Blab Music
Don Laka Returns with 'Invitation 2', Bridging Generations in South African Music
On September 10, 2026, veteran South African jazz maestro Don Laka released Invitation 2, a record that pulls the needle from the 1980s into the present day. The new album follows the 2007 Invitation and expands the original idea of bringing together a wide range of musicians.
Laka’s career has spanned jazz, Afro‑pop, kwaito and the genre he coined, kwaai‑jazz. He has produced for icons such as Brenda Fassie and Hugh Masekela, co‑founded the Kalawa Jazmee label, and earned a 2013 Grammy nomination for producing Masekela’s Jabulani. In Invitation 2 he says the goal is not nostalgia but a meeting point between generations. “I think I’m the conduit,” he explained, describing his role in introducing younger talent while working with established names.
The 24‑track project blends music from as early as 1986 with fresh compositions. Laka revisited unreleased material from his archives—including the track “Drive My Car”—and paired it with new songs that span amapiano, Afrobeats, Afro‑pop and traditional jazz. He calls the album a “melting point” where jazz becomes a real melting pot of South African music.
Key collaborators include Moses Ngwenya, the pianist who co‑founded the 1970s Mbaqanga group The Soul Brothers. Ngwenya has worked with Laka since the 1970s and appears on several tracks. The album also introduces new voices, such as singers from the Eastern Cape and Durban and a young guitarist‑vocalist from Eswatini. Laka said he discovered these artists through a competition he ran on his Facebook page.
The lead single, “eGawutini,” features singer Siphokazi. The song revisits the familiar South African narrative of a person leaving rural areas for Johannesburg. Laka recalled that the collaboration began after they travelled together following a Durban festival: “She started laughing and said, ‘Oh, you’re writing about me? So, it’s Jane Comes to Joburg,’” he said.
In the album’s liner notes, Laka writes that music should not be confined by genre, generation or time. He adds that he sees himself as a musician who “remains alive today with new people” and that working with younger musicians is an opportunity to learn.
The release comes amid a revival of Johannesburg’s jazz scene. Young musicians and audiences are rediscovering older styles in jam sessions and listening spaces, and Laka’s album is positioned as a bridge between the past and the present. The record’s inclusion of both veteran and emerging artists reflects the city’s renewed relationship with jazz.
Invitation 2 is available on major streaming platforms and in physical formats. While the album has yet to appear on international charts, it has already attracted attention from South African music blogs and radio stations that focus on jazz and contemporary African music. Laka’s long history of collaboration and his willingness to mix styles suggest the album will resonate with listeners who appreciate genre‑fluid music.
The project underscores Laka’s belief that “there shouldn’t be barriers that you are old or you are young.” By inviting a new generation of musicians into a project that also honors his own early work, he demonstrates how a seasoned artist can remain relevant while fostering fresh talent.
As the album circulates, it is likely to influence the next wave of South African musicians who seek to blend traditional jazz with modern sounds. Laka’s work continues to shape the country’s musical landscape, and Invitation 2 adds a significant chapter to his extensive legacy.
Laka’s career has spanned jazz, Afro‑pop, kwaito and the genre he coined, kwaai‑jazz. He has produced for icons such as Brenda Fassie and Hugh Masekela, co‑founded the Kalawa Jazmee label, and earned a 2013 Grammy nomination for producing Masekela’s Jabulani. In Invitation 2 he says the goal is not nostalgia but a meeting point between generations. “I think I’m the conduit,” he explained, describing his role in introducing younger talent while working with established names.
The 24‑track project blends music from as early as 1986 with fresh compositions. Laka revisited unreleased material from his archives—including the track “Drive My Car”—and paired it with new songs that span amapiano, Afrobeats, Afro‑pop and traditional jazz. He calls the album a “melting point” where jazz becomes a real melting pot of South African music.
Key collaborators include Moses Ngwenya, the pianist who co‑founded the 1970s Mbaqanga group The Soul Brothers. Ngwenya has worked with Laka since the 1970s and appears on several tracks. The album also introduces new voices, such as singers from the Eastern Cape and Durban and a young guitarist‑vocalist from Eswatini. Laka said he discovered these artists through a competition he ran on his Facebook page.
The lead single, “eGawutini,” features singer Siphokazi. The song revisits the familiar South African narrative of a person leaving rural areas for Johannesburg. Laka recalled that the collaboration began after they travelled together following a Durban festival: “She started laughing and said, ‘Oh, you’re writing about me? So, it’s Jane Comes to Joburg,’” he said.
In the album’s liner notes, Laka writes that music should not be confined by genre, generation or time. He adds that he sees himself as a musician who “remains alive today with new people” and that working with younger musicians is an opportunity to learn.
The release comes amid a revival of Johannesburg’s jazz scene. Young musicians and audiences are rediscovering older styles in jam sessions and listening spaces, and Laka’s album is positioned as a bridge between the past and the present. The record’s inclusion of both veteran and emerging artists reflects the city’s renewed relationship with jazz.
Invitation 2 is available on major streaming platforms and in physical formats. While the album has yet to appear on international charts, it has already attracted attention from South African music blogs and radio stations that focus on jazz and contemporary African music. Laka’s long history of collaboration and his willingness to mix styles suggest the album will resonate with listeners who appreciate genre‑fluid music.
The project underscores Laka’s belief that “there shouldn’t be barriers that you are old or you are young.” By inviting a new generation of musicians into a project that also honors his own early work, he demonstrates how a seasoned artist can remain relevant while fostering fresh talent.
As the album circulates, it is likely to influence the next wave of South African musicians who seek to blend traditional jazz with modern sounds. Laka’s work continues to shape the country’s musical landscape, and Invitation 2 adds a significant chapter to his extensive legacy.
