Recorded in the Kalahari Desert in 1995, this project was initiated by Pops Mohamed, a musician renowned for his dedication to protect and preserve the indigenous tribal music from his homeland. With a philosophy that states "if people don't understand where they come from, there is a hole in the soul", Pops had been trying to find original recordings of the Bushmen music for many years. Unsuccessful in his search he soon realised that he had to go himself. 

Syd Kitchen and Madala Kunene - Bafo Bafo

RESPECT (BW2094)

"Robert 'Doc' Mthalane may not be a household name, but the South African master guitarist spent much of the 1990's both playing and writing songs for the acclaimed Zulu singer Busi Mhlongo and her group Twasa. Sadly Doc fell victim to tuberculosis and died prematurely in 1998, but not before leaving us with one last exquisite album of uplifting and heart-rending beauty. From the languid opening chords of Eva, the slowly surging crescendoes of Masihlanganemi to the rousing rhythmic call to action of Mamambo, this is one of those rare albums that can enrich your life and soothe your soul." 

Follow Your Dreams (BW093)

"I've always had this dream of recording an album with South African musicians playing alongside some of the best musicians in the world. I'm also telling my people that this country is unique, that musically, audiences haven't learnt to appreciate what they have available to them. In a way it's a plea to give South African musicians a chance."
"I was usually first in the studio while we were putting it together at Realworld in England. I'd arrive and start playing the chords of Song For The Gurus on the piano and as the guys arrived they would join in.
When the melody played itself out in my head, I would think of these musicians, who were some of the most educated musicians, and I'm not talking of school education, but being educated musically, these guys knew their music. Guys like Duke Makasi, I would imagine myself in their shoes, how they would handle certain things."
A jazz ballad, Song For The Gurus features the mature tenor saxophone of Khaya Mahlangu. The solo guitar is from a sparkling Lawrence Matshiza.

SECOND WAVE (ELM8001)

‘Featuring the cream of predominantly Arab musicians, this collection of traditional vocals and instruments is given added punch with touches of unobtrusive electronica. This spellbinding set will find fans beyond the confines of "world" music.' Music Week, July 2000.
Alien Soap Opera, a vehicle idiosyncratically driven by the prolific remix engineer and former member of The Orb, Greg Hunter, features the expertise of Egyptian master of Arabic classical music, Amir Abdel Magid. Meeting in Cairo when Greg went to record with Killing Joke, Amir listened in on the recording session and asked Greg to mix a track for him. Enthralled with the results the two decided to work together on a more permanent project.Over the next four years Greg travelled between London and Cairo co-writing with Amir and collaborating on various projects, producing and mixing Arabic music and touring the Gulf finding inspiration. Alien Soap Opera and Fifth Sun were the results of this partnership. Amir Abdel Magid is a musician/producer/arranger, famous throughout the Middle East for his Kanoon (Egyptian Harp) playing, his recordings and live performances. He is a familiar sight on Arabic TV (MBC etc), with his music aired almost daily. He regularly tours with his orchestra throughout the world performing Arabic music.

HOMELESS (BW2140)

THIS ALBUM IS FOR THE YEAR 2000 AND WAY BEYOND. IT'S TRUE TRIBAL DANCE AND ALTHOUGH PARTLY INFLUENCED BY MY HOME COUNTRY, BRAZIL, THE MUSIC HAS NO BORDERS OR FRONTIERS - IT'S TRULY HOMELESS !"

Airto MoreiraThe Brazilian master of percussion enters the 21st century with HOMELESS, a new album on MELT 2000 after 8 years of absence as a solo artist - a long time, but certainly worth waiting for! HOMELESS is co-produced and co-composed by daughter Diana and her husband Krishna Booker of Eyedentity who recently released their own album "SEE" on Electric Melt. Homeless is influenced by a strong mutual desire by the artist and myself to go beyond the boundaries of today's commercial music and to present generations of dedicated dance fans with a truly organic and tribal dance album drawing from centuries of global rhythms.

