Jazz

Hugh Masekela & the Union of South Africa [1971]

2012-09-04T16:52:24Z

Hugh Masekela & the Union of South Africa [1971]


01 - Goin' Back to New Orleans (5:07) 
02 - Ade (3:47) 
03 - To Get Ourselves Together (2:52) 
04 - Johannesburg Hi-Lite Jive (3:57) 
05 - Mamani (5:23) 
06 - Shebeen (4:02) 
07 - Dyambo (3:49) 
08 - Caution! (5:41) 
09 - Hush (Somebody's Calling My Name) (3:34) 

Hugh Masekela (tp, vcl); 
Jonas (Mosa) Gwangwa (tb, vcl); 
Wayne Henderson (tb); 
Wilton Felder (ts); 
Joe Sample (key); 
Arthur Adams, Wayne West (g); prob. Stix Hooper (d); 
Caiphus (Caution) 
Semenya? (vcl).

It's quite a surprise that no one has gleaned from this albumany snippets or entire songs for cover material. As today's artistsdesperately seek new material by looking backwards for sounds -called "sampling" by the artists who do it; "strip-mining" by musicians who wish for a more original element to modern music- "Hugh Masekela and the Union of South Africa" stands as a testament to the benefits of obscurity.

It's an album whose ethnic purity is outshined only by its pure emotional power. By the early seventies, Masekela had already scored a hit with "Grazing in the Grass" and was turning his attention to his geographic roots, the South African horn jive dubbed "township bop." This album is simply unsurpassed in its musicianship, and is also a remarkable anti-apartheid statement, coming a full decade or so before it was brought to mainstream America's attention.

Of special note here is the soulful "To Get ! Ourselves Together", along with beautiful poly-rhythms in "Ade" and "Johannesburg Hi-Lite Jive." Pop-funk influences are evident in wah-wah guitar sounds, prevalent on most of the faster numbers, and Masekela's notoriously crisp solos shine.

Masekela fans absolutely must have this album; it's tight, inside jazz. Don't expect anything other than quick, major chord progressions and little self-indulgence. "Outside" purists might want to stay away, but only if they want to leave a brilliant album in quiet, unadulterated obscurity. ---Paul Primrose, amazon.com

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Hugh Masekela - Grrr [1966]

2012-08-29T16:35:46Z

Hugh Masekela - Grrr [1966]


1.U, Dwi 	3:09 	
2.Zulu And The Mexican 	3:17 	
3.Emavungweni 	3:05 	
4.Ntjilo-Ntjilo 	4:05 	
5.Sharpville 	3:26 	
6.Umaningi Bona 	3:11 	
7.Sipho 	3:37 	
8.Kwa-Blaney 	2:07 	
9.Mra 	3:04 	
10.Phatsha-Phatsha 	2:54 	

Musicians:
Hugh Masekela – trumpet
Jonas Gwangwa – trombone
Eric Gale – guitar
Larry Willis – piano
Morris Goldberg – saxophone
Howard St. John – tuba

"Grrr" is one of Hugh Masekela's real Jazz albums. This 1966 gem predates his later pop-infused world music projects. This is thirty-two minutes of straight Jazz bliss. Naturally, "Grrr" is infused with flavors of Township Jazz. Inspired by Mirabi, Masekela's trumpet work is simply glorious. He plays with a signature phrasing and sonic vocabulary that is his own brasscentric language. The band consists of traps, bass and the occasional guitar or piano. The drums and percussion lend a South African feel to many of the compositions. The production is a bit dated, but always charming. Mostly an instrumental effort, 'Umaningi Bona' features some South African background singers. There really aren't any highlights, but the album's fantastic sound is consistently compelling. Given the real Jazz angle, this album compliments Masekela's debut, "The Lasting Impressions Of Ooga Booga." As the title suggests, "Grrr" is indeed played by a musical lion. --- The Delite Rancher, amazon.com

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Hugh Masekela - Home Is Where Music Is (1972)

