Video: Collabo between Kenya's Just a Band and Sweden's Ulrika

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A few weeks ago I had tweeted to Just-A-Band a "Zombie" cover (The Cranberries song from '94, not Fela's song) that my sister Ulrika had made (video above) – they fell in love with it, and told me during the most recent Sandbox dinner held in Nairobi, Kenya that they wanted to work with her. Flashing lights and two seconds later I proposed the co-creation of a song. I wondered if I should send an A Capella or a semi-finalized song for them to work with. After a quick internal discussions the answer was:  A Capella. I talked on skype with my sister Ulrika and she loved the idea.  Turns out she will send over a song after brainstorming what song to send with her producer. Whatever comes out of this unique collaboration will be a blockbuster, I'm sure. I’ll do everything in my power to get the co-made song up first on okayafrica, once completed - stay tuned.

[Sebastian is OKA's new resident correspondent, straight from the streets of Nairobi, Kenya]

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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