Drums For Tomorrow (BW096)

A better appreciation of music requires an understanding of social and cultural contexts, which are the pillars of interaction between spirits and people. It is a great shame, in commercial terms, that in order to see and enjoy what the artists are displaying these days, you have to pay.

Modernism has taken us by surprise and we went as far as embracing that in our hearts, forgetting that no music equals the original. When a composer sits down to write music s/he is applying a medium for transmitting feelings while at the same time calling upon people to share the experience.
Music or musicians are the living archives since in Africa we do not store or keep information on modern retrievable systems. Rather, we record events in human souls and minds and share the impressions with those that didn't have a chance to hear or witness these events at first hand.
In Africa, music had the more humble function of commemorating past actions rather than glorifying individuals, whish is what we mostly see today. What we hear from the group, Amampondo, can have sustenance and inspiration from the past, but the notion that history is doomed to repeat itself.
Action and harmonies in this group are not the introduction of the acceptance of a tragedy but lamentation and an echo of the invisible world. It will always be the case that, when you want to communicate with your ancestors, you have to do that through music. 

ELECTRIC PONDOLAND (MZA 013)

This is one of 3 albums released at the same time celebrating the 25th Anniversary of South Africa's most highly regarded percussion and marimba band who have toured the globe for a quarter of a century. Electric Pondoland features Amampondo's many collaboration with international dance and Electronica groups mainly Juno Reactor who are well known for their Hollywood film music for blockbuster films like MATRIX, ONCE UPON A TIME IN MEXICO and MORTAL COMBAT.
Amampondo, formed in 1979, has always attracted the attention of sonic collaborators. From the booming trance remixers of the mid-nineties to the cyber producers of today. With the emphasis of rhythm on the 21st century dancefloor, DJs have also been lining up to get a sample of the Mpondo power beats. We lifted a few choice cuts from among the many creative artists and producers who have been inspired by Amampondo. I hope you enjoy listening to how traditional African music can revive the digital and laptop revolution, whilst maintaining its inherent dignity.
Robert Trunz
2005
Amampondo means people of mpondo.

Raw And Undiluted (MZA 014)

Celebrating amampondo's 25th Anniversary MELT is simultaneously introducing a series of 3 cd's and a dvd to follow for the christmas season. This album introduces a number of unique and unreleased live tracks recorded during the groups many international tours.

This is the most comprehensive collection of mainly unreleased live tracks of a group that has delighted an international and local audience for a quarter of a century.

Vuyani (Celebrate) (BW2143)

This album from Amampondo is to celebrate their 20 years of music making. It looks forward with some exciting new tracks, whilst drawing from some of their great tunes from the past performed in new ways.
Featuring guests from the amazingly talented musicians that live in the townships, often struggling to survive in a country that does not always appreciate its own talent, this is a showcase for the music of Cape Town. Through the 20 years Amampondo have had many struggles, fighting to perform their music and keep traditions alive, whilst being seen as a threat by the Apartheid regime who harassed them and tried to make their lives as difficult as possible.

BALENGU VILLAGE (BW2136)

Recorded in Cameroon and mixed in France, 'Balengu Village' has, in it's vocal and rhythmic textures, retained the heat and spontaneity that define so much African music "I wanted to make sure that we kept a certain amount of looseness," emphasises Brice. "In traditional music you don't count time, the tracks can last twenty five minutes. If jazz is about improvisation then myself and many other African musicians are jazz players. Improvisation is one of the most intergral features of our music."
Kevin Le Genre, Now's The Time, Echoes
Mixed by Brice Wassy, Chris Lewis and Richard Edwards, Mastered by Ray Staff at Whitfield Recording Studios.

NGA FUNK (BW036)

Mention Cameroon and Makossa music comes immediately to mind, along with its principal exponent, the celebrated Cameroonian saxophonist, Manu Dibango. But Cameroon is rich in many other traditional rhythms, particularly in the Western provinces, and the masterful drummer and percussionist, Brice Wassy, sets out to present some of these rhythms with his band, Tchokola; rhythms such as 'Manga Mbey', 'Ndanzi', 'Kou Kou', and Bikutsi.

