Uhambo Baxter Concert Hall 20 February 2024

“Uhambo” represents a musical journey exploring the many ways individuals come together through southern African music. It alludes to how we make sense of the world around us and our place within it. Musicians, as varied as we are, tend to share a similar vantage point – one that is navigated via musical sound and action. As such, the act of music making tends to function both as an expression of self and a way of getting to know others within the societies around us. As an American who has visited, and periodically resided in, Malawi since 1991 and South Africa since 2009, my sense of ‘home’ and what is familiar has been confounded not only by travel itself but doing so as a musical individual driven by creative interactions with others.
Granted, musical endeavours are not a panacea towards global peace and harmony. In my experience, however, those who pursue creative arts as a way of growing and knowing the world tend to focus less on social boundaries and musical categories and more on overall human connections. Markers of distinction don’t necessarily disappear. Rather, areas of overlap become more apparent, thus fostering a sense of continuity within an ensemble, and often increased human empathy in general.
With these ideals in mind, this concert features several new compositions I have been working on over the past few years. The goal behind each of the pieces was to begin with learning and playing indigenous and localized African instruments. Ultimately, a quest for new skills and knowledge becomes a journey amongst people guided by these very instruments. During this journey, the shared sonic exchanges both invigorate and calm our collective spirits as we grow and experience the world around us. - Rick Deja

Zambezi Zigaloo (2013)
This was one of two tunes that was written on guitar after traveling up and down the entire length of Malawi, into Tanzania to the north and into Mozambique to the south.

Catching the Train (2024)
This tune was composed on pennywhistle, thinking about the kwela tradition, but wondering about what John Coltrane might have played. The train reference serves a dual role in alluding to Coltrane (Trane) as well as being a recuring theme in some South African music (e.g. stimela and loliwe).

Uhambo (2024)
This piece explores the umrhubhe and its connection with the maskanda tradition. The lyrical theme expresses the connection between individual and collective endeavours in the spirit of Ubuntu. “Uhambo lwam’. Uhambo lwethu”. My journey is your journey; your journey is my journey.

Gule Groove (2013)
This was composed on guitar in Malawi and is inspired in part by the rhythmic drive and themes associated with the masked dance tradition gule wamkulu (the great dance). This piece attempts to express reverence for the tradition by sharing the underlying theme of rebirth and transcending hardships of the material world.

Dziko ndi Anthu Ake (The World and her People) (2024)
This tune features two lamellophones (e.g. mbira), the sansi from Malawi and the nyunga nyunga from Mozambique. There is a lyrical focus on the moral goodness of humans who live in the world, hence the lyric “anthu abwino” (good people) implying moral goodness guided by the principles of Umunthu (from Chichewa, similar to IsiXhosa “Ubuntu”). The underlying rhythmic pattern and melodic shape is inspired by Patrick Chimbewa who taught me, and by Charles Chavaramangwere Mkanthama who taught him.

Sounds in My Brain (2023)
This was composed on umrhubhe and speaks to the literal vibrations in one’s head when playing mouth-resonated instruments. In some traditions, this is said to have therapeutic effects on the mind. Here, the piece is suggesting sonic parallels between Cape jazz (at least my interpretation of it) in dialogue with indigenous musical traditions and aesthetics.

Qhubeka (2023)
This was composed with a sansi on which I modified the tuning to better collaborate with musical bows like uhadi. The lyrical theme speaks of persisting no matter what. It is encouraging us to continue (qhubeka) and says, Even when things are difficult don’t lose hope (Noba kunzima ungaphel’ithemba).

Yehlisan’umoya (1998) - Busi Mhlongo (1947-2010) arr. Rick Deja
This is a classic piece by the great Busi Mhlongo whose interpretation of maskanda and related traditions is unparalleled. I thought it would be nice to take a “popular” song and adapt it to a “traditional” setting. In this case, I was especially interested in having a subdued mood of solo uhadi to complement the message of calming our spirits expressed in the title.

MUSICIANS
Rick Deja - saxophone, guitar, uhadi, umrhubhe, sansi (mbira), vocals
Keketso Bolofo - marimba, percussion, backing vocals, nyunga nyunga
Bronwen Clacherty - congas, vibraphone, backing vocals
Thabisa Dinga - uhadi, umrhubhe, percussion, backing vocals
Thembelihle Dunjana - piano
Kolawole Gbolahan - percussion
Lilavan Gangen - drumkit
Bonga Mosola - trumpet
Stephen de Souza - electric bass