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Brian's Corner

August Greene

Three the Remarkable Way
December 11, 2018                                                                                                                             Mid-summer Magic 2018 

There are times in the music world when a group of iconoclastic artists transform a genre into the new sound of their generation, a sound that is not only heard, but experienced as well. Initially, the combination of artists when first announced may seem an unlikely mix at best or a gag at worst, but, after all is said and done, the resulting work turns out to be a thing of sheer beauty and supreme artistry. This summer’s seemingly odd entry into multiple musical genres is the Amazon Music produced and released album August Greene, and it is just such a work. It’s the offspring, the ethereal offering, of 3 great stand-alone artists; world renowned rapper Common; highly accomplished veteran jazz drummer, rapper, producer Karriem Riggins; and superstar jazz and neo-soul pianist Robert Glasper Jr! Their collaboration has produced one of the most conceptually unshackled masterpieces of the year.


The complexity and beauty of thought and expression grafted onto this vinyl is the evidence of the years of labor, love and living that these men have poured into their respective crafts. A lot of the album may not be considered light weight listening (although it is easy on the ears), but this piece is an autobiographic encyclopedia of the lives lived by these men, and their story is sonically written in the eleven chapters of this musical tome. The mood of this LP is at times melancholy, but the mood never weighs the listener down, instead that mood is used to draw the listener in; particularly via the energy and lyrics expressed by Common. This body of work showcases the interesting life lived and the maturity garnered thereby that Common embodies and shares with his audience. He shines on this LP, and August Greene would not be what it is without him.


Each track is worthy of examination and comment, but I will leave that up to the listener to explore. I have picked a few of the tracks to examine and write about just as an taste of what can be expected from what I believe is a ground-breaking offering. Let me say here that for some reason this album reminds me of another ground-breaking masterpieces conceived by Miles Davis; “Kind of Blue”. That too was a melancholy body of work and, as I believe this album will emulate, Kind of Blue changed the landscape of jazz music for more than a decade. This album has that same potential. This album is a jazz album, but it’s more than that; It’s a hip-hop masterpiece, and a R&B soon to be classic as well. This LP will be talked about for a long time, and I, for one, am expecting some noise from this work during the awards season in February of 2019 (can anyone say “Grammy”?).

Meditation is the first cut on this winner. This short track sets the tone for the entire album, and aside from the mellow mood that is set by the music, Common’s urgent voice and solid cerebral rap takes the listener exactly where this trio wants them to go. This song is just a tease of what lies etched within the lines of the LP (or encoded on the CD). You are being taken on a journey, and although it may seem a bit foreboding, you know you’re going to learn something along the way, and the anticipation of what is waiting ahead elicits excitement and anticipation. Don’t worry, you won’t be disappointed. Welcome to the “well of the black pool of genius”!

 Robert Glasper Jr.

On this cut the listener gets a view of what will be heard and experienced on the whole body of work. Common does the vocals, Robert is on Acoustic piano, Kerriem is on drums, and the mellotron synthesizer is played by Somora Pinderhuges. The mix of musicians and music at times seem to produce a feeling of voidness and desolation but it is simultaneously accompanied by an evasive sense of hope. This type of emoting can only be produced by artists of the highest order. These players are seasoned and in touch with who they are as people and as artists. Their transparency allows the listener to experience the music in an organic way. It’s as though the listener is experiencing the emotion directly. This is the hallmark of great artists. They allow you to feel what they felt as they created the work.

The next song on the Disc is titled Black Kennedy. The players on this cut are the same as on Meditation except that Pinderhuges is doing the lead vocals on this track instead of using the Mellotron. The mood of this song is subdued but lighter than a lot of the album. Common’s lyrics are autobiographic and revealing; he tells about his upbringing and his thoughts on his life. Robert and Karriem hold down the melody and beat expertly, and the bass of Burniss Travis is mellow and cool. The three deliver a smooth funky groove that allows Common to pontificate freely. He spit out his rap with a smooth verbal dexterity that accentuates the beat and feel. This jam is a beautiful ride with the top down; just like Somora P. sings in the song. You can almost experience the convertible cruising the city under the streetlamps on a warm summer’s night.

