tag:blogger.com,1999:blog-59298981845567856372024-03-24T00:10:51.376-07:00As-Shams/The Sun RecordsCalumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comBlogger44125tag:blogger.com,1999:blog-5929898184556785637.post-19827400193911738562024-03-22T02:40:00.000-07:002024-03-22T12:19:26.508-07:00TETE MBAMBISA - African Day<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgANGxXOOtk1PsZ3Vru_2VC-spQP74QSH6anEGuwznTw9_doGcr2D6mjE3H4_z6KgUck0g569aw_GXmMIgSc-BnjXQl6aOXNwuc_xH1KhSSulZLGILotbLwc550vcNpSU_kIMU3j0fFplq9qhov-vog_KHN5aS6qIQafM_dzbimg48Ty_AcDRBMCyecVoA/s620/tete-mbambisa-african-day-620.jpg" style="clear: left; display: inline; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgANGxXOOtk1PsZ3Vru_2VC-spQP74QSH6anEGuwznTw9_doGcr2D6mjE3H4_z6KgUck0g569aw_GXmMIgSc-BnjXQl6aOXNwuc_xH1KhSSulZLGILotbLwc550vcNpSU_kIMU3j0fFplq9qhov-vog_KHN5aS6qIQafM_dzbimg48Ty_AcDRBMCyecVoA/s16000/tete-mbambisa-african-day-620.jpg" /></a></p><p><br /></p><div style="text-align: justify;">Awarded an honorary doctorate from the University of Cape Town in 2023, pianist Tete Mbambisa (82) is a legendary figure in South African jazz. Supported by the cream of the local scene, his albums from the 1970s are among the most cherished vinyl documents from this golden era. A monumental archival undertaking, African Day compiles unreleased recordings from 1976 to resurrect a "lost" Tete Mbambisa double album that falls between his seminal works Tete's Big Sound (1975) and Did You Tell Your Mother (1979).</div><p></p><p style="text-align: justify;">Born in 1942 and raised in South Africa's Eastern Cape province, Tete Mbambisa’s childhood home served as an informal tavern where social gatherings orbited around the family's carefully curated music collection with live performances by a local pianist. Growing up in this environment, his musical roots are embedded in marabi, the syncopated piano sound that blended cues from American jazz, blues and ragtime with the cultural sensibilities that shape modern South African jazz.</p><p style="text-align: justify;">A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career began in earnest. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's two solo recordings from the 1970s were produced by Rashid Vally for the independent As-Shams/The Sun record label. With an abundance of strong material but limited resources, some of the label's prospective releases were not issued at the time of recording. Featuring the intended artwork commissioned for the project in 1976, African Day marks the first major unveiling of unreleased gems from the As-Shams master tape archive.</p><div style="text-align: left;"><div style="text-align: justify;"><div>A. African Day 17:41</div><div><br /></div><div>B1. Khumbula Jane 3:25</div><div>B2. Siviwe 5:13</div><div>B3. Kohinoor 5:12</div><div>B4. Mr. Mecca 4:58</div><div><br /></div><div>C1. Siyanda 6:44</div><div>C2. Umsenge 7.55</div><div><br /></div><div>D1. Relaxin' 8:49</div><div>D2. Untitled (For Duke Makasi) 6:22</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Piano – TETE MBAMBISA</div><div style="text-align: justify;">Bass – SIPHO GUMEDE</div><div style="text-align: justify;">Drums – GILBERT MATTHEWS</div><div style="text-align: justify;">Tenor Sax – DUKE MAKASI</div></div><div style="text-align: left;"><div style="text-align: justify;">Tenor Sax / Flute – BASIL COETZEE (A, B)</div><div style="text-align: justify;">Alto Sax – BARNEY RACHABANE (A, B) </div></div><div style="text-align: justify;">Trumpet – DENNIS MPALE (C, D)</div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;">A, B</div><div style="text-align: justify;">Recorded 27 February 1976 at Satbel Studios – Johannesburg, South Africa. Recording Engineer: Peter Thwaites.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">C, D</div><div style="text-align: justify;">Unannotated session recorded in 1976.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Composed by TETE MBAMBISA</div><div style="text-align: justify;">(Except "Khumbula Jane" by Mackay Davashe)</div><div style="text-align: justify;">Produced by RASHID VALLY</div><div style="text-align: left;"><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Cover Artwork by ZULU BIDI</div><div style="text-align: justify;">Gatefold Photo by PERS ENGLUND</div><div style="text-align: justify;">Back Cover Photo by BRUCE HUNTLEY</div></div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;">Tape Transfers by Rob Allingham</div><div style="text-align: justify;">Audio Mastering by Noah Mintz</div><div style="text-align: justify;">Design & Layout by Rouleaux van der Merwe</div><div style="text-align: justify;">Compiled & Produced by Calum MacNaughton</div></div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">Cat. No. ASA104</div><div style="text-align: justify;">℗ 1976 © 2024 As-Shams Archive</div></div><div style="text-align: justify;"><a href="https://as-shams.bandcamp.com/album/african-day" target="_blank">DIGITAL ALBUM</a></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-69974060090351578772024-03-01T02:30:00.000-08:002024-03-09T07:02:17.597-08:00AS-SHAMS ARCHIVE VOL. 1<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJiPcHXEETPzlwFgMM5OWDhA0zCyWPLCy0XNIxUwl0S-nvXr2hKI5Q8-QlP5nk8tX-yyv53i5kaZXJWe4oqhl2xSJepkDXe8Agmjy6XUmksKN4Pe77U6-TtnyT3SLKTIYC1fkBd3EiSJ62rV6qXQH_fjVgKlWF0bZQgvb6otG7qquPyqY28sxBAqM7/s600/as-shams-archive-vol-1-600.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="600" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJiPcHXEETPzlwFgMM5OWDhA0zCyWPLCy0XNIxUwl0S-nvXr2hKI5Q8-QlP5nk8tX-yyv53i5kaZXJWe4oqhl2xSJepkDXe8Agmjy6XUmksKN4Pe77U6-TtnyT3SLKTIYC1fkBd3EiSJ62rV6qXQH_fjVgKlWF0bZQgvb6otG7qquPyqY28sxBAqM7/s16000/as-shams-archive-vol-1-600.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">As-Shams Archive Vol. 1: South African Jazz, Funk & Soul 1975-1982</td></tr></tbody></table><p><br /></p><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><div style="text-align: justify;"><i><br /></i></div><div style="text-align: justify;"><i>As-Shams Archive Vol. 1</i> introduces the core catalogue of As-Shams/The Sun, the independent record label that documented some of the most exciting developments in jazz, funk and soul from South Africa in the 1970s. With 10 tracks from 10 iconic albums featuring 10 different artists and 10 original compositions, this compilation delivers 85 minutes of South African music history.</div></span></div><p></p><p style="text-align: justify;">Including essential tracks by the likes of Dick Khoza, Black Disco and Harari, remastered from the original analog tapes, <i>As-Shams Archive Vol. 1</i> is an unbeatable introduction to South African rare groove for new listeners as well as a long-awaited first anthology for the label’s many devoted followers.</p><p style="text-align: justify;"><a href="https://as-shams.bandcamp.com/album/as-shams-archive-vol-1-south-african-jazz-funk-soul-1975-1982" target="_blank">DIGITAL ALBUM</a></p><div style="text-align: justify;"><b>1. <a href="https://as-shams-org.blogspot.com/search/label/kippie%20moeketsi">KIPPIE MOKETSI</a> – “Umgababa” (K. Moketsi)</b></div><div style="text-align: justify;"><b>From the album <a href="https://as-shams-org.blogspot.com/2022/01/pat-matshikiza-kippie-moketsi-tshona.html">Tshona! (1975)</a></b></div><div style="text-align: justify;">Alto Sax - Kippie Moketsi, Tenor Sax – Basil Coetzee, Piano – Pat Matshikiza, Bass – Alec Khaoli, Drums – Sipho Mabuse.</div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;"><b>2. <a href="https://as-shams-org.blogspot.com/search/label/pat%20matshikiza">PAT MATSHIKIZA</a> – “Dreams are Wonderful” (P. Matshikiza)</b></div><b><div style="text-align: justify;"><b>From the album <a href="https://as-shams-org.blogspot.com/2022/04/pat-matshikiza-sikiza-matshikiza.html">Sikiza Matshikiza (1976)</a></b></div></b><div style="text-align: justify;">Piano – Pat Matshikiza, Alto Sax – Kippie Moketsi, Tenor Sax – Duku Makasi, Trumpet – George Tyefumani, Guitar – Sandile Shange, Bass – Sipho Gumede, Drums – Gilbert Matthews.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><b>3. <a href="https://as-shams-org.blogspot.com/search/label/tete%20mbambisa">TETE MBAMBISA</a> – “Umthsakazi (The Bride)” (T. Mbambisa)</b></div><div style="text-align: justify;"><b>From the album <a href="https://as-shams-org.blogspot.com/2021/11/tete-mbambisa-tetes-big-sound.html">Tete’s Big Sound (1976)</a></b></div><div style="text-align: justify;">Piano – Tete Mbambisa, Alto Sax – Barney Rachabane, Tenor Sax – Duku Makasi/Aubrey Simani, Baritone Sax – Freeman Lambatha, Trumpet – Tex Nduluka, Guitar – Enoch Mthalane, Bass – Sipho Gumede, Drums – Dick Khoza.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><b>4. <a href="https://as-shams-org.blogspot.com/search/label/dick%20khoza">DICK KHOZA</a> – “Lilongwe” (D. Khoza)</b></div><div style="text-align: justify;"><b>From the album <a href="https://as-shams-org.blogspot.com/2021/08/dick-khoza-chapita.html">Chapita (1975)</a></b></div><div style="text-align: justify;">Drums – Dick Khoza/Negro Mathunjwa, Tenor & Soprano Sax – Ezra Ngcukana, Tenor Sax – Aubrey Simani/Khaya Mahlangu, Alto Sax - Teaspoon Noel, Trumpet – Themba Mehlomakulu, Trombone – Willie Nettie, Electric Piano – Mac Mathunjwa, Lead Guitar – Themba Mokoena, Rhythm Guitar – Joe Zikhali, Bass Guitar – Bethuel Maphumulo.</div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;"><b>5. <a href="https://as-shams-org.blogspot.com/search/label/mike%20makhalemele">MIKE MAKHALEMELE</a> – “Spring is Here” (M. Makhalemele)</b></div><b><div style="text-align: justify;"><b>From the album <a href="https://as-shams-org.blogspot.com/2022/02/mike-makhalemele-blue-mike.html">Blue Mike (1982)</a></b></div></b><div style="text-align: justify;">Tenor Sax – Mike Makhalemele, Organ – Jabu Nkosi, Bass – Zulu Bidi, Drums – Nelson Magwaza.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;"><b>6. <a href="https://as-shams-org.blogspot.com/search/label/black%20disco">BLACK DISCO</a> – “Night Express” (B. Coetzee)</b></div><b><div style="text-align: justify;"><b>From the album <a href="https://as-shams-org.blogspot.com/2022/10/black-disco-night-express.html">Night Express (1976)</a></b></div></b><div style="text-align: justify;">Organ – Pops Mohamed, Flute & Tenor Sax – Basil Coetzee, Bass – Sipho Gumede, Drums – Peter Morake.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;"><b>7. <a href="https://as-shams-org.blogspot.com/search/label/lionel%20pillay">LIONEL PILLAY</a> – “Blues for Yusef” (L. Pillay)</b></div><b><div style="text-align: justify;"><b>From the album <a href="https://as-shams-org.blogspot.com/2022/11/lionel-pillay-deeper-in-black.html">Deeper in Black (1980)</a></b></div></b><div style="text-align: justify;">Piano – Lionel Pillay, Alto Sax – Barney Rachabane, Tenor & Soprano Sax – Duku Makasi, Bass – Sipho Gumede, Drums – Gilbert Matthews.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;"><b>8. <a href="https://as-shams-org.blogspot.com/search/label/harari">HARARI</a> – “Musikana” (S. Ntuli, A. Khaoli, S. Mabuse)</b></div><b><div style="text-align: justify;"><b>From the album <a href="https://as-shams-org.blogspot.com/2021/02/harari-beasters.html">Rufaro (1976)</a></b></div></b><div style="text-align: justify;">Vocals – Selby Ntuli/Alec Khaoli/Sipho Mabuse, Alto Sax – Barney Rachabane, Trumpet – Stompie Manana, Lead Guitar – Themba Mokoena, Keyboard – Selby Ntuli, Bass – Alec Khaoli, Drums – Sipho Mabuse.