Kathleen Tagg & Andre Petersen | Where Worlds Collide

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Jazz: African Jazz Classical: Postmodern Moods: Instrumental
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Where Worlds Collide

by Kathleen Tagg & Andre Petersen

In this unique two-piano album featuring two of South Africa's leading pianists, original compositions live alongside music by some of the giants of South African jazz. This project is Pan-African in influence, though very much rooted in South Africa.
Genre: Jazz: African Jazz
Release Date: 

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  Song Share Time Download
1. Rapela
Kathleen Tagg & Andre Petersen
4:41 $0.99
2. African Dawn / Cape Doctor
Kathleen Tagg & Andre Petersen
5:55 $0.99
3. Angola
Kathleen Tagg & Andre Petersen
4:36 $0.99
4. As the Flowers Bloom / Ntyilo Ntyilo
Kathleen Tagg & Andre Petersen
4:43 $0.99
5. D'julle, Ons En Hulle
Kathleen Tagg & Andre Petersen
3:30 $0.99
6. Second Time Around
Kathleen Tagg & Andre Petersen
5:41 $0.99
7. Tonk
Kathleen Tagg & Andre Petersen
3:08 $0.99
8. Berimbau
Kathleen Tagg & Andre Petersen
3:52 $0.99
9. Time Watchers
Kathleen Tagg & Andre Petersen
4:01 $0.99
Downloads are available as MP3-320 files.


Album Notes
Track Information:

1 Rapela Moses Molelekwa 4:37

2.1 African Dawn Abdullah Ibrahim 1:16
2.2 Cape Doctor Andre Petersen 2:21
2.3 African Dawn (cont.) Abdullah Ibrahim 2:15

3 Angola Bheki Mseleku 4:33

4.1 As the Flowers Bloom Kathleen Tagg 1:40
4.2 Ntyilo Ntyilo Alan Silinga 2:12
4.3 As the Flowers Bloom (cont.) Kathleen Tagg 0:47

5 D’julle Ons En Hulle Andre Petersen 3:26

6 Second Time Around Kathleen Tagg 5:38

7 Tonk Duke Ellington & Billy Strayhorn 3:04

8 Berimbau Kathleen Tagg 3:48

9 Time Watchers Andre Petersen 4:01

Notes on the Music:
Rapela - by M. Molelekwa
A South African masterpiece by the late Moses Molelekwa, influenced by the infectious rhythms of Cameroon, West Africa.

African Dawn - A. Ibrahim
One of Ibrahim's lesser known solo piano masterpieces, a model of thematic and motivic genius. Indeed sonically capturing a post-apartheid South Africa’s sentiment of hope, courage, uncertainty and the spirit of overcoming.

Cape Doctor - A. Petersen
Composed for the late great Cape Jazz saxophonist, Robbie Jansen, nicknamed “Cape Doctor”. This composition was sonically inspired by Khoi-San rhythms, Abdullah Ibrahim and Wayne Shorter.

Angola – B. Mseleku
From the mind and soul of the late Bheki Mseleku comes this beautiful, brilliant, rhythmical tour de force.

As the Flowers Bloom- Kathleen Tagg
Influenced by a phrase from Madiba’s inaugural speech in 1994. “Each one of us is as intimately attached to the soil of this beautiful country, as are the famous jacaranda trees of Pretoria and the mimosa trees of the Bushveld...We are moved by a sense of joy and exhilaration as the seasons change and the flowers bloom.”

Ntyilo Ntyilo- Alan Silinga
One of the most iconic and beautiful South African songs, written for Miriam Makeba, but also recorded by a myriad of great South African jazz artists.

D’julle, Ons En Hulle – A. Petersen
A Ghoema composition inspired by the sights and sounds of modern, urban Cape Town. Modernity meets historical reflection and cultural pride.

Second Time Around - Kathleen Tagg
The introduction is influenced by Amadinda and Akadinda music. This leads into the contrapuntal body.

Tonk- Duke Ellington & Billy Strayhorn
A rarely performed piano duo piece, “Tonk”, also known as “Pianistically Allied,” was written as a showcase for Ellington & Strayhorn and gets its name from one of Ellington’s favorite card games.

Berimbau- Kathleen Tagg
A piece that drew initial inspiration from the sounds of the overtone series and bow music, that then give into a driving motion and groove in seven.

Time Watchers - A. Petersen
A tone poem based on the Biblical Book of Daniel [Chapter 4].

Kathleen Tagg and Andre Petersen met in 1996 as students at the University of Cape Town, and this recording marks the twenty year anniversary of their meeting. In the intervening years, Kathleen moved to New York City, and Andre studied further in Belgium.
Along the way, each of them worked with a wide array of musicians in multiple genres who influenced their paths and thinking. For this recording, every one of those influences comes into play- classical training and structure, jazz improvisation, polyrhythmic influences, extended techniques, goema and the sound of selected sub-Saharan African instruments.

Each pianist is also a composer, and this recording uses as its cornerstones Kathleen and Andre’s original compositions. They are placed alongside music by some of the giants of South African jazz. This is a project that is Pan-African in vision, but chamber music in scale. The pianos are used in traditional and non-traditional ways to achieve a wealth of sounds from the inside the piano by using organic extended techniques such as plucking, stopping the strings and bowed piano.

Kathleen: This project with my great friend and wonderful musician Andre Petersen is something that has been very exciting and special for me: combining all of our strengths and passions and coming out with something that, while very much rooted in Southern Africa, really sounds like us.

In my music I particularly look at expanding the sonic world I use when performing on the piano, using extended techniques to make the piano sound like anything from a bass guitar to drums, marimba or uhadi. It was really fun as well as challenging to bring this into a 2-piano setting, finding a way for each of our individual and very different voices to live together and create something more than the sum of its parts through finding out about each other’s strengths and passions. For me the most important thing is that the end result always sounds organic, and that it plays to each person’s strengths, creating something that magnifies what each of us has to offer.

Andre: I am very honoured to have collaborated with Kathleen Tagg on this special project. She is not only a consummate artist, composer and exceptional pianist, but a wonderful human being as well. Cross- over projects can be very tricky (let alone with two pianos!), because in an attempt to relate to each other they have the tendency, for the most part, to sacrifice the integrity of the various disciplines involved. It has been quite an adventure creating a sonic world where our vast musical experiences could comfortably co-exist in an organic way.

I have always imagined that the culturally rich compositions of South African Jazz masters like Abdullah Ibrahim, Bheki Mseleku and others could lend themselves to intimate “chamber music” settings and interpretations, without compromising on the intelligence, nuances and artistry of jazz improvisation and the Pan African narrative. This duo project seemed like the perfect opportunity to do so. In our sonic playroom we have the freedom to transition from Classical to Jazz, to Ghoema to African Music and beyond!



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