Hugh Masekela : Hope
Hugh Masekela : Hope
Hugh Masekela (vocals, flugelhorn, trumpet), Mgenekhaya Mahlanghu (saxophone, flute, vocals, percussion), Themba Mkhize (keyboards, vocals), Lawrence Matshiza (guitar, vocals), Bakithi Kumalo (bass, vocals), Damon Duewhite (drums), Remi Kabaka (percussion, vocals), Los Ballederos Hornas Africanos de Townsheep (backing vocals),
Recorded live in 1993
Analogue Productions Records : 2 LPs 180 gram (45rpm)
Brand New and Sealed Record
1 - Abangoma (The Healers)
2 - Languta
3 - Grazin' In The Grass
4 - Nomali
5 - Marketplace
6 - Ntyilo Ntyilo (The Love Bird)
7 - Stimela (The Coal Train)
Recorded 30 July – 1 August 1993 at Blues Alley, Washington DC.
Hugh Masekela is a world-renowned South African flugelhornist, trumpeter, bandleader, composer, singer and defiant political voice. Masekela began to hone his, now signature, Afro-Jazz sound in the late 1950s during a period of intense creative collaboration, most notably performing in the 1959 musical King Kong, written by Todd Matshikiza, and, soon thereafter, as a member of the now legendary South African group, the Jazz Epistles (featuring the classic line up of Kippie Moeketsi, Abdullah Ibrahim and Jonas Gwangwa).
In 1960, at the age of 21 he left South Africa to begin what would be 30 years in exile from the land of his birth. On arrival in New York he enrolled at the Manhattan School of Music. This coincided with a golden era of jazz music and the young Masekela immersed himself in the New York jazz scene where nightly he watched greats like Miles Davis, John Coltrane, Thelonious Monk, Charlie Mingus and Max Roach. Under the tutelage of Dizzy Gillespie and Louis Armstrong, Hugh was encouraged to develop his own unique style, feeding off African rather than American influences.
A longtime audiophile demonstration disc, Hope will show off your system's dynamic range as well as any record ever released. Hugh Masekela, the outstanding South African trumpeter, assembled a seven-piece group and recorded this great set live at Washington, D.C.'s Blues Alley. The songs stretch over a period of nearly five decades and serve as an informal guided tour of Masekela's life. The songs are honest and bare, and as for the sound – WOW!
"…Hope is one of those intensely visceral, large as life, and immediately present recordings that will make pretty much any system sound at least very good, and will cause better ones to raise goose bumps." – Wayne Garcia, The Absolute Sound, August 2008