Jean-Paul “Bluey” Maunick and Incognito have become an insitution on the British groove scene, for their jazz-funk and nu-soul hybrid. Transatlantic R.P.M. marks Maunick's 30 years in the music biz and celebrates with 14 new songs, 13 of them originals. Bluey enlisted a slew of friends to join the party. The set opens with the album's lone cover: a convincing reading of Boz Scaggs' "Lowdown," featuring Italian clubjazz singer Mario Biondi and Chaka Khan. The arrangement doesn't differ all that much from Scaggs' version (thankfully) but the meld of Biondi's and Khan's rough-edged lead vocals juxtaposed with a smooth backing chorus, a slightly faster tempo, and a popping bassline after the bridge, distinguishes it. Another notable cut is Bluey's funky name checking homage to the 70s and his youth entitled "75"; it's sung by Joy Rose with a gorgeous horn arrangement by Kevin Robinson. Leon Ware puts in a fine performance on the babymaker, makeup number "Line In The Sand." Bluey's guitar work is, as usual, tasteful and understated, but adds immeasurably. Ursula Rucker sings and speaks on the stepper "Gotta," while Khan gets her own showcaseon the jazzy, string and Rhodes laden, "The Song." Longtime vocalist Maysa shines on the summery "Your Love My Sky," with beautiful guitar work from Bluey and a fine brass arrangement by Trevor Mires. The lone instrumental on the set "Expresso Madureira," mixes Brazilian and Afro Latin rhythms in a heady, funk brew with popping percussion and horns. A Stevie Wonder meets Roy Ayers vibe distinguishes the '70s groove at work in "Life Ain't Nothin' But A Good Thing" sung by Vanessa Haynes. Biondi returns on the breakbeat clubjazz of "Can't Get Enough," backed by Incognito's stellar chorus. Bluey even takes a vocal on the closer, "Tell Me What To Do." While he's no match for the other singers here, the track's breaking, cut time rhythm, breezy atmosphere, and lithe, sensual melody makes it a nu-soul winner. Incognito may not be innovating on Transatlantic R.P.M., but in showcasing the many places they've been, and the wide vein they've mined, they don't need to. This is a summeritme party record with fine songs and good vibes in abundance.
La nueva propuesta discográfica de Daniel Maza incluye clásicos de notables autores y composiciones propias donde confluyen candombes, funkys, murgas, boleros, cumbias y fusiones con ritmos rioplatenses.Maza, con el aporte de Abel Rogantini en el piano, un artista de innegable madurez musical, Yeye López en la percusión y Fabián "Sapo" Miodownik en la batería, contribuyen al disco una visión jazzística notablemente visibles en los temas que incluyen este Cd.“Al contado” nos enfrenta a un Daniel Maza que con esta nueva propuesta logra reflejar el grado de madurez que alcanzó su carrera, sabe utilizar sus recursos, y se encuentra definido en su propio estilo.Un artista que tocó con gente como Celia Cruz, Djavan y los hermanos Fattoruso, dotado de un gran virtuosismo, con músicos que saben interpretar su idea, el bajista oriundo del barrio Cerro de Montevideo, Uruguay, deja entrever en los once temas que ofrece este disco todo su talento, su experiencia y su alquimia que transforma en oro toda composición que llega a sus manos.
After collaborating with the likes of Chaka Khan, spoken word artist Ursula Rucker, and Italian soul singer Mario Biondi on 2010's Transatlantic RPM, British acid jazz pioneers Incognito hand over the vocal reins to a younger crowd for their 15th studio album, Surreal. It's an inspired move showing that, 30 years on from their debut album, bandleader Jean-Paul "Bluey" Maunick still has his finger on the pulse. While longtime singers Maysa and Vanessa Haynes remain a vital part of the setup, the former kicking off proceedings in style with the bass-driven funk of "The Less You Know," the latter channeling the divas of the Studio 54 era on a cover of Queen Yahna's '70s cult disco classic "Ain't It Time," it's the new recruits who steal the show. German-born vocalist Mo Brandis displays a maturity and soulfulness far beyond his 26 years on the John Legend-esque lead single "Goodbye to Yesterday" and the summery jazz of "Don't Wanna Know," while Ronnie Scott's regular Natalie Williams justifies the Erykah Badu/Jill Scott comparisons on the gorgeously slinky chillout of "Restless as We Are" and the dreamy bossa nova of "The Stars from Here." If they can hang on to this highly talented lineup, then Incognito's future appears to be in very safe hands indeed.