SHRINE DANCE (BW089)

Following an illustrious career recording, producing and performing with the likes of Salif Keita, Manu Dibango, Miriam Makeba, Talking Heads, Don Cherry and Jean-Luc Ponty, drummer/percussionist Brice Wassy steps up with his second solo album for M.E.L.T. 2000."This new album is coming from the same direction as the first one, but 'N'ga Funk' was much more compositional and this is much more drum-orientated," Brice explains. "It was a great pleasure for me to play with two other drummers who I greatly respect. With Airto, he's very open. I gave him some directions and he did the rest. The same with Changuito, although the Cubans are very analytical in their music, very technical. But my music isn't like that. Even if you write it, you must feel it."
His intricate, innovative compositions and arrangements are built on a solid foundation of African collective tradition, inspired and infused by the individual expression of someone who has dug deep into the cultural treasury. . 'Shrine Dance' marks out Brice as one of the most dynamic and most progressive musicians in the contemporary Jazz/African diaspora. Drawing on a full palette of textures - from funky bass to newbop grooves, through "classic" jazz instrumentation, "electric bush" effects, African Rhythms and body percussion - Brice reaches new heights with this landmark album.

Syncopation (BW2095)

Percussion maestro and former timbal player with Los Van Van, Changuito(Jose Luis Quintana) is best known for his groundbreaking work with the legendary Cuban band. As one of the world's leading multi-percussionists, Changuito expanded the vocabulary of Latin rhythms with his seminal Songo grooves, and has taught some of the finest conga players of today including Giovanni Hidalgo. Changuito released a series of educational videos which have become a must for any up and coming percussionist playing Cuban music - for more info see: http://www.rottentomatoes.com/p/JoseLuisQuintana-1066973/

Sings Milton Nascimento (MZA 037)

I first met Milton Nascimento in 1964, when I went to the city of Belo Horizonte to participate in the inaugural show of their first local television station, TV Itacolomi.
My career was just beginning and I could not afford to take my own trio from Rio, so I decided to go one day earlier and look for the best musicians I could find locally. When I approached O Ponto Dos Musicos (the Musician's Station) at Avenida Affonso Pena, I looked around and tried to spot somebody that looked musical, since the place was really a bar/restaurant, where all kinds of artists would hang out.
Luck was on my side. The first person I talked to was Paulo Horta, a wonderful bass player, whose little brother Toninho was quickly becoming one of the most sought- after composer, guitar player and singer. Paulo Horta heard my story and immediately said "Don't worry, I've got what you need". In about ten minutes I was surrounded by ten or more of the top musicians in town, and among them was Milton Nascimento.
The television show went well, and I was going back to Rio very happy the next day. Right after the show, Milton, whom we affectionately call Bituca, approached me with a cassette and very shyly and humbly asked me If I could take a listen to one of his first compositions entitled "Barulho de trem ". And that was the beginning of a long lasting friendship.
In 1974, I was already in New York recording with jazz greats such as Chick Corea, Duke Pearson's big band and one of my best friends and mentor the composer and arranger Gil Evans, when I received an invitation to sing at the Montreux Jazz Festival. My producer at the time was Orrin Keepnews and I recalled asking him if I could invite somebody that I would love to interact with musically, to go to Montreux with us. Orrin made my dream come true, Milton became my guest at the Montreux Jazz Festival in 1974. He brought keyboardist and arranger Wagner Tiso and the great drummer Robertinho Silva along with him.

