Cesaria Evora - Sao Vicente di Longe (Cabo Verde, 2001)

Cesaria Evora - Sao Vicente di Longe (Cabo Verde, 2001)

Cesaria Evora - Sao Vicente di Longe (Cabo Verde, 2001)

Cesaria Evora - Rogamar (Cabo Verde, 2006)

Cesaria Evora - Rogamar (Cabo Verde, 2006)

Cesaria Evora - Rogamar (Cabo Verde, 2006)

Blick Bassy - Hongo Calling (Camerún, 2011)

Blick Bassy - Hongo Calling (Camerún, 2011)

Blick Bassy - Hongo Calling (Camerún, 2011)

Habib Koité & Bamada - Muso Ko (Malí, 1995)

Habib Koité & Bamada - Muso Ko (Malí, 1995)

Koité tiene su propio estilo. Adaptó y adoptó los acordes del kamala n´goni tradicional (arpa juvenil) a su guitarra eléctrica mientras se adentraba en las ricas tradiciones de Mali, fusionando los sonidos del tama y del bala con la música de las regiones Bambara. 

Habib Koité procede de una gran familia de griots malienses. Concretó sus estudios de música en el Instituto Nacional de las Artes (NIA), en Bamako. Después de su graduación, en 1982, continuó en la misma institución dando clases de guitarra. Esa relación con el NIA le facilitó a Koité la posibilidad de conocer y de trabajar con reconocidos músicos malienses como Keletigui Diabaté y Toumani Diabaté 

En 1988, Koité formó su propia banda, Bamada, con la cual recorrió todo su país. 

Tres años después obtuvo el primer premio del Voxpole Festival en Perpignan, el cual le permitió dar un gran impulso a su carrera. 

La grabación de "Cigarrette a Bana", una canción antitabaco, se convirtió en un éxito en toda África Occidental. 

Después de la edición de su segundo single "Nanale", se le otorgó en 1993 el Premio Descubrimiento al músico revelación otorgado por Radio France Internacional. 

Su álbum "Muso ko" trepó rápidamente a la cima de los principales charts europeos de world music.

Habib Koité & Bamada - Muso Ko (Malí, 1999)

Habib Koité & Bamada - Afriki (Malí, 2007)

Habib Koité & Bamada - Afriki (Malí, 2007)

Afriki is the fourth studio album by Habib Koité & Bamada, published by Cumbancha 

1 Namania
2 N'tesse
3 Africa
4 Fimani
5 N'ba
6 Mali Ba
7 Barra
8 N'Teri
9 Nta Dima
10 Massakè
11 Titati

Alto Saxophone – Jan Jacobs (tracks: 8)

Arranged By [String] – Renaud Lhoest (tracks: 8)

Backing Vocals – Djeneba Dansoko, Hatoumata Bintou Kouyaté, Jean-Richard Codja, Nba Kouyaté, Oumou Damba

Bass, Xalam [Kamale Ngoni], Backing Vocals – Abdoul Wahab Berthé*

Berimbau [Djouroukélé] – Yoro Cissé*

Cello – Fabienne Dries (tracks: 8)

Co-producer [Associate] – Jacob Edgar

Congas – Sekouba Camara, Steve Ferraris (tracks: 3)

Design [Graphic] – Tim O'Malley (2)

Djembe – Madou Sanogo

Drums [Drum Kit], Shekere [Calabash], Backing Vocals – Souleyman Ann*

Engineer – Fabien Pochet

Engineer [Additional Recording] – Lane Gibson

Executive Producer – Geneviève Bruyndonckx, Michel De Bock

Guitar, Backing Vocals, Harmonica – Boubacar Sidibé*

Mastered By – Fabien Pochet

Music By, Lyrics By – Habib Koité

Percussion [Traditional], Horns, Vocals – Lamissa Traoré (tracks: 9), Troupe De Benkadi De Koutiala (tracks: 9)

Photography By – Dirk Leunis

Photography By [Additional] – Thomas Dorn, Youri Lenquette

Saxophone, Arranged By [Horn] – Pee Wee Ellis (tracks: 3)

Talking Drum, Djembe [Doum Doum], Percussion [Caragnan] – Mahamadou Koné*

Trombone – Neil Sidwell (tracks: 3)

Trumpet – Matthew Holland* (tracks: 3)