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;"><b>9. <a href="https://as-shams-org.blogspot.com/search/label/movement%20in%20the%20city">MOVEMENT IN THE CITY</a> – “Blue Sunday” (P. Mohamed)</b></div><b><div style="text-align: justify;"><b>From the album <a href="https://as-shams-org.blogspot.com/2022/10/movement-in-the-city-1979.html">Movement in the City (1979)</a></b></div></b><div style="text-align: justify;">Piano – Pops Mohamed, Tenor Sax – Basil Coetzee, Bass – Peter Odendaal, Drums – Monty Weber.</div></div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;"><b>10. <a href="https://as-shams-org.blogspot.com/search/label/sathima%20bea%20benjamin">SATHIMA BEA BENJAMIN</a> – “Music” (B. Benjamin)</b></div><b><div style="text-align: justify;"><b>From the album <a href="https://as-shams-org.blogspot.com/2022/10/sathima-bea-benjamin-african-songbird.html">African Songbird (1976)</a></b></div></b><div style="text-align: justify;">Vocals – Sathima Bea Benjamin, Flute – Basil Coetzee, Bass - Louis Spears/Basil Moses/Lionel Beukes, Drums - Doug Sides/Monty Weber.</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Cover Photograph by RALPH NDAWO</div><div style="text-align: left;">Gatefold Artwork (Vinyl Edition) by HARGREAVES NTUKWANA</div><div style="text-align: left;"><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Audio Mastering by Noah Mintz</div><div style="text-align: justify;">Design Layout by Rouleaux van der Merwe</div><div style="text-align: justify;">Compiled & Produced by Calum MacNaughton</div><div style="text-align: justify;">Executive Producer: Rashid Vally</div></div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;">Cat. No. ASA101</div><div style="text-align: justify;">℗ 1975, 1976, 1979, 1980, 1982 As-Shams/The Sun</div><div style="text-align: justify;">© 2023 As-Shams Archive</div></div><p style="text-align: justify;">As-Shams Archive is home to the catalogues of As-Shams/The Sun, its predecessor Soultown Records and the reissue imprint MANDLA. The archive holds original master tapes, unreleased recordings, photographs, artwork and ephemera documenting the story of South African jazz in the 1970s.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9JXMo47_eYZmL1Nd3en7_o_usb18BODTXfErwTpmrfNZ5YV8_DcHByuQST_WnJByLPj-eKj9scBUk8dRaHr_jRUPo9_ysZZcD31tCuHm5v3owMn6xU1TJ3qrnmoaV_MmdR-F4F3ECBVkHOVL3V_7PKIkfcxp6ckMoUthCcLlkve7rALKO8f1rQbrS/s600/as-shams-archive-vol-1-vinyl-promo.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9JXMo47_eYZmL1Nd3en7_o_usb18BODTXfErwTpmrfNZ5YV8_DcHByuQST_WnJByLPj-eKj9scBUk8dRaHr_jRUPo9_ysZZcD31tCuHm5v3owMn6xU1TJ3qrnmoaV_MmdR-F4F3ECBVkHOVL3V_7PKIkfcxp6ckMoUthCcLlkve7rALKO8f1rQbrS/s16000/as-shams-archive-vol-1-vinyl-promo.jpg" /></a></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-41973227637345131612024-01-10T01:54:00.000-08:002024-01-10T04:54:35.118-08:00SKYJACK - Light Cycle<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgOQVR-cTC7k0xKOvavm915cSU2UHslPb6i3M3v9AR_rbU9ztEafskeWKHUv-XJTvNpsL85Ls_kc6Tw8nlqL8_df8LiVIlmOwIk_59o1NOujr3AxKMYLlIOCw__H1Ie_6yeg_op4rbEhfOUJqdZRGtUx0eoYvWN3QW6-v8-qAaOE8cjUvGWPn9l9xZec4/s600/skyjack-light-cycle-600.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgOQVR-cTC7k0xKOvavm915cSU2UHslPb6i3M3v9AR_rbU9ztEafskeWKHUv-XJTvNpsL85Ls_kc6Tw8nlqL8_df8LiVIlmOwIk_59o1NOujr3AxKMYLlIOCw__H1Ie_6yeg_op4rbEhfOUJqdZRGtUx0eoYvWN3QW6-v8-qAaOE8cjUvGWPn9l9xZec4/s16000/skyjack-light-cycle-600.jpg" /></a></div><br /><p><br /></p><p style="text-align: justify;">Skyjack is what happens when a heavyweight South African jazz trio meets a pair of Swiss reed and brass hotshots. Over the course of a decade, this all-star quintet has forged a reputation as an innovative and adventurous force in contemporary African and European jazz. Combining deep grooves with thrilling rides and avant-garde experimentation, Skyjack is a powerhouse both on stage and in the studio.</p><p style="text-align: justify;"><i>Light Cycle</i> is the band's third recorded outing and documents a seasoned outfit at its most ambitious and accomplished. Featuring compositions from all members of the group, the album is a multidimensional creature with a big heart and a powerful imagination. Part science fiction adventure, part sentimental journey, Light Cycle reconciles expansive cosmic soundscapes with a solid grounding in memory and folklore.</p><p style="text-align: justify;">Issued as a double-LP on the As-Shams/The Sun label, Skyjack joins both a catalogue and tradition of groundbreaking South African jazz dating back to the 1970s. The album's cover features the work of esteemed Cape Town artist Igshaan Adams.</p><div style="text-align: justify;">Saxophone – MARC STUCKI</div><div style="text-align: justify;">Trombone, Kudu Horn – ANDREAS TSCHOPP</div><div style="text-align: justify;">Piano – KYLE SHEPHERD</div><div style="text-align: justify;">Double Bass – SHANE COOPER</div><div style="text-align: justify;">Drums – JONNO SWEETMAN</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">01. All the Flame (S. Cooper) 7:27</div><div style="text-align: justify;">02. Like a Leaf on a Tree (M. Stucki) 5:44</div><div style="text-align: justify;"><a href="https://as-shams.bandcamp.com/track/light-cycle-vang-gou-die-strandloper" target="_blank">03. Light Cycle / Vang Gou Die Strandloper (K. Shepherd) 8:41</a></div><div style="text-align: justify;">04. Hey Stranger (J. Sweetman) 2:20</div><div style="text-align: justify;">05. Future Past (A. Tschopp) 11:20</div><div style="text-align: justify;">06. Method of Moments (M. Stucki, J. Sweetman, A. Tschopp) 5:28</div><div style="text-align: justify;">07. Morge Früeh Eh D'Sunne Lacht (Trad. A. Glutz, Arr. M. Stucki) 11:40</div><div style="text-align: justify;">08. Porcupine (J. Sweetman) 6:04</div><div style="text-align: justify;">09. Kudu Chant (S. Cooper, A. Tschopp) 2:19</div><div style="text-align: justify;">10. Zaubergarten (for Oscar) (M. Stucki) 2:59</div><div style="text-align: justify;">11. Radha Intro (K. Shepherd) 1:49</div><div style="text-align: justify;">12. Radha III (K. Shepherd) 6:58</div><div style="text-align: justify;">13. The Storm That Guides You (S. Cooper) 4:08</div><p style="text-align: justify;">* Tracklisting differs on 2LP vinyl edition</p><div style="text-align: justify;">Produced by SKYJACK in 2023</div><div style="text-align: justify;"><a href="https://skyjackmusic.com" target="_blank">skyjackmusic.com</a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Recorded by Jürgen von Wechmar at Sunset Recording Studios - Stellenbosch, South Africa.</div><div style="text-align: justify;">Additional Recordings by Shane Cooper at Kujua Records Studio - Johannesburg, South Africa.</div><div style="text-align: justify;">Mixed and Mastered by Martin Ruch at Control Room Berlin - Germany.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Cover Artwork by Igshaan Adams</div><div style="text-align: justify;">Design and Layout by Romy Brauteseth</div><div style="text-align: justify;">Produced for As-Shams by Calum MacNaughton</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Cat. No. SRK897249</div><div style="text-align: justify;"><a href="https://as-shams.bandcamp.com/album/light-cycle" target="_blank">DIGITAL ALBUM</a></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-36234901549773417772023-09-24T07:26:00.000-07:002023-09-24T07:26:52.743-07:00THE HAL SINGER JAZZ QUARTET IN SOUTH AFRICA - Soweto to Harlem<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijBsPw35Pk2A0gcWjEWhHH7n7G5z9Jv_NWE3r2RoeFmRZVleEdGaLrNEsU6zVxBeUJuyv8texmFBbNR2jQoxqu6aBqRzTyzd_YNWgJmg1J0T6pdpg3I35-W0bK6z2klcq_Ew3O4ccO4LlZV59g21aLKrrXN0xY5jve6y8JvaalwHH-l5BVclh1YMyxsOs/s622/hal-singer-soweto-to-harlem-620.jpg" style="clear: left; display: inline; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="622" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijBsPw35Pk2A0gcWjEWhHH7n7G5z9Jv_NWE3r2RoeFmRZVleEdGaLrNEsU6zVxBeUJuyv8texmFBbNR2jQoxqu6aBqRzTyzd_YNWgJmg1J0T6pdpg3I35-W0bK6z2klcq_Ew3O4ccO4LlZV59g21aLKrrXN0xY5jve6y8JvaalwHH-l5BVclh1YMyxsOs/s16000/hal-singer-soweto-to-harlem-620.jpg" /></a><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">When the U.S. State Department announced in the mid-1970s that they were sponsoring a South African tour for the Oklahoma-born, Paris-based saxophonist Hal Singer, producer Rashid Vally took note. Even though his nascent record label As-Shams/The Sun (established in 1974) was making waves on the local scene, the idea of commissioning a recording from an international artist was a ballsy idea. With a discography that stretched back to the 1950s, Hal Singer was already somewhat of a legacy artist by 1976. Vally was well-versed on Singer’s accomplishments and specifically enamoured by his composition “Blue Stompin’,” which appeared on a Prestige album from 1959 that had struck a chord in South Africa.</p><p style="text-align: justify;">With his irresistible charm, Vally managed to coax Singer into a studio in Johannesburg to record a new version of “Blue Stompin’” with South African sax star Kippie Moeketsi, which became the title track of a 1977 album by Moeketsi. The recording session also yielded an album’s worth of new material by Hal Singer and his quartet that took its name from a track inspired by Singer’s trip to South Africa entitled “Soweto to Harlem.” Released in 1976 and only available in South Africa, Soweto to Harlem captures a laid-back, cheeky and nostalgic rhythm and blues set from the Hal Singer Quartet that is unlikely to have emerged for a different target market. </p><p style="text-align: justify;">Cinedelic’s 2023 edition of this impossibly rare album is sourced from the original tape masters and presents it on vinyl internationally for the very first time. The reissue follows Singer’s passing at the age of 100 in August 2020 as we contemplate and celebrate his extraordinary contribution to jazz in the United States and beyond.</p><div style="text-align: justify;">Hal Singer – Tenor Sax</div><div style="text-align: justify;">Alain Jean-Marie – Piano</div><div style="text-align: justify;">August "Gus" Nemeth – Bass</div><div style="text-align: justify;">Oliver Johnson – Drums</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Produced by Rashid Vally</div><div style="text-align: justify;">Photographs by Ronnie Kweyi</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">Originally issued in South Africa by As-Shams/The Sun</div><div style="text-align: justify;">℗ 1976 © 2023 As-Shams Archive</div></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-43213263913606647312023-09-23T05:23:00.002-07:002023-09-24T07:51:58.415-07:00BLACK DISCO - Discovery 1975-1976<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNvsx-BQqnDzxf_nMO5Vryo7LZEKYSmSEs34UYIfY9ATEstA14DEZ0f41G3yU3lJ9UNnkyWYyRKACf8QdSa87Tng0_1fFAqve-ltFS3H8rfOZt0pl7fKX_mO4494Wn4hVZvvKRxH5HqV3HV-FtAJTwSNcdtAYjwWA7jPE6C3KLwKURfea75sLb6REfzw/s620/black-disco-discovery-1975-1976-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNvsx-BQqnDzxf_nMO5Vryo7LZEKYSmSEs34UYIfY9ATEstA14DEZ0f41G3yU3lJ9UNnkyWYyRKACf8QdSa87Tng0_1fFAqve-ltFS3H8rfOZt0pl7fKX_mO4494Wn4hVZvvKRxH5HqV3HV-FtAJTwSNcdtAYjwWA7jPE6C3KLwKURfea75sLb6REfzw/s16000/black-disco-discovery-1975-1976-620.jpg" /></a><br /></p><p style="text-align: justify;">With a Yamaha organ and a dream, Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed’s electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.