2016-07-03T14:08:37Z

Hugh Masekela - Home Is Where Music Is (1972)


01 - Part Of A Whole.mp3 - 9'40"
02 - Minawa.mp3 - 9'39"
03 - The Big Apple.mp3 - 7'55"
04 - Unhome.mp3 - 5'23"
05 - Maseru.mp3 - 7'11"
06 - Inner Crisis.mp3 - 6'16"
07 - Blues For Huey.mp3 - 6'26"
08 - Nomali.mp3 - 7'18"
09 - Maesha.mp3 - 10'29"
10 - Ingoo Pow-Pow (Children's Song).mp3 - 6'40"

Hugh Masekela - Flugelhorn
Eddie Gomez - Bass (Acoustic)
Makaya Ntshoko - Drums
Dudu Pukwana - Sax (Alto)
Larry Willis - Piano

Released as a double LP on Chisa/Blue Thumb in 1972, Hugh Masekela's Home Is Where the Music Is marked an accessible but sharp detour from his more pop-oriented jazz records of the '60s. Masekela was chasing a different groove altogether. He was looking to create a very different kind of fusion, one that involved the rhythms and melodies of his native South Africa, and included the more spiritual, soul-driven explorations occurring in American music at the time on labels like Strata East, Tribe, and Black Jazz as well as those laid down by Gato Barbieri on Bob Thiele's Flying Dutchman imprint. The South African and American quintet he assembled for the date is smoking. It includes the mighty saxophonist Dudu Pakwana and drummer Makaya Ntshoko, both South African exiles; they were paired with American pianist Larry Willis and bassist Eddie Gomez, creating a wonderfully balanced, groove-oriented ensemble. Produced by Stewart Levine and composer Caiphus Semenya, this is a near mythic date that was reviewed favorably but infrequently back in the day.

The ten tunes here range between five and 11 minutes; half were written by Semenya, Masekela and Willis wrote one apiece, and the balance were covers -- including a gorgeous arrangement of Miriam Makeba's "Uhomé." "Part of the Whole"opens the set with Willis on Fender Rhodes piano, with a lazy rolling blues groove that is equal parts soul-jazz and South African folk melody. The horns enter behind him playing a vamp before they ramp it up in the chorus twice before Pakwana takes his solo against the rhythm section. Willis' sense of time is indomitable and the funky breaks laid down by Ntshoko are beautifully balanced by Gomez's woody tone. Pakwana wails emotionally, swerving between post-bop and more free explorations. Masekela answers his solo on his flugelhorn in tight, hard blues lines. His flight remains inside with the rhythm section offering this deep groove-laden backing. It's merely a taste of things to come however, as the following cut, Sekou Toure's "Minawa," makes clear. Willis opens it with his own solo backed by the rhythm section; his touch is deft, light, elegant, and deeply melodic. It feels like a different band until the horns enter. When they do, they open that intricate lyric line into waves of passion and restraint. Semenya's "The Big Apple," feels like a tune written by Ramsey Lewis with a horn section backing him. It's all bass note groove, hypnotic repetition, and soulful blues before the horns get to move around one another and solo above Willis' beautiful fills on the grand piano. This set marks the first appearance of Willis' tune "Inner Crisis," the title track of his debut solo LP which would appear a year later on Groove Merchant -- only this time with an acoustic piano intro before moving to the Rhodes. This track is a funky spiritual jazz classic and this version may be better than his -- largely due to this killer horn section. Other standouts include Kippie Moeketsi's loping "Blues for Huey," the ballad "Nomali," and Masekela's knotty, joyous "Maseru." In sum, Home Is Where the Music Is, is a stone spiritual soul-jazz classic, that melds the sound of numerous emerging jazz schools in its pursuit of musical excellence; it succeeds on all counts and is one of the greatest recordings in Hugh Masekela's long career. In a year full of amazing titles, this is still a standout. ---Thom Jurek, allmusic.com