Udu [Hudu] – Dobet Gnahoré (tracks: 6)

Violin – Françoise Derissen (tracks: 2, 8)

Violin [Sokou] – Hassey Sarré*

Voice, Guitar – Habib Koité

Xalam [Kamalé Ngoni] – Bènogo Diakité* (tracks: 2)

Xalam [N'goni] – Barou Kouyaté

Xalam [N'goniba] – Andra Kouyaté

Xylophone [Balafon], Violin – Kélétigui Diabaté

Recorded at Studio Yeelen (Bamako, Mali), Studio Contre-Jour (Belgium) 

Additional recording at Charles Eller Studios, Charlotte, Vermont, USA 

Horn parts recorded at Livingston Studios, London, UK 

Mastered at Studio Soundquest (Belgium) 

2007 Cumbancha LLC & Contre-Jour, Belgium

Habib Koité & Bamada - Afriki (Malí, 2007)

Carmen Souza - Protegid (Portugal - Cabo Verde, 2010)

Carmen Souza - Protegid (Portugal - Cabo Verde, 2010)

One often hears the expression, "It's all over the map." But it's rarely used been more truthfully or appropriately than when applied to Protegid, the third album by vocalist Carmen Souza, born in Lisbon, of Cape Verdean descent, and now residing in London. Singing in a colorful, eclectic Portuguese-based Creole, Souza illuminates, stretches, and snaps back the elastic connections between Latin, African and Arabic music, American jazz and the music of Cape Verde.

Souza conclusively proves that the "world music" evolution/revolution has transformed modern vocal as well as instrumental music. This transformative power breathes new life into the most famous song written by Cape Verdes' most famous native musician, "Song for My Father" by Horace Silver. Her new "Song"—more than mere rearrangement—tosses together a Latin shuffle from piano and percussion that keeps the original's rhythm rocking, with her vocal softly tracing the padded steps of her electric keyboard solo. "I came to discover that the songs that people sang in the fields on Cape Verde have the same pentatonic scale identified with the blues," she marvels.

Souza's half-spoken, half-sung introduction, and subsequent verses, to "Dos Eternidade (Two Eternities)" suggestNina Simone pattering in French surrounded by a carnival of steel drums, a scene that abruptly shifts into jazz piano backed by percolating congas, jingling bells, and whistles. "Tente Midj" jumps out of this production, stewing percussion, acoustic guitar, and vocals together with jackrabbit accordion until thoroughly blended and steaming hot. The piano chords and horn chart of "Kem e Bo (Who Are You)" turn toward yet another time and place, the studied jazz-pop cool of Steely Dan. Unified with fretless bass, piano and percussion, her closing vocal to "Magia ca tem (Passionless)" even seems to whisper the same rarified breath as Flora Purim from Purim's magical tenure inReturn to Forever.

"Afri Ka" and "D'xam ess moment (Worthwhile)" erupt with the wondrously inexplicable joy of vibrant, sunny African rhythms, teased and played out by Souza's vocal, sighing and flying, mewing and cooing, and very much sounding like a prowling cat.

Track Listing: M'sta Li Ma Bo (I'm Here for You); Afri Ka; Dos Eternidade (Two Eternities); Tente Midj; Protegid (Protected); D'xam ess moment (Worthwhile); Sodade; Song for My Father; Kem e Bo (Who Are You?); Magia ca tem (Passionless); Decision (Decision); Mara Marga (Bitter Mara).

Personnel: Carmen Souza: vocals, acoustic guitar, Fender Rhodes; Theo Pas'cal: acoustic bass, double bass, double bass bow, udo, cajon, snare timbales, brushes effects, skin percussion, traditional reco, traditional Agogos, backing vocals, wood and shakers, metal percussion, acoustic steel guitar, marimbas, kisange; Omar Sosa: acoustic piano, Fender Rhodes; Jonathan Idiagbonya: acoustic piano; Claudio Cesar Lima Ribeiro: solo nylon guitar; Tiago Santos: nylon guitar; Pedro Segundo: drums, percussion, kaxixe; Zoe Pas'cal: Funana rhythm, percussion; Sebastian Sheriff: bongos, cajon, timbales, kaxixes, congas, batas, vibraslap, cabaca, guiro, cowbells; Derek Johnson: nylon guitar; Marc Berthoumieux: accordion; Joao Frade: accordion; Victor Samora: acoustic piano; Rick Lazar: cebolo, cajita, shaker, triangle, pandeiro; Lars Arens: trombone, euphonium, horn section arrangement; Miguel Goncalves: trumpet, flugelhorn; Johannes Krieger: trumpet, flugelhorn; Ze Maria: tenor saxophone, alto saxophone; Luis Cunha: trombone, euphonium; Adel Salameh: oud; Naziha Azzouz: vocals.