</p><p style="text-align: justify;">Distilling the group’s recorded output into a single commemorative document, <i>Discovery 1975-1976 </i>compiles cuts from the lauded <i>Night Express</i> album alongside rare gems from the group’s long-out-of-print first and third albums. The newly remastered selection features previously unissued single versions of the mighty “Night Express” itself, a funk juggernaut with piercing flute whistles and rapturous sax cries as well as “Dawn” from the album <i>Black Disco 3</i>, a trippy, flute-driven awakening of soft light and gentle colours.</p><p style="text-align: justify;"><a href="https://galacticwaves.substack.com/p/discovery-1975-1976" target="_blank">EXPANDED NOTES</a></p><div style="text-align: justify;">1. Spiritual Feeling (Riding the Blue) <span style="font-size: x-small;">6:44</span></div><div style="text-align: justify;">2. Pops Blue <span style="font-size: x-small;">3:06</span></div><div style="text-align: justify;">3. Night Express (Single Version) <span style="font-size: x-small;">5:20</span></div><div style="text-align: justify;">4. Kids in the Dark <span style="font-size: x-small;">5:00</span></div><div style="text-align: justify;">5. Dawn (Single Version) <span style="font-size: x-small;">4:42</span></div><div style="text-align: justify;">6. I'm Organized <span style="font-size: x-small;">6:42</span></div><div style="text-align: justify;">7. Yasmeen's Blues <span style="font-size: x-small;">4:51</span></div><div style="text-align: justify;">8. Dark Clouds Part 1 <span style="font-size: x-small;">3:19</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Tracks 2, 6, 8 from the album BLACK DISCO (1975)</div><div style="text-align: justify;">Tracks 3, 7 from the album NIGHT EXPRESS (1976)</div><div style="text-align: justify;">Tracks 1, 4, 5 from the album BLACK DISCO 3 (1976)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">ORGAN AND DRUM MACHINE – Pops Mohamed</div><div style="text-align: justify;">TENOR SAX AND FLUTE – Basil Coetzee</div><div style="text-align: justify;">BASS – Sipho Gumede / Peter Odendaal (1, 4, 5)</div><div style="text-align: justify;">DRUMS – Peter Morake (3, 7) / Monty Weber (1, 4, 5)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Recorded by Peter Ceronio at Gallo Studios</div><div style="text-align: justify;">Produced by Rashid Vally</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Audio Mastering by Noah Mintz</div><div style="text-align: justify;">Design and Layout by Ash Pederick</div><div style="text-align: justify;">Compiled and Produced by Calum MacNaughton</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Cat. No. ASA103</div><div style="text-align: justify;">℗ 1976 As-Shams/The Sun © 2023 As-Shams Archive</div><div style="text-align: justify;"><a href="https://as-shams.bandcamp.com/album/discovery-1975-1976" target="_blank">DIGITAL ALBUM</a></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-42395363280877530882023-09-14T00:30:00.000-07:002023-09-14T00:30:38.031-07:00The MANKUNKU-MAKHALEMELE Trilogy<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyEUKFTVV1GwK_Akymw_8Bza7bO2Bl0FdW5j7gDjC4a3iC-E3PpCNO5F8pqeE-QyCpGTM2tceaPHcN56n77QPSUJ_jD7oi_VuIBo_KoGwtUiySLMNvSr9enlvxBjSaAnLok1wLX7vFf8-uFIyDtZXzF0bg00g2te9hf23rwHUVteGUdAoqCJPa-o7h8I4/s620/mankunku-makhalemele-series-620.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyEUKFTVV1GwK_Akymw_8Bza7bO2Bl0FdW5j7gDjC4a3iC-E3PpCNO5F8pqeE-QyCpGTM2tceaPHcN56n77QPSUJ_jD7oi_VuIBo_KoGwtUiySLMNvSr9enlvxBjSaAnLok1wLX7vFf8-uFIyDtZXzF0bg00g2te9hf23rwHUVteGUdAoqCJPa-o7h8I4/s16000/mankunku-makhalemele-series-620.jpg" /></a></p><div style="text-align: justify;">Three As-Shams Archive albums from the mid-70s that trace the interweaving discographies of saxophonists Winston Mankunku Ngozi and Mike Makhalemele. Backed by The Cliffs, <i>Alex Express </i>was Mankunku's long-awaited 1975 sophomore album that followed the lauded <i>Yakhal' </i><i style="text-align: left;">Inkomo</i><span style="text-align: left;"> with the Mankunku Quartet from 1969. Also appearing in 1975, </span><i style="text-align: left;">The Peacemaker</i><span style="text-align: left;"> was Makhalemele's debut – a landmark release announcing the arrival of a new saxophone colossus. </span><i style="text-align: left;">The Bull and the Lion</i><span style="text-align: left;"> from 1976 saw these two figureheads joining forces for one of the epic collaborations of South African jazz in the 1970s. </span>Restored, remastered and reissued in partnership with <a href="https://as-shams-busy-bodies.bandcamp.com" target="_blank">We Are Busy Bodies</a>.</div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-71872246883305413362023-09-12T05:00:00.002-07:002023-09-12T05:00:39.945-07:00MIKE MAKHALEMELE & WINSTON MANKUNKU NGOZI - The Bull and the Lion<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQIe9esBAXoGSpaBvj0KgC7cUkAoCbcAmX4zXDDwAv1qYfw3xzr-Dnc1NYMHMmJ-RnV_dt77OXuzntKpZSvldF2iA07Yzpk7wZ_B_TG138fzrFmsOd7HrxybxSXI1SGTAzrwmo3n_Snnda-TlH0HksA9MlksNapG0QNplMT8vzibtklC_2WoQy4765Epc/s620/makhalemele-mankunku-bull-and-lion-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQIe9esBAXoGSpaBvj0KgC7cUkAoCbcAmX4zXDDwAv1qYfw3xzr-Dnc1NYMHMmJ-RnV_dt77OXuzntKpZSvldF2iA07Yzpk7wZ_B_TG138fzrFmsOd7HrxybxSXI1SGTAzrwmo3n_Snnda-TlH0HksA9MlksNapG0QNplMT8vzibtklC_2WoQy4765Epc/s16000/makhalemele-mankunku-bull-and-lion-620.jpg" /></a><br /></p><div style="text-align: justify;">Bringing together Johannesburg’s two saxophone titans for a supergroup recording project was a visionary move by Jo’Burg Records in 1976. Following the success of Makhalemele’s debut <i>The Peacemaker</i> and Mankunku’s long-awaited sophomore release <i>Alex Express</i>, which both appeared in 1975, the bar had been set very high. Enamoured by their jazz contemporaries, the session was concocted by members of an exciting new South African rock group called Rabbit, who formed a backing group consisting of guitarist Trevor Rabin, bassist Ronnie Robot and drummer Neil Cloud alongside jazz pianist Tete Mbambisa. Recorded at the state-of-the-art Satbel Music Recording Studios, the inspired performances of this diverse cast of young South African artists at the height of their powers was captured with exquisite fidelity. Packaged as <i>The Bull and the Lion</i>, the album title references Mankunku’s signature composition “Yakhal’ Inkomo” (which means “the bellow of the bull”) and Makhalemele’s stage name “Ratau” (meaning "lion"). The pairing of Mankunku and Makhalemele stands with Moeketsi/Matshikisa and Pillay/Coetzee as one of the epic collaborations of South African jazz in the 1970s.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Ronnie Robot – Bass</div><div style="text-align: justify;">Neil Cloud – Drums</div><div style="text-align: justify;">Trevor Rabin – Guitar</div><div style="text-align: justify;">Tete Mbambisa – Piano</div><div style="text-align: justify;">Mankunku & Makhalemele – Voices</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">A Jo'Burg Records Production</div><div style="text-align: justify;">Recorded at Satbel Music Recording Studios</div><div style="text-align: justify;">Recording Engineer: Paul Dobbe</div><div style="text-align: justify;">Photography by Rent-a-Studio</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Originally issued in South Africa by Jo'Burg Records</div><div style="text-align: justify;">℗ 1976 © 2023 As-Shams Archive</div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-16718012313981196262023-09-12T05:00:00.001-07:002023-09-12T05:00:26.978-07:00MIKE MAKHALEMELE - The Peacemaker<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqcmRAZiSFaU3fc4q5LkVcQcMv3LInvC8JJmBMlUN39RZty6jEwWBxswzIGWaRj3F1XOjUCrcnD-aG7nWqYGGKc_NBt5jtD2t2oZrkGew-zDnAN-Bu8f3j8LJLzwcCNMTbUTx3s8DjM0e4riIyaiud-OztMLruiT6I9uUMngH1nRFDimK5EAwJ-bwtnjM/s620/mike-makhalemele-peacemaker-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqcmRAZiSFaU3fc4q5LkVcQcMv3LInvC8JJmBMlUN39RZty6jEwWBxswzIGWaRj3F1XOjUCrcnD-aG7nWqYGGKc_NBt5jtD2t2oZrkGew-zDnAN-Bu8f3j8LJLzwcCNMTbUTx3s8DjM0e4riIyaiud-OztMLruiT6I9uUMngH1nRFDimK5EAwJ-bwtnjM/s16000/mike-makhalemele-peacemaker-620.jpg" /></a></p><div style="text-align: justify;"><div>Hailing from Alexandra and nicknamed "Ratau" (meaning "lion"), saxophonist Mike Makhalemele (1938-2000) was a force of nature with a robust yet soulful tone and seemingly endless breath. He embraced the pop music scene as an enthusiastic collaborator and staked his territory at the intersection of township grooves with modern currents in soul, funk and disco. As a solo artist, he delivered a formidable run of albums in the 1970s that that made him the most prolific recording artist in South African jazz during this era.</div><div><br /></div><div>First issued in 1975 by the maverick independent label Jo’Burg Records, his debut <i>The Peacemaker</i> was a tour de force that introduced Makhalemele’s heavyweight sax prowess (deftly accompanied by Jabu Nkosi on keys and Sipho Gumede on bass) while showcasing his innovative approach as a composer and arranger. To mark the arrival of a new saxophone colossus, the album’s profile portrait cover boldly evoked the iconic <i>Yakhal’ Inkomo</i> by the Mankunku Quartet from 1969. Mike Makhalemele and Winston Mankunku Ngozi would go on to share the spotlight on a collaborative release entitled <i>The Bull and the Lion</i> in 1976.</div><div><br /></div><div>Arranged by Mike Makhalemele</div><div>Recorded at Satbel Music Recording Studios</div><div>Recording Engineer: Allen Glen</div><div>Photography by Georgina Karvelas</div><div><br /></div></div><div style="text-align: justify;">Originally issued in South Africa by Jo'Burg Records</div><div style="text-align: justify;">Cat. No. TJL 13005</div><div style="text-align: justify;">℗ 1975 © 2023 As-Shams Archive</div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-33244433166150169942023-09-12T05:00:00.000-07:002023-09-12T05:00:05.102-07:00THE CLIFFS feat. WINSTON MANKUNKU NGOZI - Alex Express<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ncvD5Ik8Z_zCoi1z5Dx99w-DkdNzCuJ09Iy_AbkT257yd16CQU7P_Cdal9LtFXuihKHyGOe-dt6DWwkNQ0S5uPv5BrYX9luEPGJIOhZaaZdrk_dTLli9Qol8wW6EcMiBHtQp3jo0XHK-hD-RzTtJGmW0naLJtP77grueeOBucArotUMJ9ah8bNfeR7M/s620/mankunku-cliffs-alex-express-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ncvD5Ik8Z_zCoi1z5Dx99w-DkdNzCuJ09Iy_AbkT257yd16CQU7P_Cdal9LtFXuihKHyGOe-dt6DWwkNQ0S5uPv5BrYX9luEPGJIOhZaaZdrk_dTLli9Qol8wW6EcMiBHtQp3jo0XHK-hD-RzTtJGmW0naLJtP77grueeOBucArotUMJ9ah8bNfeR7M/s16000/mankunku-cliffs-alex-express-620.jpg" /></a><br /></p><div style="text-align: justify;">Hailing from Cape Town, tenor saxophonist Winston Mankunku Ngozi (1943-2009) is a venerated figure in the pantheon of South African jazz. Inspired by Coltrane while rooted in indigenous folklore, he released the classic album <i>Yakhal’ Inkomo</i> at the outset of his career with the Mankunku Quartet in 1969. Backed by the Cliffs, <i>Alex Express</i> documents Mankunku’s return to the studio in 1975 with a handful of new and original compositions and his inimitable tone on full display. Shaking off the burden of <i>Yakhal’ Inkomo</i>, which was heralded as an earnest manifesto for modern South African jazz, the album is a carefree affair that leans into township grooves with joyful exuberance. In addition to a collaborative project with Mike Makhalemele entitled <i>The Bull and the Lion</i>, <i>Alex Express</i> is the first of just two rare snapshots of Mankunku in the 1970s. Disillusioned by the recording industry, it would take until his resurgence in the 1990s for Mankunku to flesh out his recorded legacy.