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.
This album is a collaboration between Hugh Hopper of The Soft Machine and Kramer. Robert Wyatt is featured on "Free Will And Testament." A Remark Hugh Made was produced and engineered by Kramer. This album is recommended for fans of The Soft Machine and Kramer. Although this album was recorded long after the peak creative period of The Soft Machine, all artists on this CD demonstrate that they were not past their prime in 1994.
Acclaimed poet Dr John Cooper Clarke and esteemed singer / songwriter (and founding member of The Stranglers) Hugh Cornwell have teamed up to release their first album, This Time It’s Personal. It's a match made in the rock 'n' roll heaven of their respective youth and, just as their eyebrow-raising new album says, This Time It's Personal. Featuring classic tracks that they both grew up listening to, the album is the surprising duo’s first collaboration.
This disc strikes me as an ideal introduction to the music of Turkey’s greatest composer. Ahmed Adnan Saygun’s style might be described as “Szymanowski with a primal rhythmic feel.” If you love the composer’s First Violin Concerto then you will find here a very similar exoticism, nocturnal atmosphere, and love of voluptuous textures. The harmonic style is intensely chromatic, but also highly melodic. Like Bartók in his last period, Saygun’s handling of tonality mellowed toward the end of his life, which makes the Cello Concerto more consonant than the Viola Concerto, but both works are absolutely gorgeous and masterpieces of their kind. It’s positively criminal that no one plays these pieces regularly in concert. The performances here are excellent. Tim Hugh is a well-known cellist, and he pours on the tone with all of the rhapsodic abandon that Saygun requires. Mirjam Tschopp also is a superb violist, with a big, beefy tone that never gets swamped by the intricate orchestration. It’s also very rewarding to hear a Turkish orchestra in this music–and to find that it plays beautifully under Howard Griffiths.
This classic recording has a beautiful balance of African aesthetics meet American soul, jazz, funk, rock and pop. The songs have a vintage sound that could only have been made by a South African playing American music in 1971. Along these lines, the album cover is the perfect visual representation of the music. While having a 1970's sound, "Hugh Masekela & the Union of South Africa" is by no means outdated, nor will it ever. The disc has an enjoyable mix of slow ballads, township infused instrumentals and fast funk. The song writing is superb, the musical improvisation is good and the voices soar.