He walked through the racks wearing his “second-half-of-the-tour jacket” from Movement of the People, by Uzo Njoku. It’s blue, white, and black in an abstract pattern that was painted by Njoku. “I keep learning too much,” says Masego, alluding to the exploitative labor practices and questionable political history of some established brands. “So, that’s why I work with Africans; hopefully, they didn't hurt anybody historically.
Early in his career, the instrumentalist went through a self-described “old man phase.” He shopped for “thrift store fabrics”—corduroys and shirts priced at fifty cents. Masego talked about the significance of being born in Kingston, Jamaica. He feels that claiming the island as his home is inauthentic. But, what about the style there? “Jamaicans are the most confident men I've come across. They can put on anything,” he says.
Between looks we peeled back the layers of Masego’s new album. He recorded part of it in Huntsville, Alabama, and he worked with Kelvin Wooten on songs like “Sax Fifth Avenue” and “Who Cares Anyway?” “He's like the 50-year-old version of me. Way more talented, but very recluse. So, I just pulled up on him,” Masego says. For inspiration, he looked inward. He sings about longing for a simpler life on “Remembering Sundays.
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