Hugh Masekela Albums (25)
'Home Is Where the Music Is'
Release Date 7/29/2008
Tracks 10
Label Verve
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What The Critics Say
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, All Music Guide
What The Critics Say
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, All Music Guide
'Live at the Market Theatre'
Release Date 7/17/2007
Tracks 15
Label Four Quarters
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What The Critics Say
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
What The Critics Say
Trumpeter /composer Hugh Masekela's first outing in three years finds him in the company of some of South Africa's hottest young Kwaito producers and musicians. Masekela has pursued his own meld of South African township music and folk styles, pop, jazz, R&B topical songs, and blues. He has added to that mix the rhythmic invention of urban soul and hip-hop. Produced by Zwai Bala and Godfrey "Guffy" Pilane, Masekela swings for the smooth jazz radio fences with an eye toward crossing over to quiet storm play lists. "After Tears," which opens the set, is very much in the vein of the laid-back entwining of jazz and township styles. One can hear the trace influence of Abdullah Ibrahim's melodic sensibilities as a laid-back, shimmering groove that would not be out of place next to his monster smash of yore, "Grazing in the Grass." The rest is primarily vocal, with Bala taking the lead on the single "Woman of the Sun," a paean to modern women. Its relaxed, Nigerian rhythmic backdrop and punchy front horn lines seamlessly ground the tune as Bala and the percussionists ease the message across. Masekela's solo is simple but gorgeous, full of space and light. Themba Mokeona's sparkling guitar kicks off "Spring," ushering in Masekela's optimistic vocal. His singing is gritty, a contrast to the slick, smooth groove of the body, and it works. The political bent of "District Six" is framed in township jive, with a stellar vocal performance by Corlea. The sultry space and simmer of "Fresh Air" is an overtly smooth jazz groove, but with a twist. His muted trumpet head takes its cue from Miles Davis during his Gil Evans period. The chorus that backs him on "Smoke" is infectious. Add to this tight little fills from his muted trumpet and it's irresistible. The relaxed, mid-tempo cover of the Isley Brothers' "For the Love of You" hosts a lovely arrangement with a slippery backbeat, before the album closes with the chant- and drum-heavy "Working Underground," a poignant, sorrowful, and angry song about South Africa's miners and their plight. Even here, though, the lyrics and singing are rooted in a music that contains no bitterness, only light as it carries sorrow. More than any of his previous recordings, this feels like Masekela's manifesto of self-determination. He's made political records before, but this one is different. It's weighted by the social and cultural in both lyrical content and in its reach over the musical landscape. ~ Thom Jurek, All Music Guide
What The Critics Say
Masekela as a young trumpeter from the mid-'60s. Rare, but clearly his best format and playing. ~ Michael G. Nastos, All Music Guide
'BBC Live in Concert'
Release Date 11/26/2002
Tracks 13
Label Strange Fruit
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What The Critics Say
Since his return to South Africa in 1990, Hugh Masekela has become a national musical icon. And his music has taken on more of the flavor of his homeland, too, all of which is quite in evidence on Time. Of course, this being Masekela, he's not going to be penned into one style, as he shows on "Conchita," his bubbling celebration of Latin music, which name-checks every icon of the genre. But it's township jazz that's always been at the backbone of his sound, and it's there in his revisiting of "Part of a Whole," which he first recorded over 30 years ago. Even if it's township lite these days, more accessible than the real hardcore stuff, there's no doubt his heart is very much in the right place. He's not afraid to be political, either, touching on civil rights, dictators, and reminding people that an older generation hasn't necessarily lost touch with enjoying the pleasures of the world. From South African gospel to the slightly rougher feel of mbaqanga, and even the more contemporary kwaito (South Africa's disco-fied version of hip-hop) on "Old People, Young Folks," this album keeps its feet on the ground at home. About the only thing missing is that Masekela focuses more on his gritty, warm vocals, rather than his excellent trumpet playing. But he seems happy enough with that, and the sense of jubilation surrounding the disc glows peacefully. ~ Chris Nickson, All Music Guide
What The Critics Say
Live at the BBC combines two triumphant live dates that trumpeter/singer Hugh Masekela gave during 1985, including the Glastonbury Festival in England and the Nelson Mandela Concert. Featuring many songs off his 1985 release, Waiting for the Rain, the songs liberally combine disco, soul, and jazz with Afro-pop, all with a strong anti-apartheid stance. Songs such as "Politician" and "Serhasa" deal directly with governmental corruption in Africa, while others, such as the jubilant "Zulu Wedding," merely hint at the ennui of apartheid while focusing on the happiness of marriage. With Masekela's catchy melodies, this stuff has a lot in common with other African-influenced pop of the '80s by Western artists such as David Byrne and Paul Simon, yet retains a purist appeal. ~ Matt Collar, All Music Guide
What The Critics Say
Presumably to commemorate his 60th birthday, Hugh Masekela released an album of primarily African works. The album starts with a tribute to Fela, a kindred spirit in African horn playing and a friend of Masekela. After that, it moves on through a number of traditional songs and trips down memory lane. The liner notes give a good deal of background information on each of the songs (always a plus). From time to time, the music seems to slip into something of a contemporary Harry Belafonte-esque sound (which perhaps might not be completely surprising, given the repeated collaborations between Belafonte and Miriam Makeba, coupled with Masekela's marriage to Makeba). Despite (or due to) any such similarities that may arise, this is international pop at its best. Also, the backing vocals of the Family Factory group are exceptional, at the very least. For fans of "Grazin' in the Grass," this album might not be too well suited to you. For fans of basic African pop, jazz, highlife, and worldbeat, it's probably a good find. ~ Adam Greenberg, All Music Guide
'Note of Life'
Release Date 1/12/1999
Tracks 11
Label Sony International
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