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>Personnel (Uncredited):</div><div><br /></div><div>ALTO SAX – Winston Mankunku Ngozi</div><div>TRUMPET – Stompie Manana</div><div>TRUMPET – George Tyefumani</div><div>ORGAN – Roger Khoza</div><div>GUITAR – Allen Kwela</div><div>BASS – Philip Kiti</div><div>DRUMS – Peter Jackson</div><div><br /></div><div>All Tracks Composed by W. Ngozi</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Originally issued in South Africa by The Record and Tape Company</div><div style="text-align: justify;">℗ 1975 © 2023 As-Shams Archive</div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-64350607127348462272023-09-02T13:26:00.002-07:002023-09-02T13:50:37.247-07:00ALLEN KWELA - Black Beauty<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUHuz0GG0ln0L8OJCSy8GyTC5vs34ye04t2SeaS6a1sesnCQuwlkLRzmM4hgxg_JZZNhht2uivK8ZifkEI_Vjh5q7Yaqu4B591rg6mfxBf7x57EJZWQsqgbU6ncUDfsxQN-Lp1kk5unB794ryvte4Ukjx2uDacPmc3Gx6fz5bHkH_XdxYjgvaPOmbb5XA/s620/allen-kwela-black-beauty-620.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUHuz0GG0ln0L8OJCSy8GyTC5vs34ye04t2SeaS6a1sesnCQuwlkLRzmM4hgxg_JZZNhht2uivK8ZifkEI_Vjh5q7Yaqu4B591rg6mfxBf7x57EJZWQsqgbU6ncUDfsxQN-Lp1kk5unB794ryvte4Ukjx2uDacPmc3Gx6fz5bHkH_XdxYjgvaPOmbb5XA/s16000/allen-kwela-black-beauty-620.jpg" /></a></div><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><p style="text-align: justify;">Born in 1939 with his roots in rural Kawzulu-Natal, Allen Kwela began his career as a collaborator of Spokes Mashiyane, playing the iconic pennywhistle-based kwela style that was his namesake. He evolved into a South African jazz bandleader and composer in the 1970s, releasing <i>Allen's Soul Bag</i> at the helm of the Allen Kwela Octet in 1972. Issued on the maverick Soweto label, <i>Black Beauty</i> followed in 1975 with a set that blends township grooves with jazz-rock influences and features Kippie Moeketsi on saxophone. Kwela enjoyed an enduring career as a teacher, session player and solo artist through the 1990s until his death from an asthma attack in 2003. In the esteemed company of the likes of Themba Mokoena, Enoch Mthalane and Sandile Shange, he is remembered as one of the legendary South African jazz guitarists of his generation.</p><div style="text-align: justify;">Allen Kwela – Piano</div><div style="text-align: justify;"><div>Kippie Moeketsi – Alto Saxophone</div><div><br /></div><div>A Jo'Burg Records Production</div><div>Sleeve Design by Space & Design</div><div>Photography by Baroness de Rosner</div><div><br /></div><div>Originally issued on the Soweto label</div><div>Cat. No. SWA 14013</div><div>℗ 1975 © 2023 As-Shams Archive</div></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-88885392747072554412023-07-25T08:00:00.003-07:002023-08-09T00:43:49.351-07:00BRA SELLO - Butterfly & The Battle of Disco<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbyHh9SLsAUeAUYLviyJ_709iMoYcDtJ61UCwccVFRwe9glYoPnIESRKNAEnGqvDnUD2CYtMiajT3xIqBub6yKj5ppOzgkqqtxxHc_pGVmjNJB0CUGAS52vvHPABHoC-qHE7tjwmbPFzR2Io8Dsn391jNXMxaBpha0T07sjuG7lpre6Nu3zxu6sB3MQ-E/s620/bra-sello-butterfly-620.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbyHh9SLsAUeAUYLviyJ_709iMoYcDtJ61UCwccVFRwe9glYoPnIESRKNAEnGqvDnUD2CYtMiajT3xIqBub6yKj5ppOzgkqqtxxHc_pGVmjNJB0CUGAS52vvHPABHoC-qHE7tjwmbPFzR2Io8Dsn391jNXMxaBpha0T07sjuG7lpre6Nu3zxu6sB3MQ-E/s16000/bra-sello-butterfly-620.jpg" /></a></div><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">With one foot planted in jazz and the other in the township groove of mbaqanga, saxophonist Sello Mmutung was a powerful crossover figure in the history of popular music in South Africa. Using the stage name Bra Sello, meaning “brother” and used as a term of affection and respect in the jazz community, he came up in the era of shellac 78s as an exponent of the 1960s sax jive sound that brought the swinging rhythm of kwela into the domain of South African jazz. Despite the injection of American rhythm and blues into South African pop in the late-1960s, Bra Sello’s first releases on vinyl on the CBS label saw him backed by the group Abafana Bentuthuko and holding down an unapologetic township sound.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Joining the independent Soweto label under producer Cambridge Matiwane in the mid-1970s, Bra Sello recorded two platters in the hit-making bump jive style popularised by serious jazz musician Dollar Brand on the one hand and prolific studio group the Movers, operating in funk and soul territory, on the other. Blending modern American and traditional African elements into joyful hip-swinging rhythms, <i>Butterfly</i> (1975) and <i>The Battle of Disco</i> (1977) reflect the vivacity of urban life in South Africa and document an era when dance music was performed by bands as extended jams laced with jaw-dropping solos. With music trends shifting dramatically in the late-1970s, the title of <i>The Battle of Disco</i> was an ironic call to arms in response to the territory that group musicians were beginning to cede to synthesisers and DJs.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqeUL5s5I_fDkBjYH-sBDy2kfStRV2c07C__YnuOXXg_vL7Lxe3TcQyN2sOHsxpzuuqAYM9J7Qfi026yJlmlxyLdJyT8yEwo_uplJxDKf_J1P0EyutY_sZEb1sVl6HGD5Q4FgPoiPLmCrJDeXC8n2_eK0HOEdSJAA9ZFOHbOeNJHUS9URDavjF9i18yrI/s620/bra-sello-battle-of-disco-620.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqeUL5s5I_fDkBjYH-sBDy2kfStRV2c07C__YnuOXXg_vL7Lxe3TcQyN2sOHsxpzuuqAYM9J7Qfi026yJlmlxyLdJyT8yEwo_uplJxDKf_J1P0EyutY_sZEb1sVl6HGD5Q4FgPoiPLmCrJDeXC8n2_eK0HOEdSJAA9ZFOHbOeNJHUS9URDavjF9i18yrI/s16000/bra-sello-battle-of-disco-620.jpg" /></a></div><br /><div><br /></div><div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>Originally issued on the Soweto label</div><div><i>Butterfly</i> (1975) Cat. No. SWA 14014</div><div>Composed by S. Mmutung, C.B. Matiwane / Produced by C.B. Matiwane</div><div><i>The Battle of Disco</i> (1977) Cat. No. SWA 14018</div><div>Composed by S. Mmutung / Produced by Sello Mmutung</div><div>℗ 1975, 1977 © 2023 As-Shams Archive</div></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-37221768202536811352022-11-05T06:34:00.005-07:002022-11-05T07:49:22.872-07:00The PILLAY-COETZEE Trilogy<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK4CuPblCbJJLEUUgLPrqi7MgIoEXz6YXViip6vXa_NjY9ab05EVAo5mHLU-2vjHTPnIUjgdJ7Mie_WSbmc5OzjmwrOFk3wtsZU2KYQwQCko93kDUYgp1oGRSD6k7ZzimPnXVWso6xyEo2UKpIDEWmYnhCZL34i9ICryH93xG350y-pwRCi9_FKlH3/s620/pillay-coetzee-trilogy-620.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK4CuPblCbJJLEUUgLPrqi7MgIoEXz6YXViip6vXa_NjY9ab05EVAo5mHLU-2vjHTPnIUjgdJ7Mie_WSbmc5OzjmwrOFk3wtsZU2KYQwQCko93kDUYgp1oGRSD6k7ZzimPnXVWso6xyEo2UKpIDEWmYnhCZL34i9ICryH93xG350y-pwRCi9_FKlH3/s16000/pillay-coetzee-trilogy-620.jpg" /></a></div><br /><div><br /></div><div><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Three As-Shams albums from the late-70s that trace the interweaving discographies of pianist Lionel Pillay and tenor saxophonist Basil Coetzee. The connection between these three titles is tight as the 1987 release <a href="https://as-shams-org.blogspot.com/2022/01/lionel-pillay-basil-coetzee-shrimp-boats.html"><i>Shrimp Boat</i>s</a> compiled unreleased recordings from both the 1979 session for <i><a href="https://as-shams-org.blogspot.com/2022/10/lionel-pillay-basil-coetzee-plum.html">Plum and Cherry</a></i> and the 1980 session for <i><a href="https://as-shams-org.blogspot.com/2022/11/lionel-pillay-deeper-in-black.html">Deeper in Black</a></i>. <i>Shrimp Boats</i> and <i>Plum and Cherry</i> capture the extraordinary musical chemistry that existed between Pillay and Coetzee during this era. <i>Deeper in Black</i> is Pillay's nod to American trumpeter Blue Mitchell, who toured and recorded in South Africa in 1976. Restored, remastered and reissued in partnership with <a href="https://as-shams-busy-bodies.bandcamp.com" target="_blank">We Are Busy Bodies</a>.</div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-34014074572502087252022-11-05T06:23:00.004-07:002022-11-05T07:41:50.707-07:00The MOKETSI-MATSHIKIZA Trilogy<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLNOzY7ZRTCv5gE9Ged1H4UlHy-a6YpYqnc0ZAABJIPamOboWl-4Nish8ejz8Ptg3hBLp_w2CKsynP6Yqjua6cE4kPduuy5NyOnodM_l4XF46m30YJnZ3GsFVLw_d5BXrIl0witCLwn6wvK8wZ-ULCqj0-W7GRztA10-HyHqJSkJM-rGirlkD85S7Y/s620/moketsi-matshikiza-trilogy-620.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLNOzY7ZRTCv5gE9Ged1H4UlHy-a6YpYqnc0ZAABJIPamOboWl-4Nish8ejz8Ptg3hBLp_w2CKsynP6Yqjua6cE4kPduuy5NyOnodM_l4XF46m30YJnZ3GsFVLw_d5BXrIl0witCLwn6wvK8wZ-ULCqj0-W7GRztA10-HyHqJSkJM-rGirlkD85S7Y/s16000/moketsi-matshikiza-trilogy-620.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Three As-Shams albums from the mid-1970s that trace the interweaving discographies of saxophonist Kippie Moeketsi and pianist Pat Matshikiza. </span><i style="text-align: left;"><a href="https://as-shams-org.blogspot.com/2022/01/pat-matshikiza-kippie-moketsi-tshona.html">Tshona!</a></i><span style="text-align: left;"> was their collaborative effort from 1975, supported by Basil Coetzee on tenor and with Beaters/Harari holding down the rhythm section. Matshikiza would then invite Moeketsi to feature on his solo debut </span><i style="text-align: left;"><a href="https://as-shams-org.blogspot.com/2022/04/pat-matshikiza-sikiza-matshikiza.html">Sikiza Matshikiza</a></i><span style="text-align: left;"> in 1976, this time backed by Spirits Rejoice. Matshikiza later pops up on the Harold Baker/Charles Hodges composition "Hang On There" covered on Moeketsi's </span><i style="text-align: left;"><a href="https://as-shams-org.blogspot.com/2021/06/kippie-moketsi-hal-singer-blue-stompin.html">Blue Stompin'</a></i><span style="text-align: left;"> album in 1977. Restored, remastered and reissued in partnership with </span><a href="https://as-shams-busy-bodies.bandcamp.com" style="text-align: left;" target="_blank">We Are Busy Bodies</a><span style="text-align: left;">.</span></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-50602162950209429372022-11-04T00:11:00.000-07:002022-11-04T00:11:01.024-07:00LIONEL PILLAY feat. BASIL COETZEE - Plum and Cherry<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Ez-_HHKJHbYbgQxuO_FyGiTlR0wMGZVL2JpQKR_ZMCIPECVehQQASQMUDGnq_Kjd1xhIZFNLyX0bphOX2MDKaf_HSj7oDKv6DIyKo_15KQQI8fbECaVWt6_9YxI0Zbajpj2AVUobrHO07LOrAVl-OL0lpJvG__PhunUxQUv6IDZV8ONN6Q7dzUrS/s620/lionel-pillay-basil-coetzee-plum-and-cherry-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Ez-_HHKJHbYbgQxuO_FyGiTlR0wMGZVL2JpQKR_ZMCIPECVehQQASQMUDGnq_Kjd1xhIZFNLyX0bphOX2MDKaf_HSj7oDKv6DIyKo_15KQQI8fbECaVWt6_9YxI0Zbajpj2AVUobrHO07LOrAVl-OL0lpJvG__PhunUxQUv6IDZV8ONN6Q7dzUrS/s16000/lionel-pillay-basil-coetzee-plum-and-cherry-620.jpg" /></a><br /></p><p style="text-align: justify;">Following the April 2022 reissue of the album <i>Shrimp Boats</i>, We Are Busy Bodies presents companion titles <i>Plum and Cherry</i> and <i>Deeper in Black</i> to round out a Lionel Pillay and Basil Mannenberg Coetzee “trilogy” as part of the label’s As-Shams South African jazz archive series. The connection between these three albums is tight as the 1987 release <i>Shrimp Boats</i> compiled unreleased recordings from both the 1979 session for <i>Plum and Cherry</i> and the 1980 session for <i>Deeper in Black</i>. These two rare records have been carefully remastered from their original tapes and are back in print for the very first time in over 40 years.