Tracka De Day: Owiny Sigoma Band's "Hera" (Sun Araw Remix)

The original “Hera” is a tribal affair – full of folky Kenyan drumbeats and a chanted, repeating chorus – but when Sun Araw, the woozy one-man psychedelic outfit, gets on the Owiny Sigoma Band’s track for a remix, he transports it to outer space. Sun Araw said of the original and the remix, "inspiring rhythms, sort of just went voyaging on them."  The inspiration seems mutual.  Jesse Hackett, who plays keys for Owiny Sigoma and the Gorillaz, talks about Sun Araw's remix:

I was lucky to meet with Cameron (aka Sun Araw) last year and had an immediate musical connection. I had found his music online and immediately loved it. Its warm soulful tones, deep spiritual intensity, and amazing sound struck me straight away. When I met Cameron, I found he was a total music specialist, articulate, and open minded and very specific in his tastes. Sun Araw's Beach Head EP was the soundtrack to my first visit to LA and I was lucky to go jam with him and some friends one evening. I love his music and it's a great honor that he did a mix for our group. I hope to do more collaborations with him very soon.

Check it out right here:

Owiny Sigoma Band - "Hera" (Sun Araw Remix) by noraritchie

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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