Fly Away is the fifth song on this CD. In many ways it’s the most autobiographic song on the CD for Commo. He raps of his lost loves, and his feeling of being trapped by his own self-destructive tendencies and how they cost him to sabotage his own love affairs. In fact, in many ways, this is the most intimate encounter with Common on this album. Here he’s at his most vulnerable and most honest. You see the humanity of Common in a way that is surprisingly personal. That takes courage and humility, but after all, that’s what real artist do. But what also sets this track apart from most of the CD is the use of the strings near the end of the track; they are absolutely beautiful! I’m nor sure if they are synthesized or real, but they are credited as the product of Patrick Warren, and he does a superb job. The strings take this song to another level and lend to it a sense of transcendence and romance lost. Also, I’d be remiss if I did not mention the vocals of Samora Pinderhughes again. He sets the tone off initially with his voice, and he adds his overdubbed harmonies near the end that enhance the mood in a poignant fashion. This is a gem of a song.


 Karriem Riggins

The eight song is one of my favorites on this album of favorites. It’s the hardest jam on this piece and Common absolutely RIPS this song! He kills it! No Apologies is Common at his best. He holds nothing back and sets is completely off! If you thought Common had lost it then he proves that you are completely wrong. The man is just plain old BAD! I tell you now, that this jam will find itself on my weight lifting playlist. It’s hard and It’s relevant. This is one of those cuts that makes this album the complete package. Plus, that band rips it too. They feed off one another in a frenzy of sound and energy, and this song lets you know that this project was not just a good idea by some stellar music artists, but this project was meant to be; it was no mistake; it had to be done, and it was done in a fashion that will leave a mark on the musical landscape for some time to come. I am not going to talk too much about who is playing what or who wrote what, I just advise you to listen. Listening will tell you all you need to know. Enough said!

Song number ten is an old favorite of mine and many others as well; Optimistic, the old “Sounds of Blackness” hit. On this cut Brandy, (one my favorite singers because of the love for her that my daughters have; Cinderella ), does the heavy lifting, and she is just as beautiful as she always was, and her voice is just as beautiful too. This jam is just as uplifting and inspirational as the original and it is a palate cleanser from all the heaviness of the rest of the album. This track, after all, is the only danceable song on the album and it’s beautifully done. The version that is linked to this article has some extra musical improvisational footage that I wish was on the album, but the album version is a standalone complete package, so nothing is really lost. And, of course, Common is the common denominator on this tune as he is on the entire LP. He sets a rap off that adds to the song in a fashion that makes is seem as though its always been there. The rap is as relevant and uplifting as the song itself is. To further cap off this marvelous rendition of this song is the video that accompanies it. It enhances everything that this song encompasses and brings the meaning of the song to the eyes as well as the ears. This is another hallmark of artists at work. True artists use whatever media that is available to communicate the reality of their surrounding in a way that is not just experienced through the five senses, but that if also felt in the mind of heart of the observer. August Green is just such a canvas.

Well, I think I’ve said enough. As you can probably guess, I give this LP a big “Thumbs Up”. Go get this one and enjoy it. To be honest, this was one of the most difficult reviews I have ever done. Not only because of the tremendous workload I’ve been under as of late, but also because of the tremendous weight of the material I have reviewed on this CD. An album like this is a workload in itself to talk about. There is a lot going on here, and to reflect upon it takes considerable thought and emotional digestion. The players and contributors put a lot of themselves into this piece and it shows. It’s not always an easy listen, but it’s worth the effort. I cannot tell you how many times I’ve listen to this album, but it has been a part of my life for about a month, and, yes, I’d do it again.

I’d like to thank any and all of you for taking the time to read this article. As with all of the things I write, it has been a labor of love. I’d also like to thank my boss and N-Motion CEO Shawn Hopson for being patient with me during this transition to our new site. Shawn is the reason why this site looks so good, and his labor of love is greatly appreciated.

