The HA MAN Francois le Roux, is an extraordinary artist. I was completely immersed in his multi sensory exhibition of talent, and how he interweaves the striking counterpoint into a harmonious whole where one would ordinarily expect sensory chaos and cacophony... instruments, birdcalls, video, utterances, body exhortations, yet all coming together into an evocative symphony. I was visually, auditorially and spiritually transported to a time of sound before human sound although of course, he is a human making the sounds. The music carried me into the Kalahari desert, back in a primordial time, then transfigured into a rainforest...it was a musical journey, a sensory feast a sumptious event that elevated me out of the banality of my little life, into an explosion of connection to the universe and creation. I cannot be thankful enough for being persuaded and guided to go...it was a memorable moment I shall carry with me like a gem... and worth much more than the paltry amount I was able to donate

Dinsdag 12 April het Francois le Roux ook bekend as Ha!Man 'n uitvoering vir die George Musiekvereniging in die NG Moederkerk gelewer. Ha! verwys na asemteug en dit waaruit spontane improvisasie volg. Die Ha!Man het sy besondere sensitiewe siel aan ons blootgestel in 'n uitsonderlike eenman-uitvoering wat begin het met 'n asemteug. Dit is opgevolg met 'n gefluite melodie watoorgaan het in sang enin gesprek getree het met die tjello - deur homself gespeel. Francois het ook 'n vooraf bereide klankbaan suksesvol gekombineer met sy improvisasies. Hy het ook unieke improvisasies op die klavier en die orrel gespeel. Die gehoor is al hoe meer oorrompel soos hy ons deur verskillende wêrelde geneem het. Die klankwêrelde van die midde-Ooste, Amerikaanse minimalisme, die Europese kontemporêre klankidioom, die klank van die kerk met sy orrel en ook van Afrika met sy vitale ritmiek maar ook sy broosheid, is alles deel van die bronne waaruit Francois put, om 'n unieke ervaring aan sy luisteraars te bring. Treffend was toe hy die mbira gebruik eers net perkussief, toe melodies en ook die botone van die tjello gekombineer met xilofoon klanke uit sy klawerborden met mondperkussie.

Francois het in Johannesburg grootgeword, sy pa was predikant en sy ma Mariaan, musiekdosent en orrelis in die Irene-kerk in Johannesburg-Oos. Voor die konsert het ek hom vertel dat ek sy ma omtrent in 2001 in Johannesburg hoor orrelspeel het. By een van die aanddienste het sy ook gevra dat ons moes dink aan Francois.Hy het 'n komposisie gespeel wat hy voor haar dood in 2016 vir haar geskryf en ook gespeel het. Hy het genoem dat dit is hoe hy haar in klank onthou. Francois het ons ook herinner aan vriende en familie wat onlangs in die COVID-pandemie oorlede is. Dit was sulke brose hartroerende musiek dat niemand in die gehoor met droë oë daar gesit het nie. Op 'n versoek uit die gehoor het hy as encore 'n improvisasie op How Great Thou Art op die orrel gespeel. Hy het die konsert afgesluit deur die gehoor te herinner dat die skerm nie die lewendige teater-belewenis kan vervang nie, die skerm dreineer dikwels ons energie terwyl dit ons herinner aan die inspirasie wat te put is uit 'n lewende uitvoering. Wat 'n besondere ervaring was dit

Hoewel de reacties nog steeds binnen komen is dit een goed moment voor een terugblik op zondagavond 29 Mei. François le Roux (Ha!man) en zijn (stage)partner Joke Debaere waren toen te gast hier bij Couleur Vocale en verzorgden een optreden. Ik kijk daar nu in persoonlijke bewoordingen op terug.

Bijzonder

Bijzonder is een beetje een versleten woord dat verder niet zoveel zegt; aan Dik Trom (.."iseen bijzonder kind en dat is- ie", was een gevleugelde uitspraak)is als hoofdpersonage een heleseriekinderboeken van weleer (1891)gewijd om verder inhoud te geven aan dat begrip en ongetwijfeld kan dat bij Ha!man ook: een vette (auto)biografie die zeker weten als pageturner zou lezen. Wie weet komt die er nog eens. Maar voor nu volstaat een evaluatie van mijn persoonlijke beleving gelardeerd met wat filosofische uitweidingen daar waar er voor mij aanleiding toe was.