1. M'sta Li Ma Bô

2. Afri Ká

3. Dos Eternidade

4. Tentê Midj

5. Protegid

6. D'xam Ess Moment

7. Sodade

8. Song For My Father

9. Kem Ê Bô

10. Magia Ca Tem

11. Decison

12. Mara Marga

Carmen Souza - Protegid (Portugal - Cabo Verde, 2010)

Ayo - Joyful (Rumania-Nigeria, 2006)

Ayo - Joyful (Rumania-Nigeria, 2006)

Joy Olasunmibo Ogunmakin es una cantante y compositora rumano-nigeriana afincada en París. Nacida el 14 de septiembre de 1980 en Colonia, de padre nigeriano y madre rumana de etnia gitana, publica sus trabajos bajo el pseudónimo de Ayo.

Su primer álbum "Joyful" fue publicado en 2006.

1 Down on My Knees

2 Without You

3 Letter by Letter

4 How Many Times?

5 And It's Supposed to Be Love

6 Watching You

7 Only You

8 Help Is Coming

9 These Days

10 Life Is Real

11 What Is Love?

12 Neva Been

Ayo - Joyful (Rumania-Nigeria, 2006)

Mayra Andrade -Stória Stória (Cabo Verde, 2009)

Mayra Andrade -Stória Stória (Cabo Verde, 2009)

jueves 11 de junio de 2009

Mayra Andrade - Stória, Stória 

Erase una vez una bella cantante que respondía al nombre de Mayra Andrade. Nació en Cuba, hija de padres caboverdianos, se crió entre Senegal, Angola, Alemania y Cabo Verde, y vive desde hace ocho años en París, por tanto encarna el paradigma del mestizaje cultural. Su nuevo disco lo llamó "Stória, Stória", como el inicio de un cuento contado en Cabo Verde, porque lo consideraba como un libro y cada canción uno de sus capítulos. Son historias de amor, de vida y muerte que se desarrollan cerca del océano Atlántico como vía de comunicación recorriendo sus imaginarias páginas. Grandes razones para vivir lo justifican. Ritmos intimistas caboverdinanos lo dominan (morna, coladeira, bandeira, etc). Canción francesa, portuguesa y sobre todo influencia brasileña lo arropan. Idiomas varios son su forma de expresión, criollo, francés y portugués. Canciones grabadas en diversas ciudades, París, La Habana, Río de Janeiro y Sao Paulo. El experimentado productor brasileño Alê Siqueira ha sido el responsable del sonido.

Mayra nos regala una sensual y arriesgada fusión musical en este su segundo disco, lleno de sensibilidad y sonidos bamboleantes, perfectos para estaciones de vida tranquilas y reflexivas. Todos escucharemos su música y seremos felices, y colorín colorado...

Mayra Andrade - Stória Stória (Cabo Verde, 2009)

African Jazz Pionners - The Best Of (Sudáfrica, 2002)

African Jazz Pionners - The Best Of (Sudáfrica, 2002)

La historia de los pioneros de Jazz de África se remonta a los años 1950, cuando el jazz era la moda y las grandes bandas eran el nombre del músico. El difunto Ntemi Edmund Piliso, director y miembro fundador de la AJP, alimentado al grupo desde sus humildes raíces a su reconocimiento internacional actual.

