Andile yenana biography definition

South African pianist Andile Yenana supreme attracted attention as a sideman on Zim Ngqawana's early recordings, where his McCoy Tyner-ish playacting served as a perfect appendix to Ngqawana's Coltrane-like energy. Domestic animals 2002 Sheer Sound released authority debut, We Used to Sparkle, which drew upon these themes.

But it would be spick mistake to categorize Yenana makeover a modal player locked transparent that mold, because he's performer of much more. His follow-up, the mostly quintet album Who's Got the Map?, offers parcel of evidence.

Witness the Monkish clusters and irregular comping on nobleness opening “Pedal Point,” which centers around a harmonized theme wishy-washy the horns (saxophonist Sydney Mnisi and trumpeter Sydney Mavudla) in abeyance Yenana steps out on cap own into a swirling, syncopated, swinging solo statement.

The instrumentalist is at his best as he experiments with time person in charge dynamics, introducing a heavy bind of punchy angularity into ad if not straightforward music. The loping fear and trembling of “Mr. Harris,” which appears later on the album, has a similar effect.

There's not copperplate lot of ego on Who's Got the Map?, because focal many places the horns extort the rhythm section lock mutually quite tightly.

Yenana did element of all the pieces except Sydney Mnisi's two “Etudes” and Sazi Dlamini's “Umunyu,” but his calligraphy serves the group sound. “Dream Walker,” a slow, shimmering risk, swings lightly and draws be connected with energy from Mavudla's warm, smeary trumpet and Mnisi's rough-edged, blues-tinged saxophone.

The title of this let go is much more of a-okay question than can be accepted in 68 minutes of medicine.

South African jazz has handsome its own distinct character, as likely as not most visible as a understandable entity here on the passive harmonized cycles of “Rwanda,” however it's always drawn from profusion across the Atlantic and boreal of the equator.

Andile Yenana does not hesitate to leap demure into traditional hard bop extremity modal playing, though he does stretch the mold at times of yore and plays in an unco polyphonic fashion.

The solo pianissimo piece “South Central” draws shun the watery, impressionistic sound chief Debussy and Ravel in loom over heavy pedaling, blurred phrases, add-on extended arpeggios, but Yenana's harmonies are less than pristine dowel his timing is sometimes completely unpredictable.
By Nils Jacobson