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| Jonathan Butler |
By Darlene Donloe
Jonathan Butler is known as an award-winning singer and fabulous guitarist but there is much more to the South African entertainer.
While his ballads leave hearts melting, it's the lyrics from what can only be called his protest songs that really pull at the heart. His upbringing in apartheid-era Capetown inspired the songs, that shaped his worldview, prompted years of advocacy, and instilled the ideology of oneness (Ubuntu).
For Butler, he sings what he’s lived.
A Grammy-nominated performer who, for decades has entertained the world with his vibrant voice and acoustic guitar, recently dropped his 28th album, “Ubuntu” on Mack Avenue Records, and it’s getting rave reviews.
The first single of the 11-track album is a tribute to his music hero, Stevie Wonder. Butler covers Wonder’s 1972 song “Superwoman (Where Were You When I Needed You)” produced by his friend and master bass player Marcus Miller, Butler, who possesses his own style, kicked it up a notch by adding an African flair that is mellow and intriguing. The song includes a remarkable violin from his wife, Nadira. But, the cherry on top came when Butler sent the song to Wonder for his blessing. Wonder was so impressed that he offered to play harmonica on the track – to Butler’s amazement. The CD also features Keb’ Mo’, Miller, and more.
“I’m blessed to have my wife on the album,” said Butler. “She is touring with me. She is a beautiful person. Her music, her playing. She inspires me.”
This year, as in decades before, is a busy one for Butler, who has worked non-stop since he hit the scene as a former child star in South Africa.
In 1968, he won a talent contest through brought him a $25-a-week job with a musical troupe that toured South Africa, Libya, and Zaire. By age 13, Butler was a local pop star whose covers of “Please Stay” and “I Love How You Love Me” became pan-African hits.
The youngest of 17 children, Butler was the first Black artist to play on radio stations in his native country.
In 1984, he moved to London, where he recorded his first album, Introducing Jonathan Butler, which came out in 1986. He first came to the attention of Americans when he debuted as the opening act for Whitney Houston, playing for huge stadium crowds.
His first self-titled album, Jonathan Butler, was a two-record set that featured the singles “Lies” and “Holding On”. It proved to be his launching pad.
Although he now lives in Los Angeles, Butler makes several pilgrimages home to see his family, work, and continue his efforts with the Jonathan Butler Foundation launched to fund music education programs that give children the purpose to overcome a life of drugs and poverty.
For Butler, it’s important to always express his gratitude for a life and career beyond anything he could ever have imagined.
Although his itinerary for the year is full with 300 shows, I recently caught up with Butler (JB), who was experiencing a rare couple of days at home, to talk about his career and his new jazz CD, “Ubuntu,” which speaks to messages of love, peace, and unity and is inspired by his upbringing during apartheid. Ubuntu is a Zulu philosophy of unity.
DD: Why is the album/CD called Ubuntu (ZULU for humanity), which means - I am because we are?
JB: When we made this record in South Africa that was the first thing we thought about. It was a transitional point for me. I’m going back to my roots. Ubuntu is a daily experience. It’s foundational to the culture. Desmond Tutu and Nelson Mandela were the example of Ubuntu during the apartheid struggle. During that uprising period the reconciliation period founded by him – that was a true display and demonstration of what Ubuntu means. When a country can reconcile from past pain. We won’t forget, but we can move forward. This is showing humanity for others. I decided it would be a great title for the album. I went home to find myself, find my roots.
I went there with Marcus Miller, the greatest producer of all time. The first song was “Superwoman,” – rearranged to an African experience. It captured everything. The record is universal.
DD: Talk about why you wrote some of the songs.
JB: George Floyd’s passing was what got me to write ‘Our Voices Matter’. The passing of a Black man in the middle of the day in the U.S. - triggered to me we still have a lot of work to do. People matter. This song, this album, is really a transition for me. The music I’ve been listening to – I found myself kind of stuck. I wanted to make a statement. Ubuntu is my whole energy, my whole life. How can we make this world better? My making music is to see people happy and together and coming together – and have a conversation about the realness of being human.
DD: Is it true that it only took three days to produce in South Africa?
JB: During lockdown, I wrote a lot of new material. I spent a lot of time writing. There was a lot of magic in South Africa. The energy was up. It was beautiful. Springtime in Africa – it transports me to the Kalahari Desert. The music reflects what happened. The song, ‘When Love Comes In’ talks about the millions of lives lost.
DD: What motivates you to write?
JB: I’m affected by my environment. I feel everything. The passing of George Floyd, I felt deeply. The passings during COVID affected me.
DD: Is this album your love letter to South Africa?
JB: Interesting you say that. This is created out of love – it's a much broader thing. It’s a message about humanity.
We lack humanity. We can do better.
There is a lot of fear, hate, and division. We’ve got to make it better.
We have to change the world and make it better. It’s more than a love letter to Capetown. It’s a tribute to my roots. It’s about humanity serving each other.
DD: Do you believe Ubuntu is really possible?
JB: I see it with me every day. That’s the important thing. You don't have to worry about other people. Make it your life’s journey. It starts with me. We better get to it – for the young people. I want to speak my own truth. I’m optimistic. My music spells belief, truth, joy, Holy Spirit. I don’t know any other way.
