“The story of (Masekela’s) life is a kaleidoscope of oppression under apartheid, triumphant optimism, and colorful friends.” — Boston Globe

Masekela: Live at Market Theater

In a career covering everything from jazz and pop to R&B, Hugh Masekela’s ability to integrate the musical traditions of his native South Africa with those of other world cultures—and particularly American jazz--has put him among the elite of world music performers. In conjunction with his summer 2007 tour of North America, Masekela has released the two-CD set, Live at the Market Theater (Time Square Records/Four Quarters Entertainment). While documenting his trademark energetic and groove-driven music, Live at the Market Theater is also a presentation of Masekela, the freedom fighter.

Hugh Masekela © Andrea Canter

Masekela left South Africa in 1960 following the Sharpesville massacre. He first went to London with the help if Yehudi Menuhin and Joh Dankworth, studying at the Guildhall School of Music. With support from such musicians as Miriam Makeba, Harry BelaZXe and Dizzy Gillespie, he came to the US and enrolled at the Manhattan School of Music. By the 70s, he was an international star. Over his four+ decade career, he has released over 40 recordings and has performed with such diverse artists as Abdullah Ibrahim, Fela Kuti, The Byrds, Ella Fitzgerald, Santana, Paul Simon (touring with “Graceland”), Stan Getz and Bob Marley. Masekea’s style has been described as “a charismatic blend of striking upper register lines, half valve effects, repetitive figures and phrases, with some note bending, slurs and tonal colors” (All Music Guide). His 1987 hit, “Bring Him Back Home,” called for the release of Nelson Mandela, and became an anthem for the anti-apartheid movement.

After returning to South Africa in the 1990s, where he helped develop a pan-Africa entertainment network, Masekela relocated to his current home in London. His use of his music to fight apartheid was the subject of a recent documentary that illustrated how he has brought his message across the world. While apartheid officially ended over a decade ago, its lingering effects give Masekela’s plea for change has ongoing relevance and passion.

The new 2-CD set include Masekela’s big hit of 1968, “Grazing in the Grass,” one of the only instrumentals of that time to hit number one on the Billboard Hot 100 chart; the Fela-inspired “The Boy’s Doin’ It;” “Stimela,”the protest against slave labor; and “Mandela,” a reprise of Masekela’s historic anthem calling for the release of Nelson Mandela. Two tracks-- Fela Kuti’s “Lady” and O.J. Ekemode’s “Ashiko”—particularly reflect Maskela’s experiments with Nigerian and Afro-Beat sounds.

The Market Theater itself is as much a symbol of freedom in South Africa as is Masekela. Surviving through apartheid, the Theater spawned great playwrights, actors, and other cultural workers, and gave birth to Masekela’s highly acclaimed musical, “Sarafina.” For its recent 30^th anniversary, Masekela participated in a month-long series of performances representing the defining acts of the South Africa; Live at the Market Theatre was recorded during these celebrations.

On multiple levels, the recording brings together the African roots of jazz in America with the subsequent influence of jazz on African music. “We identified with jazz because, in those days, jazz showed the excellence of a people who had been enslaved and racially discriminated against,” explains Masekela. “Dizzy and Miles were not looked on with love from the Western establishment. They were independent Black people who didn’t take crap from anybody. Louis Armstrong, Billie Holiday and Count Basie represented triumph in spite of oppression. And to a certain extent, America owes its fame to those people. Though they will never be awarded the respect they deserve, they reached all over the world.”

Hugh Masekela © Andrea Canter

Their reach permeates the recording as much as Masekela’s affirmation of humanity and culture. From the opening vocal hymn “Ibala Lam” to the snaky seduction of Maskela’s horn on “The Boys Doin’ It,” there is a feeling of being caught up in the midst of a festival, a celebration of heritage and victory, a call for unity, and an ever-present invitation to dance and sing. Joy abounds amidst adversity throughout. This is a retrospective of Masekela’s music as well as his commentary on recent history and present issues. Often the narrative introductions are as long as music. While there are only 2 horns engaged at any one moment (Masekela on flugelhorn and Khaya Mahlangu on sax or flute), often the sound is like a big band. Masekela’s early masterpiece, “Grazingin the Grass” typifies his many influences, as broad as Armstrong, Gillespie and Sandoval, and features a lovely bass guitar from Fana Zulu.

Some tracks have more of the swing and sway of a carnival (“Ha Le Se”) thanks to the interplay of keyboards and percussion, while traditional call and response frequently appears between Masekela’s vocal calls and guitar or percussion. While celebration is the theme throughout, it’s a celebration not only of freedom but also in tribute to past atrocities and hardships, that the past not be forgotten. “Stimela” is dedicated to those losing lives working as cheap labor (“It’s not a joke” reminds Masekela) and most of all to those working in the mines across the globe, particularly the gold and diamond mines of South Africa. After an ominous clanging beginning, the long narrative, becomes a screeching chant that dissolves in a swirl of percussion, piano, and sax, a mournful flugelhorn followed by a more biting vocal.

“Mandela” is presented as a tribute to those imprisoned for many years who, upon release, asked to rebuild rather than retaliate. Notes Masekeal, this is a “tribute to old geezers who inspired us…” Bright brass affirm that their spirits were not broken, that the community has overcome. “District 6” again honors the spirit of recovery, a celebration of good fortune of those displaced and going back home, especially in District 6, the community of the song’s composer. As Masekela notes in introducing the majestic “Market Place, we “won’t forget the day the sun came shining.”

Even those who are not familiar with or particularly drawn to world music will find themselves inspired by Hugh Masekela—by the regal tone of his horn, by the joyous interplay of his ensemble, by the all-too-true stories he weaves with narrative, vocals and music, by the overall spirit of survival and celebration of Live at Market Theater.

“I come from a nation that has fought very hard for its dignity, liberation, and human freedom. Yet as Africans, we’ve never been able to project our image ourselves. We’ve been hoodwinked into thinking our culture is barbaric and savage. A lot of people think progress is what they see on TV. They’ve been turned into consumers who don’t produce anything. But our heritage is our biggest wealth. It’s more diverse and richer than anything else we have. And it is the only thing that cannot be taken away from us.” – Hugh Masekela

For tour dates and additional information, visit: http://www.ritmoartists.com/Hugh/Masekela.htm