In the near future we (N-Motion Entertainment) hope to bring many more national acts to the area, and, of course, God willing, I hope to be there to report on them. And, as much as in me is, I hope to report on music of interest right here on “Brian’s Corner”. Thank you all again, for your patience and your readership. Please feel free to leave comments in the section provided. I promise to respond as time permits.
Please enjoy the upcoming holiday season, and remember, Next time, “Catch You on The Corner”.

B. B. Suber

I’ve been a jazz lover for quite some time now; nearly as long as I can remember. I’ve always liked jazz in one form or another, and I grew to love it as my palate for music matured throughout the years. One of my earliest memories as a child was my then favorite song; “A Taste of Honey” by Herb Alpert and the Tijuana Brass. I heard it on the radio, and I was hooked. I was born in Pittsburgh in 1958, and reared in the Hill District, and back then, WAMO was only an A.M. station (they actually did a remote broadcast from a little store on Webster around the corner from my house), and while Motown was the rave, Stax records, and Soul music was the background music for life in the ghetto (and I lived in the “ghetto”; the Hill District), jazz was a constant undercurrent, a heartbeat of the vibrant life of the slums in which I lived. Until next time.... “Catch You on The Corner”!

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Brian's Corner

Christian Sands / Facing Dragons The sweet sound of the Sands of time. January 15, 2019 New 2018 Release

Twentynine year old pianist Christian Sands’ musical footprint is much larger than the number of years he’s accumulated on this planet. His sound is not only mature beyond his age, but his style and technique are timeless. I am not certain who his musical influences are, but as I listen, I hear an amalgamation of many of the great predecessors of the instrument and the genre.

A straight-ahead jazz man, Christian’s style not only encompasses that realm of the music, but he touches upon multiple genres to achieve his complexity and all the subtle nuances of his highly accomplished play. To be fair, there are many rising star pianists within the jazz, neo-soul, and smooth jazz designations, but none surpass the artistry, virtuosity, and exceptional compositional skills of this young man. In fact, all but one of the nine songs on this album were composed by Christian, and the one song that he didn’t’ compose is a reimagination of Paul McCarthy’s “Yesterday” (more on that one later).

Christian has a powerful left hand, speed, articulation, and he is conceptionally skilled and seasoned. His delivery denotes a sharp and practiced mind with a skill for not only what sounds good, but also what conveys the mood he wants his audience to feel. This young man has all the attributes of a master musician who (D.V.), will be an influential player for quite some time.

 Jerome Jennings

The first song on this CD is the aptly titled Rebel Music. I say its “aptly titled” because Christian attacks this song. His left hand begins the tune with a level of ferocity that assaults the listener with funk and drive; he and bassist Yasushi Nakamura groove on the intro, after which the two, along with drummer Jerome Jennings finally bring a small measure of rest to the listener’s psyche as they settle into the body of the melody. At this point Christian allows himself the opportunity to explore a nuanced sensitivity of thought and expression as his mind and keyboard explore the body of the composition. It’s beautiful and intriguing, and it’s rife with thought expressed within his impressionistic improvisations. The song feels as though it is being birthed at the exact moment you hear it; it’s virgin in its simplicity but mature in its complexity; it’s a balance that requires the soul of a master artist to achieve, and Christian achieves it with graceful ease. At times, this trio sounds much larger than the three players; their sound is broad, full and spacious; it fills the room with beautifully majestic sound. This introduction to this album is outstanding, and it’s a worthy listen for any music lover.

Next up is the exotic Fight For Freedom . This tumultuous tune is nearly hectic in its presentation. It seems to speak of not only the fight of the American black people’s struggle for freedom and equality, but also that same struggle of the South African black people and those of the African diaspora as well. The juxtaposition of African drums and western horn and piano seem to mirror the two worlds’ intertwined experience with the racial divide and struggle of a people who fought to be recognized as such.