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Hugh Masekela - Hope (1993)

2011-05-27T18:21:26Z

Hugh Masekela - Hope (1993)


1.Abangoma (The Healers)
2.Uptownship				play
3.Mandela (Bring Him Back Home!)
4.Grazing in the Grass
5.Lady
6.Until When				play
7.Languta
8.Nomali
9.Market Place
10.Ntyilo Ntyilo (The Love Bird)
11.Ha le Se (The Dowry Song)
12.Stimela [Coal Train]

Musicians:
Hugh Masekela (trumpet, flugelhorn); 
Ngenekhaya Mahlanghu (vocals, saxophone, flute, percussion); 
Themba Mkhize (vocals, keyboards); 
Lawrence Matshiza (vocals, guitar); 
Bakithi Kumalo (vocals, bass); 
Remi Kabaka (vocals, percussion); 
Damon Duewhite (drums); 
Los Ballederos Hornas Africanos de Townsheep (background vocals).

In the `60s, the South African-born trumpeter, producer, and composer Hugh Masekela played a pivotal role in introducing African music to western audiences. His albums made explicit the connection between African folk forms and African-American musical idioms like blues, jazz and soul. HOPE is a live album that captures Masekela performing in D.C. with an accomplished, all-African band in 1993. On HOPE, Masekela revisits many of the highlights of his career, including his tribute to South Africa, "Uptownship," and the strident protest number, "Mandela." --- cduniverse.com

Now happily resettled in South Africa, Masekela assembled a seven-piece group there and recorded an informal guided tour of his life and repertoire live in Washington D.C.'s Blues Alley. The songs stretch over a period of nearly five decades and several countries and composers -- from an incantatory Alexandria township tune, "Languta," which he learned in 1947, to a fairly ordinary piece written by keyboardist Themba Mkhize in 1993, "Until When." "Abangoma" starts the CD out on the right track, hearkening back to the early fusion of African music and jazz that Masekela was playing back in 1966. "Mandela (Bring Him Back Home)" may have lost some of its political raison d'etre by 1993, but it remains a good tune, and the band plays it with enthusiasm. Yet Masekela's biggest hit, "Grazing in the Grass," sounds a bit tired in this live rendition. There are two songs by the prolific South African composer Caiphus Semenya, "Nomali" and the driving "Ha Le Se," and the late Nigerian idol Fela Anikulapo-Kuti is represented by "Lady." Clearly the resolution of the political struggle in South Africa had mellowed Masekela; he sounds happier, perhaps less fiery, certainly more polished and refined on the trumpet and flugelhorn than when he started out. But when you hear his bitter narration on "Stimela," describing the life of formerly conscripted coal miners, you suspect that not all of the old wounds have healed. ---Richard S. Ginell, allmusic.com

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Hugh Masekela - No Borders (2016)

2018-01-25T10:05:07Z

Hugh Masekela - No Borders (2016)


1 Shuffle & Bow 4:16
2 Been Such a Long Time Gone 4:33
3 Shango 5:22
4 Congo Woman 	feat. Tresor, Dice Makgothi, Kabomo	8:33
5 The Rooster 	feat. Themba Mokoena	4:14
6 One of These Days 4:20
7 KwaZulu 	feat. Themba Mokoena	5:32
8 In an Age		feat. Alekesam	 5:23
9 Makeba 	feat. Themba Mokoena	5:19
10 Heaven in You 	feat. J'something	4:11
11 Don't Go Lose It Baby    feat. Dice Makgothi	5:46
12 Tapera     feat. Oliver Mtukudzi		5:15
13 Alright 5:31
14 Tonight, Tonight, Tonight     feat. Khanyo	6:16
15 Exile 4:06

Five years after releasing his last album, jazz icon Hugh Masekela is back with an album he describes as educational and honest.

Why the long silence? Masekela says he wasn’t ready.

In an exclusive interview with City Press this week, ahead of this month’s album release, Masekela said: “You have to do things when you have inspiration. Sometimes when you do things on demand, you end up with mediocrity. You have to want to do it and do it well.”

