Video

Watch Cabo Verdean Songstress Mayra Andrade's 'Ilha De Santiago' [Premiere]

Watch Cabo Verdean songstress Mayra Andrade's sun-drenched video for "Ilha De Santiago."


Mayra Andrade is one the leading voices interpreting and furthering the sounds of Cabo Verdean morna music (made popular by the likes of Cesária Évora) for contemporary ears. The Cabo Verde-rooted, Paris-based singer released her pop-oriented fourth album Lovely Difficult last year, which featured  "We Used To Call It Love" and was nominated for France's Victoires de la Musique Awards. The video for "Ilha de Santiago," the latest single off Lovely Difficult, is a sun-drenched collage of local scenes and faces from the island of Santiago, including batuku legend Ntóni Denti d’Oro.

"Beyond the beautiful landscapes, what makes Cape Verde unique to me is the intense human experience one gets to live there," Mayra Andrade states, "This is the first thing I told to director Colin Solal Cardo and that I deemed very important to feature in the video. While this song praises the popular singers, musicians and composers of Santiago; the video pays tribute to the authenticity, care and hope that characterize the Cape Verdean people far from the common clichés. I’ll always remember this shoot traveling across my island surrounded by so much love.” Watch the music video for "Ilha De Santiago," directed by La Blogothèque's Colin Solal Cardo, below.

Music
Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City — a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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