DD: Talk about what Marcus Miller brings to the project.
JB: It’s so broad. I can only use one word to talk about what brilliant of a mind he has. I think Marcus knows how to shape the music and the artist into the music. He’s a shaper. He supports as a bass player, and producer. That’s a helluva producer in my opinion. He’s a genius in shaping the artist’s sound to fit inside the music. It’s an amazing thing to watch. I never knew what we were going to do.
In three days we cut all the tracks and brought it back to L.A.
DD: I remember back in the day you telling me about how much you love Stevie Wonder. Why did you decide to remake Stevie Wonder’s Super Woman? Why that song? How did it come to be?
JB: I’ve known that song my whole life. I had no idea that Marcus would approach it the way he did.
Marcus chose that song. He said, ‘Hey, do you know this song?’ I know every Stevie song. When we got to the studio in Johannesburg and he opened his computer, he started playing the line on the bass. He said to follow him. While I followed him, I was floored. It was his choice of song. Because of my love for Stevie, I never wanted to record a Stevie song. I didn't want to screw it up. I was taken aback by how Marcus used it to shape me—a South African shape to fit my personality.
DD: What was the conversation like with Stevie?
JB: I called him the day before we were going to mix the album. I told him I wanted to send him something. I sent Stevie a copy of ‘Superwoman’. He responded the next morning at 7:30 a.m. He was unbelievably blown away with this new version of the song. He outlined everything he heard. He said to meet me at my studio at 9. Me and Marcus were in the studio with Stevie. We were blown away.
DD: Your lyrics are powerful.
JB: In Rainbow Nation I say - We are a rainbow nation. We are the equalizers. We are not the dividers. I believe if it wasn't for people like Marvin (Gaye), Roberta (Flack), Donnie (Hathaway), and Stevie, all were my mentors growing up. They spoke of the times and sang of the times that Black America was living in.
These people taught me how to be an original artist – creating your own work, creating your own stories. I stand on the shoulders of these people.
DD: Do you consider every new work – your best work?
JB: This is one of those records I feel so good about. I listened to the ‘Story of Life. I went to iTunes and pulled up my own record. I listened to ‘Surrender’. I love this record. I feel good about it. It’s only the beginning. Prophetically, it’s the beginning of this new and free person throwing his line in the sand.
DD: These are hard times. Is it harder or is it easier to write music like what you have on Ubuntu?
JB: That’s a really sensitive space to be in. I think having lived what I’ve seen with George Floyd, and having had personal experiences under apartheid and segregation made me acutely aware of my surroundings and feelings. I’m sensitive to thinking about the unjust things happening right now. Don't do it for the sake of – it has to be from an artist of consciousness.
DD: You grew up in South Africa but you’ve lived in Europe and the States for a long time – how has that affected or influenced your music?
JB: In South Africa in the 60s and 70s, you had to play American and British music to make a living. You couldn't make your own. The government at the time was watching who was making political statements. If you did you’d be arrested or your music wouldn't be played. Coming to America I could write my own. Then my country could embrace it because it’s American, it’s not local.
DD: What is it like when you go home? What is the most significant change you see and experience?
JB: What affects me is still the colored areas, Black areas, white areas, Indian areas – everybody is fragmented. We are segregated by fences - yet live in a socially free society but we’re still separated from each other.
What I do find in 2024 is 30 years of democracy and freedom in South Africa. The country is socially moving forward. Steadily interacting. There are issues surrounding economic apartheid. The haves and have-nots. Government corruption is standard around the world. South Africa is integrating. I can’t help but recognize that white privilege is in your face in South Africa. It was designed as a haven for whites to me. The whites live in the oceans in the hills. The colored and Blacks live in townships. It was carved out. It’s hard for me not to look at it. I can’t ignore that.
I also see that it’s progressive. The Black man is progressive. Because we came out of apartheid, it’s not like it is in the U.S.
We are a country that is moving forward, we are progressive. We have all our challenges. We have incredible minds. That’s why the country hasn't turned into a civil bloodbath like some thought would happen when Mandela came out of prison. We have incredible infrastructure. There is real conversation and debate and a fight for justice a fight for equal rights. We have work to do.
DD: You have a crazy touring schedule. Do you like touring?
JB: It’s my life. It just is. It’s not about do I like it. It’s what I do. I have a great band. It’s always fun.
DD: Have you thought about running for office?
JB: You’re talking to a guy that has never been to school. That's something I wouldn't have said no to. We still have to win the race for civil rights. I don’t say no. If it was up to me, I would fight hard for equal rights. Our country is beautiful and resilient. We are passionate people with a great story.
DD: You’ve been on the planet a minute now, do you know who you are – and are you happy with who you are?
JB: Oh, yeah. Absolutely. Very comfortable. I’m passionate and grateful. The record is #1 this week on Amazon and Spotify.
DD: Years ago you told me how you always kept extra bread and how, when you’re on the road, you would wash out your socks in the sink. Are you still doing both of those?
JB: Hell no (laughing). At this point, I’ve acquired a few things in life.
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