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Songs in the key of freedom

By Norm Harris

This past weekend, Lefrak Concert Hall resonated with the messages of forgiveness, reconciliation and understanding as two of South Africa’s musical icons, Hugh Masekela and Vusi Mahlasela, celebrated two decades since the end of apartheid.

Their program was fittingly titled “20 Years of Freedom,” and the two, along with a mixed cadre from their respective bands, blended traditional vocal and instrumental solos, including the call and response lyrics of some of their culture’s musical offerings, into a two-hour show that saw the audience leap to its feet several times.

Mahlasela energetically opened the show on his acoustic guitar accompanied by percussionist Francis Fuster, drummer Ian Herman, bass guitarist Abednigo Sibongiseni Zulu and second guitarist Mongezi Ntaka.

He shared tidbits with the crowd, like the meaning of the ethnic term Zulu, which comes from the Niguni language word for heavens or sky, and emphasized “the essence and greatness” of the eternal messages left by past leaders Nelson Mandela and Mahatma Gandhi with lyrics in the opening song, “we shall all wear forgiveness like a crown.”

Entering stage left, Masakela began with his introductory signature musical stylings on his flugelhorn and on a humorous note informed the audience “of how nice it was to now be in Miami” where he “just got back from the beach this afternoon.”

The audience immediately burst out in laughter in response to this unexpected bit of humor. The artist then shared the fact that the evening’s performance was only the second time that his band was playing in concert with Mahlasela’s band and that the show was the auspicious start of their first scheduled tour together.

Masekela, along with musical accompaniment, also shared some of his thoughts and memories concerning the historical struggle for freedom in South Africa.

He spoke eloquently about the “sadness of sadnesses involving the protest against the slavery that began in 1652 and lasted for over 350 years until some success was achieved through the suffering and resilience of the South African people who on April 27, 1994 were first permitted to vote for their leadership.”

Masekela paid homage to the great African songstress, and civil rights activist Miriam Makeba who he said, “had the great pleasure of performing with in the U. S. show that she opened in 1959.”

He indicated that part of the night’s performance was dedicated to her memory.

“Because if it were not for her we might not be here doing this show,” Masekela said.

He emphasized that the essence of some of her music was embodied in the morality of her message that “one should never criticize anybody because in everybody there is beauty.

“She was, in essence, instrumental in the struggle against apartheid,” he said.

During one of the spiritually uplifting compositions, Masekela invited the audience to get moving.

“If you feel like standing up at your seats and dancing, god damn it, just do it,” he said.

Some of the patrons were already rocking and grooving to the music, which was no surprise.

Masekela’s long musical history involved spreading the positive vibe to some of the commercially well-known artists he had gigged with such as Harry Belafonte, Herb Alpert and Paul Simon. Masekela spoke positively of a tune that the American popular artist Boney James had performed alongside that ”brown guy.” That man was of course Maskela’s humorous reflection on how some people had made reference to him in the past as they performed his much earlier 1968 instrumental hit, “Grazin’ in the Grass.”

That tune, now played by Masakela’s and Mahlesala’s whole ensemble, brought back some nostalgia as the audience, again on their feet, applauded in wild approval.

Mahlesala now on his guitar and vocalizing in an African dialect carried the energy forward with his explanation of the term “Umbutu,” which he indicated means “I love you baby.”

Masakela then joined in with his searing flugelhorn chops and simultaneously demonstrated some energetic native dance moves, which were quite inspiring considering the fact that he is not a youngster anymore. Mahlesala segued into the tune “Say Africa,” inspiring a call and response interaction with the audience who by the end of the piece reacted loudly with great appreciation.

In closing, Mahlasela and Masekela both itinerant master musicians, storytellers, freedom fighters in their own right, left the audience with something to think about.

“We should always remember and cherish the fight for equality made by Mandela,” they said. “We should never forget the historic struggles for freedom from apartheid in Soweto and that South Africa has only been a nation of free people for only 21 years.”