Wat maakt het optreden van Ha!man danzo bijzonder? Het meest in het oog en oor springend zijn z'n vaardigheden op diverse instrumenten en zijn improvisatietalent. Met vaak de cello als centraal gegeven haalt hij er letterlijk van alles bij waar maar muziek in zit en als je talent hebt vind je die muziek ook in alles!Zo orkestreert hij zijn composities, op een paar vierkante metership hoppend van de ene naar de andere geluidsbron,op smaakvolle wijze geholpen door wat digitaal vernuft (is het al gauw in mijn digibetenbrein) endit allesgeeft zijn optreden een spectaculair karakter.

Wat het voor mij met name bijzonder maaktis de absolute toewijding aan zijn talent om onverstoorbaar en compromisloos die muziek tot klinken te brengen die er in stilte al was.Met gesloten ogen en naar binnen gekeerde oren is daar een vrije toegang tot een universeelklankveld.Vanuit zijn eigen stilte is hij aangesloten op'de bron'en dán kunnen klanken dus zomaar geboren worden: 'creëren vanuit het niets' noem ik het. Zo geeft hij vorm aan zijn binnenwereld, gebruikmakend van de impulsen die zich op dat moment aandienen: de homoludens in actie!

Gewoon

En als alle energie dan vrijkomt en beschikbaar is voor (in dit geval) de muziek, gaan de dingen zonder inspanning, zonder 'werken'; ze gaan vanzelf, vanuit 'het Zelf' (om het maar even filosofisch te benaderen) en dat maakt het ook weer heel gewoon en natuurlijk, heel 'vanzelfsprekend' dus; Je put immers uit een bron die altijd bij iedereen aanwezig is....en tegelijkertijd toch ook weer bijzonder omdat je dit maar zo zelden bij artiesten tegenkomt: onbaatzuchtige kunst met geen ander doel dan het dienen van de kunst zelf.

In Joke Debaere heeft hij een prachtige partner gevonden; toegewijd aan hem en aan zichzelf, haar talent in woordkunst en verbale sfeertekening.Ze is op een prettige manier aanwezig met haar warmestemgeluid, Vlaamse tongval en zorgvuldig gekozen woorden die heel natuurlijkmet de muziek vervloeien of deze ondersteunen. Samen vormen ze een harmonieus paar waarbij klanken en woorden naar elkaar toekleuren en versterken in zeggingskracht.

Natuurlijk was niet elke noot of elk woord alleen maar geïmproviseerddie avond. Ikzelf doe de laatste tijd ook steeds meer met improvisatie en daarbinnen zijn vele mogelijkheden en soorten en is het heel gebruikelijk om allerlei afspraken te maken en van daaruit te vertrekken. Een kader of format gebruiken geeft juist de beperking waarbinnen de vertolker zijn meesterschap kan tonen. 'Vrije Improvisatie' behoort tot de mogelijkheden maar is zeker niet per se spannender of knapper; je vrij voelen, 'los gaan' binnen een format en de beperking daarvan overstijgen vind ik wel zo knap en bijzonder.De vaak strakke regie zoals die er vaak isin de voorstelling, is een voorbeeld van een serie duidelijke kaders waarbinnen maximale speelruimte genomen wordt en die de flow van de show alleen maar ten goede komt.

François le Roux en Joke Debaere vervullen vol overgave aan zichzelf, elkaar en de muziek hun missie voor eenieder die het maar horen en beleven wil. Als je dat als publiek in al z'n volheid kunt toelaten is er sprake van versmelting tot één zintuiglijke ervaring zoals ook een goede kok dat kan bereiken met een uitgebalanceerd gerechtdat door z'n kwaliteit op elk niveau'verstaan' en 'gesmaakt' wordt. Dat maakt dit soort mensen zo bijzonder, zo gewoon

A whistle, it's haunting notes echoing through the speakers, a bow strike across the strings of a cello, the pseudo - orchestral sounds of synthesised keyboard and a mysterious and wistful melody line introduced the amazing performance of the Ha!Man at Richmond House last Thursday evening. Part of the Classics at the Castle series of concerts, the Ha!Man show - With love, on Valentine's Day sent many in the packed audience into raptures, most even singing along to Francois le Roux's Lekker, Lekker Cape Town, the final song of his performance.

