Bheki Mseleku is an exceptional artist. e intention of this study is to focus on the exquisite detail of his art through the analysis of his compositions and improvisatory style. e author presumes the reader has a knowledge of the musical style of jazz as well as an interest in and an understanding of its theoretical practice.1As an author, one is always subject to criticism in respect of any adopted methodology used for a study such as this and, without wanting to argue a case for a positivist or a non-positivist approach, it is important to note that this book is not intended as a biography or a humanistic enquiry of Bheki Mseleku’s artistry, but is rather an analytical study (from a specic and informed angle) with input from the artist’s own deliberations on his musical approach. e case of whether an analytical study of this nature is of value has been exhaustively argued and discussed. Ko Agawu tackles this rather sensitive topic in How We Got Out of Analysis and How to Get Back in Again.2 He notes the timeline of arguments for and against the value of pure analysis and tackles the important questions around the use of musical language in analysis. He notes in his summary that analysis enhances the experiences of both the performer and the listener through a better understanding of the music.