Jazzin' Universally
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.

ANCESTRAL HEALING (BW069)

Pops was active in producing and playing on the ground-breaking and earth-shaking Outernational Meltdown project released his first solo recording for B&W Music/MELT2000 to a brilliant response from media and public alike. Recorded in New York and Johannesburg, 'Ancestral Healing' is a celebratory selection of music uniting mbira with the uplifting spirit of township jazz. Featuring a range of celebrated musicians, it is a tour de force from Pops, who demonstrates his versatility with a dismaying array of African instruments. On the title track alone, Pops plays mbira, dzavadzimu, kalimbas, jyl, ocarina, triangle, digeridoo, shakers, kora, berimbau, African mouth bow, bells and rainsticks.
'A daring blend of NY session players with SA township jazz/jive ... as we hear on the long title track, digeridoo and traditional African instruments can be a marriage made in heaven.' Rick Sanders, Folk Roots
'This is an album that stays with you long after you have switched off your CD player. Heavily influenced by North African rhythms, it ebbs, flows and kicks. You need this CD in your collection.' Elliot Makhaya, Sowetan, 1.10.96
Personnel:
Pops Mohamed Piano, mbira dzavadzimu, njare, nyunga nyunga, digeridoo, rain stick, ocarina, whistles, assorted hand percussion, digital instrument programming, arrangements and voice.
Emma Guitars, mbira dzavadzimu, nyunga nyunga, hoshos, accordion, digital instrument programming, arrangements and voice.
Valarie Naroanjo Congas, djembe, gyil, axaste, caxixi, kayamba, and Turkish bells.
Joey Cardello Congas, bongos, djembe, bougarabou, kalunga, doumbeg, tom-toms, otah/ubah, chekere, hohos, goathoof rattles, ankle bells and flexatone.

HOW FAR HAVE WE COME (BW088)

Pops Mohamed, South Africa's unofficial Minister for Music, is on a mission to prevent the indigenous music of the rainbow nation being overrun by American pop. A perfect mix of traditional and modern forms, this album is based upon an amazing set of recordings with the Khoi-San Bushmen of the Kalahari desert. Made over three days in a makeshift studio set up in the back of a 4X4 drive jeep, the tapes were then flown to London, where Pops worked with musicians including Andrew Missingham and Chris Bowden of Barungwa, Jessica Lauren and Yolanda Charles, to produce an album that is truly a unique meeting of cultures. Pops combines a contemporary electric line-up with the unusual textures of traditional African instruments offset against jazz, funk, dance and township rhythms. His own vocals are mixed with samples of the chants of the San people to produce a richly textured, thoroughly modern music that's deeply imbued with the indomitable spirit of ancient Africa. In booklet accompanying the CD, Pops tells the story of each song:

A booklet accompanying the CD tells the story of each song, along with the ?A booklet accompanying the CD tells the story of each song, along with the background to the whole project, written by Pops and featuring photography that gives an insight to the life of the San people. A percentage from the sales of the album is being donated to the Khoi San Foundation.

Pops Mohamed meets London Sound Collective (ELM8004)

Drum n' bass with ethno sounds

Pops Mohamed is South Africa's unofficial Minister for Music and is renowned for his dedication to protect and preserve the indigenous tribal music from his homeland. Interestingly however he is simultaneously at the helm of the current world music movement experimenting with global sounds - fusing tradition with modern technology.
This collaboration with the cutting edge underground drum'n'bass outfit, The London Sound Collective demonstrates the innovative and versatile vision that is Pops' trademark. This vinyl is an explosive fusion of East London urban sounds with indigenous instrumentals, guaranteed to fully possess the senses. Marking a new style of drum'n'bass, the essence of South African music has been brought to the global dancefloor.

DOWN FREEDOM AVENUE (BW051/BWR051)

With the advent of a new political dawn in South Africa, the vibrant musical tradition of the townships is now emerging onto a world-wider stage. Sipho Gumede's first recording for B&W Music is the latest result of rich vein of music mined by the jazz fraternity of Durban that includes Darius Brubeck and Chris Merz of Counterculture. The album conveys the turbulence and pain of a nation straining to be reborn.
From the beginning of track one, Sipho Gumede's masterful bass playing dictates the direction of the playing, with Baba Serakoeng caressing sweet runs from the upper register of his guitar and Sithembiso Ntuli letting fly on tenor sax. 'Ngiyabonga Thanking You' provides a platform for Sbongiseni Shange and son, with Faca Kulu and the assembled Zulu choir of the Challengers to explore the kind of territory made familiar by Ladysmith Black Mombaza.
'Song For Johnny Dyani' is a masterpiece of mellow, plaintive jazz with lyrical guitar playing from Baba Mokoene, sensitively supported on keyboards by Barney Bophela with Chris Merz' soprano sax giving voice to the emotion of the tune, rendering vocals unnecessary. Johnny must have been quite a guy.
The sinuous, insistent rhythm of 'Please Don't Dance' allows the funkier side of the band to assert itself, with Sbongiseni Shange's delightful drumming to the fore. The teasing guitar of 'Nozipho, the Dancer' makes this cut the obvious choice for a single.
Seven tracks in, the haunting vocals of Sthembiso Shange mark out 'Hlabelela, Just Sing' as a classic while the choir transports you to heaven. Welcome to a new South African standard.
'Village Lullaby' is the sound of home, a reminder that even under oppression mothers must still care for their children, seasons arrive and depart and the eternal wheel keeps turning.
A native hymn of praise, 'African Wedding' uses tribal drums and voices to capture the occasion. 'Country Side' is a fitting conclusion to the album, laying down the arm colours of the Natal landscape using Matume Rachabane's muscular alto sax and virtuoso piano playing from Barney Bophela.
The listener is left with a rolling landscape of sound, etched with optimism of a people emerging from political darkness, marching step by step as the lights go on Down Freedom Avenue.