Speed Of Light (BW044)

"Singing live is like a voyage. By the time I open my eyes at the end of a show, I've flown all over the planet and I'm back there and I see everybody sweating, crying, hugging and loving. That's a great feeling." Flora Purim
"Speed of Light for me is the most rhythmic and stunning album by the great Brazilian diva - produced by Airto Moreira and supported by their daughter Diana, Changuito, Bill Cobham, Givanno Hidalgo and Freddie Sanyago it will remain a masterpiece and reference for generation to come. - Robert Trunz, CEO MELT"

The Flight (BW048)

Track Listing (30 Second Samples)

1. AVIAO (AIRPLANE)
2. PERFUME DE CEBOLA (FRAGANCE OF ONOIN)
3. MY SONG FOR YOU
4. MACA (APPLE)
5. BRANCO E PRETO (WHITE AND BLACK)
6. MEU MESTRE CRACAO (TUTOR HEART)
7. RAINHA DA NOITE (QUEEN OF THE NIGHT)
8. TARDE (LATE AFTERNOON)
9. RADIO EXPERIENCIA (RADIO EXPERIENCE)
10. DOIS IRMAOS (TWO BROTHERS)
11. DONA OLYMPIA (MRS OLYMPIA)
12. FINALE 

The Last Journey (BW2122)

It took 8 years to develop this concept of music with no label, no discrimination and no boundaries. The musicianship in this album is superb and it will bring back great musical moments and the raw energy of the music of this century. Every member of the new Fourth World can stand on their own as well as being an integral part of the ensemble. Our long time contributor bass player, Gary Brown and the great arranger keyboardist from Brazil, Luis Avellar and Widor Santiago, one of the best Brazilian reed men at this moment, and also special guest master Latin percussionist, Giovani Hidalgo all have a part to play. To me, this group of musicians together formed one of the best groups Airto and I had a chance to experience in the last 10 years. This Last Journey was a rollercoaster of emotions you will clearly perceive on songs like 'Silvia' and 'Little Tear' as well as the classic 'Light As A Feather'. We also dared to visit the mansion of the future where our children are growing up smarter, taller and faster than us. You will notice it in songs like 'Capoeira Da Mente', 'Within Your Mind', 'Trip to the Fourth World' and 'Terra Mae'. There is one instrumental cut which was written by one our favorite drummers, Paulo Braga entitled 'Serra Do Relogio', and also a Brazilian composition by Geraldo Vandre, one of Airto’s favorite of all times entitled 'Fica Mal Com Deus'. A bonus percussion track produced and performed by Airto Moreira, Giovanni Hidalgo, was finally named 'Snake Bite'.
Airto Moreira
Flora Purim
November 3rd, 1998

Pete Lockett's Network Of Sparks - One (BW2134)

Featuring Bill Brufford
"Give him a little bit of your time, and hail one of the UK's foremost unsung heroes."
Phil Meadley, Wax Magazine

"Each track is fresh and inspiring, and the performances by the drummers, hand drummers, frame drummers, hand percussionists, and malletists are emotive and challenging. Bill Bruford's drumming is a seamless addition to the vast array of colourful sounds, and his considerable chops are in full musical affect on these challenging pieces. This disc demands many repeat listens. Rating 9/10" Modern Drummer
Pete Lockett is one of the most versatile and prolific multi-percussionists in the UK. His percussive skills range from traditional Karnatic and Hindustani music of North and South India to traditional Japanese taiko drumming; from blues, funk and rock to classical, folk and ethnic. Having worked in virtually every field of music conceivable both live and in the studio, his boundless talents have earned him a reputation as one of the most wanted percussionists in the world.

TRIBAL ETHNO DANCE - Drum 'n' Metal

Creative production by Airto Moreira
Creative sound engineering by Chris Lewis

This is a unique tribal music release presenting ethnic music produced by Airto Moreira who adds his own style and feelings to the field recordings which used simple recording equipment in rural settings.
Robert Trunz

JUNO REACTOR

Beyond The Infinite

Track Listing (30 Second samples)

1 Guardian angel
2 Magnetic
3 Ice cube
4 Feel the universe
5 Samurai
6 Silver
7 Rotorblade
8 Mars

CD single

JUNO REACTOR

PISTOLERO (BR084 TARANTINO RADIO EDIT) 

1. Pistolero Tarantino Radio Edit
BEN WATKINS/STEVE STEVENS MUTE SONG/SITTING PRETTY MUSIC INC
2. Pistolero Headrillaz"Sandinista' Remix
BEN WATKINS/STEVE STEVENS MUTE SONG/SITTING PRETTY MUSIC INC
3. Pistolero Man With No Name Remix
BEN WATKINS/STEVE STEVENS MUTE SONG/SITTING PRETTY MUSIC INC 

