while also being internationally attractive.
“A member of the band states, ‘Our music narrates Kenyan tales in a way the global audience can grasp,’ adding, ‘it’s jazz, yet it’s uniquely ours.’”
Safaricom’s ongoing commitment to jazz has likewise opened doors for young people’s education and had a positive social effect.
The proceeds from the festival have been directed toward the Ghetto Classics program, which is a music education initiative located in Nairobi’s Korogocho slum. This program has provided numerous children with access to musical instruments, guidance, and optimism through training and mentoring sessions.
The change is genuine,” states a Ghetto Classics mentor. “Music has transformed the lives of these children. Jazz has provided them with a brighter future.
McVicker thinks these initiatives demonstrate why jazz goes beyond mere entertainment. “Jazz is about forming communities, broadening perspectives, and forging new paths,” she explains.
“Every time a child picks up a saxophone in Korogocho, or a young woman books her first tour in Nairobi, we’re seeing jazz do what it was always meant to do—liberate.”
As Kenya’s jazz scene matures, the need for a well-supported ecosystem becomes more urgent. More venues, public funding, regional collaborations, and corporate sponsorships could turn Kenya into a jazz powerhouse on the continent. The seeds have already been planted.
“I dream of a day when Nairobi is on every jazz artist’s tour schedule,” McVicker says.
When Kenyan musicians perform in cities like Cape Town, Lagos, London, and New York, they carry their narratives along. Although jazz is a universal tongue, it relies on local perspectives to remain vibrant.
As International Jazz Day fades from the calendar, its legacy endures in the passion of musicians, the curiosity of audiences, and the quiet determination of cultural workers like McVicker and her Kenyan collaborators.
Their efforts highlight that jazz is more than just music—it serves as a movement, a reflection, and a guide toward a more interconnected, expressive, and empowered Africa.
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