He explains the inspiration behind the album was an “international diaspora kind of feel”.

“So that people can see we’re all the same. I have a heritage foundation and through my foundation, I try to make Africans be aware of their own history.”

He says it is sad that, as Africans, we don’t know our history and that we’ve been distracted by Western television.

Of the album title, No Borders, Masekela says: “I don’t believe in borders because we didn’t create them. African borders were created in 1886, in Germany, but we don’t know that and we fight over those borders.

“Borders are artificial,” he explains. “We even have a map from 1590 in the album sleeve to show [what] Africa looked like in 1590.”

Masekela, who has been a musician for 73 years, says he was bewitched with music when he was a child.

Growing up, his biggest inspiration was jazz musician Elijah Nkwanyana. “To this day, I’m still trying to play like him,” he says.

No Borders features a number of talented contributors, including singer Kabomo, jazz guitarist Kunle Ayo, Zimbabwean musician Oliver Mtukudzi and Congolese-born singer-songwriter Tresor Riziki. It also featured Masekela’s son Sal Masekela and his nephew Selema Masekela. ---Ntombizodwa Makhoba, news24.com

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Hugh Masekela - Techno Bush (1984)

2012-09-08T16:40:38Z

Hugh Masekela - Techno Bush (1984)


A1 	Don't Go Lose It Baby 	6:20 	
A2 	The Seven Riffs Of Africa : Medley 	12:27 	
A2.1 	The Lion Never Sleeps 		
A2.2 	Isikhokhiyana 		
A2.3 	Grazing In The Grass 		
B1 	Motlalepula (The Rainmaker) 	5:40 	
B2 	Getting Fat In Africa 	4:39 	
B3 	Pula Ea Na (It's Raining) 	4:28 	
B4 	African Secret Society 	3:01 	
B5 	U - Dwi 	3:26 	

Musicians:
Hugh Masekela - horns, percussion, vocals, keyboards
Mandisa Dlanga, Mopati Tsienyane, Stella Khumalo, Tsepo Tshola – vocals
Banjo Mosele – guitar
Moses Ngwenya – organ
John Selolwane  - guitar, vocals
Zakes Mchunu – bass
Gasper Lawal – percussion
Bongani Nxele – drums

Recorded at the Battery Mobile at the Woodpecker Inn, Gaborone, Botswana.

Hugh Masekela (born Johannesburg, April 4, 1939) is a South African flugelhorn and cornet player. In 1961, as part of the anti-apartheid campaign, he was exiled to the United States where he was befriended by Harry Belafonte. He has played primarily in jazz ensembles, with guest appearances on albums by The Byrds and Paul Simon. In 1987, he had a hit single with "Bring Him Back Home" which became an anthem for the movement to free Nelson Mandela. After apartheid ended, Masekela returned to South Africa where he now lives.

Hugh Masekela was an old collaborator of Abdullah Ibrahim. He is reported to have been initially inspired in his musical growth by Trevor Huddleston, a British priest working in the South African townships who financed Masekela's first trumpet. Masekela played his way through the vibrant Sophiatown scene with The Jazz Epistles and to Britain with King Kong, to find himself in New York in the early 1960s. He had hits in the United States with the pop jazz tunes "Up, Up and Away" and the number one smash "Grazin' in the Grass". A renewed interest in his African roots led him to collaborate with West and Central African musicians, and finally to reconnect with South African players when he set up a mobile studio in Botswana, just over the South African border, in the 1980s. Here he re-absorbed and re-used mbaqanga strains, a style he has continued to use since his return to South Africa in the early 1990s.

In the 1980s, he toured with Paul Simon in support of Simon's then controversial, but highly critically acclaimed, album Graceland, which featured other South African artists such as Ladysmith Black Mambazo, Miriam Makeba, Ray Phiri, and other elements of the band Kalahari, which Masekela recorded with in the 1980s. He also collaborated in the musical development for the Broadway play, Sarafina! He previously recorded with the band Kalahari.