Pops Mohamed & Sie Medway-Smith

Pioneered and created just after Pops recorded his legendary album HOW FAR WE HAVE COME. Sie Medway-Smith assisted and engineered at MILO studios in London and all the Bushmen songs and the many traditional instruments Pops brought along inspired him to convince Pops to create this masterpiece of ambient ethnic African & UK breakbeats. The album remained unreleased for over a decade and is now available for digital download only. I'm very happy to see this beautiful piece of early ethnic electronica finding its way onto your MP3 players and straight into your brains. Meanwhile we are tracking down the original artwork for the album and will make it available to you in a pdf format for you to watch it on your iPod.

Thank you Sie and Pops for being so patient - god bless Africa and our Bushmen family in the Kalahari who are the inspiration for a lot of the beautiful music that has come from this label.


Robert Trunz

Access Denied

Total Eclipse Access Denied Album is more dubby, funky and jazzy music - a healthy addition for the trance scene. if your into dancefloor stompers it might not get you off you but, but if your into expanding your horizons this cd has some excellent funk, and excellent melodies.

HEAVY INTERFERENCE (ELM8024)

Stomping dance floor aggression from new school breaks upstart Dave Tipper, chilled funk from Aim, all you need for a quiet night in.

Track Listing

1. HEAVY INTERFERENCE / DAVE TIPPER REMIX
2. HEAVY INTERFERENCE / AIM REMIX
3. HEAVY INTERFERENCE / ORIGINAL VERSION

PERFECT MY CRAFT (ELM8032)

Eyedentity are an ever evolving creative collective fuelled by the two founding members, Krishna and Diana Booker - otherwise known as The Factor and Decibel (dB). A hip-hop, trip-hop, acid jazz entity with a life of its own, this unique musical collaboration comprises a variety of highly talented artists, fusing styles from around the world to produce a progressive and innovative sound. The combined talent of these artists produced their excellent debut album See, released in Europe in 99 and the US in May 2000.
Taking trip hop into unchartered territory See combines a variety of musical flavours and multicultural influences. Their latest offering Perfect My Craft is in their own words "a challenge of self discovery for the hard core hip hop head and a comforting, inspiring journey for the open minded listener." Fusing the elements of hip hop, trip hop, funk, Afro-Brazilian, classic & Latin jazz, the project's subject matter varies from the classic underground "verbal battle" to empathic odes of frustration and sadness glazed with the salvation of improving ones outer existence by working on the inner self. Avoiding musical cliches and categorisation this inventive music is deep and provocative and aimed at the thinking listener.

SEE (ELM8023)

Eyedentity are here. Not so much a group as an ever-changing collective consciousness, comprising the talents of 'coming and going' featured artists. In short, an ever-evolving entity, the central nerve centre being The Factor (son of Jazz bassist Walter Booker and the nephew of Jazz saxophonist, Wayne Shorter) and dB (daughter of vocalist Flora Purim and percussionist Airto Moreira).
The combined talent of these artists produced this excellent debut album released in May 2000. Taking trip-hop into unchartered territory 'See' combines a variety of musical flavours and multicultural influences to yield something a little more hop than trip, infusing the genre with a new perspective. Dissolving categorical boundaries and pushing ahead of populist trends Eyedentity are eclectic, infinitely inventive, and with another album in the pipeline definitely one to watch. 

Africa Meltdown Volume Two

AFRICAN MELTDOWN VOLUME ONE - PADARE (MZA 032)

MOOD AFRICA

EARTH ROOTS (BW090)

With the onset of the millennium, new values, standards and attitudes will continue to emerge. We have already reached the point where many of us realise we have become victims of man-made destruction. Indeed, there are many changes we need to implement if we plan to survive. The most crucial of these changes must be our realisation that the Earth is alive. Gases, minerals, water, fire and air all have consciousness. The awareness and experience of this is vital for our survival and will revolutionise our earthly experience.

