\nJazz\ncomposer and reedman Sisonke Xonti has found himself where, like\nevery serious artist, he has nowhere to go but deep into the\nwilderness of his heart to discover his own worth. If he is any good,\nhe finds the map to the philosopher\u2019s stone. \n<\/p>\n\n\n\n
Going\ninto his headline performance at the Standard Bank Jazz Festival,\nSisonke was\ndogged by fate\u2019s curve ball;\nhe is the longest reigning Standard Bank Young Artist of the\nyear for Jazz, thanks to the impact of the\nCovid-19 pandemic on cultural life. However, this\nhas gifted Sisonke the time to outgrow the frills and\ntrepidation that comes with the award\u2019s expectations. The\nstrictures that often come with decorum and ceremony seem to have\ngiven way to creative abandon. \n<\/p>\n\n\n\n
He\nseems to have found the courage of his creative convictions. This\nvirtual National Arts Festival concert, as\na second take on the SBJF stage as reigning Standard\nBank Young Artist, is nothing short of an epoch-marking\nperformance in his developing career. \n<\/p>\n\n\n\n
The\nman eschews the regular appeal to simply\nshow us he can compose good songs and play them just as well. Here\nSisonke blazes with a bold and brilliant\nmodal path. He gives us music that is driven by harmony as opposed\nto the usual allure of sweet melodies. He yields to the potential\npower of his playing as primary and paramount. \n<\/p>\n\n\n\n
If\nthe rhythm section is especially deployed here to charge up the\nmusical firmament with requisite fiery spirit, Sisonke\u2019s\nreed is called to soar in search of something serious and sacred.\nThis is an experiment in\nintensity and ecstasy.\nIt\u2019s success is co-authored by a fitingly impeccable rhythm section\nthat keeps his lead honest at every turn. \n<\/p>\n\n\n\n
The\nincomparable Ayanda Sikade is on drums to ride a riotous righteous\nrim shot through the musical moment. Pianist and composer Nduduzo\nMakhathini is here too. He plays with clarity and considered\ncalculation, in\nturn sparing and deftly colourful. Further, Nduduzo\u2019s\nmessage is tried and true: nothing says modal better than the\nTyner\u2019s\nproverbial fourths<\/a>. It lends a touch of magic and mystery to the\nmusic. This is because when voicings of chords are\nstacked in fourths and stripped of thirds, fourth chords develop a\nmysterious stasis, becoming neither major or minor. This openness has\na vibe of possibility. It\u2019s a metaphor for larger ideas that is as\nlife affirming as any lofty\nhumanist proposition. \n<\/p>\n\n\n\n Then\nthere is bassist Dalisu Ndlazi, who over the last few years has been\nearning his seat at the table. This gig with the quartet marks his\narrival. Those who’ve seen him grow through the ranks since he first\ngained national notice at the Standard Bank National Youth Jazz\nFestival, welcomed his growth, signalling\nthe festival\u2019s annual workshops are an indispensable\ncauldron for cooking up talent in our country.<\/p>\n\n\n\n Sisonke\u2019s\nconcert comprises compositions contributed by the various\nmembers of the ensemble, some new cuts from\nSisonke himself\nand a new arrangement of an older piece. Gaba<\/em>, which first\nappeared on his debut record, Iyonde<\/em>, is here submitted to\nSisonke\u2019s bold if not lofty musical\nmotivation. \n<\/p>\n\n\n\n To\nbe honest, there have been signs that Sisonke was\nto be taken seriously as a would-be master\nsax-man. Notable among these are a memorable solo on Benjamin Jefta\u2019s\nHomecoming<\/em>. Some have even argued that the quality of his\nplaying and the boldness of his sound are central to what places\nthat record on the roll-call of\nmzansi\u2019s contemporary jazz albums.<\/p>\n\n\n\n Sisonke\u2019s own debut album as a band leader was also a clear announcement. The follow-up record, uGaba-The Migration<\/em>, confirmed him as a clear-thinking composer and arranger. If Sisonke was merely a saxophone player before, this concert marks him as something much more: the jazzman has become a saxophonist. He and the horn are one!<\/p>\n\n\n\n Watch Sisonke’s performance here<\/a>.<\/p>\n\n\n\n \n\n\u00a92021 The Critter. This article is licensed under a <\/em>Creative Commons Attribution-NoDerivatives 4.0 International License<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"