Loading...

Masekela’s Township Grooves

Masekela’s Township Grooves

On the occasion of Bra Hugh’s 81st birthday, the Hugh Masekela Heritage Foundation and Universal Music (South Africa) released Township Grooves, a compilation of Bra Hugh’s homegrown brew released on Friday, 16 May 2020.

Culled from various albums released between 1965 and 1974, Township Grooves is testament to the notion that you can take the boy out of the township, but you can never take the township out of the man. Whether in the early days of his recording career (Hugh Masekela aka Grrr), at the height of his US success (The Promise of A Future, Masekela, Reconstruction) or at beginning of what would evolve into an extended African sojourn (Home Is Where The Music Is, I Am Not Afraid) whatever his stylistic bouquet Hugh always remained from Ekasi.

The cover art harks back to collaborations with such respected artists as Dumile Feni (Home Is Where The Music Is, 1972) and Milton Glaser (Introducing Hedzoleh Soundz, 1973). We are especially enthused to have world-renowned South African artist Nelson Makomo design the cover art for “Township Grooves”.

Your Review

RATING

1790 VIEWS
0 Likes

Share To

Special Correspondent

Special Correspondent

YOU MIGHT ALSO LIKE
Planet Afropunk 2020: Past, Present & Future Is Black

Planet Afropunk 2020: Past, Present & Future Is Black

Through PLANET AFROPUNK, a space that has been curated for the global Black community to explore and celebrate the depth and breadth of what it means to be Black on this planet. As the engine room of the Black experience, PLANET AFROPUNK is a fluid, digital space designed to embrace the plurality of black stories and individualities that are experienced through Black music, art, conversation and activism, across borders and continents.

Thandi Ntuli - Live at Jazzwerkstatt

Thandi Ntuli - Live at Jazzwerkstatt

“Leading this ensemble with musicians from in and around Switzerland, that I was mostly playing with for the first time, was an intense learning exercise as I navigated the intercultural dynamics as well as the nuances of each instrument that would help me articulate my vision on the score. We could not have achieved this in such a short space of time without the musicality and dedication of all the musicians I was honoured to work with.”

comments
Go to TOP