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Audio: The Very Best ft. K'naan 'We OK'


Johan and Esau bring out the big-feature-guns on the newly released "We OK" from their upcoming MTMTMK LP. The synth-flanked uplifter features vocals from K'naan, was co-written with Bruno Mars and boasts an addictive bright guitar chorus to seal the whole deal. Stream the track below, which premiered on NPR's All Things Considered a minute ago. MTMTMK is due July 7 via Moshi Moshi/Cooperative Music. Catch the guys on their U.S. tour in August, dates below.

The Very Best US Tour Dates

August 10 Rock N Roll Hotel Washington, DC*

August 11 101 Lee Street Bristol, VA†

August 12 Johnny Brenda’s Philadelphia, PA*

August 13 Irving Plaza New York, NY*

August 16 Majestic Theatre Madison, WI*

August 17 Lincoln Hall Chicago, IL*

August 18 Page Park Dixon, IL‡

August 20 Fox Theatre Boulder, CO*

August 22 The Crocodile Seattle, WA*

August 23 Holocene Portland, OR*

August 24 Mezzanine San Francisco, CA*

August 25 Monterey County Fairgrounds Monterey, CA§

August 27 Echoplex Los Angeles, CA**

August 28 The Casbah San Diego, CA*

* with Seye

† with Mumford & Sons, Dawes, JEFF The Brotherhood, Apache Relay, Simone Felice and Haim

‡ with Mumford & Sons + Gogol Bordello, Dawes, Abigail Washburn, Apache Relay and Haim

§ with Mumford & Sons + Gogol Bordello, Apache Relay and Haim

** with MNDR

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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