SOUND ADVICE (BW063)
produced by Airto Moreira

"The idea of the album is a journey through someone's life. It could be at any time. they could come from any culture," Byron Wallen explains the concept behind his debut for MELT. It's a madly eclectic recording, which veers from straight jazz, fusion and Latin to avant garde, hip hop and funk, all blended into a gleaming-but-edgy whole, and focussed by Byron's increasingly distinctive and primal blowing. Mystical voices flow into mist-shrouded skin-pattering, burnished horns scribbling around Afro-vocalising with Wallen also giving the nod to forerunners like Don Cherry and Lester Bowie.

$7.79

ART GECKO

'Art Gecko' is another album to come out of the rich seam of talent that surrounds the Music department and the Modern Jazz course of the University of Natal, South Africa. Band leader Chris Merz and Melvin Peters are both members of the teaching faculty, whilst other members of the group are alumni of the University. While the majority of the band are South African, the modern jazz of Counterculture transcends national boundaries. 'Feya' Faku's trumpet playing creates light and shade with beautiful simplicity, calling and responding with the sax of Chris Merz in an almost uncanny fashion.

Gathering Forces Vol. 2

Recorded live at the Natal Playhouse, Durban, in South Africa on September 29 and 30, 1993, Gathering Forces II is a powerful and fusion of jazz, rock, funk and Eastern influences. The twin driving forces at the centre of this unique recording are keyboard player and pianist Darius - son of Dave - Brubeck and Deepak Ram.

Special guest artist on Gathering Forces II is Airto Moreira. Together, these artists have recorded an album of rare beauty and exotic originality.

AFRICAN TRIBUTES

Darius Brubeck and the NU Jazz Connection

The common link between the members of the Nu Jazz Connection is their association with the University of Natal, Durban, where Darius Brubeck is the Director of its Centre for Jazz and Popular Music as well as being Associate Professor in the Music Department. The aim of Darius and fellow lecturer Chris Merz is to fuse the music of South Africa's townships with America's modern jazz tradition.

Darius Brubeck & Victor Ntoni
Afro Cool Concept

Live At The New Orleans & Heritage Festival 1990
BW024

Track Listing (30 Second Samples)

1. Kwela Mama
2. Lakutshon Ilanga
3. Daveyton Special
4. Mokotedi
5. Kilamanjaro

Album

"Johnny Fourie is one of the greatest guitar players of our epoque"
John Mc Laughlin

MZA 008
L.A.P. Stiff Pap & The Gang

READ ALBUM REVIEW

MADIBA (BW086)

"It's a gem...in turn relaxed, loping and out-there wiggy, full of lovely textures from a range of instrumental collaborators (guitars, flutes, brass, keyboards, dobro, bass etc - but always held in tasteful check) and co-vocalists including Busi Mhlongo...glorious music which is simultaneously familiar and refreshing."
Folk Roots magazine

VIVID AFRIKA (MZA 038)

The origins of this music project are found firmly rooted in the soil of our African continent, with its richly diverse peoples and ancient history. The concept was given life by the coming together of two of South Africa’s most adventurous yet sensitive composers and musicians: McCoy Mrubata (alto and tenor saxophones, saxello and flute) and Greg Hadjiyorki Georgiades (who plays nylon guitar, oud, bouzouki and fretless resonator guitar).
It was resolved in the spring of 2004 – over a tasty cup of Mac’s home-brewed coffee – that they would start writing material that was, by nature, acoustic and rhythmically powerful enough to support melodies and styles from across Africa.
Many joyful and laughter-filled months later they had carefully assembled enough material for two albums and the time had come to choose 12 pieces that would express the rich diversity of the music of Africa.
Next, a group of fun-filled, capable expressive and sensitive musicians was required to make it all tick and give the music a voice! This was not a difficult task and soon Greg’s close friend and magical tabla player Ashish Joshi was on tabla, darbuka, dhol and djembe.
Another long-time friend and “musical brother”, Wynand van der Walt, joined the group, playing drums and percussion.
Renowned double bassist Mlungisi Gegana, who has worked with Zim Ngqawana, Hotep Idris Galeta and McCoy Mrubata, was a natural choice, with his depth of expression and groove (and yes… he too is a good friend!).
It followed logically that our choice for extra oomph on vocals and trombone would also turn out to be a friend with the most powerful, sensitive and expressive voice, all rolled into a pocket-sized rocket with attitude: Siya Makuzeni, who is also a trombonist.
When one listens to the music produced by this group, one realises that it could only have come from the deep foundations of these friendships, which allow the music created to transcend the mere notes and rhythms and open new avenues of experience.

