Hugh Masekela - Collection (1978-2019)

15 Jul, 19:31
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Artist: Hugh Masekela
Title: Collection
Year Of Release: 1966 - 2016
Label: Jive Afrika, Gallo, Sting Music, Sony Jazz, BBE...
Genre: Afro-Cuban Jazz, Jazz-Funk, Soul-Jazz, Afrobeat
Quality: FLAC (tracks)
Total Time: 1d 16:32
Total Size: 14.4 GB
WebSite: Album Preview

Biography
Hugh Masekela had an extensive jazz background and credentials, but enjoyed major success as one of the earliest leaders in the world fusion mode. Masekela’s vibrant trumpet and flügelhorn solos were featured in pop, R&B, disco, Afro-pop, and jazz contexts. He had American and international hits, worked with bands around the world, and played with African, African-American, European, and various American musicians during a stellar career. His style, especially on flügelhorn, was a charismatic blend of striking upper-register lines, half-valve effects, and repetitive figures and phrases, with some note bending, slurs, and tonal colors. Though he often simplified his playing to fit into restrictive pop formulas, Masekela was capable of outstanding ballad and bebop work. Importantly, Masekela also became an international symbol of anti-apartheid activism during his decades in exile from his home country.

He began singing and playing piano as a child, influenced by seeing the film Young Man with a Horn at 13. Masekela started playing trumpet at 14. He played in the Huddleston Jazz Band, which was led by anti-apartheid crusader and group head Trevor Huddleston. Huddleston was eventually deported, and Masekela co-founded the Merry Makers of Springs along with Jonas Gwangwa. He later joined Alfred Herbert’s Jazz Revue, and played in studio bands backing popular singers. Masekela was in the orchestra for the musical King Kong, whose cast included Miriam Makeba. He was also in the Jazz Epistles with Abdullah Ibrahim, Makaya Ntshoko, Gwanga, and Kippie Moeketsi.

In the aftermath of the March 1960 Sharpeville massacre, Masekela and Makeba, his wife at that time, left South Africa one year before Ibrahim and Sathima Bea Benjamin in 1961. Such musicians as Dizzy Gillespie, John Dankworth, and Harry Belafonte assisted him. Masekela studied at the Royal Academy of Music, then the Manhattan School of Music. During the early '60s, his career began to explode. He recorded for MGM, Mercury, and Verve, developing his hybrid African/pop/jazz style. Masekela moved to California and started his own record label, Chisa. He cut several albums expanding this formula and began to score pop success. The song «Grazing in the Grass» topped the charts in 1968 and eventually sold four million copies worldwide. That year Masekela sold out arenas nationwide during his tour, among them Carnegie Hall. He recorded in the early '70s with Monk Montgomery & the Crusaders.

Masekela moved in a more ethnic direction during the '70s. He traveled to London to play with Nigerian Afro-beat great Fela Kuti & Africa 70; then came a session with Dudu Pukwana, Eddie Gomez, and Ntshoko, among others, that resulted in his finest jazz/African album, Home Is Where the Music Is. Masekela toured Guinea with the Ghanian Afro-pop band Hedzoleh Soundz, then recorded a series of albums with them both in California and Africa with guest stints from the Crusaders, Patti Austin, and others. Masekela alternated between America and Africa, cutting a successful pop/dance album with Herb Alpert in the late '70s. He was part of Paul Simon’s Graceland tour in the mid-'80s, while he continued recording and produced sessions by Makeba.

In 1990, when Nelson Mandela was released from prison, Masekela returned to South Africa. He visited Zimbabwe and Botswana, and recorded two albums with the Kalahari Band that once more merged jazz-rock, funk, and pop. Starting in the mid-'90s, Masekela began releasing a stream of albums and collections that showed his versatility and growth in South African jazz. He continued to be active into the first decade of the 21st century, issuing Live at the Market Theatre in 2007, Phola in 2009, and a pair of albums in 2012, Friends (with Larry Willis) and Jabulani, inspired by South African wedding traditions Masekela remembered from his childhood. Though the jazz content of his work varied over the years, Masekela had far more musical material on the plus side than the negative, and his significance as a worldwide symbol against oppression cannot be overemphasized. Hugh Masekela died in Johannesburg in January 2018 at the age of 78. ~ Ron Wynn, Rovi

Albums
1978 Main Event Live 16-44,1 FLAC
1990 Liberation — The Best Of 16-44,1 FLAC
1999 Sixty 16-44,1 FLAC
2000 Greatest Hits 16-44,1 FLAC
2001 Grazing In The Grass The Best Of Hugh Masekela 16-44,1 FLAC
2002 Hope 16-44,1 FLAC
2003 Grrr 16-44,1 FLAC
2006 Live at the Market Theatre 16-44,1 FLAC
2006 The Chisa Years 1965-1975 (Rare and Unreleased) 16-44,1 FLAC
2007 Still Grazing 16-44,1 FLAC
2008 Home Is Where The Music Is 16-44,1 FLAC
2009 Black To The Future 16-44,1 FLAC
2009 Home 16-44,1 FLAC
2009 Hope (Live) 16-44,1 FLAC
2009 Notes of Life 16-44,1 FLAC
2011 Beatin' Aroun De Bush 16-44,1 FLAC
2011 Early Hugh Masekela 16-44,1 FLAC
2012 The Promise Of A Future 16-44,1 FLAC
2014 The Collection 16-44,1 FLAC
2015 Grand Masters 16-44,1 FLAC
2015 Greatest Moments Of 16-44,1 FLAC
2015 Greatest Trumpet Jazz Hits 16-44,1 FLAC
2015 Pure Sounds of Africa 16-44,1 FLAC
2016 No Borders 16-44,1 FLAC
2017 Herb Alpert Hugh Masekela 16-44,1 FLAC
2017 Johannesburg 16-44,1 FLAC
2017 Revival 16-44,1 FLAC
2018 Hugh Masekela (Live) 16-44,1 FLAC
2018 Hugh Masekela the Jazz Epistles (15 Titres) 16-44,1 FLAC
2018 Live at the Record Plant, 24th February 1974 — Digitally Remastered (Live) 16-44,1 FLAC
2018 Live in Concert 16-44,1 FLAC
2018 The Times We’ve Shared — 1939-2018 16-44,1 FLAC
2019 Time 16-44,1 FLAC