A principios de los 1950's Bra Ntemi Alexandra y su banda All-Star golpeó la vanguardia de la escena del Sur de África 's de música, mezcla de sonido de la banda estadounidense grande con el tradicional ritmo Majuba y Marabi influencias. Los pioneros de Jazz de África disfrutado de un éxito enorme y había una enorme cantidad de seguidores en aquellos días. Lamentablemente todo esto llegó a su fin en los años sesenta con la demolición de Sophiatown, cuando las grandes bandas pasaron de moda. Sin embargo, en junio de 1981, Brasil Ntemi decidió que era hora de volver a unir a la banda y que vuelva en el escenario. Pioneros de África Jazz estaban de vuelta en el camino; siendo su primera actuación en una iglesia de Alexandra. A pesar de las leyes de pases, las prácticas discriminatorias y la censura, los pioneros de África Jazz sobrevivido y evolucionado apartheid su música.

la fama internacional le llegó poco después de su primera gira en el extranjero como parte de la conferencia Casa en Amsterdam en 1987. Después de la relajación del boicot en 1990, los Pioneros Jazz africanos fueron los primeros en viajar por todo el mundo y actuar en festivales en Francia, Japón, Suiza, Inglaterra, España, Alemania, Suecia y Holanda. Durante estos años compartieron el escenario con artistas como Youssou N'Dour, Jones Quincey, Gilberto Gil, Nina Simone y Chick Corea, por nombrar sólo algunos.

Su música ha sido publicado en numerosos países de todo el workd.

Desde esa primera actuación en Alexandra, Pioneros Jazz africanos han evolucionado a un punto en sus conciertos vigorizante se han hecho famosos en distintos lugares en el país y países vecinos. La banda llega a todos, desde la alta sociedad a la liberación y los movimientos de los mítines políticos, incluido el honor de actuar en varias ocasiones por el primer presidente elegido democráticamente país fuera, Nelson Mandela.

La fuerza impulsora detrás de los pioneros ha sido siempre Ntemi Bra. Los músicos han ido y venido, pero siempre estaba en el centro de la banda, para asegurar la continuidad de su sonido único de jazz municipio. Pero aún le resultaba difícil clasificar la música de los Pioneros. Se deriva de Marabi y evolucionado para incluir el sonido instrumental de las bandas de swing grande de Duke Ellington, Count Basie y. Desde los primeros días de la banda, Bra Ntemi ha cambiado de una estructura a otra sin renunciar a nada en el camino.

Un poco más de cincuenta años, los jóvenes Ntemi se conformó con el saxofón, trombón, después de que su querida he robado. El saxofón pronto se convirtió en su marca y fue uno de los saxofonistas mejor y más perdurable del país, hecho por el cual fue honrado por el ministro de Ben Ngubane en agosto de 2000, durante una ceremonia en el parque Morelete, Mamelodi. Bra Ntemi falleció el 18 de diciembre de 2000.

Los pioneros de Jazz de África son en honor a su promesa de Bra Ntemi para mantener la música sonando. El Festival de Jazz Ikageng, establecida en 2001, ha sido nombrado 'La Noche de los Pioneros y AJP cierra cada edición como cabeza de cartel.

Durante los últimos años, se presentaron para el ministro flamenco de Cultura, el Presidente del Parlamento Europeo y el Presidente Thabo Mbeki, entre otros.

En octubre de 2002, los pioneros de África Jazz grabado un CD / DVD con el jamaicano y leyenda del jazz-el 'padrino del ska ", Ernest Ranglin en Downtown Studio, Johannesburgo.

En 2003 vio la Pioneros en una extraordinaria cooperación con la canción de RAU & Compañía de Danza y Rathebe Dolly en 'Sof'town - una' Celebración, que se emitió durante cinco noches a una casa de entradas agotadas.

En 2004, la banda estuvo de gira Holanda y Bélgica, donde fueron recibidos con gran éxito por la prensa y público en general.

Pioneros '76 Jazz africanos más reciente CD titulado, la Tercera Avenida ", una mezcla de composiciones nuevas y viejas favoritas, con luminarias como Phuzekhemisi, Lemmy Especial, Thandiswa Mazwai, Tshola Tshepo y el fallecido Rathebe Dolly, fue liberado por Gallo en noviembre de 2004.

Hay pocas bandas en el sur de África - y, de hecho, el mundo - que presentan el sonido big band más contagiosa y con más logros y el amor simplemente por el género de los pioneros de jazz africano. Con su música maravillosa feliz que celebra la vida, los Pioneros de Jazz de África hará girar la cabeza con alegría. 