In 2003, he was featured in the documentary film Amandla!, about how the music of South Africa aided in the struggle against apartheid. In 2004, he released his autobiography, Grazin' in The Grass: The Musical Journey of Hugh Masekela, which thoughtfully details his struggles against apartheid in his homeland, as well as his personal struggles against alcohol addiction from the late 1970s through to the 1990s, a period when he migrated, in his personal recording career, to mbaqanga, jazz/funk, and the blending of South African sounds to an adult contemporary sound through two albums he recorded with Herb Alpert, and notable solo recordings, Techno-Bush (recorded in his studio in Botswana), Tomorrow (featuring the anthem "Bring Him Back Home"), Uptownship (a lush-sounding ode to American r and b), Beatin' Aroun' de Bush, Sixty, Time, and most recently, "Revival". --- jazzmusicarchives.com

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Hugh Masekela ‎– Beatin' Aroun De Bush (1992)

2018-02-01T14:05:41Z

Hugh Masekela ‎– Beatin' Aroun De Bush (1992)


01. Steppin' Out (3:37)
02. Ngena-Ngena (Instrumental) (6:07)
03. Ngena (Acapella) (0:52)
04. Batsumi (Mayibuye i Afrika) (7:37)
05. Rock With You (3:33)
06. Polina (6:57)
07. Languta (6:49)
08. Sekunjalo (7:24)
09. U-Mama (4:08)
10. Beatin' Aroun De Bush (6:31)

Alto Saxophone, Whistle – Morris Goldberg (tracks: 2, 4, 6 to 8)
Backing Vocals – Ambition Sandqnela, Clydene Jackson Edwards, Cussie Kunene,
 Fred White, Guy Spells, Jynnifer Quick, Lebohang Morake, Pauline Faraee,
  Ronald Kunene, Sandy Simmons, Thandi Bhengu
Bass – Yaw Opoku (tracks: 10)
Bass, Backing Vocals – Bakithi Khumalo* (tracks: 1, 2, 4 to 9)
Drums – Damon Duewhite (tracks: 2, 6, 8), Frankie Todd (tracks: 10), Gene Jackson (tracks: 9)
Drums [Talking Drums] – Remi Kabaka (tracks: 8, 9)
Drums, Percussion, Timbales – Richard Druz (tracks: 1, 5, 10)
Flugelhorn, Vocals, Keyboards – Hugh Masekela
Guitar – George Doering (tracks: 9), Lawrence Matshiza (tracks: 1, 5), Stanley Todd* (tracks: 10)
Keyboards – Gboyaga Adelaja* (tracks: 10), Richard Cummings (tracks: 9), Todd Jasmin (tracks: 1, 5)
Keyboards, Concertina, Guitar, Backing Vocals – Tony Cedras (tracks: 2, 4, 6 to 8, 10)
Percussion, Congas – Francis Fuster (tracks: 2, 8, 10)
Tenor Saxophone – Teco Cardoso (tracks: 1, 5)

With a mix of smooth contemporary jazz, Afro-beat, and world music, Beatin' Aroun de Bush is a highly accessible presentation of Hugh Masekela's flügelhorn expertise, as well as a visit to his South African homeland. This album was completed as his native country was voting to abolish apartheid, and the music contained herein is at times mellow and melancholy, but mostly celebratory. Masekela sings and chants, blows sweet phrases on his horn, and the whole band contributes to the rhythmic pulse with surprising instrumental accents and unexpected musical flourishes. The pop covers, Joe Jackson's "Steppin' Out" and Michael Jackson's "Rock with You," are enjoyable, but it's the African pieces "Batsumi," "Languta," "U-Mama," and the political title track that are the heart and soul of this recording. "Sekunjalo" is reminiscent of Masekela's 1968 pop hit "Grazing in the Grass." Sonically, Beatin' Aroun de Bush soars from start to finish thanks to Richard Druz's glistening production. ---Jim Newsom, AllMusic Review

