Sydney Mavundla: When every day is Sunday

A typical Sunday in most South African households and neighbourhoods is bursting with vibrancy, tradition and the warmth of community. 

The air smells of Sunday lunch — tender meat roasting in the oven, the pungent aroma of gravy thickening on the stove and the sweetness of mealie bread fresh out of the pot.

Children play barefoot on the streets, their laughter echoing as the sound of a kettle blends with the soft murmurs of adults deep in conversation. 

On the pavements, some people are parked in the shade, hunched over their plates as they nurse the effects of their weekend revelries —the infamous “babbelas”.

Others are doing laundry, washing windows and putting up freshly cleaned curtains, their movements steady and ritualistic.

And then there is Gogo, in her Sunday church uniform, holding the hands of her grandchildren as they walk to the nearest taxi stop. 

They’re headed to church, where the sound of hymns will intertwine with the jazzy undertones of the nation’s heartbeat. 

Imagine all of this, set to the soulful and improvisational rhythm of South African jazz — a sound as rich and layered as the country’s history.

This is the South Africa we know and love — a place where music flows through the streets, finding its way into the daily rhythm of life. 

However, Sydney Mavundla, a passionate jazz musician, has posed a thought-provoking question: “Why should jazz music be played mostly on Sundays? Why can’t jazz, a genre that speaks to the soul, be appreciated every day of the week, just like any other form of music?”

Mavundla, whose connection to jazz runs deep, has spent a lifetime answering this question through his music. 

From the early days of church services, to sharing stages with legendary musicians, he is living proof jazz is not just for Sundays — it is an expression of life itself, meant to be heard, felt and appreciated every day.

Mavundla’s musical journey began in the church — a place where music has the power to transcend the ordinary and touch the divine. 

He reflects on how his musical roots trace back to his father, who not only influenced him, but also encouraged him to pursue his passion. 

“Music for me started in the church and my dad being a colonel in The Salvation Army — he was my first teacher,” Mavundla recalls. 

But it wasn’t just his father’s influence that shaped his path. It was a man named Brian Thusi, a jazz musician with whom Mavundla would spend nearly every school holiday. 

Thusi’s presence in his life was the spark that ignited his love for jazz.

By 1992, Mavundla’s commitment was unwavering. With the full support of his parents, he pursued a degree in jazz studies at the University of Natal. 

At a time when the genre was evolving, he immersed himself in the study of its complexities, setting the stage for his career.

Upon completing his degree, Mavundla moved to Johannesburg, where jazz was thriving. 

Here, he encountered a vibrant scene and began collaborating with renowned South African musicians like Andile Yenana, Khaya Mahlangu, Themba Mkhize, and even global legends such as Abdullah Ibrahim and Hugh Masekela. 

These collaborations, steeped in creativity and mentorship, shaped Mavundla’s artistic voice, providing him with the tools to make a significant impact on the South African jazz scene.

He released his debut album  Luhambo  in 2016. The title, meaning “journey”, captures the essence of his personal and musical evolution.

The album is more than a collection of tracks; it is a reflection of his life’s work, from playing music in the church to performing on the grandest stages in South Africa. 

Luhambo embodies Mavundla’s reverence for the genre, its history, and the profound emotional connection he shares with his listeners.

Mavundla’s second album Dirge for Our Fathers, released last year, marks an even deeper time of reflection in his career. 

This album was not only a creative endeavour but also a tribute to those who came before him — the legends whose music, wisdom and artistry paved the way for his generation and beyond. 

Dirge for Our Fathers has been nominated in the 2025 Metro FM Awards’s best jazz album category, a recognition that speaks to the impact of Mavundla’s contribution to the genre.

“I feel like a winner already — even if I don’t get the trophy, the recognition on its own is enough” he says.

The album’s title is significant — a “dirge” is a mournful song that honours someone who has died; a reverent acknowledgement of their legacy. 

Mavundla’s use of the term speaks to the respect he has for the elders in the jazz community, as well as his gratitude for their sacrifices. 

He embodies the Zulu proverb indlela ibuzwa kwabaphambili, which means, “the way is asked from those who have gone before”. 

This principle of respecting the past, and learning from it, is woven into the fabric of his work.

For Mavundla, respect is a cultural value and the foundation upon which the future of jazz in South Africa rests. 

He is convinced that the relationship between the younger and older generations is vital for the genre’s survival. 

“I believe in the philosophy of the young and the old coming together to make beautiful things,” he says, emphasising that respect is key to achieving this harmony. 

Dirge for Our Fathers is a living testament to this philosophy — a work that speaks to the interconnectedness of generations.

One of the defining characteristics of jazz music is its ability to connect with listeners on a deeply spiritual level. 

Jazz isn’t just about notes on a page; it’s about feeling the rhythm in your bones, surrendering to the music and letting it take you to places you never imagined. 

Mavundla describes the live experience of jazz as something unique, something that consumes everyone in the room. 

“Jazz is really special to see live,” he explains. 

“There comes a point when the music just engulfs everyone and, when you do come to, you realise how spiritual the sound is.”

This spirituality is rooted in improvisation, a core element of jazz that allows musicians to express themselves in the moment. 

Mavundla recalls advice from one of his professors Darius Brubeck who once said, “We all know the song Ntyilo Ntyilo, but when we get on stage, we don’t know what is going to happen. 

“That is why when you study jazz, you have to study the importance of improvisation.”

This unpredictability is what makes jazz so alive and dynamic, constantly evolving with each performance.

Mavundla’s own music is infused with a sense of honesty — he uses jazz as a means to tell his story and express his deepest emotions. 

He composed a song for Masekela, speaking not only to him, but also to all the jazz legends who paved the way for him. 

“Jazz music allows me to tell my story the best way I know how,” he reflects.

As well as being about his legacy, Mavundla’s passion for jazz is about ensuring that the next generation of musicians is equipped to carry the genre forward. 

He speaks with pride about the younger artists who are emerging on the scene, such as Linda Sikhakhane, whose quest for knowledge and mastery keeps the genre alive and well. 

“I see young people who are very hungry for this knowledge of jazz music,” Mavundla shares. 

“I get calls from young people who want to come and get a lesson with me, and that tells me that sharing knowledge means that we are on the right path.”

In many ways, the growth of jazz in South Africa is a reflection of the growth of the nation itself — a continuous journey of self-expression, honouring the past, and embracing the future.

For Mavundla, this is more than music — it is a lifelong journey of connection, respect,and a celebration of the rich culture that defines South Africa. 

And if there’s one thing Mavundla has made clear, it is that jazz will not only survive — it will thrive, echoing through the streets of South Africa every day, not just on Sundays.