01 – The Less You Know 02 – Goodbye To Yesterday 03 – Above The Night 04 – Ain’t It Time 05 – Capricorn Sun 06 – Don’t Wanna Know 07 – Restless As We Are 08 – Rivers On The Sun 09 – Don’t Break Me Down 10 – The Stars From Here 11 – To Be With You 12 – This Must Be Love 13 – The Way You Love 14 – Thoughtful Fantasies
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.
Phola (Mejora, curar) celebra el setenta aniversario de Hugh Masekela y marca el medio siglo durante el que el trompetista sudafricano ha llevado la música de su tierra por todo el mundo. En su nuevo trabajo (ha publicado ya 35 discos), Masekela reflexiona sobre la vida, el amor, la política y la conciencia social. Nada soprendente ya que, considerado un verdadero héroe en Sudáfrica, es un experto en tales reflexiones. Es un disco hecho, como el propio músico declara en las notas de folleto, para ayudarnos a "mejorar, a curarnos. A relajarnos, a estar a gusto." Como hizo con su disco anterior de música africana, el gran trompetista sudafricano se ha puesto en manos del multiinstrumentista y productor Erik Paliani. Siete de las nueve canciones del disco s on piezas vocales acompañadas por el fliscorno de Masekela. Desde la autobiográfica "Sonnyboy" y la semipolítica "Bring it back home", a la canción "Ghana" (que recuerda a su deliciosa "In the market place" de 1974) y, la más brillante de todas, "Weather," que parece tratar del cambio climático. De las dos instrumentales, "Moz," nos trae a la memoria su gran éxito de 1968 "Grazing in the grass" (estupendamente acompañado al clarinete por Stewart Levine, productor de "Grazing"), y "The joke of life," de Jon Lucien, es una nueva versión del éxito de 1985. "Phola" contiene uno de los mejores trabajos de Masekela al fliscorno, y, alejado de los clásicos trucos de estudio de sus discos anteriores, muestra al músico más directo, sincero y puro, como lo hiciera en "Home is where the music is", "Hope" y "Time". Duración: 55´18"
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Hugh Masekela es uno de los compositores sin los cuales no se puede entender la evolución de la música moderna africana. Nacido en 1939 en la República Surafricana, el sonido de su trompeta ha sido un pilar imprescindible del jazz realizado en el gran continente negro (formó parte del grupo The Jazz Epistles, considerada la formación que registró el primer disco de jazz africano en el año 1959). Masekela cogió su primera trompeta a los catorce años y ya no le caería nunca de las manos, aunque, como muchos otros compatriotas, sufrió la brutal política del apartheid. Al contrario, utilizó su música en los años más terribles de la represión para retratar el conflicto social, la agonía de un pueblo, el abuso del poder, pero sin olvidar nunca, la pasión y la alegría que hicieron mantener viva la dignidad de una gente abandonada. Este compromiso personal y político ha hecho que dos de las piezas más relevantes de su repertorio sean “Soweto Blues” (1977), cantada por Miriam Makeba, otra leyenda musical surafricana, y que recuerda los graves disturbios ocurridos en el año 1976, y “Bring him back home” (1987), convertida en himno de la campaña por la liberación de Nelson Mandela. Durante el largo periodo del exilio (casi treinta años) se reconectó a sus raices africanas, conexión que ya nunca ha abandonado y que está muy viva en “Phola” (Four Quarters, 2009), su nuevo trabajo discográfico.
Phola celebrates Hugh Masekela's 70th year and marks the South African trumpeter's half century of bringing the music of his homeland to many ears throughout the world.
As such, this musical statement—the 35th under Masekela's own name—seems to call for a glorious, celebratory mood. Instead, it is more of a quiet reflection on life, love, politics and social consciousness.
Nothing wrong with that. Masekela, a true hero in his homeland, is an expert at such reflections. Phola was made, as Masekela's liner notes indicate, to help us "get well, to heal. To relax, to chill." Certainly, he achieves all of this and more here. But, unfortunately, it offers less than it promises. This is the smoothest Masekela has ever sounded.
As he did on his previous studio disc of African music, Revival (Heads Up, 2005), the great South African trumpeter has put himself in the hands of a producer, and the result is something that sounds like a whisper of Masekela's former self.