The strange and wonderful Ha!Man ( le Roux ) is an exceptional cellist who has taken the instrument to an entirely new level. Together with his partner, Belgian - born Joke Debaere who performed spontaneous poetry accompagnied by le Roux's experimental improvised music, the concert was a not-to-be-missed opportunity to experience something completely different on the musical front. Aside from le Roux's obvious talent, the evening was enhanced by Debaere's improvised poem about her Belgian childhood ( which might be named Spoken silence or, alternatively, Pancake on my head ) and her reading of a poem by Nizar Qabbani in Flemish highlighting the senseless suicide of the poet's sister, which the Afrikaans speakers in the audience could understand and appreciate.

Playing live cello over the pre-recorded keyboard tracks, the Ha!Man shared emotions, thoughts and ideas, enhanced by the small, but intimate venue. Le Roux builds a rapport with his audience, and is unafraid to show vulnerability, even down to performing contemporary dance as those watching hold their collective breath in anticipation of what next to come. Le Roux redefines the modern South African musical genre, rocking the roots of traditional African rhythm and challenging any preconceived ideas about what one is allowed to do with two keyboards, a speaker system, a descant recorder, a live cello and voice.

Together with Debaere the performance was exceptional in terms of quality and originality. It is seldom that artists give so much of themselves in a performance as this pair did. The Ha!Man is a musical revolution and le Roux and Debaere's performances are as memorable as they are emotive

Da pfeift doch einer! So ganz nebenbei beginnt das Konzert von Franþois Le Roux, der als äHa!Manô auftritt. Eben noch hat der Musiker Kabel aus- und wieder eingest÷pselt, herumgerõumt, den Stuhl verschoben und Gegenstõnde sortiert, mit denen er sich selbst bei seinem Konzert begleiten wird. Irgendwann fõngt er an, dabei zu pfeifen. Und dann geht es eben einfach los.

Sein Pfeifen begleitet er zunõchst allein auf dem Cello in derselben Tonlage, dann variiert er, zieht Klõnge vom Computer hinzu und erzeugt somit ein Gef³hl von Weite im etwas stickigen Spitzboden der Lagerhalle, der gut besucht ist.

Franþois Le Roux schmatzt, summt, singt, holt Klõnge aus seinem E-Piano dazu, das kurz darauf ert÷nt wie ein ganzes Orchester. Violinen ziehen ihre T÷ne durch den Raum, ein Schlagzeug setzt ein und auch eine Harfe. Dann folgen Loops û Klõnge, die er eben spielte, hat er mit dem Computer aufgenommen und ruft sie nun ab.

Und der Kunstler? Der sitzt mit geschlossenen Augen zwischen seinen Klõngen und scheint fast entr³ckt. Nur ab und zu hebt er beim Applaus die Arme, um das Publikum zu noch mehr Beifall zu animieren.

Ungewohnlich ist er. Und so ist auch seine Musik, die nach Europa klingt und nach Afrika, nach Weltmusik, nach Klassik, nach Jazz, nach Pop.

Seinen Stil hat er erst mit der Zeit gefunden. Denn zunõchst hat Franþois Le Roux klassisches Cello, Klavier und Komposition studiert. In S³dafrika war das, dem Land also, das mit dem System der Apartheid versuchte, Europa nach Afrika zu holen, wie der 1966 geborene Musiker erzõhlt, der innerhalb des Afrika-Festivals auftritt. Unwohl habe er sich gef³hlt in diesem Land, sodass er versuchte auszubrechen und doch wieder dorthin zuruckkehrte.

Acht Jahre lang zog er durch die Lande mit äBackpack-Performancesô, wie er es nennt. Rucksack-Auftritte habe er absolviert, mal mit Instrument mal ohne, mal singend, mal tanzend, mal pfeifend. Vor zw÷lf Jahren schlie¯lich verabschiedete er sich von dieser Art, Musik zu machen, kaufte sich ein Auto und wurde sesshaft. So sesshaft, wie man eben werden kann bei rund 200 Konzerten jõhrlich in verschiedenen Lõndern.