</p><p style="text-align: justify;"><i>Shrimp Boats</i> and <i>Plum and Cherry</i> capture the extraordinary musical chemistry that existed between pianist Lionel Pillay and tenor saxophonist Basil Coetzee in the late 1970s. The respective album showpieces “Shrimp Boats” and “Cherry” each occupy an entire side of vinyl with both exquisite musical journeys clocking in at an epic 25 minutes a piece. While “Shrimp Boats” was an instrumental reimagining of the popular 1951 song by American singer Jo Stafford, “Cherry” drew inspiration from Abdullah Ibrahim at the behest of producer Rashid Vally, who wanted to emulate the success of the famous track that had helped launch his independent As-Shams/The Sun record label in 1974. Ibrahim’s hit “Mannenberg” had also featured Basil Coetzee and it was this zeitgeist South African jazz recording that had given rise to his stage name.</p><p style="text-align: justify;">Capturing the grace and vitality of working-class township life on the city fringe, “Cherry” channels the type of laid-back Cape groove that Abdullah Ibrahim, recording as Dollar Brand, introduced to South African jazz in the 1970s. On the flip side, “Plum” appears to take its own simple chord change in the same direction before breaking into a chugging 20-minute romp that verges on proto-electronica and on which Pillay hangs all manner of savage keyboard riffing and experimentation. The two distinct flavours of <i>Plum and Cherry</i> make for a well-rounded platter with an iconic cover featuring the work of abstract expressionist painter and As-Shams/The Sun collaborator Hargreaves Ntukwana.</p><div style="text-align: justify;">Lionel Pillay – Piano, Electric Piano, Organ, Other Keyboards</div><div style="text-align: justify;">Basil Coetzee – Tenor Sax on “Cherry”</div><div style="text-align: justify;">Rod Clark – Drums, Percussion</div><div style="text-align: justify;">Charles Johnstone – Bass</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Recorded at Gallo Studios</div><div style="text-align: justify;">Engineer – Robin Ritchie</div><div style="text-align: justify;">Cover Painting by Hargreaves Ntukwana</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Produced by Lionel Pillay & Rashid Vally</div><div style="text-align: justify;">Cat. No. SRK 786146</div><div style="text-align: justify;">℗ 1979 As-Shams/The Sun</div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-48750458906936507242022-11-04T00:10:00.000-07:002022-11-04T00:10:49.765-07:00LIONEL PILLAY - Deeper in Black<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQHTak46YjwQhFvHEXy_moZxioKDrPRJY-qALrBIUrcvnu0Prjfgd9bg9ISTf0244ZsE8nA2IDN0woUEhEGGG9R121wbaS0KQ13HVaFZEAqndsKIjr6jJYHe0B62u0EFRyY_yi2zDKUG86-nidk5PyLrh08glM6UIxvGI5TLjHbl7nz7q7QwofBL3t/s620/lionel-pillay-deeper-in-black-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQHTak46YjwQhFvHEXy_moZxioKDrPRJY-qALrBIUrcvnu0Prjfgd9bg9ISTf0244ZsE8nA2IDN0woUEhEGGG9R121wbaS0KQ13HVaFZEAqndsKIjr6jJYHe0B62u0EFRyY_yi2zDKUG86-nidk5PyLrh08glM6UIxvGI5TLjHbl7nz7q7QwofBL3t/s16000/lionel-pillay-deeper-in-black-620.jpg" /></a></p><p style="text-align: justify;">Alongside the likes of As-Shams recording artists Pat Matshikiza and Tete Mbambisa, Lionel Pillay was one of the legendary pianists to emerge during the golden age of South Africa jazz in the 1960s. A sideman to and friend of Winston Mankunku Ngozi, Pillay appears on the most lauded historic recording from this era – the Mankunku Quartet’s 1968 long-player <i>Yakhal’ Inkomo</i>. Pillay later recorded his own version of the album’s title track, now a South African jazz standard, which was issued on the compilation <i>Shrimp Boats</i> in 1987.</p><p style="text-align: justify;">Lionel Pillay’s broad list of associations is a testament to how widely respected he was in South Africa’s diverse jazz scene. In addition to his work with Mankunku, he played with Hugh Masekela in the early 1960s, produced the exquisite long-form recordings “Shrimp Boats” and “Cherry” with Basil Coetzee in the 1970s and collaborated with trumpeter Murray Campbell and saxophonist Bez Martin in the 1980s. However, is it with his 1980 album <i>Deeper in Black</i>, backed by core members of the jazz-fusion supergroup Spirits Rejoice, that his legacy was cemented.</p><p style="text-align: justify;"><i>Deeper in Black</i> was inspired by the 1969 Blue Note recording of American trumpeter Blue Mitchell entitled <i>Collision in Black</i> and took its name from Pillay’s cover of the album’s Peggy Grayson composition. Pillay’s album featured another two compositions from <i>Collision in Black</i> by way of the Monk Higgins track “Keep Your Soul,” with distinct arrangements straddling Side A and Side B, and Vee Pea’s “Jo Ju Ja” closing out the set. Although the source material was over a decade old when Pillay recorded his album, <i>Collision in Black</i> had struck a chord in South Africa with its first pressing in 1969 and even seen a local repressing in 1978. Blue Mitchell owed much of his popularity in South Africa to a six-week tour with saxophonist Harold Land in 1976. It was during this time that As-Shams/The Sun producer Rashid Vally seized the opportunity to record the Dollar Brand album <i>Blues for a Hip King</i> with Mitchell and Land backing Abdullah Ibrahim. Although the recording and release of Pillay’s <i>Deeper in Black</i> coincides with Blue Mitchell’s death in May 1979, the album was not explicitly promoted as a tribute but did certainly offer a respectful nod to the esteemed trumpeter who was among the few American jazz heavyweights who managed to connect with the South African scene during the Apartheid era.</p><p style="text-align: justify;">Although Pillay was a great arranger, <i>Deeper in Black</i> also showcases the exquisite original composition and album opener “Blues for Yusuf” with its shimmering keys, funky bass and searing sax. Issued in an all-black sleeve, there was a veiled revolutionary spirit behind the album’s hip modern sound that drew it into alliance with the work of contemporaries Movement in the City, who also sought to bring South African jazz into the 1980s along with a subtle edge of radical social realism. Pillay performed and recorded under the stage name Lionel Martin in the 1980s before fading into obscurity in 1990s owing to mental health challenges and passing away in 2003. While the details of his personal life are vague, his contribution to South African jazz is vividly documented on <i>Deeper in Black</i> with enduring vitality. Pillay’s discography on the As-Shams label is rounded out by <i>Shrimp Boats</i>, which features unreleased material from the <i>Deeper in Black</i> session, and his collaborative album <i>Plum and Cherry</i> with saxophonist Basil Mannenberg Coetzee.</p><div style="text-align: justify;">Lionel Pillay – All Keyboards</div><div style="text-align: justify;">Barney Rachabane – Alto Sax</div><div style="text-align: justify;">Duku Makasi – Tenor & Soprano Sax</div><div style="text-align: justify;">Sipho Gumede – Bass</div><div style="text-align: justify;">Gilbert Mathews – Drums & Percussion</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Produced by Rashid Vally</div><div style="text-align: justify;">Cat. No. SRK 786149</div><div style="text-align: justify;">℗ 1980 As-Shams/The Sun</div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-56632084044183374322022-10-27T02:57:00.001-07:002022-10-27T03:58:54.358-07:00MOVEMENT IN THE CITY - Movement in the City<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ohL59hEJWD28Kvx54YYvVopa8zcjdWo64E3ZPm9kzXBUOnnYSLW7d8ilIaJbkm061aX49esDFemfRHPlrs4WHZgK1Gbs0MgaW6vnZcSyRBHjFEroISdl1IhK-EpAZdqXANVZHtWJnZUTDl_Rshsp2E4hCEuC3zsVrqUiWFzFaWRgfOLmv4PcsApQ/s620/movement-in-the-city-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ohL59hEJWD28Kvx54YYvVopa8zcjdWo64E3ZPm9kzXBUOnnYSLW7d8ilIaJbkm061aX49esDFemfRHPlrs4WHZgK1Gbs0MgaW6vnZcSyRBHjFEroISdl1IhK-EpAZdqXANVZHtWJnZUTDl_Rshsp2E4hCEuC3zsVrqUiWFzFaWRgfOLmv4PcsApQ/s16000/movement-in-the-city-620.jpg" /></a></p><p style="text-align: justify;">In the wake of a 2020 edition of Movement in the City's second album <i>Black Teardrops</i> (1981), <a href="https://sharp-flat.blogspot.com" target="_blank">Sharp-Flat Records</a> returns with a prequel by way of a reissue of the band's self-titled debut from 1979.</p><div style="text-align: justify;">As the 1970s were drawing to a close, the epic Black Disco studio project with its signature pairing of drum machine and organ had run its course. After delivering a killer trilogy of cosmic lounge outings dating back to 1975, the group yearned for funkier grooves and the core trio of composer Pops Mohamed on organ with Basil Coetzee on tenor sax and Sipho Gumede on bass decided to hire a drummer and rebrand as Movement in the City. In contrast with the New Age detachment of Black Disco, Movement in the City was conceptually grounded in the bleak social realism depicted on its photographic album covers and leaned into the vivid sensibilities of library music from the era. Blending Cape jazz with funk and soul, the group's output evokes a soundtrack for South African city life at the outset of the 1980s while nodding allegorically to the subterranean movements that were in the course of shaking the cage for political change.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">With its cast of jazz fusion all-stars, <i>Movement in the City</i> is the manifesto of a band in transition - a bold and slick first offering that delivers a modern South African sound capable of both the funky exuberances of "Mister Lucky" as well as the down-home pathos of "Blue Sunday." Restored from its original tape masters and released in partnership with As-Shams Archive and Pops Mohamed, this rare artefact of South African jazz history is back in print for the very first time since its original 1979 release.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Organ, Electric Piano, Piano – Pops Mohamed</div><div style="text-align: justify;">Saxophones – Basil Coetzee</div><div style="text-align: justify;">Bass – Sipho Gumede</div><div style="text-align: justify;">Drums – Gilbert Matthews</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Bass on "Blue Sunday" – Peter Odendaal</div><div style="text-align: justify;">Drums on "Blue Sunday" – Monty Weber</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">All Tracks Composed by Pops Mohamed</div><div style="text-align: justify;">Produced by Rashid Vally</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>Cat. No. SRK 786147</div><div>℗ 1979 As-Shams/The Sun</div></div><div style="text-align: justify;"><a href="https://sharp-flat.bandcamp.com/album/mister-lucky" target="_blank">DIGITAL SINGLE</a></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-60626429157411927822022-10-27T02:47:00.000-07:002022-10-27T02:47:01.761-07:00SATHIMA BEA BENJAMIN - African Songbird<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi37UylVnLiBZXuLuIfKgKSdwLafO2Vb7RnS_39ql6GVvaU4gu5ELBWL6nwBHTBQU91v3O4WrOlCAeMW0nXy56ZJGNUpHAOFeG9a4arCCCfrbuN839CFoZoYcF7fmJp2Nn247HgxrRpPatNWCKTRixU4md95-yhivWTx2WY2yThXP_-Rn_pLM7cfDiF/s620/sathima-bea-benjamin-african-songbird-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi37UylVnLiBZXuLuIfKgKSdwLafO2Vb7RnS_39ql6GVvaU4gu5ELBWL6nwBHTBQU91v3O4WrOlCAeMW0nXy56ZJGNUpHAOFeG9a4arCCCfrbuN839CFoZoYcF7fmJp2Nn247HgxrRpPatNWCKTRixU4md95-yhivWTx2WY2yThXP_-Rn_pLM7cfDiF/s16000/sathima-bea-benjamin-african-songbird-620.jpg" /></a></p><p style="text-align: justify;"><u>Original 1976 sleeve notes by Bruno Rub</u>:</p><div><div style="text-align: justify;">When asked to give some information about her career she replied, in a letter, with these words: "I tried hard to write about myself and music, and why I sing, and then it all just sounded too silly, so I ended up writing poems and a few other thoughts."