Nduduzo Makhathini at the Bach Dancing and Dynamite Society

Nduduzo Makhathini
Bach Dancing and Dynamite Society
Half Moon Bay, California
November 3, 2024

As the waves gently lapped upon the shore beneath the setting sun on a lovely early November Sunday in Half Moon Bay, San Francisco, pianist, composer, bandleader and healer Nduduzo Makhathini and his trio took the stage at the Bach Dancing and Dynamite Society seaside venue.

Makhathini is a Renaissance man whose ken comprises not only music but also a wide range of African tribal philosophies and folklore and a heliocentric Sun Ra-style cosmology. He is a scholar who ruminates on cosmogony with an African philosophical twist.

He began with a short monologue introducing the music and the band members. It was immediately apparent that there was more to this day's menu than just music.

The music was challenging to categorize and even more so to write about. It commenced with a slow, dreamy introduction that soon upshifted into an upbeat but soulful theme. Makhathini's fleet fingers flew over the keyboard like a 150-wpm typist. His playing style at times, is reminiscent of South African-style pianist-composer Randy Weston, who has been described as a "civilized" Thelonious Monk. His playing employs adjacent-note groupings akin to arpeggios. He could go from a whisper to chaotic shouting in a New York nanosecond. While it is difficult to describe the individual pieces due to the many excellent, sometimes challenging, and subtle mood shifts, it was apparent that each had its distinct movements, much like classical symphonies that have an overarching unity.

Makhathini also would create up-tempo rhythmic mosaics à la Andrew Hill's free jazz notions. The second offering was a diaphanous ballad—of a sort—with an intricately woven bass solo in the second section by fine young bassist Zwelakhe Duma Bell Le Pere, who is Hartford-reared and holds a master's degree from the Manhattan School of Music. The fourth tune started with a bowed bass introduction by Duma Bell le Père, an ethereal yet solid presence throughout the performance.

Another fine young musician, Kabelo Mokhatla, admirably held down the drum chair. His unique stream-of-consciousness style instantly synched with Makhatini's, and he employed abrupt, thunderous rhythmic explosions to punctuate the groove. Mention must be made of South African pianist-composer treasure Abdullah Ibrahim (formerly Dollar Brand), another vital influence on Makhathini, whose unique stylings gave a distinct, uplifting South African 'freedom sound' feel that must be experienced. It sings to one's soul.

Makhathini, a Zulu tribesman, offered glossolalia and tribal musical incantations throughout the music and during his orations between compositions. Drummer Makhatla used his woodblock to imitate the clicking sound of East and South African speech. What a compelling and enlivening performance.

Comments