Moreira Chonguiça is one of the most influential and important jazz musicians in Africa. He is from Maputo, Mozambique and has predominantly lived in South Africa. In addition, he has also been lauded by France, Japan and other international jazz audiences for his work with jazz.
This weekend, he’ll be gracing the stage in Nairobi at the Bob Collymore International Jazz Festival. At 48 years old, Moreira has worked as a saxophonist, composer, and producer and is also working to make jazz more accessible for the underprivileged–something he shares with the late Bob Collymore.
Potentash got a chance to speak with the maestro and learn more about him.
TELL POTENTASH ABOUT YOURSELF
I am a Mozambican jazz artist, composer, and producer based in Maputo. My professional career and training began at a young age in Mozambique (Escola Nacional de Música), followed by tertiary studies at the University of Cape Town, South Africa where I lived for 19 years. Over the years, I have released eight albums that blend my East African roots with global influences. My latest album, SOUNDS OF PEACE, fuses traditional Mozambican music with jazz, drawing inspiration from legends like Miles Davis, Fela Kuti, Hugh Masekela, and Manu Dibango.
In recognition of my contributions to the arts, I was recently honoured as a Knight of the Order of Arts and Letters by the French Government. I have also been acknowledged by the Japanese and Portuguese governments for fostering cultural cooperation.
Beyond music, I am dedicated to promoting Mozambican culture through initiatives such as the Morejazz Series jazz festival, the Morejazz Big Band, and the Moreira Chonguiça Foundation. Through these projects, I strive to enrich Mozambique’s cultural landscape, particularly in regions like Cabo Delgado, which have been impacted by conflict.
HOW DID YOU END UP A JAZZ MUSICIAN? DO YOU PLAY OTHER INSTRUMENTS?
Yes, I play multiple instruments. While my favourite instrument is the piano, I consider myself a frustrated pianist! I also play drums, percussion, and various saxophones—alto, tenor, soprano, and sopranino. In addition, I sing.
Becoming a jazz musician happened by chance; it was never part of my original plan. In fact, I never even intended to be a musician. My dream was to become an international lawyer. However, my father enrolled me in the National School of Music when I was seven years old as an extracurricular activity. Over time, I began performing with bands in Maputo, and the rest, as they say, is history.
WHAT MADE YOU REALISE JAZZ WAS YOUR PASSION
I didn’t choose jazz—jazz chose me, I didn’t choose music—music chose me, I didn’t choose the saxophone—the saxophone chose me.
I believe in God and my ancestors, and I see my purpose as that of a messenger. Through the saxophone, my compositions, and my production skills, I strive to make a meaningful contribution to the world.
Jazz isn’t just my passion—it’s my purpose. My passion, my hobby, my job—they all intertwine. But jazz is more than that. Jazz is my calling.
HOW DID YOU BECOME A TRAILBLAZER IN AFRICAN JAZZ?
My journey as a trailblazer in African jazz was deeply shaped by my family, particularly my late father. He was a passionate collector of books, art, photography, sculpture, and most importantly, music. As a committed Pan-Africanist, his vinyl collection was filled with legendary African musicians—Manu Dibango, Miriam Makeba, Ali Faque, Salif Keita, Youssou N’Dour, Baaba Maal, Toure Kunda, and Mozambique’s own Ghorwane, among many others.
WHO ARE YOUR MUSICAL INSPIRATIONS?
Because of colonization, many of these artists used their music to speak out against oppression and advocate for liberation, making them vital voices in Africa’s struggle for independence. Their powerful messages, woven into my father’s collection, became the foundation of my musical influence. It was through their artistry and activism that I found my own path in African jazz.
I draw inspiration from people—their cultures, their stories, and their lives. Humanity itself inspires me. When a musician picks up an instrument, it becomes a reflection of their beliefs, culture, and ideology. The music follows naturally. My creativity is fueled by people and their heritage, shaping the music I create.
WHAT’S THE BEST PART OF BEING A SAXOPHONIST
The best part of being a saxophonist is the sense of freedom it brings. It instils loyalty, but above all, freedom is paramount. Playing the saxophone feels like soaring—like an eagle, a bird, or the whisper of the wind. With every note I play, it’s as if I’m whistling through the instrument. But most importantly, when I’m with my saxophone, that’s when I feel truly free.
WHAT’S YOUR FAVOURITE THING ABOUT PERFORMING AND ATTENDING JAZZ FESTIVALS?