In this case Masekela has turned himself over to Malawian multi-instrumentalist and producer Erik Paliani, who'd proven himself to Masekela in his work with performers like Lee Ritenour, Mavo Solomon and Zamajobe Sithole.
It all sounds technically beautiful. But something is missing. The hook? The message? The joy? The anger? Who knows?
There is a reflective, autumnal feel to much of the music that suggests someone who has, late in life, found God, and rather than celebrate the joy and happiness he's discovered, resigns himself to regret and sadness—something much opposed to the celebratory happiness Masekela shows on the front cover.
Seven of the disc's nine tunes are vocal pieces that fade out with Masekela soloing on flugelhorn. These range from the autobiographical "Sonnyboy" and the semi-political "Bring It Back Home" to the story song "Ghana" (which recalls Masekela's delightful "In The Market Place" from 1974) and, perhaps the disc's sole highlight, "Weather," which seemingly has something to do with climate change.
Phola's two instrumentals are Masekela's "Moz," which oddly and rather successfully re-thinks the trumpeter's 1968 hit "Grazing in the Grass" (and nicely pairs Masekela with "Grazing" producer Stewart Levine on clarinet), and Jon Lucien's "The Joke Of Life," which Masekela had a hit with back in 1985.
Masekela soars throughout on flugelhorn. Phola, in fact, features some of Masekela's finest work on flugelhorn in some time. Rather than continuing with feats of studio wizardry from the past—namely the brilliant Tomorrow (Warner Bros., 1986)—Masekela seems switched on, up front, honest and pure here, much as he was on Home Is Where The Music Is (Verve, 1972), Hope (Triloka, 1993) and Time (Sony, 2002).
In the end, perhaps, Masekela's horn work is Phola's greatest attribute. Forget the songs here. His playing, long derided by jazz purists, is right on. This is what gives Phola the poetry it possesses.
Review by Douglas Payne
Relación de Cortes:
1. Mwanayu Wakula
2. Ghana
3. Bring It Back Home
4. Malungelo
5. Moz
6. Sonnyboy
7. Weather
8. Joke Of Life, The (Brinca De Vivre)
9. Hunger
Personal
Hugh Masekela: flugelhorn, vocals
David Klassen : drums;
Denny Lalouette: bass
Fana Zulu: bass
Rick Paliani: keys, acoustic guitar, accordion, drum programming, backing vocals
De Irlanda nos vamos a ir de viaje musical hasta Sudáfrica para asistir a un concierto de Hugh Masekela. Es curioso pero a este músico le unen muchos lazos con la anterior artista de la que os hablaba en el blog hace algún tiempo y también de nacionalidad Sudafricana: Miriam Makeba. Como ella desarrolla casi la mayor parte de su carrera musical fuera de su país, en estados unidos más concretamente. Y no por gusto sino que lo hace sufriendo el exilio por su país. Pero siempre con la vista en la parte sur del continente africano, proclamando y defendiendo los derechos y la libertad de su pueblo. Trevor Huddleston el padre del activismo anti-apartheid define la trompeta de Masakela como un instrumento de resistencia, una llamada a la libertad, y una celebración de la fuerza y la resistencia de gente. Así que nos encontramos de nuevo con un músico que pone su trabajo a favor y en nombre de los derechos de los seres humanos. Harry Belafonte es quien le ayuda a colocarse en Nueva York. Masakela se integra en el jazz conociendo y colaborando con musicos como Louis Armstrong, Paul Simon, Adrian Below, The Byrds, Miriam Makeba, Zimbabwean Dorothy Masuka, the Jazz Epistles, Fela Anikulapo Kuti, Hedzoleh Soundz, Francis Fuster, and Dudu Pukwana. No es que las colaboraciones con grandes músicos le hagan directamente a uno más grande. Pero hay veces que un currículum como ese habla por si solo. En su haber cuenta con mas de una treintena de discos. Bueno y entre otras curiosidades esta la de que una canción suya de 1987 “Bring Him Back Home” el corte 3 en el disco, se convirtió en el himno de la gira mundial que hizo Nelson Mandela después de su excarcelación en 1992.
