You may not be familiar with his name, Linda Sikhakhane, but if you trust the Blue Note label and have been impressed by the music of Nduduzo Makhathini, then you will eagerly gravitate toward the South African saxophonist’s debut on the label and his fourth album overall, Iladi. You may want to consider it an extension of Makhathini’s music as he produced the album and plays piano in the quartet, rounded out by his frequent collaborator, bassist Zwelakhe-Duma Bell le Pere, and drummer Kweku Sumbry, though the compositions are all from Sikhakhane. It’s a tightly knit unit. Sikhakhane was the saxophonist on Makhathini’s 2020 Blue Note debut, Modes of Communication: Letters from the Underworlds, and his 2022 In the Spirit of Ntu. The bassist played on the former as well as Makhathini’s trio album, uNomkhubulwane, released just a couple of months ago, all covered herein.
Lest you be intimidated by the vowel-rich Zulu names of the tracks, Sikhakhane will inevitably evoke the early spiritual phases of John Coltrane’s music circa 1964 and 1965, as well as that of McCoy Tyner’s early ‘70s Milestone period. Yes, Sikhakhane’s major influences are Coltrane and his South African mentor, Mankunku Ngozi. And, as you probably know, Makhathini’s pianism is mostly compared with Tyner’s.
There has been a lull in the past couple of years for spiritually rendered saxophone-led music now that Shabaka has turned to the flute and abandoned his saxophone-led bands. Tenorists James Brandon Lewis and upstart Isaiah Collier, along with altoists Lakecia Benjamin and the ever-reliable Kenny Garrett, are doing their part on the spiritual side, and Sikhakhane, though less fiery, is a welcome addition to these sonics. Unlike those four, he plays fervently and eloquently, shunning the aggressive shrieking and squawking. Sikhakhane is soothing, more in the realm of balladic spiritual Coltrane, and somewhat akin to Charles Lloyd. The edges are soft and rounded, also in the vein of Oded Tzur, who just recently released his own album, My Prophet (ECM), which also celebrates feminine wisdom, as do Sikhakhane’s two tracks here.
The album title draws its name from a multipurpose Zulu ceremony. Sikhakhane states, “This offering is a sonic transposition of this ritual, an expression of gratitude that seeks to acknowledge all gift and guidance on my journey.” Opener “iGoda” (guardian/leader) is a tribute to all who have paved the way in accordance with the way African rituals and ceremonies begin. Makhathini’s percussive piano and definitive chords lead into the saxophonist’s devout and self-assured entrance as he launches his exploratory, reaching solo over thunderous rumbling from the rhythm section, including a bright, energetic turn from the pianist and kinetic kit work from Sumbry. “Inkehli” is an ode to matriarchy, which begins with the bassist’s introduction and plays out gorgeously as a soft ballad, reflecting the care of a mother. “Ukukhushulwa” (transcendence) is one of the most profound examples of Sikhakhane’s deep spirituality, as his saxophone sound just washes over the listener like a refreshing shower, complemented nicely by Nduduzo’s shimmering piano, extended through the equally deep “Umhlahlandela” (a guide) where Nduduzo is the featured soloist.
The saxophonist reengages his adventurous side with the twists and turns of “Idatshana (a short tale),” in one of the edgier tracks. “Mama” is the second femininely inspired piece, dedicated to his own mother as an ode to feminine energy. Though contemplative in spirit, you can feel the calming joy in Sikhakhane’s approach coupled with Nduduzo’s pensive pianism (uncharacteristically more minimalist) and Sumbry’s delicate brush work. The reaching, explorative Trane-like sonics define the last two tracks, “Influential Moments” and “Ecako” (home) as the quartet is fully immersed and inspired by Zulu cultural wisdom with each individual voice prominent, especially bassist Bell le Pere in the latter. While Nduduzo often sounds like Tyner, Sumbry is a clever, pick-the-spots-where-I-can-add player than the thunderous driver that Elvin Jones was. Nonetheless, the comparisons to Coltrane’s classic quartet are inevitable and inescapable.
Sikhakhane and Makhathini adhere to the Zulu principle of music as a healing force and form of meditation. Iladi is oft breathtaking, accessible to all who love the spiritual saxophone led sound.
