Linda Sikhakhane: a jazz ritual dedicated to the ancestors

Artistic expression is a reflection of the soul. In the creative process, the artist seeks to find their voice while embracing the ideas of those who have influenced their evolution. They know that their present cannot be understood without acknowledging the past, which was built by those who initiated the movement, nor the future, which will be shaped by those who resonate with the same energetic wavelength. The work itself conceals the artist's concerns, ambitions, and inspirations; it reveals who they are—and perhaps more importantly, who they have become because of those influences.

In the contemporary jazz scene, there’s an album deeply rooted in the legacy of the great masters. Linda Sikhakhane’s iLadi is more than eight original compositions; it is an African ritual ceremony celebrated under different circumstances. 'For me, this celebration is about expressing gratitude for where the music comes from and to all the forces that have supported my journey,' Sikhakhane explains. He reflects on the now while honoring the past; for him, the present is a meeting place to reconnect with childhood traditions, using his saxophone as an intermediary between what was, is, and will be. 'The album aims to transpose this ritual I have known from my home, where it was deeply practiced,' he continues. 'We used it to seek guidance and communicate with our ancestors. I wanted to integrate my cultural knowledge into the music I play and produce.'

Being thankful means recognizing growth: gratitude appears when one is aware of their evolution. 'I speak about my mentors and brothers and how important it is for me to show this value. It's crucial because I know my journey is shaped by the guidance and teachings I have received from these mentors. My music and my exposure to the jazz world are possible thanks to the masters who paved the way before me. Therefore, I must honor their contributions to my journey.' In his cosmovision, Linda Sikhakhane is aware he is part of a bigger collective; he views himself as a vessel rather than a creator, although his compositions suggest otherwise, reflecting his vulnerability and creativity. 'In our African understanding, we acknowledge the ancestral realm as one that is forever with us and guiding us.'

Sikhakhane is not alone. iLadi was produced by Nduduzo Makhathini, who also plays the piano, with Zwelakhe-Duma Bell le Pere on bass and Kweku Sumbry on drums. Together, they contribute to the canvas of the album, which is deeply marked by the symbolism of his continent, which the listener can perceive from the album's design. 'The candles on the cover symbolize light and are central to this ritual called iLadi,' he explains. 'I used these candles to express the essence of the music. The four candles represent each member of the quartet, symbolizing how we illuminate the path with our music. Additionally, the number four draws inspiration from the four cardinal points—north, south, east, and west—emphasizing balance. This light symbolizes balance and clarity, which are crucial for navigating and purifying our journeys through music.'

In this sonic journey, there's an element that stands out throughout the eight pieces: 'With this last album, many people are talking about the calmness,' Sikhakhane notes. 'For a long time, I was avoiding this because, as a musician, I wanted to explore different styles and eras of the saxophone.' The smoothness of the music is intricately connected with the act of recognizing the other. This quality positively impacts both the giver and the receiver. 'I've studied various periods and the masters who have shaped this instrument. However, with this album, I decided to speak a language I’m more comfortable with. Naturally, I am contemplative, and I believe this comes through in the album. It’s amazing to hear that this calmness resonates with people more deeply than I anticipated.'

The calm heard in iLadi conceals a recurring theme in the composer's creative process: vulnerability. 'Improvisation means extending yourself into the unknown and embracing an infinite process in which I feel vulnerable' he explains. 'When I think about improvisation, I view it as a journey of seeking—not necessarily to find something, but to experience and explore the journey itself.' Coming from Africa, where music is deeply rooted in improvisation, Sikhakhane draws significant inspiration from his continent’s traditions.

Via Blue Note/Universal Music Africa, the quartet recorded this album near his hometown. 'I wanted to create something at home and introduce my friends to my own country,' Linda says. His dedication has brought him closer to his roots and opened the doors to one of the major record labels. 'It’s truly an honor to be associated with Blue Note, a label that serves as a crucial archive for jazz. They have documented a significant portion of jazz history worldwide. Being part of such a prestigious label not only allows my music to reach a global audience but also highlights the vibrant jazz scene of my home country. This connection underscores my role in representing a broader community that has made substantial contributions to the genre. I like to think that if Blue Note had ventured to my country in the '60s, there would have been many deserving albums for the label.'

I find that the saxophone transports me to a world beyond words. It allows me to access dimensions I couldn't reach without music; the saxophone is a vehicle for connecting with my inner self.

It becomes clear that his music is more than a collection of compositions; it is a cluster of sonic references that include John Coltrane, Pharoah Sanders, Winston Mankunku Ngozi, and his mentor Nduduzo Makhathini. 'He is a special brother to me and has been my mentor for more than 13 years, taking me under his wings when I was about 20 years old.' The ritual would not be complete without thanking Nduduzo, not only for producing and playing piano on this album but also for his guidance and leadership in Linda's life. 'He was the influence behind the album, guiding the compositions and producing it. He has produced four of my albums, including the latest one. Nduduzo Makhathini is a master, and I have been fortunate to study under him. He continues to be a close friend and brother. We share a deep connection between music creation and our spiritual understanding. Through him, I have learned to merge music with spirituality and cultural backgrounds. He has been a blueprint for my journey and remains a very special friend.'

iLadi is not just an album; it is a ritual and a state of mind. The notes played by Linda Sikhakhane embody a spiritual and communal practice that deepens the connection between people. Through the eight compositions, it becomes clear that, in essence, we exist because the quartet plays.