 Trumpeter Keyon Harrold

The music itself, particularly the horns, play in a style reminiscent of the 1960’s. The horn section plays licks that are the echoes of many of the jazz bands of that era, and in fact, the entire composition screams of that time period, and the turmoil of those desperate years. Keyon Harrold plays a polished 60’s jazz era style trumpet, while Marcus Strickland responds with a desperately mournful saxophone. Christian’s epic playing style is reflective of a great pianist of that era (and the 1970’s), one of my favorites, Mr. McCoy Tyner. When taken in its entirety, this beautiful and sorrowful tune gives the listener a short journey into another era, and allows all of us to remember the struggle, and inspires us to carry the torch forward for the succeeding generations. Yes, you can get all of that from simply listening to a song with no words; that’s the magic of music.

The third song on this award worthy CD is Paul McCarty’s Yesterday. Christian initially plays this song in a pretty much straight up almost pedestrian style for a few bars but immediately channels his inner Ramsey Lewis and breaks into a funky groove right at the Chorus. The trio of Sands, Nakamura and Jennings are again featured on this song; they groove with a slow smoldering funk on an old tune. Bassist Nakamura’s playing is funky, cool and understated, and Jennings drum play is solid, groovy and tight as he lays down the tempo for the other 2/3rd of the trio to frolic upon (and yes, he frolics as well!). After the second chorus Christian takes flight into a passioned expansion on the theme. His play is not only excellent but it’s also creative and exuberant. He shows why he is one of the most sought-after young jazz pianists of this era. He emotes like most cannot. He feels the music and expresses himself through it with style and individuality. His play is remarkable and fresh. This is one of the brightest renditions of this song that I’ve heard in a long time. Truly excellent!

The forth song on the CD is Sangueo Soul. It’s a Calypso tune that makes you want to get off your seat and dance. It begins with a Jennings on the drum, and percussionist Cristian Rivera on the congas playing an afro Cuban beat that is worthy of any island in the Caribbean Islands, or the streets of New Orleans. They lay down a funky Calypso beat that guitarist Caio Afiune and Christian begin to groove on. After the first break Jennings introduces a bottom-heavy off beat interlude that Christian picks up and expands upon, all the while the congas pronounce an odd, almost halting Cuban beat with its voodoo feel that is central to the overall exotic feel of this tune. They again pick up the familiar Calypso beat and bring back the easy dance steps which introduce Roberto Quintero on the clarin horn. The effect is a party on the island with Christians remarkable left-hand counterpoint which accentuates the bouncing melody he plays with his right. The music dances and invites others to dance with it. This band becomes a dance band with world class level jazz chops. These boys unapologetically lay it down on this fun calypso tune.

Song number eight is titled Samba De Vela which can mean either Samba of the Sail, or Samba of the Candle (as Vela can mean either of the two). On this song Christian allows the smooth and mellow playing of guitarist Caio Afiune to take precedence. The tune has the most hint of the smooth jazz sound on this album, but it’s still heavy enough for straight jazz lovers too. Regardless, this is a beautifully quiet Samba. It dances and flows in gentle tranquility, just like a flickering candle, or a sail pulling a boat along a calm lake. Midway through this dance, Christian softly interjects with musical thoughts of his own, and then the two players combine in a duet that is calming and lovely. Throughout this interplay of piano and guitar, the steady and inspired presence of Nakamura and Jennings can be felt. These two underpin that tranquil mood expertly while Cristian Rivera’s percussion lends the Samba feel to the tune. This is the guitar’s song, and even during Christian’s solo, he underplays his role to allow the other instruments to shine in the front. This is song is another smooth curve on a well-rounded album; it’s another course in a fantastic memorable dinner.

The album closes with Rhodes to Meditation, and as the title hints at, the Fender Rhodes is the lone instrument on this tune. It’s a fitting way to close this album. The solo keyboard chimes as it plays its slow meditative benediction. Christian appropriately closes out this album in prayerlike fashion. It’s a final prayer of gratitude for such a fine effort and accomplishment, and although it stands alone in theme and concept on this CD, it does not feel out of place at all.