</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The statement – so it seems to me – is typical of the personality who made it: Bea Benjamin, the singer from South Africa, finds sufficient expression in music and poetry. The following short poem can be taken as her program, so to speak:</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">i love to sing</div><div style="text-align: justify;">i love to live</div><div style="text-align: justify;">i live to love</div><div style="text-align: justify;">i sing to LOVE</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">One is almost afraid to add more to these lines. Music and poetry speak for themselves. Any attempt at an analysis is basically a use of violence, over-powering the subject.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Bea Benjamin was born and raised in Cape Town, South Africa. She began her professional career singing in 1959, when she toured South Africa with the Harold Jephta Quartet. In 1960, she joined the Dollar Brand Trio, and a year later went on tour with the Jazz Epistles, which included Dollar Brand, Kippie Moeketsi and Hugh Masekela. In 1962 she came to Switzerland with the Dollar Brand Trio, appeared at the Zurich jazz-club "Africana", sang on radio and television in Lausanne and made guest-appearances in Berne and Geneva. Later that year she moved to Scandinavia. In Denmark she made radio and T.V. appearances with the Dollar Brand Trio and did extended engagements at the "Montmarte" jazz-club in Copenhagen. She did concerts in Stockholm, Oslo and Helsinki. Duke Ellington engaged her for recordings in Paris, on the Reprise label; the tapes, on which Ellington himself as well as Billy Strayhorn can be heard, were never issued as a recording, regrettably. In 1964 Bea was a guest at the festivals in Molde (Norway), Antibes (Riviera) and Ascona (Switzerland), and in 1965 she appeared with Ellington at the Newport Jazz Festival. With Dollar Brand she gave a concert in the old Carnegie Hall, again with Ellington there were concerts in Vermont and Maryland. Other concert and television dates, as well as appearances at U.S. colleges, followed in 1966. In 1967/68 she was on a South African tour, with Dollar Brand. In 1970 she and Dollar Brand founded the Marimba School of Music, in Mbabane, Switzerland. With the group "Music of Universal Silence", founded by Dollar Brand and Don Cherry, she appeared in Denmark in 1972, as well as at that year's "Music Forum" in Austria. Add to this her participation in the Jazz-Vespers with Duke Ellington, in St. Peter's Church, New York, on December 24, 1972. In January 1973 she gave a concert with the Sam Rivers Quartet in New York, as well as several concerts in Switzerland.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The "New York Times" music critic, John S. Wilson, writes about the singer, who in her concerts gives preference to ballads, compositions by Duke Ellington, and spirituals: "Miss Benjamin has a soft, warm, beautifully projected voice and a quietly dramatic quality that are extremely effective in developing a song in a quiet, subdued mood". Dollar Brand, who is Bea's husband, is also one of her most frequent accompanists. She herself formulates his qualities as follows: "To work with a 'man of music' like Dollar Brand is a blessing, a challenge and always a learning experience. As an accompanist he has that very rare and extremely special gift of 'setting your soul free'".</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">All words and music by Sathima Bea Benjamin</div><div style="text-align: justify;">Arranged and conducted by Dollar Brand</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Africa"</div><div style="text-align: justify;">Vocals - Sathima Bea Benjamin</div><div style="text-align: justify;">Bass - Louis Spears / Basil Moses / Lionel Beukes</div><div style="text-align: justify;">Drums - Doug Sides / Monty Weber</div><div style="text-align: justify;">Trumpet - Billy Brooks</div><div style="text-align: justify;">Tenor Sax / Flute - Basil "Mannenberg" Coetzee</div><div style="text-align: justify;">Piano - Dollar Brand</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Music"</div><div style="text-align: justify;">Vocals - Sathima Bea Benjamin</div><div style="text-align: justify;">Flute - Basil "Mannenberg" Coetzee</div><div style="text-align: justify;">Bass - Louis Spears / Basil Moses / Lionel Beukes</div><div style="text-align: justify;">Drums - Doug Sides / Monty Weber</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"African Songbird"</div><div style="text-align: justify;">Vocals - Sathima Bea Benjamin</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">DEDICATIONS</div><div style="text-align: justify;">AFRICA - Well it speaks for itself.</div><div style="text-align: justify;">MUSIC - Dedicated to my husband Dollar Brand, who has inspired me and taught me so much musically.</div><div style="text-align: justify;">AFRICAN SONGBIRD - Dedicated to the late Duke Ellington.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Produced by Rashid Vally</div><div style="text-align: justify;">Cat. No. GL 1839</div><div style="text-align: justify;">℗ 1976 As-Shams/The Sun</div></div><div style="text-align: justify;"><a href="https://as-shams.bandcamp.com/album/african-songbird" target="_blank">DIGITAL ALBUM</a></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-55272751198987237182022-10-27T02:30:00.001-07:002022-10-27T04:02:52.615-07:00BLACK DISCO - Night Express<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwSmQLCSwDd-ZZBPK3HpxmnPYDjTz0cCEaePCkqLO1yDR-a4_bVQyr4RrhKhxA3xdI-TREtmg4psx7nUBIHxuMH5w32ian4sHY99Dl66bIl8e-VM4kkbWjQyunIHnZEbWcQhKdFzudhDlRycBnPStn27K6cBIL7_kyNY7ueh8eobz_Vw31RuHaublR/s620/black-disco-night-express-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwSmQLCSwDd-ZZBPK3HpxmnPYDjTz0cCEaePCkqLO1yDR-a4_bVQyr4RrhKhxA3xdI-TREtmg4psx7nUBIHxuMH5w32ian4sHY99Dl66bIl8e-VM4kkbWjQyunIHnZEbWcQhKdFzudhDlRycBnPStn27K6cBIL7_kyNY7ueh8eobz_Vw31RuHaublR/s16000/black-disco-night-express-620.jpg" /></a></p><p style="text-align: justify;">Pops Mohamed leaned heavily on his Yamaha Electone's "auto rhythm section" to produce the Timmy Thomas-inspired signature drum machine sound that characterised Black Disco's 1975 self-titled debut. Following in 1976, <i>Night Express</i> took the group to new heights with the inclusion of drummer Peter Morake (Abdullah Ibrahim/Roots) on most of the tracks. In addition to Mohamed on organ, founding members Sipho Gumede (bass) and Basil Coetzee (sax/flute) round out the Black Disco sound with memorable original compositions and a smattering of unique takes on unlikely covers. The result is an album more deeply rooted in South African jazz sensibilities with a title track that has become one of the most widely admired artefacts of downbeat 1970s Afro-funk.</p><div style="text-align: justify;">Organ - Pops Mohamed</div><div style="text-align: justify;">Tenor Sax & Flute - Basil Coetzee</div><div style="text-align: justify;">Bass - Sipho Gumede</div><div style="text-align: justify;">Drums - Peter Morake</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Recorded in the Gallo Studios</div><div style="text-align: justify;">Recording Engineer - Peter Ceronio</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Produced by Rashid Vally</div><div style="text-align: justify;">Cat. No. GL 1831</div><div style="text-align: justify;">℗ 1976 As-Shams/The Sun</div><div style="text-align: justify;"><a href="https://as-shams.bandcamp.com/album/night-express" target="_blank">DIGITAL ALBUM</a></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-23407147047337361492022-08-24T07:50:00.004-07:002022-08-24T12:20:16.690-07:00BARNEY RACHABANE - "Tegeni" / "Mafuta"<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrJygg2asxGW6FTGmUqWQKF_UPRXns6x6XeddeGIdRb8_UI6e2lUDUEnP6wKPIAdhp5T2b2E0APH-GS_1NudayDnwDde3j2BPNH5sHCYLwLo1XoZos7Z3lkobU7nIsYh82RzfDGyy1MMopXaNJFLNmtVkf5VFQDVMtrpm6Nh6yVuigRZxqqLBmTv5o/s620/barney-rachabane-tegeni-mafuta-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrJygg2asxGW6FTGmUqWQKF_UPRXns6x6XeddeGIdRb8_UI6e2lUDUEnP6wKPIAdhp5T2b2E0APH-GS_1NudayDnwDde3j2BPNH5sHCYLwLo1XoZos7Z3lkobU7nIsYh82RzfDGyy1MMopXaNJFLNmtVkf5VFQDVMtrpm6Nh6yVuigRZxqqLBmTv5o/s16000/barney-rachabane-tegeni-mafuta-620.jpg" /></a></p><p></p><div style="text-align: justify;">While Barney Rachabane did not have a release of his own on As-Shams/The Sun in the 1970s, he was no stranger to Rashid Vally's South African jazz enterprise. The alto saxophonist played alongside three of the label's most iconic artists by way of Dollar Brand/Abdullah Ibrahim (on the album <i>African Herbs</i> in 1975), Tete Mbambisa (on the album <i>Tete's Big Sound</i> in 1976) and Kippie Moeketsi (on the album <i>Blue Stompin'</i> in 1977). Rachabane is also to be found supporting pianist Lionel Pillay on <i>Deeper in Black</i> in 1978 as well as on the second half of the 1987 release <i>Shrimp Boats</i> (check out his take on Mankunku’s “Yakhal 'Inkomo”), which was culled from the same sessions.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">That the As-Shams archive contained unreleased material by Barney Rachabane in the role of composer and bandleader is not widely known. Recorded in 1978, the tracks "Tegeni" and "Mafuta" emmerged in the late 1980s for a series of compilations distilled from the vault. In the wake of Rachabane's passing in 2021, in celebration of his enormous contribution to South Africa jazz and in collaboration with his family, we now present "Tegeni" and "Mafuta" in the form of an EP - an official release from As-Shams/The Sun with catalogue number SRK 897248. Through the fog of time, we're not certain that these two tracks represent the entirety of what the 1978 Rachabane session yielded but this is all we've managed to restore from the tape collection for now.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">As with his Lionel Pillay recordings, Barney Rachabane can be found in the company of Spirits Rejoice on these tracks with Sipho Gumede on bass, Gilbert Matthews on drums and Duku Makasi stepping in on "Mafuta" on tenor. Notable too, putting in an exquisite performance, is former Drive and early-period Spirits Rejoice pianist Bheki Mseleku. With effortlessly swinging big-hearted deep marabi vibes, these recordings stand beside "Mannenberg" and "Tshona!" as some of the most joyful expressions of South African jazz during its 1970s golden age.
