If the world was a better place, all music would sound exactly like this album, meaning free of commercialism, unnecessary manipulation or auto-tune, and driven by mind, heart and a very inventive muse.

Malcolm Jiyane's new album is in part channeling those South African musical and political heroes who have departed this world. There is a moral authority to the music yet the sound is not so simple to describe and the theme not so easy to pinpoint.

The tracks sometimes sound like a holy figure singing in deep meditation, other times, Jiyane’s trombone can sound like it is coming from the distant past. Most of the time the music is joyous in the way of South African music, but it catches at the back of your throat. There is more than sadness in the joy. To borrow a title from Abdullah Ibrahim, this is water from an ancient well.

Jiyane calls the name of the Sophiatown poet Don Mattera on the tune “Memory is the Weapon.” This is also a reference to the 1982 film about Fela Kuti, "Music is a Weapon". Jiyane’s dirge like piano merges with chanting in a beautiful tribute to both of these South African legends.

In the 1960s, artists like Fela, Miriam Makeba and Philip Tabane were introducing the world to Afro Beat, tribal folk music and what is generally called South African Jazz. During this time period, Abdullah Ibrahim was discovered by Duke Ellington while performing as Dollar Brand. Since then, the groundswell of jazz artists emerging from South Africa has been staggering, including the recent recordings from the vocalist/pianist Thandi Ntuli and the pianist, Nduduzo Makhathini.

The groundbreaking guitarist, vocalist and band leader is on the eponymous tune, “Dr. Philip Tabane,'' a lovely mixture of Ayanda Zalekile recorder, chanting and Jiyane’s trombone. Steve Biko, the anti-apartheid activist and philosopher, who launched the Black Consciousness movement leading to the June 16, 1976 uprising is celebrated on the tune “I Play What I Like,” featuring Dion Monti on the keys and Gontse Makhene on percussion. The guttural singing adds an edge to an upbeat song with all the energy of an open-throated anthem. Jiyane’s trombone leads the way here, guiding the music forward.

“Global Warning” is a 12 minute operatic meditation on the climate change impact on South Africa with lyrics exhorting the world community to understand the devastation it is causing in Africa.

Kanti yini yini yini yini (What exactly is)
inkinga yenu (your problem?)
Niyas’bulala, niyasqeda (You’re killing us, you’re ending us)
Nicimfa’ asiboni (You think we cannot see)

Nosisi Ngakane provides the haunting vocals on this tune. Jiyane has a background in choral groups and this tune rises to a gospel hymn at the end calling on the creator to protect them and to eject the devil.

Phuma satan! (Exit, satan!)
Ndizak’ngoba (I will conquer you!)

On “Name it Later,” Jiyane summons the divine. Phuma Satan! It calls an otherworldly gathering on a cacophony of voices and percussion. Synthesizers are used effectively here to create the mystical, reverberating stream of sound behind the voice and instruments. The lyrics for the tune are practically an exorcism.

Ndiyakxhosha, moya omubi (I'm chasing you out, corrupted breath)
Phuma (Exit)
yinnnniiiii inkinga yakho (What is your problem?)
ufunani la? (What do you want here?)
Ngakudlelani, yini satana (What did I ever take of yours Satan.)

Jiyane describes this album as a metaphorical autobiography, one that is largely stated instrumentally rather than with lyrics. What we are hearing is a musical expression of the state of the Rainbow Nation, a collapsed or never realized colorless mix of shanty towns, overcrowded cities and lack of hope. Jiyane calls South Africa “hell on earth.”

This autobiographical album dwells in periods of rebirth, elation and pure South African joy. “South African Jam” echoes Hugh Masekela; immediately infectious with warnings of a potential ear worm. The piano, percussion and vocals work together to let Jiyane’s trombone build to a celebratory ending.

“MaBrrrrrrrrr” has a sound that is in the direction of the Sons of Kemet, especially the trombone which adds a depth similar to the role Theon Cross plays with his tuba. Dion Monti adds shakers to the tune and Nkosinathi Mathunjwa brings the keys. It has a similar energy that calls to mind the Zap Mama tune “Brrrlak!”

True Story is an example of how an album can feel a bit off kilter until you consider the autobiographical nature of the material and the life Jiyane is conjuring. It was recorded in Johannesburg between December 2020 and April 2021, and took several years of post production to bring the project to fruition. It is a spectacular second release from a musician with a very deep spiritual well.

Find the artist online.

Further listening:
Sons of Kemet - Your Queen Is a Reptile
Thandi Ntuli - Rainbow Revisited
Omagoqa - Umqhumo Wethu

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