This is a very fine CD by an accomplished and award-winning pianist. It’s worth the money for any music lover, and I recommend it highly. I expect to see this CD in the Grammy nominations for 2018, and if its not, then that a knock of the Grammys and is no way indicative of the worthiness of this album. I am looking forward to more from this fine artist in the very near future, and I, for one, would love to see him in concert.

Well, I’ve come to the end of another article. It seems that the weeks fly by as I listen, enjoy, and write about the musical genre that I love. I sincerely thank any and all of you for joining me here on the corner to read and explore the music that I pick. Please feel free to leave comments in the section provided, and also feel free to recommend any album you’d like for me to check out.

I’m always open to hearing new music or enjoying artists that I’ve never heard of. If they fit the genre, I’ll even write a review on this site. And, if you think about it, remember to introduce your family and friends to the corner and to this site. We are excited as we see slow but steady growth in our venture, and we look forward to serving you for many years to come.

Also, let me state for the record that “I do not own the rights to any music or video used in this article, and rest upon the Fair Use clause within the law to do so”.

As this new year progresses, please be on the lookout for our upcoming events later in the calendar year. They will be advertised on this site, and as well as on WZUM Pittsburgh and SoulPitt magazine. We love bringing new and exciting artists to the city for our audience to enjoy. We will keep you abreast of coming attractions as the dates near.

Thank you all again for taking the time out of your busy day to stop by, and remember, Next time:
“Catch You on The Corner”!
B. B. Suber

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Brian's Corner

Bheki Mseleku Timelessness / January 1, 2019 What’s Old is New

On this first day of 2019 I’d like to wish everyone a Happy New Year. I hope this year brings you more joy than pain, and more victories than defeats. And thank everyone who decided to take a few minutes of their time and drop by the Corner.

Initially, I thought I might review a new (late 2018) album, seeing there is probably not a release in 2019 yet (watch 20 new CDs drop just as this is published). But as I was listening to some of the music I had uploaded to my old school iPod Classic, I kept coming back to this beautiful 1995 Bheki Mseleku CD release, recorded on the Verve label, appropriately titled Timelessness, and I thought that this is the perfect title of an album to do for the first review of the year. Music is a reflection of time, and time is just as integral to music as the notes and the spaces between the notes are, so it makes sense to check out an older CD that sounds as though it could have been recorded last week, and that is why I chose this album.

I have just recently discovered Bheki (and please, no comments saying things like “I can’t believe you just heard of the guy”). There are so many excellent artists out there, and I try to find players that I am not familiar with and who make good music. I figure if I like them, then there are many other people out there who would like then too. I heard one cut off of this Timelessness CD on the radio, (shout out to SiriusXM Real Jazz, and WZUM Pittsburgh), and I had to buy the thing and check out the rest of it; and I am so glad I did.

Bheki was born in South Africa and he played Piano, Sax, Guitar, and he composed and arranged music just as well. He died in 2008, 14 years after he recorded this amazing album. He was only 53 years old upon his death, but he left a legacy of music behind him that still has a broad influence in Africa, Europe, the UK and the U.S. It is evident that his influence is as timeless as this beautiful album is. His playing style is complex and thoughtful, extremely artistic, powerful and fresh. He sounds like he recorded this album yesterday, and not twentyfive years ago. And, when you check out the lineup on this CD, you see that he was well respected by the giants of the America jazz scene too. Talent respects talent. The album lineup reads as follows: Michael Bowie/bass; Marvin “Smitty” Smith drums; the great Abbey Lincoln/vocals on track 5; Kent Jordan/flute on track 4 & 8; Pharoah Sanders/tenor sax on track 6; Joe Henderson/tenor sax track 1; Rodney Kendrick/piano track 7; and none other than Elvin Jones /drums on track 9. With this level of talent, you dare not go wrong (because you can’t), and Bheki hit the mark dead center on this CD.

