Legacy: Live in South Afrika 1964

Professional ratings

Review scores
Source	Rating
AllMusic	[1]
Jazzwise	[5]
The Penguin Guide to Jazz	[6]

In a review for AllMusic, Michael G. Nastos called the album "historic" and "a testament," and noted that the Blue Notes "paved the way as a prelude to a revolution of Afro-jazz that still very much lives."[1]

The authors of The Penguin Guide to Jazz Recordings wrote: "This is an important historical release for anyone interested in the development of the South African strain in British and European jazz. It conveys... something of the raw excitement of those extraordinary years."[6]

Chris May of All About Jazz described the album as "an important historical artefact," and noted that "there is none of the anguish and fury that kicked in after a year or so of arrival in Britain, as the reality of separation from friends, family and homeland took hold."[7]

Jazz Journal's Peter Gamble stated that the album "serves as a potent reminder of exactly what these passionate musicians brought to the British music world," and commented: "The rhythm section is well up to speed..., Dyani solid as a rock, Moholo-Moholo more predictable in his accents than would become the case in later years and McGregor probably wishing his instrument had been tuned before the event."[8]

Writing for Point of Departure, Bill Shoemaker commented: "Not only did the musicians risk life and limb to perform publicly, but even those who attended concerts like this Durban farewell performance were in danger of brutal police treatment and jail. However, there's a disconnect – the music itself. The Blue Notes' music in 1964 was jazz in its purest social form... that evil ruled outside the venue makes their enthusiasm all the more resonant."[9]

In an article for JazzWord, Ken Waxman noted that, although "the seven tracks on Legacy chug along nicely with foot-tapping rhythms and expose a series of high class solos," "its paramount interest is historical." He remarked: "The entire set is firmly anchored in the school of players being recorded by the band's namesake record company – Blue Note – and almost completely beholden to the genre's defining ensemble: Art Blakey's Jazz Messengers."[10]

Jon Turney of London Jazz News stated that the album "captures the definitive line-up of a remarkably talented sextet," and "reveals a tight, inventive band... playing exciting music rooted firmly in hard bop."[11]

Commenting for Itineraries of a Hummingbird, Jason Weiss wrote: "Already the musicians are reaching toward open terrain... Behind the stylistic influences anchoring them to the jazz tradition, amid the interstices, the kernel of their future flowering is clearly found there."[12]

1. "Now" (Chris McGregor) – 8:36
2. "Coming Home" (Dudu Pukwana) – 9:08
3. "I Cover the Waterfront" (Johnny Green, Edward Heyman) – 9:22
4. "Two for Sandi" (Dudu Pukwana) – 10:32
5. "Vortex Special" (Chris McGregor) – 12:08
6. "B My Dear" (Dudu Pukwana) – 9:10
7. "Dorkay House" (Dudu Pukwana) – 13:52

• Dudu Pukwana – alto saxophone
• Nick Moyake – tenor saxophone
• Mongezi Feza – trumpet
• Chris McGregor – piano
• Johnny Dyani – double bass
• Louis Moholo – drums