Saxophonist, composer, and producer Saul Madiope’s debut album Motherland Jazz invigorates the South African jazz canon by referencing house, funk, hip-hop, and amapiano in a meticulously crafted body of work. “Jazz is about energy, and Motherland Jazz is an expression of South African jazz evolving into a new age,” he tells Apple Music. While reimagining traditional sonic structures, Madiope muses on African spirituality, self-actualization, and the healing power of sound with aplomb. “I feel like I make music with my ancestors,” he explains. “I’m basically loaning my body to beings that want to send a certain message through.” That message begins with the cover art itself, created by Best Ncube, which Madiope says reflects his belief that his art can be a way of helping people and that puts him in league with his ancestors. “Making music is a spiritual feeling that makes me realize I’m not alone,” he says. “So when you see the warthog standing atop the mountain with these bigger figures, those are Abaphansi—my ancestors—welcoming me with a musical celebration because I’ve finally found how I’ll heal. If you look at the bottom of the cover, you see a group of women all carrying musical instruments. This is because in one of the dreams I've had, it was a woman who placed the gift of music in my hand.” Madiope talks us through the album, track by track. “Tsela Ya Batsamayi” (feat. Thandonje) “I wrote this song after a family member of mine was in an accident and nearly lost his life. Shortly afterwards, he was telling me how he could almost feel himself dying, but by God’s grace he didn’t. We’re walking this walk and all we’re searching for is to be at peace. That’s what the song represents: searching for something and slowly realizing that the journey to happiness is actually the place we are, because life can end at any moment.” “No Pressure” (feat. Steven Richard) “We wake every day and see so many people on social media talking about what they’re doing or what they have. We sometimes feel depressed because we’re not where they are or where they show us they are. A lot of people live a facade, and a lot more envy what isn’t actually there. I met Steven Richard through Todd Kevin, the founder of Jazzgroupiez, and I love the way he plays the sax. I asked him, ‘Can you play me something that soothes me?’—a reminder that even though someone else looks like they have so much, I want to feel contented.” “Forever” (feat. Filah Lah Lah) “This is a groovy song I wanted to take people back to the ’80 or ’90s with. All I had was the melody, and I knew I needed a woman vocalist. Filah and I are from the same city and had always spoken about working together, so I sent her this beat. It's going for that old-school feel, and it’s so great that she translated that melody and made it her own.” “Memories of Ru” “Ru is my late dad and he really loved music, from Motown R&B and soul to kwaito and especially South African jazz. When I made ‘Memories,’ I was inspired by the trumpeter Christian Scott’s album Ancestral Recall. I liked how he was using drums, because the kind of jazz my dad would make me listen to had a lot of percussion. [The question was] how can I do that and make it New Wave? The feeling it gives me makes me remember my dad—he’d probably love this song, so it’s basically a tribute to him.” “Impilo the Calling” (feat. Halala Gumbi) “This one is so raw, and that’s what I like about Halala—her voice is straight from the ancestors. When she sings, she strikes a certain place and it's an out-of-body experience. This speaks on ‘the calling’ and Halala translated it into the idea of time. If you actually remove yourself from the bubble of time, it doesn’t exist—it’s a construct, there to keep order. The lyrics say, ‘Time is not going anywhere, so live your life.’” “A Prayer With Credo” “What I loved about [traditional healer Vusamazulu Credo Mutwa] is that he spoke the uncomfortable truths. I make sure he's in every body of work because he’s got a divine spirit. Outside of who we are and our cultures, there’s a greater being that exists. That collective, or oneness, that exists within life is what he speaks about. You can't find light without darkness, and we all have a guide to help us through the things that break us down to make us stronger.” “Cynthia’s Fire” “Cynthia was a childhood friend who passed away in a car accident. We liked to blaze and she’d put me on to so many jazz artists when we did. This is a tribute to her; her fire still lives on through me.” “Sunshine in Pitori” “I’m walking this journey and have found my calling—what I’m here for. I’ve also lost a loved one and searched for knowledge of self. I've questioned my abilities but realized that only I could get myself out of that place. Through all these challenges we need prayer, and besides praying for ourselves, it’s more powerful when we’re prayed for by sources much higher than us. It’s also not easy to watch other people make it out of the city and not get out of where you're from. As dark as that may sound, that’s what builds your resilience and makes you shine your light—that's what I tried to embody in this song.”