</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">Composed by Barney Rachabane</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Barney Rachabane – Alto Sax</div><div style="text-align: justify;">Bheki Mseleku – Piano</div><div style="text-align: justify;">Sipho Gumede – Bass</div><div style="text-align: justify;">Gilbert Matthews – Drums</div><div style="text-align: justify;">Duku Makasi – Tenor Sax on "Mafuta"</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Cat. No. SRK 897248 </div><div style="text-align: justify;">℗ 1978 © 2022 As-Shams/The Sun</div></div><div style="text-align: justify;"><a href="https://as-shams.bandcamp.com/album/tegeni-mafuta" target="_blank">DIGITAL ALBUM</a></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-59591826858858900572022-08-11T00:00:00.000-07:002024-03-09T07:30:04.713-08:00SAKHILE - Phambili<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilMljy5Gg92BdYZcpwCduUAfjOT8-PmIooHTAPLE1UiYDtEdupkeMPFtfFpXlDpOx-5sjdWNJ6MvOx7l9-613_GuwySqiHBA1RHfSh6K1ealrGHdx4zayY7KyREQH8S62pqjs78sMwrCOn2MPJdn7Vzi4_4q3IBEyneYd7Yc9f8i3OT8XTZLb2u6PX6D8/s620/sakhile-phambili-620.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilMljy5Gg92BdYZcpwCduUAfjOT8-PmIooHTAPLE1UiYDtEdupkeMPFtfFpXlDpOx-5sjdWNJ6MvOx7l9-613_GuwySqiHBA1RHfSh6K1ealrGHdx4zayY7KyREQH8S62pqjs78sMwrCOn2MPJdn7Vzi4_4q3IBEyneYd7Yc9f8i3OT8XTZLb2u6PX6D8/s16000/sakhile-phambili-620.jpg" /></a><br /></p><p style="text-align: justify;">One day (in the not-so-distant future) when South Africa will be asked to join the rest of the African continent in presenting its own cultural showcase to the world, the pendulum will swing ceremoniously in favour of SAKHILE.</p><p style="text-align: justify;">For the past 10 years, following their initial formation in 1981, the band has managed to elevate the spirits of music lovers with an undiluted mixture of African idioms and musical expressions that have become the flagpost of traditional black music.</p><p style="text-align: justify;">Meanwhile, every performance by the band has managed to highlight an aspiration born out of hope, love and respect for a culture riddled with foreign artistic concoction. Caught between presenting popular disco and sticking to their culturally vibrant roots, Sakhile have opted for the latter, which is what Phambili, Sakhile's second album, is all about – an evolutionary thrust of African cultural heritage.</p><p style="text-align: justify;">Indeed, it has taken Sakhile well over six years to come out with a follow-up to their debut album. Six years of patient anticipation by Sakhile fans worldwide. Well, were those six pensive years worth eating for? Ladies and gentlemen, I present you with PHAMBILI, the album by SAKHILE, the band.</p><div style="text-align: justify;">– SIPHO JACOBS</div><div style="text-align: justify;">Jive Music Magazine (Editor)</div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;">SIPHO GUMEDE – Bass Guitar, 8-String Bass</div><div style="text-align: justify;">KHAYA MAHLANGU – Tenor & Soprano Saxes</div><div style="text-align: justify;">JABU NKOSI – Keyboards, Synthesizers</div><div style="text-align: justify;">GABRIEL "MABE" THOBEJANE – Percussion</div><div style="text-align: justify;">BHEKI KUNENE – Drums</div><div style="text-align: justify;">MENYATSO MATHOLE – Guitar</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Vocals – BEAULAH HASHE, MARILYN NOKWE, FELCIA MARION, JABU NKOSI, KHAYA MAHLANGU, SIPHO GUMEDE</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Executive Producer – RASHID VALLY</div><div style="text-align: justify;">Supervising Producer – EIRFAAN GILLAN</div><div style="text-align: justify;">Produced by SAKHILE</div><div style="text-align: justify;">Recording Studio – THE AUDIO LAB (DIGITALLY MASTERED)</div><div style="text-align: justify;">Recording & Mixing Engineer – SAM WINGATE</div><div style="text-align: justify;">Sakhile Management – SIMON MOSIKIDI</div><div style="text-align: justify;">Photography – MIRIAM GILLAN & JULIAN LLOYD</div><div style="text-align: justify;">Cover Design – LINDA EHLERS</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">An Original Recording by Sun Music Co.</div><div style="text-align: justify;">Marketed by Roots Record Company</div><div style="text-align: justify;">Sakhile Fan Club: P.O. Box 3379 Johannesburg 2000</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Cat. No. AE 7861</div><div style="text-align: justify;">℗ 1989 African Echoes for As-Shams/The Sun</div><div style="text-align: justify;">© 2022 As-Shams Archive</div></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-83096269893961154342022-04-03T01:47:00.001-07:002022-04-03T08:14:20.765-07:00PAT MATSHIKIZA - Sikiza Matshikiza<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihkcplsLyoePF6zUNAKSswcCSiN9Co2TnhJ6IZ36YfIXZUQYHigcoJ_HZjaHLKBCQJ_iplhoNbUiWhRbDYydfLbUU3kCQSMqMjviiKfx-pm6VS4EwdBqFNxDZG_iBR3bnk3oK0JkYUXFLD5Ut7zeQQnA6Cyw9s3-EjpvrIor5yAH2140SM_LZ6M0UB/s620/pat-matshikiza-sikiza-matshikiza-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihkcplsLyoePF6zUNAKSswcCSiN9Co2TnhJ6IZ36YfIXZUQYHigcoJ_HZjaHLKBCQJ_iplhoNbUiWhRbDYydfLbUU3kCQSMqMjviiKfx-pm6VS4EwdBqFNxDZG_iBR3bnk3oK0JkYUXFLD5Ut7zeQQnA6Cyw9s3-EjpvrIor5yAH2140SM_LZ6M0UB/s16000/pat-matshikiza-sikiza-matshikiza-620.jpg" /></a><br /></p><div style="text-align: justify;">Born in Queenstown in South Africa's Eastern Cape province in 1938, Patrick Vuyo Matshikiza was raised in a musical family. His uncle Todd Matshikiza was a jazz columnist for Drum Magazine in the 1950s and composed the music for <i>King Kong</i> - the all-black musical from 1958 that played in London's West End and launched the career of singer Mariam Makeba. Pat was educated at St. Mathews, an historic mission school in Keiskammahoek, where he played organ and graduated with a teacher's diploma. He migrated to Johannesburg in 1962 and joined the community of professional black musicians that orbited Dorkay House, headquarters of Union Artists and the African Music and Drama Association. It was here that Matshikiza was enlisted as a pianist for the Jazz Dazzlers, a big band led by esteemed saxophonist Mackay Davashe. Matshikiza would then go on to join the Early Mabuza Quartet, a group that shared first prize with the Malombo Jazz Man at the Castle Lager Jazz Festival in 1964.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Recording for the As-Shams/The Sun label in the 1970s, Pat Matshikiza released the collaborative album <i>Tshona!</i> with sax giant Kippie Moeketsi in 1975. The album was followed in 1976 by <i>Sikiza Matshikza</i>, Pat's solo debut with Moeketsi appearing as a featured artist. The personnel on the album were an early iteration of the group that would become Spirits Rejoice in 1977, with Duke Makasi on tenor sax, George Tyefumani on trumpet, Sipho Gumede on bass, Gilbert Mathews on drums and Sandile Shange (who appears alongside Matshikiza and Moeketsi on the album's cover photo) on guitar.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">In the 1980s, Matshikiza withdrew from the jazz scene to pursue a more stable income as a resident pianist on the hotel circuit. He resurrected his jazz career in the 2000s, performing in Johannesburg clubs and releasing the live album <i>Originals</i> (2004) and retrospective album <i>Seasons, Masks and Keys</i> (2005). He retired in 2011 after suffering a stroke and his health steadily declined until his death in 2014. Pat Matshikiza's mid-70s recordings mark a high point in his career and are essential documents in the history of South African jazz on vinyl. With these reissues, we hope to bring his artistic legacy to prominence and share his work with lovers of jazz around the world.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Pat Matshikiza - Piano</div><div style="text-align: justify;">Kippie Moeketsi - Alto Saxophone</div><div style="text-align: justify;">Duke Makasi - Tenor Saxophone</div><div style="text-align: justify;">George Tyefumani - Trumpet</div><div style="text-align: justify;">Sandile Shange - Guitar</div><div style="text-align: justify;">Sipho Gumede - Bass</div><div style="text-align: justify;">Gilbert Mathews - Drums</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">All tracks composed by Pat Matshikiza</div><div style="text-align: justify;">Recorded at Gallo Studios</div><div style="text-align: justify;">Recording Engineer: Peter Ceronio</div><div style="text-align: justify;">Produced by Rashid Vally</div><div style="text-align: justify;">Cat. No. GL 1857</div><div style="text-align: justify;">℗ 1976 © 2022 As-Shams/The Sun</div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-17213603267002030502022-04-03T01:26:00.004-07:002023-02-02T08:34:47.666-08:00GIDEON NXUMALO - Early-Mart<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgICRYlmZIyVC5iGSs57W_-opFMAs--KBrAkzEq_zbeqaTcYomtdRkCtSQB2vL8HJtw7ed1LHA5o_bgXSVQVqkVamw5vvwWzk_agyZmyMPiH8vsO-sVPfiyjEkqJzjtT8QYAWsQThk4Qc-6ggVVMDDyik-3SHsuoZnGqU_W6OXwbXPqW82W8QbjhNqN/s620/gideon-nxumalo-early-mart-620.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgICRYlmZIyVC5iGSs57W_-opFMAs--KBrAkzEq_zbeqaTcYomtdRkCtSQB2vL8HJtw7ed1LHA5o_bgXSVQVqkVamw5vvwWzk_agyZmyMPiH8vsO-sVPfiyjEkqJzjtT8QYAWsQThk4Qc-6ggVVMDDyik-3SHsuoZnGqU_W6OXwbXPqW82W8QbjhNqN/s16000/gideon-nxumalo-early-mart-620.jpg" /></a><br /></p><p style="text-align: justify;">An album dedicated to drummer Early Mabuza (Castle Lager Big Band, Mankunku Quartet), who died in 1969. Embedded journalist Leslie Sehume reports that a 14-piece band assembled for the legendary February 1970 session, eager to contribute to honouring an esteemed musical compatriot. Yet the recording also turned out to be Nxumalo’s swansong, released just months before his own passing in December 1970.</p><p style="text-align: justify;">Issued on Soultown Records, <i>Early-Mart</i> was producer Rashid Vally’s first foray into modern South African jazz. It opened the door to a friendship and association with Abdullah Ibrahim, which in turn gave rise to the emergence of As-Shams/The Sun in 1974. In the wake of reissues of <i>Jazz Fantasia</i> (1962) from Mad About Records and <i>Gideon Plays</i> (1968) from Matsuli Music, we’re honoured to offer a 50th anniversary edition of the final piece of the Gideon Nxumalo Trilogy for South African jazz enthusiasts of the 21st century. With it’s long-form narrative centrepiece, <i>Early-Mart</i> pairs well with our contemporary companion release <i>uGaba the Migration</i> by Sisonke Xonti.