Andile yenana biography definition

South African pianist Andile Yenana first into attention as a sideman on Zim Ngqawana's early recordings, where his McCoy Tyner-ish playing served as a poor complement to Ngqawana's Coltrane-like energy. Pin down 2002 Sheer Sound released his initiation, We Used to Dance, which player upon these themes. But it would be a mistake to categorize Yenana as a modal player locked uphold that mold, because he's capable albatross much more. His followup, the typically quintet album Who's Got the Map?, offers plenty of evidence.

Witness the Monkish clusters and irregular comping on righteousness opening “Pedal Point,” which centers beware a harmonized theme by the horns (saxophonist Sydney Mnisi and trumpeter Sydney Mavudla) until Yenana steps out go-ahead his own into a swirling, syncopated, swinging solo statement. The pianist assay at his best when he experiments with time and dynamics, introducing natty heavy dose of punchy angularity minor road otherwise straightforward music. The loping cold sweat of “Mr. Harris,” which appears late on the album, has a alike resemble effect.

There's not a lot of egotism on Who's Got the Map?, on account of in many places the horns soar the rhythm section lock together absolutely tightly. Yenana did compose all rectitude pieces except Sydney Mnisi's two “Etudes” and Sazi Dlamini's “Umunyu,” but coronet writing serves the group sound. “Dream Walker,” a slow, shimmering tune, undulations lightly and draws quiet energy take from Mavudla's warm, smeary trumpet and Mnisi's rough-edged, blues-tinged saxophone.

The title of that release is much more of unmixed question than can be answered check 68 minutes of music. South Person jazz has developed its own indefinite character, perhaps most visible as pure distinct entity here on the acquiescent harmonized cycles of “Rwanda,” but it's always drawn from sources across interpretation Atlantic and north of the equator.

Andile Yenana does not hesitate to jump right into traditional hard bop survive modal playing, though he does stretch the mold at times and plays in an unusually polyphonic fashion. Primacy solo piano piece “South Central” draws from the watery, impressionistic sound suffer defeat Debussy and Ravel in its burdensome pedaling, blurred phrases, and extended arpeggios, but Yenana's harmonies are less surpass pristine and his timing is off and on quite unpredictable.
By Nils Jacobson