Louis Moholo-Moholo/ Stan Tracey,
Molo (Hello) Afrika - Later Europe
Landela (Follow) (6.31)
Very Urgent (7.43)
Goduka (Go Home) (10.59)
Total Time 61.02
Stan Tracey (piano),
Louis Moholo-Moholo (drums, percussion)
Recorded Gateway Studios, Kingston, England on Saturday 23rd October 2004.
Nice one Stan, you touched my soul, "Bra"."
Hazel Miller Wrote: "After working with Louis for over 30 years this recording is a very strong finale, to that particular era.
Louis and his wife Mpumi have decided to reside mainly in their home country, Capetown, South Africa. We will continue to work together but it obviously will be different - thank goodness for e-mail!
A wet Saturday afternoon spent with very close friends and being part of what you can now share, great music.
Thanmk you Louis, Stan, Jackie, Evan, Jak, Steve and Gurjit.
Stan Tracey Wrote: "Before this session I hadn't played with Louiws for over 30 years and even then not as a duo. So when asked to do this album I was a little concerned as to how to approach the music.
Came the moment, and without discussion, we started to play and it suddenly felt very comfortable. Working with Louis was a pleasure and a joy. Review: © Guardian Unlimited © Guardian Newspapers Limited Friday March 4, 2005 2005 & John Fordham
Pianist Stan Tracey last played with the South African master drummer Louis Moholo 30 years ago, when Moholo was an exile from apartheid. Now he has returned to South Africa to live, so the recent scarcity of this dramatic performer's UK work gives this 2004 London improvisational session an extra buzz.
Three decades on, Moholo remains the formidable free-improviser he always was - but Tracey has largely returned to the structured, song-shaped swinging music he began with. The gig, therefore, might have been a meeting of well-intentioned old associates who had become musical strangers. Tracey even implies an unease about it in his notes to the set, but he records that when they sat down to play - with no prior discussion - the music just took care of itself.
It's true that Tracey sounds at times like a man trying out a punchline on a fellow-conversationalist who barrels on without hearing it: he is used to building an improvisation to a cliffhanging resolution that's picked up by others as a trigger for cruising swing. Moholo, by contrast, sustains a hissing, simmering kind of rhythmic trance rather than a groove, depriving Tracey of his usual narrative shapes. But the pianist responds to the challenge with typically economical ingenuity.
On the two-stage opener, Molo Afrika - Later Europe, Tracey begins with hopping, tinkling figures that develop into seamless chordal rumbles over Moholo's boiling percussion, before the piece turns into delicate minimalism over castanet-like sounds and sibilant whispers from the drummer. On Landela, Tracey sounds on familiar ground - urgent, rocking phrases descending to emphatically banging chords - while Moholo broadens the percussion canvas to include a gallop of tom-toms and fizzy metalwork. The drummer compellingly explores rising and falling pitch variations while Tracey jangles combatively at him on Shapes. Elsewhere, Moholo falls back and Tracey gambols in the open spaces of Musicale. The closing Goduka starts like an Ellington train-rhythm tune, then becomes sunnily amiable, unleashing some of Moholo's most creative playing. Completely in-the-moment music-making.