When he wants to be, Hugh Masekela can be a fine jazz trumpeter as well as an imaginative blender of American jazz with the popular music of his native South Africa. On Beatin' Aroun de Bush, however, Masekela opts for a different sort of fusion--easy listening and world beat--as if he were Kenny G in Soweto. Playing the simplest of harmonic variations on pretty, bouncy pop tunes with splashes of South African flavor, Masekela delivers American pop instrumental music with very little jazz or African content. --Geoffrey Himes, amazon.com

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Hugh Masekela ‎– Phola (2008)

2018-01-27T17:27:55Z

Hugh Masekela ‎– Phola (2008)


1 	Mwanayu Wakula

Backing Vocals – Mutangwa Ntshauba
Bass – Denny Lalouette
Drums – David Klassen
Electric Piano, Keyboards [Additional] – Harold Wynkwardt
Flugelhorn, Vocals – Hugh Masekela
Keyboards, Acoustic Guitar, Accordion, Drum Programming, Backing Vocals – Erik Paliani
Percussion – Elhadji Ngari Ndong
Written-By – E. Paliani

2 	Ghana

Backing Vocals – Putuma Tiso
Bass, Guitar, Keyboards – Erik Paliani
Drums – David Klassen
Electric Piano, Keyboards [Additional] – Ezra Erasmus
Flugelhorn, Lead Vocals, Backing Vocals – Hugh Masekela
Percussion – Elhadji Ngari Ndong
Tenor Saxophone – Ayo Solanke
Trombone – Speedy Kobak
Trumpet – Neil Engel
Written-By – H. Masekela

3 	Bring It Back Home

Backing Vocals – Putuma Tiso
Bass, Acoustic Guitar, Electric Guitar, Keyboards [Additional] – Erik Paliani
Drums – David Klassen
Flugelhorn, Lead Vocals – Hugh Masekela
Percussion – Elhadji Ngari Ndong
Piano, Keyboards – Ezra Erasmus
Tenor Saxophone – Ayo Solanke
Trombone – Speedy Kobak
Written-By – H. Masekela

4 	Malungelo

Acoustic Guitar – Jimmy Dludlu
Acoustic Guitar [Additional], Guitar [Tenor] – Erik Paliani
Backing Vocals – Linda Jamisse, Sheila Maxhlungu
Flugelhorn, Lead Vocals – Hugh Masekela
Lead Vocals, Backing Vocals – Mingas
Percussion [Additional] – Elhadji Ngari Ndong
Percussion [African] – Amade Nharuluque, Amos Mahaule, Rolando Lamussene, Sinao Nhacule
Written-By – Eliza Jamisse

5 	Moz

Acoustic Guitar – Erik Paliani
Bass – Fana Zulu
Clarinet – Stewart Levine
Drums – David Klassen
Electric Piano – Arthur Tshabalala
Flugelhorn – Hugh Masekela
Percussion – Elhadji Ngari Ndong
Written-By – H. Masekela

6 	Sonnyboy

Backing Vocals – Mutangwa Ntshauba
Bass, Guitar, Drum Programming – Erik Paliani
Drums – David Klassen
Electric Piano, Keyboards [Additional] – Harold Wynkwardt
Flugelhorn, Lead Vocals – Hugh Masekela
Percussion – Elhadji Ngari Ndong
Piano – Ezra Erasmus
Written-By – H. Masekela

7 	Weather

Backing Vocals – Putuma Tiso
Bass – Fana ZuluBass [Synth], Guitar, Keyboards – Erik Paliani
Drums – David Klassen
Flugelhorn, Lead Vocals – Hugh Masekela
Percussion – Elhadji Ngari Ndong
Written-By – H. Masekela

