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| Live at the Market Theatre [ ÉLŐ ] |
| Hugh Masekela |
| első megjelenés éve: 2007 |
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| (2007)
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2 x CD |
| 4.140 Ft
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| 1. CD tartalma: |
| 1. | Ibala Lam
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| 2. | Boy's Doin' It
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| 3. | Ashiko
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| 4. | Ha le Se
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| 5. | Stimela
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| 6. | Lady
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| 7. | Grazing in the Grass
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| 8. | Mandela
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| 2. CD tartalma: |
| 1. | Thuma Mina
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| 2. | Up Township
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| 3. | Happy Mama
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| 4. | District Six
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| 5. | Market Place
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| 6. | Khauleza
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| 7. | Thanayi
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Jazz
Hugh Masekela - Creative Director, Flugelhorn, Vocals
Arthur Tshabalala - Keyboards, Vocals (Background)
Ezbie Moilwa - Keyboards, Vocals (Background)
Fana Zulu - Guitar (Bass)
Francis Fuster - Percussion, Vocals (Background)
John Selolwane - Guitar, Vocals (Background)
Khaya Mahlangu - Flute, Sax (Tenor), Vocals (Background)
Sello Montwedi - Drums
* Carl Johnson - Production Coordination
* Ian Osrin - Surround Sound
* Julian Thomas - Editing
* Yusuf Gandhi - Release Supervisor
This two-and-a-half-hour concert recording serves both to sum up the career of its performer, now that he is north of 65 years old, and also to demonstrate that he is still working at his peak. Hugh Masekela's voice is more gravelly than in the past, but his flugelhorn playing is as good as ever, and his abilities as a bandleader are apparent. Even more, his stature as a musical statesman is on display. He first makes reference to his political views in a lengthy, and clearly rehearsed, introduction to "Stimela," which he dedicates to "all those people who lose their lives working in cheap labor. If there's any here tonight," he adds, "we are with you." Unfortunately, the crowd laughs at the suggestion that any of them might be underpaid, and Masekela scolds them, "It's not a joke." Later, during another long introduction to "Mandela," he seems to realize that his lectures may be dampening the celebratory mood and proclaims, "I'm not running for office!" Clearly, it's a tricky thing mixing the dance music he often plays with the somber sentiments he inevitably brings with him from a life of expatriation and the ultimately successful effort to overcome apartheid. But on tracks that average ten minutes apiece, for the most part he and a talented band manage just that, presenting music from throughout his career, including a 14-plus minute version of his hit "Grazing in the Grass." By the end, still exhorting the audience to greater enthusiasm, he seems more energetic than anyone in the room.
--- William Ruhlmann, All Music Guide
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Apr 04, 1939 in Witbank, South Africa
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. He began singing and playing piano as a child, influenced by seeing the film Young Man With A Horn at 13. Masekela started playing trumpet at 14. He played in the Huddleston Jazz Band, which was led by anti-apartheid crusader and group head Trevor Huddleston. Huddleston was eventually deported, and Masekela co-founded the Merry Makers of Springs along with Jonas Gwangwa. He later joined Alfred Herbert's Jazz Revue, and played in studio bands backing popular singers. Masekela was in the orchestra for the musical King Kong, whose cast included Miriam Makeba. He was also in the Jazz Epistles with Abdullah Ibrahim, Makaya Ntshoko, Gwanga and Kippie Moeketsi. Masekela and Makeba, his wife at that time, left South Africa one year before Ibrahim and Sathima Bea Benjamin in 1961. Such musicians as Dizzy Gillespie, John Dankworth and Harry Belafonte assisted him. Masekela studied at the Royal Academy of Music, then the Manhattan School of Music. During the early '60s, his career began to explode. He recorded for MGM, Mercury and Verve, developing his hybrid Africanpopjazz style. Masekela moved to California and started his own record label, Chisa. He cut several albums expanding this formula and began to score pop success. The song "Grazing In The Grass" topped the charts in 1968 and eventually sold four million copies worldwide. That year Masekela sold out arenas nationwide during his tour, among them Carnegie Hall. He recorded in the early '70s with Monk Montgomery and the Crusaders. Masekela moved in a more ethnic direction during the '70s. He traveled to London to play with Nigerian Afrobeat great Fela Kuti and his Africa '70; then came a session with Dudu Pukwana, Eddie Gomez and Ntshoko among others that resulted in his finest jazzAfrican album, Home Is Where The Music Is. Masekela toured Guinea with the Ghanian Afropop band Hedzoleh Soundz, then recorded a series of albums with them both in California and Africa with guest stints from the Crusaders, Patti Austin and others. Masekela alternated between American and Africa, cutting a successful pop/dance album with Herb Alpert in the late '70s. During the '80s, Masekela returned to South Africa. He visited Zimbabawe and Botswana, and recorded two albums with The Kalahari Band that once more merged jazz-rock, funk and pop. Masekela was part of Paul Simon's Graceland tour in the mid-'80s, while he continued recording and produced sessions by Makeba. Starting in the mid-90's, Masekela began releasing a stream of albums and collections that showed his versitility and growth in South African jazz. Though the jazz content of his work has varied over the years, Hugh Masekela has far more material on the plus side than the negative.
---Ron Wynn, All Music Guide
Styles: World Fusion, Instrumental Pop, Soul-Jazz, Afro-Pop, Jazz-Pop, African Jazz |
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