Bei ihnen wird er auch Ideen gewinnen fur seine Klõnge, die dazu einladen, entspannt hinzuh÷ren und sich einzulassen

On the evening of Wednesday 5 August 2009, The Ha! Man, aka Francois Le Roux, gave a scintillating performance of impromptu music, dance and vocal accompaniment at fu.shi fusion cuisine, the Upper Deck, Plettenberg Bay. Le Roux has performed previously at fu.shi and in September 2007 was one of the acts at the concert on Plettenberg Bay's Central Beach, that had Freshlyground as the star attraction.

The Ha! Man's instrument of choice is the cello, but on this occasion there was musical improvisation on keyboards, recorder, mbira and ocarina. Le Roux is a musical talent with a flair for the unusual; he creates tone poems at will. He grew up surrounded by a musical family in Johannesburg, read a degree in Philosophy and Theology at the University of Stellenbeosch and has studied classical music through the University of South Africa (UNISA). "I have been improvising music since I was three years of age" says this devotee of chords, choruses and clefs. "The music of Ludwig van Beethoven has always been a great inspiration to me" declares Le Roux "But I am also greatly drawn to the rhthyms of Africa, jazz and Eastern sounds".

In the pantheon of great cellists, Le Roux admires the playing of the late Jacqueline du Pre and Yoyo Ma of China. For the future the Ha! Man intends to promote spontaneous music, take his performance to the highest level and travel extensively to international destinations. He does a considerable amount of work with musical workshops at schools - "The response has been very strong from children at schools" says Le Roux with a warm smile "And this is an area I intend to continue working in

No set programme, spontaneity the order of the day, and a prolonged standing ovation at the end of an outstanding Soiree left even Tiny Steenkamp speechless. Suitable adjectives are difficult to come by when it comes to describing the artistry of Francois Le Roux (a k a HA!Man). Alone on the stage, save for his 'talking cello', a keyboard, computer and 'black box of tricks', along with a recorder, and variety of tiny instruments, a nose flute and an ocarina, Le Roux proceeded to bring a full-blown orchestra into the St Paul's Hall, thanks to the intricacies of sound techniques.

He explained that he never plans a show. He has a pool of accompaniments on his computer, which he brings into play as he proceeds, and as the audience interacts. All music used consists of original recordings of his own compositions. His father taught him to discover music from within as well as without, and as he develops the numbers he improvises with layer upon layer until the finished product.

The artist composes himself, eyes closed and breathing deeply, relaxes and then begins with an eerie, high-pitched whistle to accompany the recorded piece. Then comes the talking cello with its lovely deep sound, and the introduction of different verbal sounds. The whole builds to a crescendo of remarkable sound. So the SoirTe has begun.

A melodious piece illustrated the miracle of sound recording, with a duet by piano and Le Roux on cello, joined towards the end with flute strains. Then the audience was transported into the full-bodied sound track of an epic film, complete with chases, background noise, and the artist's voice and whistling introduced, with an imagined happy ending. Only afterwards did he reveal that in fact the item had been included as the sound track on a documentary about Knysna Elephants! The audience had 'been there'!

Then Le Roux urged the audience to 'hold onto their seats' as he played a rhythmic number called Salsa, which he had composed during a gathering with poets in Chicago. Next, what started out as a classical, folk-dance-type introduction turned into a stylised, 'orchestral' rendition of a very impressive Sarie Marais. No 'squash box' here.

Turning to the grand piano tucked away behind him, this versatile musician performed a beautiful, masterful classical number, before turning his keyboard across the stage into a marimba band. Unbeknown to the audience, this number was recorded, and they were invited to suggest which instruments they would like to hear layered into the marimba tune. Percussion and flute sounds were added, together with a solo performance by Le Roux on the recorder.

The next item was a preview of a very special number composed by Le Roux for the 60th Anniversary of the Voortrekker Monument in Pretoria on 7 November, to be performed with a massed African choir. Called 'Afrikaner is my Naam', it explores the liberation of oneself and the opening of the heart, asking 'who are you in South Africa'.

The chorus of Liefste Madelein was suggested as the background for another of the artist's improvisations, and turned into a masterpiece .
Then, stripped down to tights and top, with magnificent striped socks, this amazing HA!man proceeded to perform a spirited dance/movement item to the beat of the keyboard and clapping of the audience, and ending in him collapsing in a heap on the hall floor.

The piece de resistance of the afternoon was this modest young man's vocal performance of his Voortrekker Monument composition, with his instrumental recording in the background. An absolute show-stopper, and surely destined to become the new Afrikaans 'hit parade' number one.

