Derek Gripper is a composer and guitarist from the Western Cape of South Africa, merging the imagery and mystery of the rural areas of the Cape with the techniques of classical guitar and the string music of Africa (uhadi bow, umrhubhe, kora, guitar). Derek calls this new evolution of music New Cape describing it as a “rethinking of the Cape’s transcultural heritage.”
Derek’s solo performances draw on a wealth of original compositions, as well as works by J.S.Bach, Ali Farke Touré, Toumani Diabaté, Dembo Konté, Egberto Gismonti, Heitor Villa Lobos, Benjamin Britten, Toru Takemitsu, and Luis de Narvaez.
To date he has recorded four solo CDs and three collaborative CDs with Alex van Heerden (SA), Udai Mazumdar (India) and Brydon Bolton (SA). He has performed concerts in Holland, Denmark, the U.K., Ireland, Sweden, Germany, Switzerland, Brazil, India, Namibia, and all over South Africa.
In 2010 Derek Gripper started New Cape Records, a music label dedicated to releasing the best of Cape music. Notable releases include Madosini, Alex van Heerden, Gramadoelas, as well as Derek’s own catalogue of compositions. www.newcape.co.za
Bio from www.derekgripper.com
Derek Gripper began his formal musical training at the age of six on the violin. After studying classical music for the next thirteen years he began to look further afield for musical inspiration. This search took him to India where he studied South Indian Carnatic music. On his return to South Africa he decided to focus on the guitar, trying to find a new direction for the instrument. He was attracted to the use of multiple layers in the music of Oliver Messiaen, the African-influenced structures of Steve Reich, as well as to guitar arrangements of the music of J.S.Bach. But it was when he met up with Cape Jazz trumpeter Alex van Heerden that he started to see that his previous studies could be used to find new directions for the music of the Western Cape. The two musician's first recording in 2002, Sagtevlei, laid the groundwork for an entirely new Cape music, a music that the press called “avant-goema.” Here for the first time the compositional techniques of contemporary classical music where used to support the melodic and improvisational nature of Goema, the carnival music of Cape Town. This recording laid the groundwork for his first solo album, Blomdoorns, a series of compositions on an experimental eight-string guitar. Here the rhythms he had heard in India combined with Cape style melodies and cyclical motives in a simplified guitar language that was entirely unique yet unmistakeably influenced by the Cape's rich and diverse musical history. Over the next few years he further developed this musical language, switching to the traditional six-string guitar in 2004. After exprimenting once more with the possiblities of classical music, he settled into performing only this New Cape music, using a guitar by the great German Luthier Hermann Hauser III. The 2008 CD “Ayo” documents the first series of compositions for this instrument, exhibiting the influence of musicians such as Brazil's Egberto Gismonti and Mali's Toumani Diabate. It could be said that the music that Gripper creates is South Africa's answer to musicians such as Gismonti and Heitor Villa Lobos: classical trained musicians from the “South” who have used their skills to develop new directions in the music of their home countries. It is also interesting to note that many of the European or American composers that he was initially attracted to were profoundly influenced by African music, using its complex cyclical structures and collectivity as the basis for new movements in twentieth century music.