Darkness Pass - Solo Piano (MZA 009-2)

A double CD of the secret Solo Piano recordings titled DARKNESS PASS made by the late genius Moses Taiwa Molelekwa and recorded in Johannesburg during the mid 90’s has been released on April 17th 2004 to coincide with his birthday.

NOTES BY ROBERT TRUNZ
Back in 1994 during the Outernational Meltdown recordings, in the early hours of the morning after we had finished one of the many late night recording sessions Moses and I were the only ones left in Downtown Studios, Jo'burg. We were hanging out together, with Moses seated at one of the pianos whilst I settled down on the floor next to him. It was there that I first heard him playing solo piano.
Moses took me on a journey that lasted almost 3 hours, a journey that for somebody who is normally not particularly enamoured by the piano expanded my horizons and revealed a depth of Moses that few people have ever had the privilege to encounter. It is the soundscapes this young artist drew every time he sat in front of a piano or keyboard that fascinated me from the onset when I first heard him play live in 1993.

Finding One's Self (BW053)
Debut album

Originally released in 1994, "Finding One's Self" garnered much praise from all quarters. Moses won the SAMA Best Jazz award in 1995 aged 24. Accolades for this first, yet surprisingly mature collection: " Molelekwa is widely hailed as the inheritor of Abdullah Ibrahim's mantle, a creator of hymn-like harmonies rolling under jubilantly jazzy melody lines, propelled by the leaping vitality of South Africa township music" John Fordhaham, The Guardian.
By 1998 , his album "Genes & Spirits" had conquered new territory, incorporating drum 'n' bass and combining programming and live virtuosity. International recognition was quick to follow. This music examines Moses' roots. Eleven years later, it stands up brilliantly.
Robert Trunz

Genes and Spirits (BWSA079)

The second solo album from one of the world's most gifted young pianists, the late Moses Taiwa Molelekwa. This is an audio CD that also contains video clips and information about Moses which is read from the CD-Rom drive of a home computer.
Genes & Spirits is an album of contrasting moods and textures, from the staccato phrasing of Down Rockey Street to the stark lyricism of Sogra (Mmatswale/Mamazola). Infused with 'ubuntu', the intensely spiritual quality of black community life, this album pays its respects to South Africa's jazz past - but it has its feet firmly on the road to the future.

LIVE AT THE FIN DE SIECLE FESTIVAL, NANTES 1997 (MZA005)

1997's gathering of some 380 artists from South Africa on the shores of the Atlantic in the west of France must be earmarked as the most impressive show of our country's culture beyond our borders. The idea of the Festival du Fin de Siecle was to invite to Nantes all kinds of cultural representatives from three of the world's great cities, in order to illustrate the creativity of each of these places at the dawn of the third millennium. The festival began in October 1997, with a celebration of Johannesburg, representing Africa, continent of roots.Beautiful costumes and great visual performances made the festival a unique event.
Several of the musicians like the late Moses Taiwa Molelekwa, Busi Mhlongo, Madala Kunene, Pops Mohamed and Amampondo that were invited to perform at Nantes were associated with MELT. The Melt crew recorded and filmed all the shows for future release starting the series with this unique recording of the late Moses Taiwa Molelekwa.
Moses Molelekwa arrived fresh from the studio in Johannesburg where he put the finishing touches on his then eagerly anticipated CD Genes and Spirits. Moses played in different formations: with Zolani Mkiva, with Sibongile Khumalo both in Paris and Nantes and with his band at La Tour a Plomb. Moses was accompanied by Khaya Mahlangu on sax and flute, Sello Montwedi on drums and Fana Zulu on bass.
Feature: A breathtaking poem written by Monk Molelekwa – Moses father.
A DVD of Moses Taiwa Molelekwa's performance in Nantes with different tracks and lots of invaluable footage of the late Moses is now available.

