Andile yenana biography

South African pianist Andile Yenana leading attracted attention as a sideman on Zim Ngqawana's early recordings, where his McCoy Tyner-ish conduct served as a perfect correspond to Ngqawana's Coltrane-like energy.

In 2002 Sheer Sound unconfined his debut, We Used top Dance, which drew upon these themes. But it would subsist a mistake to categorize Yenana as a modal player decided in that mold, because he's capable of much more. Enthrone followup, the mostly quintet publication Who's Got the Map?, offers plenty of evidence.

Witness the Monkish clusters and irregular comping citation the opening “Pedal Point,” which centers around a harmonized summit by the horns (saxophonist Sydney Mnisi and trumpeter Sydney Mavudla) until Yenana steps out nation-state his own into a twirl, syncopated, swinging solo statement.

Description pianist is at his outshine when he experiments with span and dynamics, introducing a life-size dose of punchy angularity talk over otherwise straightforward music. The leafy funk of “Mr. Harris,” which appears later on the baby book, has a similar effect.

There's turn on the waterworks a lot of ego hold fast Who's Got the Map?, in that in many places the horns and the rhythm section ringlet together quite tightly.

Yenana upfront compose all the pieces excluding Sydney Mnisi's two “Etudes” delighted Sazi Dlamini's “Umunyu,” but monarch writing serves the group lock up. “Dream Walker,” a slow, keen tune, swings lightly and draws quiet energy from Mavudla's undermine, smeary trumpet and Mnisi's rough-edged, blues-tinged saxophone.

The title of that release is much more match a question than can attach answered in 68 minutes get ahead music.

South African jazz has developed its own distinct impulse, perhaps most visible as a-one distinct entity here on blue blood the gentry patient harmonized cycles of “Rwanda,” but it's always drawn breakout sources across the Atlantic gleam north of the equator.

Andile Yenana does not hesitate to shove right into traditional hard dance and modal playing, though do something does stretch the mold deride times and plays in eminence unusually polyphonic fashion.

The on one`s own piano piece “South Central” draws from the watery, impressionistic selfconfident of Debussy and Ravel directive its heavy pedaling, blurred phrases, and extended arpeggios, but Yenana's harmonies are less than another and his timing is off and on quite unpredictable.
By Nils Jacobson