La música de Hugh Masakela es una poderosísima mezcla de jazz, funk, ritmos afro-americanos, y latinos. Y para los que nos gusta disfrutar de la música.. en este caso el jazz desde otras perspectivas sonoras, es una gozada encontrarnos con toda esta variedad de colores en un solo disco. Y por supuesto esta manera de interpretar el jazz le da la posibilidad de abrirse a un mayor público y hace que se le quite esa etiqueta de música para entendidos. Y os lo digo yo que no soy ningún experto, pero bueno… la opinión de los que no sabemos también cuenta. Entre tanto yo os aconsejo disfrutar de todas estas sonoridades de fuerte raíz africana aplicadas a un jazz suave y cristalino sin demasiadas complicaciones. Y es que lo bello siempre reside en lo sencillo.
Andy Narrel & Relator - University of Calypso (Usa-Trinidad, 2009)
It almost seems required in many cases, that jazz artists incorporate other styles into their music, whether it is blues, R&B, pop, classical or Latin. Half a century ago, jazz and calypso were fused together for the first time, and now Andy Narell and modern-day calypso legend Relator revisit that relationship with University of Calypso.
Narell is perhaps the world's foremost steel pan artist, making a career of working this instrument into the realm of jazz. His studio and stage associations include a diverse range of artists, including Dave Samuels and the Caribbean Jazz Project, Spyro Gyra, Michael Brecker and Hugh Masekela. Guitarist/vocalist Relator, born as Willard Harris, is one of Trinidad's best known calypso artists.
"Gavaskar" opens the set. This festive piece features a delightful, storytelling lyric sung by Relator, with Narell's subtle underscore. The steel pan master also solos. The rest of the band is engaging, but except for Dario Eskenazi's piano solo, no member stands out.
"Food Prices" is the blues set to calypso. Rather than lamenting the loss of a job or a bad relationship turned worse, Relator chants about the high cost of groceries. In places, he quotes comments he's actually heard in supermarkets. And he does it all while the band marches along. Of particular note is how drummer Mark Walker and percussionist Pedro Martinez stand out in their roles. Narell leads during the instrumental breaks and also in the middle of the song.
Paquito D'Rivera adds clarinet to "Pan in Harmony," an instruments-only track. He and Narell trade leads early before blending into a dialogue in which the two also enjoy extended solos.
Narell, Relator and their supporting cast revisit some classic calypso songs, particularly those created by Aldwyn Roberts—also known as Kitchener—as well as some Relator originals. The result is 15 songs that are amusing, sometimes humorous and always fun.
01. Gavaskar02. Love in the Cemetery03. Food Prices04. Pan in Harmony05. Eating Competition06. Steel Band Musi07. My Pussin08. Sugar for Pan09. Hold Onto Your Man10. Peddlars11. Bottle and Spoon12. Take Yuh Meat Out Meh Rice13. Pan on Sesame Street14. Ugly Woman15. My Brother Your Sister.
Cartagena degustará esta noche la propuesta de la banda Gangbé Brass Band, que pasa por la fusión entre el jazz y los ritmos vudú de las tribus fon de Benin con canciones tradicionales en yoruba y sonidos de bandas militares africanas y las brass bands europeas y americanas emparentadas con el Mardi Gras de New Orleans.
Gangbé Brass Band es una banda creada en 1994 que ya tiene tres discos musicales en su haber: Gangbé (1998), Togbé, (2001) y Whendo (2004).
El grupo también ha creado diferentes bandas sonoras, como la Ciel ma francophonie, de Camil Amouro, y ha colaborado con los franceses Lo’Jo.
En 1999 fueron galardonados con el premio Benin Golden Award.
"Multicultural" is a word that musicians tossed around a lot in the 1990s, but claiming to have a multicultural outlook and actually showing that you have one are two different things. With The Long Time Band, Andy Narell provides an example of honest-to-God multiculturalism. Think about it: you've got a Jewish-American musician who is using an Afro-Caribbean instrument from Trinidad (the steel pan) to play a style of music that came out of the African-American community (jazz). But, as The Long Time Band demonstrates, jazz is hardly the only form of music that interests Narell. Though this is essentially a jazz CD, it's a jazz CD that contains elements of other African-American forms (funk, R&B, and blues) and also draws on everything from Afro-Cuban salsa and Afro-Caribbean calypso to African pop. Narell doesn't play "in the tradition" on this album. Rather, The Long Time Band is an example of a jazzman being fascinated with a variety of cultures and using that fascination to his creative advantage. The Long Time Band is multiculturalism in the finest sense of the word. — Alex Henderson
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