WA MPONA (BWSA2281)

Followers of jazz and world music in South Africa were stunned by the news that Moses Taiwa Molelekwa had been found dead in his Johannesburg offices. Aged just 29, Molelekwa had already carved out for himself a place in the country's musical pantheon as a uniquely gifted keyboard man and composer who had started to blossom from his jazz roots to a richer and more eclectic style which drew on the music of Cameroon, Brazil, Jamaica, Cuba and London's clubland.

Music With No Name Volume 2

We are approaching the year 2000 - five years after the first sensational offering of Music With No Name Vol.1 - a unique remix project involving World Music artists mainly out of South Africa.

Volume 2 we present herewith is more jazz orientated - again with a fine bunch of remixers at work - enjoy!

Healers Brew
from the Outernational Meltdown sessions recorded in South Africa 1994

The Outernational Meltdown sessions had a simple mandate; bring into the studio a bunch of South African musicians who during the age of repression had little chance to expand their musical horizon and invite some of the finest western Jazz and World  musicians, then watch and see what happens. Among others was Brazilian master percussionist Airto Moreira, Sao Paolo born guitarist Jose Neto, South African bassist Sipho Gumede and Pop Mohammed. After two weeks of spontaneous recording sessions in Jo'burg and Cape Town out came  three albums dubbed the Outernational Meltdown Series no longer available except in form of a compilation called Hungry On Arrival. All three complete albums are available for digital download only.

This album is a compilation of the now deleted recordings first released in 1995 under the heading of Outernational Meltdown Soouth Africa with 3 titles then called "Free At Last" "Healers Brew" and "Jazzin' Universally". The album contains a couple of Q videos which can be viewed on your PC or Mac.

The energy of these recordings lies in the spirit of exchange; an exchange of rhythms and colours between musicians who came together to break the isolation that had too long been forced upon a people - the year is 1994 and it was time for the musicians of South Africa to join with the rest of the world.

The game plan was vague but under the loose direction of two South African musicians, bassist Sipho (pronounced 'Seepo') Gumede, Pops Mohamed and Brazilian master percussionist, Airto Moreira. The two weeks of recording in Cape Town and Jo'burg were fired by the winds of spontaneity.

Kicking off the set, 'Hungry On Arrival' is exactly as the title suggests. Airto and São Paulo born guitarist, José Neto, along with two North Londoners, trumpeter Byron Wallen and drummer Andrew Missingham, had flown into Jo'burg, dumped their bags at the hotel and headed for the Downtown studio. It took no more than bass-man Fana Zulu to drop a funky 5/4 B-line for the rest of the posse to jump right on it. Listen to percussive touches of pianist Moses Molelekwa, the momentum whipped up by Airto, the sweeping muted horn of Byron, the sensual but ecstatic guitar of Neto and the feverish vocals of Shaluza Max. I think Miles Davis might have ventured a smile at this cut.

If music is the healing force of the universe, then in South Africa it has a special role. This is a nation where a spiritual undercurrent underpins everything, where tribal traditions are tuned to the past present and future through the spirits of the ancestors - the Amadlozi. Coming from the spiritual tradition in Brazil, where his father was a healer, Airto Moreira was naturally keen to make contact on a musical level with this tradition in South Africa. Appropriately, a day of special recordings had been arranged through Pops Mohamed. There was to be a session with a group of sangomas: traditional healers, the direct line to the spirit world and the ancestors of the sky people. Once in the recording booth, they switched their street clothes for traditional dress. Their presence was magnified as they revealed themselves in plumed head dresses and toting fly whisks with short spears. They were adorned with complex, patterned beads and protective amulets. They gathered in a circle beneath