Nduduzo Makhathini - uNomkhubulwane

2024

 Review by Thom Jurek

On his 11th album and third for Blue Note, South African jazz pianist, composer, healer, and educator Nduduzo Makhathini delivers the extended uNomkhubulwane. It's titled after its muse, the Zulu daughter of God, rain goddess and regulator of nature, light, and fertility. uNomkhubulwane's name means "she who chooses the state of an animal" -- a shapeshifter. The spirituality in Makhathini's music balances inner intent with outlook and inspiration. This three-movement suite -- "Libations," "Water Spirits," and "Inner Attainment" -- comprises 11 tracks. Makhathini is accompanied by veteran drummer Francisco Mela and bassist Zwelakhe-Duma Bell le Pere.

The suite's movements reflect African cosmology, around the number three; it's associated with infinity, immortality, continuity, and balance, filtered through a three-tiered state of being: before (ancestors), present (our own lives), and future (those not yet born). "Three" is also reflected in the personnel, time signatures and triplets that run through the songs. Another standout is his incantatory vocals, whispering, chanting, murmuring, and singing words in the Zulu and Bantu languages. While not vocal-centric, they are paramount in the flow of development.

Spoken words and bell-like piano chords introduce "Omnyama" from "Libations." A two-chord piano vamp emerges in call-and-response with his singing before bass and drums enter in a 21st century musette waltz containing none of its European characteristics. The driving "KwaKhangelamankengana" juxtaposes the pianist's croon and modal piano invention -- a dead cross between McCoy Tyner and Bheki Mseleku -- over a skittering polyrhythmic trap kit and contrapuntal bassline. "Izinkonjana," the first song in "Water Spirits," weds the South African jazz piano tradition and evokes gospel, folk, and community music. It segues naturally into the more physical, exploratory "Amanxusa Asemkhathini" before returning to ground when answered by the looser, gently swinging "NyoniLe" as Makhathini croons and chants. "Iyana," the album's fourth section, is at once speculative and hypnotic with rippling piano and drum repetitions. "Inner Attainment," the final movement, is a celebration of Afro-Futurism.

The pensive introduction to "Izibingelel" is intimate and engaged with open space, tended by Mela's ever-inventive drumming and Bell le Pere's upright bass. "Umlayez'oPhuthumayo" offers rhythmically intricate post-bop; drums and bass double-time the pianist who rises to meet them with edgy arpeggios, tight, angular, Monk-esque chords, and bouncy counter rhythms. "Amanzi Ngobhoko" is a spectral ballad with Makhathini's spiritually inspired croon/chant above ghostly piano. When the rhythm section bumps in, they apply a muscular yet circular vamp that allows for vocal, percussive, and piano improvisation. The solo piano piece "Ithemba" closes the set in offering the twin inspirations of Abdullah Ibrahim, and by extension Duke Ellington.

uNomkhubulwane is an achievement. It offers Makhathini's kaleidoscopic, nearly limitless range as composer, improviser, bandleader, and spiritual adept in a striking, major jazz work that offers speculation, affirmation, and sophistication in abundance.