FIRST EDITION, published by David Philip , Cape Town, 1977, softcover, large format, illustrated, 82 pages, condition: new.

Basil Breakey photographed and befriended these township jazz musicians, and so built up a significant historical record.  

Township jazz during this era was defined by its "Africanisation" of global jazz trends, blending local heritage with international innovation. Musicians blended marabi (a keyboard-based slumyard style) and kwela (pennywhistle-based street music) with the harmonically complex structures of American artists like John Coltrane and Miles Davis.

 The era saw a shift toward free jazz and avant-garde experimentation, particularly by groups in exile, which represented a "proudly Black articulation of identity" and the idea of being free. any leading figures were forced into exile or faced severe harassment at home, yet they produced some of the most enduring records in jazz history. The Blue Notes: Led by pianist Chris McGregor, this integrated ensemble (including Dudu Pukwana, Mongezi Feza, and Johnny Dyani) bridged South African Xhosa traditions with European free improvisation.

Abdullah Ibrahim (Dollar Brand): His 1974 composition "Mannenberg" became an unofficial anthem of the anti-apartheid movement, capturing the "colourful, lively sound" of Cape Jazz.

Winston "Mankunku" Ngozi: His 1968 album Yakhal'inkomo is one of the most famous South African jazz recordings, fusing modal jazz with intense emotional development.

The Soul Jazzmen: Based in the New Brighton township, this combo used their compositions to protest against the regime throughout the '60s and '70s.

Hugh Masekela and Miriam Makeba: Both gained international fame after the 1961 "jazz opera" King Kong, using their global platforms to spotlight the struggle back home. 

The regime actively tried to "stamp out" the genre through various restrictive measures. 

 Black musicians were sometimes forced to perform behind screens while white musicians mimed their notes; for instance, Winston Mankunku Ngozi was once billed as "Winston Mann" to hide his identity.

: After 1960, gatherings of more than 10 people were declared illegal, making jazz performanceswhich often drew large, diverse crowdsdangerous acts of defiance.

The state broadcaster (SABC) promoted "neo-traditional" music to reinforce tribal divisions, often refusing to air sophisticated jazz that reflected a unified urban consciousness. Township jazz was a revolutionary musical milieu that used "high art" to challenge social engineering, ultimately becoming a vital repository of cultural memory and resistance.