What a privilege to have such a highly-acclaimed, international artist performing in Port Alfred

It is rare in a lifetime to encounter a composer/ performer in full flight, as a handful of folk did, at one of Francois Le Roux's recitals in Knysna this past weekend. It was a golden Sunday afternoon at Parkes Manor when Francois [inexplicably the Ha! Man] gave a ninety minute recital of his own works in the garden gazebo.

Rare indeed is the sight and sound these days of a 'macho'/sensitive instrumentalist, in this instance, primarily on the 'Cello, which he handles with both freedom and intensity. It is as if it is a component of his own limbs, so integrated is he physically to belly and bow!

Every textural sound that a cello can create was evinced by the artist in cantilena and spiccato passages and precisely controlled glissando. Unlike the famous cellist Pablo Casals who grunted in his advanced years, Francois deploys the most telling vocalization from lips, tongue and glottis, as well as his lips to whistle to delineate rhythms and give peculiar colour. At other moments he sings in a perfectly pitched baritone.

As to the music itself, it would be fair, if inadequate, to state that he brings a most imaginative fusion of classical and contemporary melody and harmony to his highly varied conceptions, which is not at all derivative.

Spontaneously in the foreground, is the cello voice against a variably, layered synthesized background of obligato instrumentation of his own devising. This may comprise other strings or woodwind or keyboard as the thematic material demands. One gloriously sustained cello 'lied' was played to the accompaniment of realistically recorded birdsong. Equally evocative were a favourite lyrical song for solo cello an d others with huge chorale potential to almost symphonic backdrop [entitled e.g. "Beautiful Land" and "Africa"] These were emotively overwhelming and truly beautiful. Someone commented that these pieces could serve well as a national anthem or theme for a world cup event.

To add to our gathering astonishment Francois played with bravura, a contrapuntal piece of his own on an electronic keyboard on which he later improvised brilliantly to notes given at random by the listeners as well as instrumental combos. suggested by the audience. At the outset he performed for us music he composed for a ballet sound track at Rhodes University, deeply atmospheric and beguiling with overtones of Tibetan chant; towards the close, to a layered backing of recorded engine rhythms, he produced themes of both introspection and almost ethnic beat; one item at the keyboard staggered by being pure tribal percussive.

Overall, the very fresh sound of original melodic invention and pulsing rhythms is utterly absorbing, as is his attractive and expressive body language and voice. His personality comes across as one that is profoundly thoughtful, musically lucid and thorough and showing sustained love of all creativity.

Picture a balmy winter's evening when it's supposed to be mid-winter here in the Eastern Cape; picture the warm and inviting interior of Le Chameleon Coffee Shop in Humansdorp, perhaps the finest of its kind in the Eastern Cape and beyond; have a musical magician like cellist Francois le Roux providing the music for a selective and appreciative audience, and you have the ingredients for a "magical evening."

This is exactly what happened on Wednesday, 30 July, when the ambience, and the mood of those lucky enough to be present, was "electric"! The occasion also served as the opening of the tastefully appointed and decorated wine tasting venue of Le Chameleon. Owners Helga and Rudi van Wyk were the gracious hosts of the evening, which was organised with meticulous efficiency by Mathilda Skein.

Francois played with inspiration, innovation, and feeling, and was able to meld with his background, music of impeccable choice, transporting his listeners to new heights of ecstatic delight. His improvisations had them spellbound. One could be pardoned, when watching some of their expressions and reactions, from likening these to the ones displayed by a cat before tackling a saucer of milk (anticipation) or just after this has been consumed (satisfaction).

He possessed an intuitive element of subjective engagement with his audience and this direct contact enhanced his whole performance, and had the audience eating out of his hand. A great musician, a very talented young man, and fortunately possessing loads of stage personality and charm to go with it! He has achieved much, but is destined to achieve even more. Those present wished him every success for the future, and expressed the desire that he return for another concert.

This cello evening could not have been a more fitting way of celebrating the opening of the new wine tasting venue with its rich tones providing the perfect warm ambience befitting a performance of this nature. Fine wines rest on highly polished wooden shelves and art works grace the walls above. Helga and Rudi can be very proud of the effect they have achieved and this new addition to Le Chameleon will add a new dimension to an already popular venue."