The first song on the CD is the title track Timelessness. This song features the quartet of Bheki, Henderson, Bowie and Smitty. It’s a straight-ahead cut that jams. Bheki’s piano play is forceful and true, and he leads this quartet in yeoman’s fashion. He exhibits a style that I can describe as dependable and timely and on this cut he puts in a full day’s work. His leadership is clear and true as he not only leads the bandmates here, but he composed and arranged every song on the LP including this one.

On this cut, the outstanding thing you’ll notice is the drum play of Smitty. Marvin “Smitty” Smith is an amazing inspired drummer. He keeps the beat impeccably, but his play is also laced with sophistication and awe-inspiring syncopation. He can easily be placed in the upper echelon of drummers not only in the field but within the broad history of jazz music itself, and, I feel that statement is not one bit of hyperbole. In fact, Bheki dedicates this song to Smitty; that’s the respect he had for this man’s ability, and that respect is well deserved. Smitty’s play undergirds the entire quartet and allows Bheki and Joe Henderson the freedom fly all over the place. The two feed off the drummer into heights of pure improvisational magic. They can do this because their flight is well grounded within the confines of a stellar rhythm section of this supremely tight band. As you listen to Bheki and Joe pontificate upon the theme you can feel them being egged on the smoking hot drum track that Smitty lays down. No drum machine yet designed can do what Smitty does here. This cut is a nine-minute tenor sax/piano symposium played by champions on an album of champions. And this first cut whets your appetite for what lies ahead.

The second cut on the fabulous CD is titled Yukani (Wake Up). On this cut Bheki plays not only the piano, but the tenor and soprano saxes as well. During his day, he often performed playing the piano and sax at the same time. I am not sure if that was the case on this cut, but what I am sure of is that this song is beautiful and inspiring. Here, Bheki reminds me of another of my favorite piano players, McCoy Tyner, and in fact, there is a tribute LP to both of these great two greats performed by an English jazz band named Hexagonal (you can bet I’m doing a review in the near future). Here Bheki uses the expansive chording technique that give Tyner’s music such an epic piano sound, and that’s exactly the effect that Bheki has here. It’s that style of play that seems to take the listeners beyond the here and now and transports them to parts unknown. This song is a journey, and the trip is exotic and awesome. We are transported to Apartheid South Africa, where we not only share in the struggle of the black people of the land, but we also share in the beauty of the natural surroundings. Micheal Bowie’s bass is magical and alive. It seems to transform itself into an instrument from an unknown culture and time; it transports us via feel and emotion in breathless anticipation of what comes next. This album is indeed magical, and one wonders why Bheki didn’t get his due here in the U.S. before he died.

I could write about every cut on this LP, but I don’t want to fatigue the reader, so I’ll jump to cut four C-Ton (Planet Earth). C-Ton begins in a waltz like fashion as the 6/8-time signature whirls around romantically. Kent Jordan’s flute solo is superb on this track. His playing is fresh, articulate and imaginative. He lends to the song a certain air of magic that sweeps the listener away. The effect is on the brink of being other worldly in sound and texture. The quartet of Jordan, Mseleku, Bowie, and Smitty create an interplay that is on par with any quartet in jazz history (I dare say), and the music is a masterpiece. Bheki’s piano solo gives us an insight into his improvisational mind as he scats and sings the notes that his right hand is commanding out of the keys. The sound is almost larger than the quartet, but at the same time it maintains that intimacy that quartets bring to the audience. All the while, Smitty and Bowie not only ground the two front men but lay down that groundwork with virtuosity. They are not just a rhythm section merely holding down the tempo, they add depth and musicality to their essential part in this 10 minute, 29 second epic work of art. It still amazes me that Bheki did not receive greater recognition in America before he died. He obviously was known and appreciated by his jazz musician contemporaries, but his name was not widely known to the general public State side. As so frequently happens, genius is usually not widely recognized until after the artist has passed.

