Bra Hugh Masekela’s singular music career was matched only by his larger-than-life persona. In the days since his passing, many who knew him personally have spoken fondly of his incredibly witty sense of humour and his genuine zest for life.
Nduduzo Makhathini, a torchbearer for this generation of jazz artists, was sombre and soft-spoken when he spoke of his strong personal relationship with Masekela.
“He represented so many things to me. First of all, he was a mentor and father to me. And he was someone who would just pick up the phone any time to find out how I was and how my family were doing, without even mentioning a word of music. He cared for other human beings beyond the music.”
Makhathini worked with Masekela for several years and the two performed together on many occasions.
“We had a lot of special moments together,” he said.
“I remember last year he asked me to come visit him at his home in Joburg and he was saying that he’s been through so much in terms of his health and it was getting complicated. He also brought in his sense of humour, talking about death Somehow I think Bra Hugh was prepared for it and, on the other hand, we weren’t prepared for it.
"I’m so hurt, everyone I’m close to is deeply affected by this. Someone as energetic as he was, you struggle to imagine them dying. It’s going to take a while.”
His energy is something that resonated with many people. He was flamboyant, dynamic and his passion for music infectious.
“No one had a similar energy. I mean, if you’ve ever seen a performance by Bra Hugh, it goes beyond the sonic experience but visually as well. He was quite an involved performer.”
Last year, Masekela was awarded an honorary doctorate in music by the University of KwaZulu-Natal in recognition of his incredible role as a world-class performer and entertainer. His achievements were vast, and his was undoubtedly an indelible contribution to the world of music.
One of the people greatly influenced by him was Zimbabwean Afrosoul songstress, Berita. She met Masekela at a festival five years ago.
She recalled how she performed immediately after him and how he stuck around to watch her.
When she went up to greet him after her performance, he expressed admiration for her music.
During their conversation, they realised that they would both soon be visiting Zimbabwean musician and human rights activist Oliver Mtukudzi for a special event in Zimbabwe.
When they met in Zimbabwe, Berita played him a song, Mwana Wa Mai, which she had recorded with Mtukudzi.
“I remember the song didn’t even play, that’s how nervous I was. He listened (with earphones) for like 30seconds and he was like, ‘this is great, but there’s no music’.”
May his soul rest in peace. Knowing Bra Hugh, I suspect there is a big party going on in heaven. Let’s join in and celebrate the legend that left an indelible mark in music. #BraHughMemorial #HughMasekela #RIPBraHugh pic.twitter.com/7tqwBURWJf
— Berita (@BeritaAfroSoul) January 28, 2018
After it eventually played, Masekela looked up at her and asked: “When are you putting me on this song?”
“He had a memorable smile, and he was genuinely funny and caring. One thing I noticed when I went to the studio with him is that he could also be so serious. He would put on a shirt and a tie, just for the studio, and he really took his craft very, very seriously. He was also a very loving guy. He lived life and he lived life well.”
Last August, in celebration of the 20th anniversary of the Standard Bank Joy of Jazz, it was announced that Masekela would be collaborating with new-school rapper, Riky Rick for The Out Of The Blue collaboration.
“It’s a bit sad because we never got to finish our project,” Riky said.
“I know it’s a bit selfish but that’s the thing that was running through my mind the most.”
At the launch, I recall Masekela saying he was a fan of Riky’s, which was surprising because of the contrast between the two artists’ music.
But, as Makhathini pointed out to me, Masekela had a young soul and he was well-versed in the urban music scene.
Riky shared a few things that he picked up from his interactions with Masekela.
“He was always himself - straight to the point, unadulterated and uncensored. That’s the most important thing. Some people would be shocked that he’d be such a down-to-Earth, true-to-himself person. A lot of people put on an image for the public, and he was not like that. He was always himself and never afraid to voice his opinion.
“I guess that’s what made his music so great; the person you hear in the music and that fearlessness was the same you’d come across in real life.”
Last year, after Masekela released No Borders, his umpteenth and final album of an illustrious catalogue, I engaged with him on a range of topics. I recall asking him about how he continued to be inspired to make music and perform at a high level.
His response was most poignant: “I’m not inspired to make music, my friend, I was bewitched when I was an infant. It’s never been an effort. I’m just bewitched with music, it’s witchcraft,” To which I responded, “So, it’s inexplicable?”
“I didn’t want to be a musician but I just kept singing,” he said.
“In fact, I used to get punished for singing. My mom used to shout at me. By the time I was 14, I was one of the biggest record and CD collectors in the country. I’ve always been obsessed with music, I’ve never really had to try.”