</p><p style="text-align: justify;">The ensemble that recorded Early-Mart was uncredited. We have no authoritative list of participants and the composition of the brass section is subject to differing accounts. We combine credible anecdotal sources to offer the following:</p><div style="text-align: justify;">Piano - Gideon Nxumalo</div><div style="text-align: justify;">Guitar - Allen Kwela</div><div style="text-align: justify;">Bass - Morris Manana</div><div style="text-align: justify;">Drums - Gordon Mfandu</div><div style="text-align: left;"><div style="text-align: justify;">Flute - Dennis Nene</div><div style="text-align: justify;">Trombone - Blyth Mbityana</div><div style="text-align: justify;">Trumpet - Stompie Manana • Kleinkie Rubushe • Johnny Selilo • Dennis Mpale</div></div><div style="text-align: justify;">Alto Sax - Peter Mokonotela • Zacks Nkosi</div><div style="text-align: justify;">Tenor Sax - Timothy Ndaba • Mackay Davashe</div><div style="text-align: justify;">Baritone Sax - Valley Ngwenya • Conny Khumalo</div><div style="text-align: justify;"><br /></div><div style="text-align: left;"><div style="text-align: justify;">Composed & Arranged by Gideon "Mgibe" Nxumalo</div><div style="text-align: justify;">Recorded at Ster Studios, Johannesburg</div></div><div style="text-align: justify;">Engineer: Trevor Evans</div><div style="text-align: justify;">Produced by Rashid Vally</div><div style="text-align: justify;">Cat. No. KRS 107</div><div style="text-align: justify;">℗ 1970 Soultown Records © 2022 As-Shams/The Sun</div><div style="text-align: justify;"><a href="https://as-shams.bandcamp.com/album/early-mart" target="_blank">DIGITAL ALBUM</a></div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-19707862250834431412022-02-04T01:10:00.006-08:002022-02-04T06:11:49.650-08:00MIKE MAKHALEMELE - Blue Mike<p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjuC6LPkSDm4cxvJ5jOjXVDClOzZ9aOoGq6ee3qXOdHZu7cHjwqxs87zw7PwpCYzOrOXIePqlEYODfpC_bxiu8-wQthIcCpp7IbLpYF8hm5P5FVXl2TrbYCAVqr-gb2IElF_3O3Z4-ATpC5d_Vk_3COlQsQ3WP0K3X0PYGO5e5T5mR4tyf3QQkRvlr5=s620" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/a/AVvXsEjuC6LPkSDm4cxvJ5jOjXVDClOzZ9aOoGq6ee3qXOdHZu7cHjwqxs87zw7PwpCYzOrOXIePqlEYODfpC_bxiu8-wQthIcCpp7IbLpYF8hm5P5FVXl2TrbYCAVqr-gb2IElF_3O3Z4-ATpC5d_Vk_3COlQsQ3WP0K3X0PYGO5e5T5mR4tyf3QQkRvlr5=s16000" /></a><br /></p><p style="text-align: justify;">Nicknamed "Ratau" (meaning "Lion" in Setswana), Mike Makhalemele emerged as a solo recording artist force-of-nature in the late 1970s with a string of powerful releases on Jo'Burg Records. With the dismantling of the Jo'Burg catalogue at the beginning of the 1980s, label director Rashid Vally made some shrewd acquisitions and promptly reissued Makhelemele's 1975 debut <i>The Peacemaker</i> on As-Shams/The Sun in 1981 before embarking on the production of <i>Blue Mik</i>e.</p><p style="text-align: justify;">Mike Makhalemele hailed from the Alexandra jazz scene and boasted a number of auspicious 1970s associations with the likes of the Drive, Richard Jon Smith, Margaret Singana, Teaspoon Ndelu and Winston Mankunku. Under Jo'Burg's wing, he was an active session player and his run of solo releases from 1975 to 1982 was unmatched by any other South African saxophonist at the time.</p><p style="text-align: justify;">Blue Mike is an accomplished and polished outing that leans heavily into a nostalgic yet modern take on swing peppered with virtuosic sax swag. An unrelenting Cape Jazz odyssey with Latin flair, "I Remember You" is dedicated to Drive saxophonist Henry Sithole, who died in in car accident 1977. The album also takes a mesmerising slow funk journey on the closer "Spring is Here."</p><p style="text-align: justify;">Released in 1982, <i>Blue Mike</i> turned out to be a bookend for As-Shams, bringing an end to the imprint's golden age, which had started with Dollar Brand's <i>Mannenberg - 'Is Where It's Happening'</i> in 1974. Following its release, As-Shams shifted focus onto keeping back catalogue in print, later returning with the MANDLA and Roots imprints in the late 1980s and the Kalamazoo and African Echoes releases of the 1990s. Owing to the discovery of a lost batch of deadstock in the 2000s, <i>Blue Mike</i> is the most accessible original pressing to source from the As-shams catalogue.</p><div style="text-align: justify;">Tenor Saxophone - Mike Makhalemele</div><div style="text-align: justify;"><div>Piano/Organ - Jabu Nkosi</div><div>Bass - Zulu Bidi</div><div>Drums/Percussion - Nelson Magwaza</div><div><br /></div></div><div style="text-align: justify;">Composer: Ratau M. Makhalemele</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Produced by Rashid Vally</div><div style="text-align: justify;">Original Release 1982 <span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: "Courier New", Courier, FreeMono, monospace; font-size: 13.199999809265137px;">• </span>Cat. No. SRK 786152</div><div style="text-align: justify;"><a href="https://as-shams.bandcamp.com/album/blue-mike" target="_blank">DIGITAL ALBUM</a></div><p><br /></p>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-57715518868919513392022-02-02T01:47:00.002-08:002024-02-25T01:31:07.810-08:00POPS MOHAMED & MORRIS GOLDBERG - Sophiatown Society<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEixXxjURrBwiviHb-6Sgc_yIklunIG4tQp-_qjBILKYaxpNhojsGbTOdVFSNiSf1dF5CtF753bVGUkgdUsGDxvG92FmF2bbsiBhoEbycGskTRXC04Opz9VkaWoZf1lU_tsXP9twFmk6lWD-Z4zM83NN9DlmI8yPkcQlOhqNPeSH8Cj-_YP14Bds8_De=s620" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/a/AVvXsEixXxjURrBwiviHb-6Sgc_yIklunIG4tQp-_qjBILKYaxpNhojsGbTOdVFSNiSf1dF5CtF753bVGUkgdUsGDxvG92FmF2bbsiBhoEbycGskTRXC04Opz9VkaWoZf1lU_tsXP9twFmk6lWD-Z4zM83NN9DlmI8yPkcQlOhqNPeSH8Cj-_YP14Bds8_De=s16000" /></a></div><div><br /></div><div style="text-align: justify;">While the Kalamazoo Series of the early 1990s revived Pops Mohamed's long creative journey with bassist Sipho Gumede, it also gave rise to an exciting new collaboration with saxophonist Morris Goldberg and a memorable album entitled <i>Sophiatown Society</i>. Goldberg's association with As-Shams dated back to the label's inaugural release in 1974, providing the third epic sax solo on Abdullah Ibrahim's "Mannenberg" alongside Robbie Jansen and Basil Coetzee.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Like Ibrahim, Goldberg had settled in New York City by the late 1970s. As the pennywhistle soloist on "You Can Call Me Al" from Graceland in 1986, he was part of a pool of South African musicians that Paul Simon enlisted for the Grammy-winning album. Bakithi Kumalo (bass) snd Vusi Khumalo (drums) were also among the Graceland contributors, with Bakithi's fretless pyrotechnics holding down the core rhythm section for much of the album. The cousins had been frequent collaborators since the early 1980s and had backed Masike "Funky" Mohapi on his earliest offerings.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">On <i>Sophiatown Society</i>, this unique quartet emerges with a nostalgic, hopeful and beautifully-crafted South African jazz sound for the 1990s. With the Convention for a Democratic South Africa (CODESA) beginning to drive the development of a new constitution, principal composer Mohamed steps up with a soulful and healing palette that marked his early forays into weaving traditional instruments and new-age sensibilities into South African jazz.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Keyboards/Mbira - Pops Mohamed</div><div style="text-align: justify;">Saxophones/Pennywhistle - Morris Goldberg</div><div style="text-align: justify;">Brass/Percussions - Bakithi Kumalo</div><div style="text-align: justify;">Drums - Vusi Khumalo</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">All compositions composed by Pops Mohamed except "Sophiatown Society" composed by Pops Mohamed and Morris Goldberg.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">An Original Recording by Sun Music Group</div><div style="text-align: justify;">Producer - Pops Mohamed</div><div style="text-align: justify;">Recorded and Mixed by Richard Felani Gumbi</div><div style="text-align: justify;">Cover Design - Eirfaan Gillan</div><div style="text-align: justify;">Photography - Joe Sefale</div><div style="text-align: justify;">Executive Producers - Rashid Vally & Eirfaan Gillan</div><div style="text-align: justify;">Original Release 1991 <span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: "Courier New", Courier, FreeMono, monospace; font-size: 13.2px;">• </span>Cat. No. KMH 1003</div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.comtag:blogger.com,1999:blog-5929898184556785637.post-46747501543735498792022-01-06T12:20:00.001-08:002022-01-06T12:25:28.880-08:00PAT MATSHIKIZA & KIPPIE MOKETSI - Tshona!<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgryRnhpM1uuP6phHILIeam5YzER9Cme6sfRhHkDyvJ6GjwuXRUm0q5wh06nzvV6z5aCo8GYPG7B5AZ0tclavcWpvc85ZiCtTuAEavh0c2ZUNZyMQo8ebpHoenYzn5rZwPEDliYIppbejtp_fqeykoHaiEm7KBJ-_mdLhT1nGMXw2AstxDN3d7XrLJl=s620" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="620" src="https://blogger.googleusercontent.com/img/a/AVvXsEgryRnhpM1uuP6phHILIeam5YzER9Cme6sfRhHkDyvJ6GjwuXRUm0q5wh06nzvV6z5aCo8GYPG7B5AZ0tclavcWpvc85ZiCtTuAEavh0c2ZUNZyMQo8ebpHoenYzn5rZwPEDliYIppbejtp_fqeykoHaiEm7KBJ-_mdLhT1nGMXw2AstxDN3d7XrLJl=s16000" /></a></div><div style="text-align: justify;">As a member of the all-star Jazz Epistles in the late 1950s, saxophonist Kippie Moeketsi (also spelled Moketsi during his tenure with the As-Shams record label in the 1970s) was one of the key pioneering forces of modern South African jazz. While Jazz Epistles bandmates Hugh Masekela and Abdullah Ibrahim would go on to build their careers in the United States in the 1970s, it was at home in South Africa that Moeketsi would leave his mark on the domestic jazz scene. From the outset of record store owner Rashid Vally's forays into the production of independent jazz in the early 1970s, Moeketsi played a key role, notably as a featured sideman on Abdullah Ibrahim's <i>Dollar Brand Plus 3</i> in 1973.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">While Moeketsi had a reputation as a great interpreter of standards with a firm grasp of jazz as an American idiom, he stepped into deep South African jazz territory with a pair of his own compositions on the album <i>Tshona!</i> (released on Vally's nascent As-Shams/The Sun label in 1975). With equal participation from pianist Pat Matshikiza (also a well established South African jazz figure at the time), <i>Tshona!</i> emerges as one of the great South African jazz collaborations of the 1970s and is revered as a canonical recording from this era. Moeketsi and Matshikiza were flanked by the Soweto's hottest rhythm section by way of drummer Sipho Mabuse and bassist Alec Khaoli of Harari and featured on tenor sax was none other than Basil Coetzee, who's contribution to Abdullah Ibrahim's breakout hit record <i>Mannenbeg - 'Is Where It's Happening'</i> the year prior had earned him the esteemed appellation Basil "Mannenberg" Coetzee.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">With the album cover bearing a playful illustration of a pair of township thugs by artist Mafa Ngwenya, <i>Tshona!</i> is the ultimate jazz document of its time and place - modern, urban, original, authentic and unmistakably South Africa. Moeketsi and Matshikiza would continue to record together for As-Shams/The Sun with Moeketsi featured on Pat Mathsikiza's <i>Sikiza Matshikiza</i> album in 1976. Matshikiza returned the favour in 1977, appearing on Moeketsi's <i>Blue Stompin'</i> album, which featured the Hal Singer Quartet on the title track.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Pat Matshikiza - Piano</div><div style="text-align: justify;">Kippie Moeketsi - Alto Saxophone</div><div style="text-align: justify;">Basil Coetzee - Tenor Saxophone</div><div style="text-align: justify;">Alec Khaoli - Bass</div><div style="text-align: justify;">Sipho Mabuse - Drums</div><div style="text-align: justify;">Dennis Phillips - Alto Saxophone on "Tshona"</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Tshona" and "Stop and Start" composed by Pat Matshikiza</div><div style="text-align: justify;">"Umgababa" and "Kippie's Prayer" composed by Kippie Moeketsi</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Recorded at Gallo Studios</div><div style="text-align: justify;">Recording Engineer: Peter Ceronio</div><div style="text-align: justify;">Produced by Rashid Vally</div><div style="text-align: justify;">Original Release 1975 <span style="background-color: white; caret-color: rgb(34, 34, 34); color: #222222; font-family: "Courier New", Courier, FreeMono, monospace; font-size: 13.199999809265137px; text-align: justify;">• </span>Cat. No. GL 1796</div>Calumhttp://www.blogger.com/profile/14219681248596529566noreply@blogger.com