Cut five is the only English speaking vocal number on the LP; its titled Through The Years. This ballad features the inimitable Abby Lincoln doing the vocals. In fact, Abby wrote the lyrics for this song. She is accompanied by a quartet of tenor sax, piano, bass, and drums. Smitty, and Bowie play drum and bass respectively, but the piano and sax are both played by none other than Bheki himself. Here we get a taste of what this multi-talented music master can do on the sax, and as you can hear, he knew a thing or several about the instrument. His playing is warm and full, and he’s not lacking in style or timbre. The voice of his tenor is distinct and full, and was not a novelty at all, but was an essential component of the fullness of the tune. And, once again, if you listen carefully, during the piano solo you can hear Bheki singing the notes that his right hand is playing. I don’t know if he even realized that he was doing it, but it seems as though he was completely wrapped up in his music. Unfortunately, I am not certain whether the track is overdubbed or Bheki is actually playing the sax and piano simultaneously when they are heard together, but whatever the case may be, the two instruments complement one another is expert fashion, and the overall effect makes this song just as haunting as Abby’s lyrics describe. This song rounds out a beautiful album and showcases Abby and Bheki’s command of their respective crafts.

The sixth song on this wonderful album is titled Yanini. This is a happy song, even joyous, and although its in a laid-back jazz style, the joy cannot be hidden or ignored. The song features the great Pharoah Sanders on tenor saxophone, and on this cut near the end, Bheki actually sings out load into the microphone! I don’t actually know what he says, but I do know that he is singing, and he sounds good too. This song has a calypso feel to it; it sounds like the islands; it dips and swings as it plays along in its groove-ful playful style. Pharoah is at his best; his playing marvelously clear and sweet in tone and texture. The song dances along, and it makes the listener want to dance along with it. The song is 11 minuets and 8 seconds long, and it seems to sweep by like a graceful parade. Its never dull or heavy, and the tempo and feel keep your feet tapping. Near the end as the tenor sax and the drums take the listener to the end, Pharoah is at his best. He plays grace notes to Bheki’s singing and the echo effect on his sax lends an organic sound of the island to the graceful dance. Genius in concept and performance, and some of the best music from the era.

Well, as you can probably tell, I could go on talking about this fantastic offering that Mseleku left us, but I’m nearing the limit of what I’m comfortable writing in one article. I could do more about the album in another article, but instead I’ll encourage you to do yourself a favor and listen to the whole thing on your own. I’m sure you, just like me, will be searching for more of Bheki Mseleku’s albums.

I have come to the end of another fun (for me, at least), article, and what’s more, I’ve come to the end of a year of writing (my first full year; we started mid 2017), and the beginning of a new year. I’m sure I’ve enjoyed this way more than you readers might, but I hope you got something out of it too, and I’d like to thank all of you for the time you spent here out of your busy day.

The entire staff of N-Motion Entertainment would like to thank everyone for their patience during the transition period from our old format into this new one. We apologize for the obvious growing pains you endured with us. We are doing and hope to continue doing a lot of exciting things with our platform. We continue to strive to bring you premium entertainment on stage, and on this magazine website. Please feel free to write your feedback in the places provided. Now that we have our new home, it will be much easier for us to reply to your quires and comments. And if you have anyone in mind that you would like us to bring to our fair city (or that you want me to hear and write about), feel free to let us know (no promise, but we will consider all suggestions).

I’d like to personally thank any and all readers of this article. I had a lot of fun doing it, and as strive to continue this endeavor, just know that I write with the reader in mind, and I write about the music I love; Jazz, Smooth Jazz, R & B, and even a little Hip Hop too, so….I’m open to suggestions (of the musical nature).

Let me also say I do not own the rights to any of the music, videos or photos used in this article, but I lean solely upon the Fair Use statute in the law for permission.

Thanks again for stopping by. Please tell your family and friends about the article, and remember,
Next time, “Catch you on The Corner”.

B. B. Suber

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