Customer Reviews

The Lasting Impressions Of Ooga Booga

5 star:		(7)
4 star:		(2)
3 star:		(0)
2 star:		(2)
1 star:		(0)

 

 

When I was still counting my years on two hands, Hugh Masekela was making a bold impression, indeed, on America, topping the U.S. pop chart with "Grazing In The Grass." It's flipside also made an impression on me. "Bajabula Bonke" was the first song of African origin I ever listened to at length. Without understanding the words or their exact meaning (I was 8), I was touched by the spirit of the storyteller that is so much a part of African history. It also featured a kind of rhythm I'd never encountered before; very much unlike what prevailed in those days on Black radio. This album, recorded about three days earlier, contains a live performance in New York City by a very young Masekela, including a less-polished version of "Bajabula Bonke." Hugh was still married to Miriam Makeba at this time, and he learned many songs from her (Makeba's mother was an asongoma, one who told stories/history through song). Masekela is not yet a master on this set, which is preserved here as one performance (the original release on vinyl was divided onto two albums), but he is already a journeyman soloist. He has a vision, and he and his combo are fleshing it out as they go along. This album is the root of the World Beat movement as we know it. Masekela and company are combining elements of Africa, Cuba, South America, and good ol' American Jazz into a new form; a form which could truly traverse the world. I think Hugh wanted to make an impact, so the first five cuts on this performance seem strongest. But there are other fine performances, like on "Masquenada." He displays fine range and good mechanics as a singer, which has always been a very underrated part of his game. Listen to Hugh's version of "Canteloupe Island" and compare it to the hugely popular hip-hop version of a few years ago. Hugh definitely made an impact. It has taken years, but Hugh has remained true to his roots and his causes, and is highly respected worldwide. If you want to hear his sound fully realized, seek out his album, "Tomorrow." This CD shows you the process of creative alchemy. Hugh Masekela takes Manhattan and shows that he is ready for the World. If you want to hear some of these same songs in a more traditional South African style, check out Miriam Makeba's late 80s release, "Sangoma."

One of the biggest pain points of any musician is hearing some rank-amateur in the crowd complain that they didn't perform with enough proficiency to rank them up with their dutiful critic's standards. They are missing the point of live performance. But, then again, none of these nay-sayers have ever had to pick up a horn and play in their entire life.

This CD (dad's LP when I first spun it) defined live performance for me as a kid. Yea, ther might be a few subtle gaffs here and there, but they are in context with the music. This is more of an inflexion than a mistake. Score Masekela: 1, Grumpy Pundit: 0.

The depth of the recording itself makes it one of my favorites on my CD rotation. It certainly captures the ambiant refelctions of a smokey NYC nightclub that is The Village Gate. If you close your eyes, you can almost see the skinny black ties and dark sunglasses. Try not to pass this off as lounge fodder. You'll be making a gross error in judgement.

Delivered with Hugh Masekela's soft, polite intros, and countered by his exuberant, staccato trumpet playing style, this album is a wonderful, in the pre-"world music" age, blend of american jazz and traditional south african musical influences. Some important particulars: It is a live recording in 1965 with a playing time of 78 min. 42 sec. Being a live recording lends this album a nice spice which easily offset any recording imperfections. If you're like me, you'll even enjoy Hugh's singing on the Miriam Makeba tunes Bajabula Bonke, Ozinorabiro, and Abangoma. Paradoxically, it may be a Makeba instrumental which is the sweetest, more remembered tune -- Unhlanhia. It is placed, unfortunately, right before Herbie Hancock's Cantaloupe Island and both songs have a similar feel. But that is a delicious auditory burden. If you like Hugh Masekela and you don't have this CD, get it. If you want to try the Masekela horn style this is a good introduction. Don't let the awkward CD title dissuade your interest.

This is a great CD of some of Hugh Masekela's earlier work. His new stuff (circa 90s) is a little cheesy, but this is great, very unique style. His stuff from the 60s is the best that I've heard. Check out his album Stimela, also available here. Besides that, the best material remains to be released on CD. I hope to see a re-release of his album, Home Is Where the Music Is. That's the best but it's not available on CD, I don't think.

I agree with Mr Nunes about stodgy pundits who don't know a horn from their - well ahem.

What I LOVE about both Masakela and Fela is their special spirit and energy. Its just no-holds barred, witty, improvisational. I guess it was the time they played - the spirit of revolution and all that. This album has that vibe, definitely. It has that spirit of experimentation and definitely a live club feel.

And what amazes is the occasionaly really soft, wondering song like well - the first one.

If you like this album PLEASE check out "The Boy's Doin' It". That's another amazing Masakela album and a very political one.

And its so ignorant to say that to be "authentically African" means that Coltrane and Miles can't influence you. How short sighted! Like what are Trane and Miles - Swedish? African music isn't just about someone's made-up idea (from National Geo) of people playing thumb pianos in the desert. Masakela is African and therefore, his music is! The nerve of some know-nothing from Texas to presume to tell Masakela what is authentically African and what isn't!

I had a Hugh Masekela collection that began when I was 15 years old, when I became Hugh's number one fan (prove I'm not!). I had both the albums that comprise this one. I loss possession of all of my Hugh albums (moving, relationship break-ups, etc., etc.). I'm ecstatic to recover two of them in one buy. I'm too prejudiced to really rate this CD because when the originals were out, I was about everything Hugh. I loved them then, and I love them now. The songs still sound as good to me now as they did then. But, the good thing is that even if you don't go way back with Hugh like me, the music is still GREAT!

I've been searching for this ALBUM since it was released on the original label (Uni) shortly after I was discharged (Air Force) after coming home from So East Asia in 1968. Hugh was married to Miriam Makeba & this album was a JAZZ HIT being the 1st LP by Hugh Masekela in the USA. It is One Flippin' FABULOUS LIVE DEBUT ALBUM. My name is Tony Funches & I approved this message ...

This is an album chock full of incredible rhythms and melodies. Each song is a revelation and the flow between them is perfect. One of the best albums of the '60s in any genre. Hugh Masakela may be best known for the hit song, "Grazing In the Grass" (from 1968), but this album, from 1966. deserves to be more widely heard.

Perhaps I can give happy dog some perspective. When this album was first released, it was titled The Americanization of OOga BOOga! I believe the year was 1964 or 1965. I know, I have the original album and cover. The picture is the same, but the way the words have been splashed across the album cover, it is clearly to cover up the original title. If you consider the original name of the album, the Americanization..., then it should be clear why the music has a pop feel to it. It was intended to introduce African rhythms to an American audience, which means it had to be dumbed down (so to speak). There was a time when coming to America meant something. Then, there is the period of awakening when the new arrivals become disillusioned with the dream. Such was the case with Masekela many years later. I was in the audience when he announced that he was no longer going to play Grazing in the Grass, because it was a dillution of who he was and what he was hoping to contribute with his music. Rather than introducing his music to this country, he found himself playing music written and arranged by Americans and they were only using him and his horn to sell the same old things to us. He was right, America is not open to new experiences. We are only interested in adding just a bit of spice to that which is already familiar. But, trust me, when this album came on the scene, it was a big thing, indeed.

I bought this for "coconut island," a brilliant herbie hancock cover. The songs that came from the "americanization" album are really great and inspired. The songs that came from the "lasting impressions" session are dreadful and tonedeaf.