delegation. The last stop of the tour was Morocco, where he decided to settle, running his African Rhythms Club in Tangier for five years, from 1967 to 1972. He said in a 2015 interview: "We had everything in there from Chicago blues singers to singers from the Congo.... The whole idea was to trace African people wherever we are and what we do with music." In 1972, he produced Blue Moses for CTI Records, a best-selling record on which he plays electric keyboard. As he explained in a July 2018 interview, "We were still living in Tangier, so my son and I came from Tangier to do the recording, but when I got there, Creed Taylor said his formula is electric piano. I was not happy with that, but it was my only hit record. People loved it." In the summer of 1975, he played at the Festival of Tabarka in Tunisia, North Africa (later known as the Tabarka Jazz Festival), accompanied by his son Azzedin Weston on percussion, with other notable acts including Dizzy Gillespie. In 1977, Weston participated in FESTAC, the Second World Black and African Festival of Arts and Culture, held in Lagos, Nigeria; other artists appearing there included Osibisa, Miriam Makeba, Bembeya Jazz, Louis Moholo, Dudu Pukwana, Donald Byrd, Stevie Wonder and Sun Ra. Later career For a long stretch Weston recorded infrequently on smaller record labels. He also made a two-CD recording The Spirits of Our Ancestors (recorded 1991, released 1992), which featured arrangements by his long-time collaborator Melba Liston. The album contained new, expanded versions of many of his well-known pieces and featured an ensemble including some African musicians, with guests such as Dizzy Gillespie and Pharoah Sanders also contributing. The music director was saxophonist Talib Kibwe (also known as T. K. Blue), who subsequently continued in that role. The Spirits of Our Ancestors has been described as "one of the most imaginative explorations of 'world jazz' ever recorded." Weston produced a series of albums in a variety of formats: solo, trio, mid-sized groups, and collaborations with the Gnawa musicians of Morocco. His most popular compositions include "Hi-Fly", which he said was inspired by his experience of being 6' 8" and looking down at the ground, "Little Niles", named for his son (who was later known as Azzedin), "African Sunrise", "Blue Moses", "The Healers", and "Berkshire Blues". Weston's compositions have frequently been recorded by