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Hope [ ÉLŐ ]
Hugh Masekela
első megjelenés éve: 1993
74 perc
(2008)

*Super Audio CD*
10.929 Ft 

 

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

Hugh Masekela - Flugelhorn, Mixing, Producer, Song Notes, Trumpet
Bakithi Khumalo - Bass, Vocals
Ballederos Hornas Africanos DeTownsheep - Vocals (Background)
Damon Duewhite - Drums
Lawrence Matshiza - Guitar, Vocals
Ngenekhaya Mahlanghu - Flute, Percussion, Saxophone, Vocals
Remi Kabaka - Percussion, Vocals
Themba Mkhize - Keyboards, Vocals

* Bernie Kirsch - Mixing, Mixing Engineer
* Darren Mora - Assistant Engineer, Mixing Assistant
* David Hewitt - Engineer
* Gene Paul - Mastering
* Jackie Sallow - Photography
* John Oshima - Production Assistant
* K.D. Kagel - Executive Producer, Mixing, Producer
* Mitchell Markus - Executive Producer
* Paul A. Sloman - Executive Producer
* Phil Gitomer - Assistant Engineer
* Robert Read - Assistant Engineer, Mixing Assistant
* Ryan Hewitt - Assistant Engineer
* Sean McClintock - Assistant Engineer

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 incantory 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, harkening back to the early fusion of African music and jazz that Hugh was playing back in 1966. "Bring Him Back Home" may have lost 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, All Music Guide



Hugh Masekela

Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Apr 04, 1939 in Witbank, South Africa
Genre: Jazz
Styles: World Fusion, Instrumental Pop, Soul-Jazz, Afro-Pop, Jazz-Pop, African Jazz

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

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