Temas:
01.Hellfire 
02.Slip 'n' Fry 
03.Emalangeni 
04.Shufflin' Joe 
05.Skokiaan 
06.Ten Ten Special 
07.Jive Township 
08.Dark City 
09.Umbobela 
10.Pata Pata 
11.Bra Ntemi's Kwela 
12.Sondela 
13.Bhodlumlilo 
14.Nthabiseng 

Los musicos pioneros de Jazz de África son los siguientes:
Albert Kumalo - bandleader , guitar
Brahms Hlabatau - tenor sax
Sello Manyaka - alto sax
Mpho Sithole - alto sax
Levy Kgasi - trumpet
Makhosonke Mrubata - trumpet
Phillip Tau - bass
Madoda Gxabeka - drums
Xolani Maseti - keyboards
Khanya Ceza - vocals

African Jazz Pionners - The Best Of (Sudáfrica, 2002)

Richard Bona - Tiki (Camerún, 2005)

Richard Bona - Tiki (Camerún, 2005)

1 Please Don't Stop

2 Dipama

3 Tiki

4 Kivu

5 O Beta O Siba

6 Esoka Bulu (Night Whisper)

7 O Sen Sen Sen

8 Manyaka O Brazil

9 Three Women

10 Ba Senge

11 Ida Bato (Ancient Song 1789)

12 Akwa Samba Yaya

13 Calçabão de Copacabana

14 Samaouma

15 Nu Sango 

Richard Bona - Tiki (Camerún, 2005)

Richard Bona - The Ten Shades Of Blues (2009)

Richard Bona - The Ten Shades Of Blues (2009)

The Ten Shades of Blues is the fifth solo studio album by Cameroonian jazz bassist and musician Richard Bona. It was released on October

 19, 2009 through Universal Music Jazz France.[1] The album has charted in France and the Netherlands.

“I like each of my albums to have a theme, a project behind it. This time I chose the blues. I look at the blues from the universal 

angle: you can find it in Africa, in America and in India. People put a style to it, a style with guitar and vocals. But I see it first as

 a scale, one that’s present in different traditions and expressions in music. Ten Shades of Blues means ten nuances, ten different ways 

of playing the blues. ”

—Richard Bona

1. "Take One"  

2. "Shiva Mantra"  

3. "Good Times"  

4. "M'Bemba Mama"  

5. "Kurumalete"  

6. "Souleymane"  

7. "African Cowboy"  

8. "Esukudu"  

9. "Yara's Blues"  

10. "Sona Moyo"  

11. "Camer Secrets"  

Personnel

Credits adapted from AllMusic.[3]

Richard Bona – vocals, backing vocals, bass, guitar, keyboards, mandolin, drums, percussion, production, engineering, sampling

Additional musicians

Obed Calvaire – drums

Ryan Cavanaugh – banjo

Marshall Gilkes – trombone

Christian Howes – fiddle

Jojo Kuoh – drums

Niladiri Kumar – sitar

Sylvain Luc – guitar

Shankar Mahadevan – vocals, backing vocals

Grégoire Maret – harmonica

Frank McComb – vocals, backing vocals

Jean-Michel Pilc – piano

Vivek Rajgopalan – ganjeera, konnakol, mridangam, vocal percussion

Bob Reynolds – saxophone

Nandini Srikar – vocals, backing vocals

Satyajit Talwalkar – konnakol, tabla, vocal percussion

Bert van den Brink – Hammond organ

Technical personnel

Rob Eaton – mixing

Joseph George – engineering

Alex Lijin Jolly – engineering

Brian Montgomery – engineering

Greg Calbi – mastering

Justin Gerrish – assistant engineer

Rick Kwan – assistant engineer

Aki Nishimura – assistant engineer

Hyomin Kang – mixing assistant

Additional personnel

Pascal Bod – release coordination

Marie Carette – design

Ingrid Hertfelder – photography

Richard Bona - The Ten Shades Of Blues (2009)

Richard Bona - Scenes From My Life (Camerún, 1999)

Richard Bona - Scenes From My Life (Camerún, 1999)

Scenes from My Life is the debut studio album by Cameroonian jazz bassist and musician Richard Bona. It was released on July 20, 1999 through Columbia Jazz.[2]

1. "Dipita"  

2. "New Bell"    

3. "Souwedi Na Wengue"  

4. "Eyala"  

5. "Djombwe"  

6. "Te Dikalo"  

7. "One Minute"  

