{"id":10363,"date":"2016-05-14T03:18:28","date_gmt":"2016-05-14T10:18:28","guid":{"rendered":"http:\/\/jazzusa.com\/?p=10363"},"modified":"2013-05-13T03:19:46","modified_gmt":"2013-05-13T10:19:46","slug":"lorraine-klaasen-a-tribute-to-miriam-makeba","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=10363","title":{"rendered":"Lorraine Klaasen &#8211; A Tribute to Miriam Makeba"},"content":{"rendered":"<p>Soweto-born vocalist Lorraine Klaasen pays homage to \u201cMama Africa\u201d on her new Justin Time recording titled A Tribute to Miriam Makeba. This is the follow up to her triumphant release Africa Calling and has received a Juno Award nomination in the world music category. Eleven new songs grace this fascinating program that features Senegalese guitarist Assane Seck, Benin-born percussionist Moise Yawo Matey and her longtime bassist Sebastian Andrew Whiteman.<\/p>\n<p>Ms. Klaasen\u2019s voice is powerful and rings with joy on six classic Miriam Makeba compositions including the popular \u201cClick Song,\u201d a Xhosa play song which incorporates the technique of \u2018click singing;\u2019 \u201cJolinkomo\u201d \u00a0the Xhosa praise song that young women sing when they cheer their young men into battle; and \u201cLorraine\u201d a song of self-reflection, among others. Among the more memorable highlights are Makeba\u2019s \u201cPata Pata,\u201d and \u201cIphindela,\u201d which concludes the recording.<\/p>\n<p>Overall, this is a fine tribute to one of the world\u2019s most beloved singers and receives the benefits of Lorraine Klaasen\u2019s prolific storytelling and lovely vocals.<\/p>\n<p>Reprinted with permission of&#8230;<\/p>\n<p><a href=\"http:\/\/www.soundsoftimelessjazz.com\" target=\"_blank\"><img decoding=\"async\" alt=\"\" src=\"https:\/\/jazzusa.com\/sotjlogo.gif\" width=\"470\" border=\"0\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Soweto-born vocalist Lorraine Klaasen pays homage to \u201cMama Africa\u201d on<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-10363","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/10363","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10363"}],"version-history":[{"count":3,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/10363\/revisions"}],"predecessor-version":[{"id":10367,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/10363\/revisions\/10367"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10363"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10363"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10363"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}