LEX FUTSHANE: MY SUPERHERO, MY GIQWA, MY JAZZ LEGEND

An ECLIVES tribute by Lindikaya Ntshinga

I sit in a privileged position in this journey called life. There are moments when I pause, reflect and feel deeply grateful for the people whose paths have crossed mine. One such person is my uncle-friend, Lex Futshane, whom I love dearly. Before I even begin, I must pay homage to the debates I have had with my Jazz friends about the man behind the music. I tell them that Lex is my superhero. They ask me why, and I tell them his name is Alexander — hence, Lex! 😂 To me, the name fits: he is a conqueror in sound, a musician who traverses two worlds, acoustic and electric, through the bass. Our mutual friend Aymeric Péguillan introduced us at The Orbit around the time Lex’s album Innocent Victims and Perpetrators came out. I bought the album, and time moved on. Remember, I am a Jazz fan, not an instrumentalist; I am the guy who can be completely star-struck by the musicians he admires. So imagine my excitement when, on another visit to The Orbit with Mona Mi, Aymeric told me I could go backstage to greet Lex. There was an upstairs room reserved for a select few.

I went in as a fan, expecting to greet a legend, only for him to recognise me first. “Ntshinga, Bhayeni!” he called out. That was the moment I felt I belonged. Here was a musician I had placed on a pedestal, greeting me not as a stranger, but by my surname and clan name. When I later learnt that Lex was also a teacher, I reminded him that I, too, was the only real living legend in the room! 😂 That is the beauty of friendship: admiration makes room for laughter, and legends become family.

Lex’s story reaches far beyond the bass in his hands. He is an accomplished acoustic and electric bassist, composer, arranger, performer and educator, and a graduate of the jazz programme at the University of Natal, now the University of KwaZulu-Natal, where he studied under the tutelage of Tata Darius Brubeck. He became part of a generation of musicians whose journeys helped shape South African Jazz, alongside artists such as Zim Ngqawana, Feya Faku and others who emerged from that rich musical tradition. His work has included collaborations with distinguished musicians such as McCoy Mrubata and Bheki Mseleku, while his own musical vision found expression through the LEXtet and the album Innocent Victims and Perpetrators. He was also a founding member, composer and arranger of Bassment, an innovative ensemble bringing together twelve double bass players — six from Jazz and six from classical music. These are not merely entries on a musical résumé; they are chapters in a life devoted to creating, teaching, collaborating and keeping the music moving. His career has taken him to local and international stages, and his contribution extends beyond performance into education and the nurturing of future musicians. His musical journey is documented by Music In Africa and the University of KwaZulu-Natal. From the Jazzanians tradition associated with Darius Brubeck to collaborations with musicians such as McCoy Mrubata, Lex’s journey reminds us that a musician’s influence is measured not only by the notes played, but also by the people taught, the partnerships formed and the musical possibilities left open for those who follow.

And now, Bra Lex, let me return to the reason I started writing in the first place: Happy Birthday, Giqwa wam! ❤️🎷 I went looking into your Xhosa clan names and discovered another connection that made me smile. In exploring the relationship between ooGiqwa, ooBhayeni and ooNtshinga, I found a family thread that made our bond feel even deeper. As I understand it, digging into these clan names reveals connections to be explored and honoured; I share this as a personal discovery, with respect for the histories carried by our families. So perhaps we were never connected by music alone. Perhaps the bass simply gave us another way to recognise something that was already there. To me, Lex, you are a legend — from the Jazzanians and the musical lineage nurtured under Tata Darius Brubeck, through the world of Zim Ngqawana, McCoy Mrubata and the many musicians whose paths have crossed yours. Today, however, I am not writing as a critic, a historian or even a programmer who has somehow managed to make code part of his identity. 😂 I am writing as Lindikaya, the Jazz Cat who is grateful to call you mntasekhaya. Camagu, Bra Lex. May your music continue to travel, may your teaching continue to open doors, and may the song live on through you. Ndiyakuthanda, Jack.

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