This is a re-release of a recording of South African jazz from 1996 featuring the Cape Town born Morris Goldberg, a saxophonist and penny whistle player. Goldberg plays the solo on Paul Simon's "You Can Call Me Al" and had a lengthy association with Hugh Masekela. Goldberg's recording career began in 1959 on one of the first jazz recordings in South Africa. He would travel to the United States, where he attended the Manhattan School of Music. Like Masekela and Abdullah Ibrahim, the group would often feature folk-like melodies that harken to his South African roots. Goldberg has played with several icons, including Simon, Harry Belafonte, and Herbie Mann. He was also featured on the Rosie O'Donnell Show.
In addition to Goldberg, members of Ojoyo included Anton Fig (of David Letterman Show band fame) on drums, Cyro Baptista on percussion, Bakithi Kumalo on bass, Chris Botti on trumpet, and Tony Cedras on keyboards. There are also appearances by Dan Carillo on guitar and Kofo on talking drum. Two selections were recorded live with different personnel. In addition to Goldberg, Fig, and Baptista, Diego Uncola is on trumpet, Cecilia Tenconi is on tenor saxophone, John Guth is on guitar, Richard Cummings is on keyboards, and Chulo Gatewood is on bass.
Goldberg's time with Masekela is evident throughout this recording, starting with the opening "Station Road Strut" which has some of the energetic vibrations of "Grazing in the Grass." Goldberg plays lively penny whistle solo while Tony Cedras piano and Carillo's guitar help evoke a New Years' celebration in Cape Town. The music may not be particularly deep, but this track is a lively, high-stepping opener that sets the mood for the entire recording. Another selection with some of the same feel is "Dolphin Jive," with Cedras piano and organ adding to the atmosphere.
Chris Botti is prominent on "Forward Motion," along with Goldberg's brawny tenor sax. "Harare" refers to a Zimbabwe city where Goldberg performed with Hugh Masekela as part of a UNICEF Festival. His penny whistle rides over the Zimbabwe rhythms played by Kumalo, Baptista, and Kofo's talking drums, after which Botti adds some fiery brass. "Madagascar" is a lovely melody and showcases Botti's warm melodic attack.
The last two numbers were at a live performance. "Rockwela" is based on an Anton Fig riff based on a kwela rhythm. Goldberg's pennywhistle helps state the melody over the groove and Guth's guitar riffing before the full band with Uncolas trumpet and Tenconi's tenor sax join in. Cummings keyboards provide a marimba sounding solo during this lively performance. The final number is "Sophiatown Society," which was co-written with Pops Mohamed and initially recorded in Johannesburg with him in 1992. It is another ebullient performance with horns soaring over against high-spirited backing. It caps a thoroughly captivating album that will lift a listener's spirit.
I received my review copy from a publicist. Here is a performance by Morris Goldberg with Ojoyo.
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