The beauty of attending festivals lies in the opportunity to connect, engage, and immerse yourself in diverse cultures. You meet new people, savour different cuisines, and experience a rich variety of music—because festivals are a true celebration of diversity and authenticity. Each festival offers a unique atmosphere shaped by its location, climate, and landscape, which, in turn, influences the way people interact within those spaces.
As performers, festivals allow us to embrace and honour diversity while also offering a personal journey of discovery. Through different cultures, artistic expressions, and the global audiences that gather, we gain deeper insights into ourselves, broadening our perspectives through music, dance, and shared experiences.
WHAT ARE YOU MOST LOOKING FORWARD TO AT THE BOB COLLYMORE INTERNATIONAL JAZZ FESTIVAL?
I am deeply honoured to perform at this festival, which bears the name of a man who has contributed so much to jazz festivals over the years. I have travelled the world and visited many countries for various reasons, but this occasion is truly special—it marks my first time in Kenya, my first time in Nairobi, and my first time performing at a jazz festival in this beautiful country.
What excites me most is the opportunity to share my music and knowledge, to entertain on African soil alongside a neighboring and brotherly nation. It is a chance to learn, to connect with new people, and to showcase to the world that while we may come from different backgrounds, we are united as Africans. We share the same vision—to celebrate our diversity through peace and dialogue.
More than anything, I look forward to being in Kenya for the first time, doing what I love and what I was meant to do: jazz.
WHAT IS THE BONAFIDE MOREIRA CHONGUIÇA PERFORMANCE EXPERIENCE? WHAT SHOULD BCIJF ATTENDANTS ANTICIPATE FROM YOUR SET?
Every experience is unique because music speaks louder than words. Our mission is simple: to entertain, to honour the audience, to respect the organizers, the sponsors, and every music lover in attendance. And for those who can’t be there, we hope they’ll hear about it!
I’m bringing an incredibly talented Mozambican band, full of energy, and ready to take you on a global journey—starting and ending in Kenya. Expect an honest, authentic, and original African jazz experience, drawn from my eight albums, as we embark on a musical voyage through my work.
HOW WOULD YOU DESCRIBE YOUR SOUND TO SOMEONE WHO’S NEVER HEARD YOU BEFORE?
Music knows no boundaries. As an ethnomusicologist, I explore a vast palette of sounds, blending and borrowing from diverse cultures and traditions. I am from Mozambique but I spent 19 years in South Africa, and my music reflects the many influences that have shaped me. When you listen to my work, you will hear the interconnectedness of Africa with the world. Africa is not just a village—it is an integral part of the global community.
WHAT DO YOU ENVISION AS THE FUTURE OF JAZZ MUSIC IN AFRICA?
The future of African jazz lies with us as African people. It is rooted in African stories, reflecting the challenges, triumphs, and authenticity of the continent. Music is a mirror of people’s actions, and our stories must be told—stories the world has yet to hear.
Today, there is a growing global curiosity about Africa, but we must ensure that our narrative is not defined solely by oil, gas, or safari. African jazz must embody the essence of our experiences, our histories, and our truths.
To shape its future, we must claim our narrative and harness the power of technology, social media, and both traditional and modern media. The future of African jazz depends on how we, as Africans, choose to portray and share our stories with the world.
HOW HAS THE RECEPTION OF AFRICAN MUSIC GLOBALLY, ESPECIALLY JAZZ, CHANGED IN THE AGE OF SOCIAL MEDIA?
Social media has provided African music—especially African jazz—with a powerful global platform, allowing it to be discovered by audiences anywhere in the world. However, we must take charge of the narrative and ensure it remains positive. The demand is there—people are curious, eager, and hungry to explore what African music has to offer. Yet, the global competition is intense. To stand out, we must be more strategic, proactive, and bold in showcasing our sound to the world.
WHERE CAN PEOPLE ENGAGE WITH YOUR MUSIC?
My team has done an incredible job of making my music available across all major global digital platforms! You can explore my work through the following links for my website, Facebook, Instagram and YouTube.
Find me on Spotify as Moreira Chonguiça and The Moreira Project: Moreira Chonguiça on Spotify and
The Moreira Project on Spotify. You can also purchase my music on Bandcamp and find my music on SoundCloud. For those who love physical copies, I’ll be bringing a small number of CDs to the show—so grab one while they last!
Grab your tickets for the Bob Collymore International Jazz Festival here.
Check out:
Bob Collymore’s Life, Passion, Philanthropy, Family And Death