8. "Muna Nyuwe"  

9. "Na Mala Nde"  

10. "Konda Djanea"  

11. "Eyando"  

12. "Messanga"  

Richard Bona - Scenes From My Life (Camerún, 1999)

Richard Bona - Reverence (Camerún, 2001)

Richard Bona - Reverence (Camerún, 2001)

Reverence is the second studio album by Cameroonian jazz bassist and musician Richard Bona. It was released on September 7, 2001 

through Columbia Jazz.[4] The song "Reverence (The Story of a Miracle)" features guest appearance by prominent jazz guitarist Pat 

Metheny.[3]

In her review of the album, Hilarie Grey of JazzTimes called Reverence "a warm and often touching effort that should cement Richard 

Bona's reputation as one of the great talents of our time."[2]

1. "Invocation (A Prophecy)"  

2. "Bisso Baba (Always Together)"  

3. "Suninga (When Will I Ever See You?)"  

4. "Ekwa Mwato (Affirmation of the Spirit)"    

5. "Sweet Mary (Everyone Has a Choice)"  

6. "Reverence (The Story of a Miracle)"  

7. "Te Misea (A Scream to Save the Planet)"  

8. "Muntula Moto (The Benediction of a Long Life)"  

9. "Laka Mba (Plea for Forgiveness - With the Pride of Lions)"  

10. "Ngad'a Ndutu (Widow's Dance - Celebration of a New Life)"  

11. "Esoka (Trust Your Heart)"  

12. "Mbanga Kumba (Two Cities, One Train)"  

Richard Bona - Reverence (Camerún, 2001)

Habíb Koité & Bamada - Baro (Malí, 2001)

Habíb Koité & Bamada -  Baro (Malí, 2001)

 

Putumayo Records Presents:
Habib Koite - Baro 2001
Malian guitarist Habib Koite and his band Bamada create lyrical and compelling contemporary music rooted in the traditions of their native land. 


Since the release of his last recording Ma Ya in 1998, Koite has grown from being one of Africa's best kept secrets to become an international star and one of the leading figures in contemporary world music. Baro is a deeply moving album that takes the music of Mali in new and exciting directions.
Koite has been praised in hundreds of newspapers and magazines, including People, Rolling Stone and The New York Times. He has been featured on major national radio and television programs such NPR's "All Things Considered," PRI's "The World," and "CNN WorldBeat." Koite became one of the few African artists to break into mainstream pop radio with his popular single "Wassiye." Among his expanding legions of devoted fans are Jackson Browne and Bonnie Raitt.
Baro continues where Ma Ya left off, with a set of haunting melodies and virtuoso guitar playing. Habib is backed by Keletigui Diabate, Mali's undisputed king of the balafon (a West African wooden-keyed xylophone), who recorded with Lionel Hampton in the 1960s. With the support of the rest of the talented members of Bamada, Koite swings from the Cuban-influenced grooves of "Batoumanbe" to the ethereal and entrancing "Sinamaw." The acoustic, unadorned arrangements reflect centuries of Malian tradition, while incorporating subtle Western influences to create songs that appeal to people from all walks of life. Baro even includes a new, Latin-style version of Koite's first hit "Cigarette A Bana," the track that made him a star in West Africa and earned him the prestigious Radio France International Discoveries Prize in 1992.
Baro promises to propel Koite to even greater heights. Stunningly beautiful and lyrical, rooted in tradition yet broadly accessible, Baro is the next giant step in the career of an artist who is fast becoming an international luminary.

Batoumambe
Kanawa
Wari
Sin djen djen
Cigarette Abana
Woulaba
Baro
Sambara
Roma
Tere
Mali Sadio
Takamba
Sinama Denw 

Habíb Koité & Bamada - Baro (Malí, 2001)

Hugh Masekela - Revival (Sudáfrica, 2005)

Hugh Masekela - Revival (Sudáfrica, 2005)

El músico de jazz, Hugh Masekela, nació en 1939 en Wittbank, Sudáfrica. Empezó su carrera musical como miembro de la Huddleston Jazz Band, pero Trevor Huddleston fue deportado a causa de su posición abiertamente anti-apartheid. Masekela abandonó Sudáfrica en 1961. Su carrera despegó verdaderamente en EE.UU. Su mezcla de pop/jazz africano, tuvo tanto éxito que fundó su propio sello discográfico, Chisa, a mediados de los años sesenta. Su canción “Grazing in the Grass” de 1968 dio la campanada. Más tarde, colaboraría con artistas de la talla de Fela Kuti y Paul Simon

AFRICAN MUSIC LEGEND 

HUGH MASEKELA’S REVIVAL DRAWS INSPIRATION FROM LEADING MASTERS OF KWAITO MUSIC 

“Kwaito is going to be around for a long time. It’s going to become an integral part of South African mainstream music. It’s the core of the feeling of today’s township youth.” 