8 	The Joke Of Life (Brinca De Vivre)

Acoustic Guitar – Erik Paliani
Backing Vocals – Mutangwa Ntshauba, Putuma Tiso
Bass – Fana Zulu
Drums – David Klassen
Electric Piano [Rhodes] – Arthur Tshabalala
Flugelhorn, Lead Vocals – Hugh Masekela
Percussion [African] – Amade Nharuluque, Amos Mahaule, Rolando Lamussene, Sinao Nhacule
Written-By – Guilherme Arantes, Jon Lucien

9 	Hunger

Acoustic Guitar – Jimmy Dludlu
Double Bass [Acoustic Bass], Bass [Synth], Electric Guitar – Erik Paliani
Flugelhorn, Vocals – Hugh Masekela
Keyboards – Ezra Erasmus
Percussion [African] – Amade Nharuluque, Amos Mahaule, Rolando Lamussene, Sinao Nhacule
Written-By – H. Masekela

Hugh Masakela's recordings in his golden years have been much more rooted in his South African heritage than the commercialized music he played in his younger days. Thankfully, that trend continues with this very fine effort that has him playing his own original material, his storied silver flugelhorn with all the effusive joy his homeland can now proclaim, and singing on every selection, telling tales of renewal, resurrection, and revived positivity. Teamed with bassist, guitarist, and producer Erik Paliani, Masakela is strutting through the villages of Capetown and Johannesburg like a pied piper, spreading the word of his convictions, and what the title Phola represents, a force for change through healing. There's substantial brass work from Masakela here, as well as R&B, and even electronics as heard on the opener, Paliani's "Mwanayu Wakula," a light township dance jam from 6/8 time to funk fusion with group vocal chants. Masakela penned the tribute piece, "Ghana," which is a straight kwela dance emphasizing his vocals over instrumentals, as well as the freedom song for the people "Bring It Back Home" where his singing is grittier à la Harry Belafonte. "Moz" jumps out a bit with its unison horn melody alongside clarinetist Stewart Levine strutting and swaying, while "Sonnyboy" is the story of a young man's attempt at piano lessons, asking that the teacher needs to "set him free, let him fly away." Most of these pieces are sung by the leader in English, a bit strained during "Weather," but in African dialect for "Hunger," where he also plays the most lead flugelhorn. The band does Jon Lucien's "The Joke of Life" with the light Fender Rhodes electric piano of Arthur Tshabalala among five percussionists in a commercial vein, but not overtly. Every grouping is different per track, the pacing of the program is even and never jarring, and there's a sense of purpose that prevails throughout. In the decade of the 2000s, Hugh Masakela has come into his own more than at any other time in his long career, and Phola is a shining example that he's still in his prime, making excellent music with no turning back. ---Michael G. Nastos, AllMusic Review

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Hugh Masekela – Is Alive And Well At The Whiskey (1967)

2010-10-10T13:17:40Z

Hugh Masekela – Is Alive And Well At The Whiskey (1967)


1. Mra (Christopher Columbus)
2. Little Miss Sweetness
3. A Whiter Shade Of Pale       play
4. Up-Up And Away
5. Son Of Ice Bag
6. Senor Coraza
7. Coincidence
8. Ha Lese Le Di Khanna .       play

Personnel :
Hugh Masekela: Trumpet & vocal
Al Abreu: Sax
Cecil Barnard: Piano
Chuck Carter: Drums
Henry Franklin: Bass.

Hugh Masekela has an extensive jazz background and credentials, but has enjoyed major success as one of the earliest leaders in the world fusion mode. Masekela's vibrant trumpet and flugelhorn solos have been featured in pop, R&B, disco, Afropop and jazz contexts. He's had American and international hits, worked with bands around the world, and played with African, African-American, European and various American musicians during a stellar career. His style, especially on flugelhorn, is a charismatic blend of striking upper register lines, half valve effects, repetitive figures and phrases, with some note bending, slurs and tonal colors. Though he's often simplified his playing to fit into restrictive pop formulas, Masekela's capable of outstanding ballad and bebop work.

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