Icilongo (The African Peace Suite)

The music on this record was inspired by an old hymnbook titled “Icilongo leVangeli”. The first edition of this hymnbook was published in 1905.
This hymnbook has always been a medium through which most South African traditional churches express their emotions and faith. The hymns on “Icilongo leVangeli” are sung to seek absolution, to plead, to comfort, to inspire hope, to confirm one’s faith, to express gratitude, to worship and to celebrate life.

“The Opening prayer” is deliberately placed as an opening track on this record as it signifies that prayer is the entry door to all positive paths of our lives. This piece is an emotional charged prayer by Makhathini’s grandmother pleading to God to bless Makhathini’s work. A plea for blessings by an old person is regarded as the most valuable gift that one can ever receive.

“Alphinah” is a tribute song; it’s titled after Makhathini’s grandmother who introduced him to the hymnbook “Icilongo leVangeli” and the bible. This hymn is a direct translation of emotion and musicality found in “Icilongo leVangeli”. The horn section plays a melody that is reminiscent of a congregation singing a hauntingly beautiful hymn that evokes “Umunyu” (Bitter-sweet emotion). Makhathini’s relentless inspired piano work is evocative of a possessed preacher delivering a sermon while the congregation solemnly sings and hums the hymn.

“Compassion” is a patient piece that it is centered on Makhathini’s persistent, repetitive, lingering piano line. This piece reminds us that faith requires determination, tenacity and patience.

“Imagined Race” is a beautiful, perky and jovial vocal mid-tempo piece.

“Ubumbano” (Unity) is an over 17 minutes long piece that opens with a dawdling, murky, brooding movement driven by the spirit of blazing improvisation yet meditative, it eventually drifts into a bouncy, effervescent rhythmic movement floating under fiery horns and Makhathini’s captivating-spirit possessed streaming piano lines and driving chord work…this is a climax point of this piece. These two pieces call for universal affection; they express optimism and hope for a compassionate world. For me this music confirms the possibility of world peace and the end of conflicts in Africa, Middle East and everywhere in the world.

“Inkululeko” (Freedom song) is a contemplative piece based on a “call and response” theme. The piano, horns and vocals are synchronized as one unit responding to a call that reflects on how hard our ancestors fought for our freedom. At times this response is evocative of Buddhist monks in deep meditative chant evoking the spirits. It’s also notable in our South African history that a lot of “men of cloth” were also freedom activists. Spirituality was the fuel for quest for freedom.

“Shwele” (A cry for peace) is an emotive plea to God to intervene and stops the agony that consumes our nation. The vocal approach on this song is resonant of our Zulu traditional hymns and the late Princess Magogo’ vocal style. This approach is indicative that African people submitted to uMvelinqangi (God) even before Christianity came to our shores.

“Genesis”…Genesis 1: “In the beginning God created the heavens and the earth. ... And God said, “Let there be light,” and there was light. God saw that the light was good, and he separated the light from the darkness”. Light is impossible without energy. Life is meaningless without creativity. This swinging, up-tempo, scorching piece is a reflection of light, energy and creativity that we read about in Genesis 1.

“Ivangeli”… The holy book says: “…in the day of atonement shall ye make the trumpet sound throughout all your land”. Malikhale Icilongo (leVangeli)…malikhale Icilongo (leVangeli), it further says: ”Behold, God is my salvation, I will trust and not be afraid, for the LORD GOD is my strength and SONG, And He has become my salvation”…Malikhale Icilongo (leVangeli)!

I must state that Makhathini’s playing extracts every drop of emotion. He expresses emotions which are basic enough to be understood but rich and complex enough to be appreciated at the highest level of musicianship. This is the most profound and spiritual offering from Makhathini, it induces every kind of feeling, it explores every kind of sound… from a sweet melodic hymn to an aggressive free jazz improvisation. I can’t help but draw comparison between this record and John Coltrane’s “A love supreme”, the subject matter is the same, the music technical standard is arguable at a similar level, the emotions invoked are of the same intensity. I also can’t help but hear the undertones of Pharoah Sanders, Archie Shepp, Albert Ayler, McCoy Tyner, Bheki Mseleku and Zim Ngqawana…all spirituality is from one and the same source, it transcends time and space.

Njabulo Madlala