– Hugh Masekela 

South African music legend and world music pioneer Hugh Masekela defies categories once again on his new CD, Revival ( HUCD 3093 ), to be released by Heads Up International on May 24, 2005. Still riding high on the acclaim surrounding his recent autobiography, Still Grazing: The Musical Journey of Hugh Masekela (co-written with Michael Cheers ), this first new album in three years finds him in the company of South Africa’s most talented young producers and musicians. On Revival, the horn player/ vocalist/songwriter draws much of his inspiration from the arranging styles of Kwaito (pronounced kwite-o) music exponents, Fela Kuti’s Afrobeat, jazz, and rhythm and blues. 

Kwaito is music with a message, a style that emerged following the end of apartheid in the early 1990s as people felt freer to express their true feelings about the quality of their lives without fear or imprisonment. Kwaito, slang for “ferocious,” “hot-tempered” or “awesome,” was initially promoted by small, independent record labels in South Africa. Since that time, Kwaito has become the voice of urban youth in new South Africa. 

“Two of the most talented young master-producers from the Kwaito world, Zwai Bala of TKZee fame and Godfrey “Guffy” Pilane, had made a fan out of me with the cross-section of wonderful productions they had success with over the last decade because they were prolific, versatile and extremely gifted,” Masekela says in his liner notes, “I sincerely felt that a collaboration with them would bridge the ridiculous category gap that separated us and result in a truly and proudly South African product.” 

On Revival, the South African music giant fires up his flugelhorn and cornet with six originals: “Woman of the Sun,” “Spring,” “Smoke,” “Sleep,” “Working Underground” and “Open the Door.” Most of Revival’s twelve tracks focus as much on Masekela’s voice as his widely praised horn-playing. 

The soothing opener, “After Tears,” features his trademark catchy rhythms and jazzy horn lines, as well as the guitar work of Jimmy Dludlu, whom Masekela considers to be one of the greatest living guitarists. Merging jazz, funk and pop, Masekela and his group lock into a supple groove on Hotep Idris Galeta ’s “District Six.” Other highlights include Zwai Bala’s “Fresh Air” and an instrumental version of the Isley Brothers ’“For the Love of You.” 

Born near Johannesburg in 1939, Hugh Masekela made a remarkable journey from apartheid South Africa to the music scene in New York City, where he struck gold with his instrumental pop hit, “Grazing in the Grass.” However, Masekela was also one of the leading crusaders against apartheid. His collaborations with Miriam Makeba and his groundbreaking early albums help bring traditional South African music to the mainstream jazz audience. 

Masekela studied at the Guidhall School of Music, then the Manhattan School of Music. During the early 1960s, his career began to explode. He recorded for Chissa, MGM, Mercury, Universal, Motown, A&M, Warner Brothers, Jive Records and Sony Music, developing his powerful blend of jazz, funk and afro-beat. He has released over forty albums and has performed with artists as diverse as Dizzy Gillepsie, The Crusaders, Harry Belafonte, Bill Cosby, Sarah Vaughan, Ella Fitzgerald, Santana, Paul Simon, Stan Getz and Herb Alpert. Masekela conceived and composed the music for the Broadway smash musical Sarafina with actor/director/songwriter/playwright Mbongeni Ngema. 

After all his commercial success, Masekela eventually returned to his transformed homeland, where he continues to be an important force in the world of music. 

Over the years, Masekela’s horn has been a call to freedom and a celebration of the resilience of his people. Rejoicing at the demise of apartheid, Revival is the latest release in the 2005 Heads Up Africa series, a critically acclaimed collection that spotlights some of Southern Africa’s finest vocalists and instrumentalists.

Hugh Masekela - Revival (Sudáfrica, 2005)