Before You Listen
Before you listen to ‘Lokichogio,’ I want to take you back to where it all started. This story isn’t just about my journey to Kenya and Southern Sudan—it’s about the rhythm of the people, the land, and how it all became a part of me and my music. Take a moment to read this before you hit play.
~ Jackiem Joyner
Introduction: Crossing into the Unknown
The border stretched out ahead of us, and I felt that rush—anticipation, nerves, excitement. Every mile was pulling me further from the world I knew. Nairobi? That city was fast, modern, full of energy. I spent a week there, taking it all in—dodging the traffic, the business hustle, and even the kids trailing after me, wide-eyed, as I made my way to grab some food at a Chinese spot. But yo, Lokichogio? That was hitting different.
The road stretched out like it had no end, winding deeper into a place that felt forgotten by time. The Turkana region didn’t care about the fast pace of city life. It moved slow, steady—like the earth itself was breathing. No skyscrapers or busy streets here. Just dust kicking up behind the truck, ghosting everything we left behind. And the mountains ahead—silent, massive, like they were keeping secrets older than any city I’d ever been to.
I was 22—young, hungry, still trying to figure out where I fit in all this. Nigeria had been my first stop just a week before, but something about Kenya—especially this place—was on another level. Lokichogio wasn’t just land. It had a soul, a rhythm. You could feel it in the air, waiting for me to vibe with it.
My pastor sat next to me, watching the horizon like this was just another day. Our driver, though? Calm as anything, one hand on the wheel, the other resting on an AK-47. Yeah, that’s when my mind started racing. Are we safe? Why’s he strapped? And honestly, what was a sax player like me doing way out here?
But that anxiety? It was fuel. Before long, it flipped into straight-up excitement. This was it—the adventure. The unknown. Something real. Something raw. I started wondering what the food was gonna be like in Lokichogio. No polished city meals here—just something untamed, alive, just like this place.
The First Glimpse: Tradition in a Modern World
Lokichogio had once been alive, buzzing with international aid workers, busy airports, and hotels that catered to the steady flow of humanitarian missions bound for nearby South Sudan. But when I arrived, that energy had faded into the past. The hotels were nothing more than skeletons now—cracked walls, rusting metal signs creaking with every gust of wind. It was like the buildings were still trying to hold on to a time when they mattered, but the world had moved on.
It was impossible not to feel the weight of that change. The air here had a heaviness to it, almost like the land itself remembered everything it had seen—every footstep, every decision that had passed through this once-thriving hub. It was more than just a ghost town; it was a place that carried the burden of history.
Yet, despite the crumbling infrastructure, the people of Lokichogio—they were alive. The Turkana, primarily nomads, moved with an effortless kind of grace. There was something timeless about them, something that spoke to a deeper connection with the land. Life here wasn’t about gadgets, modern conveniences, or chasing the latest trend. It was about survival. It was about tradition. Community. The kind of things that don’t break down, no matter how much time passes or how much the world outside changes.
As I watched the villagers go about their routines—herding cattle across dry plains, gathering wood for fires, preparing meals like it was the most important thing in the world—I felt like I was witnessing something ancient. A rhythm that had existed long before I arrived and would continue long after I was gone. This place had its own beat, its own pace, and it didn’t care about the chaos of the modern world or the emptiness left behind by rusting buildings. It was a balance that couldn’t be disrupted. Not by time. Not by decay.
The Children Became The Rhythm
Our driver had taken us to a small village where Bishop Patterson was set to speak. The gathering wasn’t supposed to be huge—just a handful of villagers, or so we thought. But when we arrived, it was clear the word had spread far beyond the small circle we’d imagined. There were dozens, maybe even hundreds of children, their faces lit with curiosity and energy, far more than I’d expected. The whole village had come together for this moment, and I felt that familiar nervousness start to creep in as I realized this was much bigger than I’d expected.
Bishop Patterson, my pastor, had known me since I was just 11 years old, growing up in the projects—or better yet, the hood. He’d seen me pick up the saxophone and follow a path that many didn’t expect, so he was proud—really proud—and he made sure the kids knew that. He introduced me by tying my story into the moment, talking about how I’d come from very humble beginnings, learning music while navigating a tough environment.
As he spoke, I stood there holding my sax, nervous but trying to stay calm. I found myself clicking the keys, the familiar sound settling my nerves a bit. It’s something I do when I’m thinking, or maybe just when I’m anxious. My fingers were going through the motions, clicking, getting ready, while Bishop Patterson talked. The kids were locked onto him, but every so often, I noticed the way some of the elders would glance over at me, nodding in approval as Bishop Patterson spoke about my story.
I didn’t even know I was going to play that day. At 22, still taking in the whole experience, I was standing there with no band, no power, just my sax. And while my pastor was giving me this incredible introduction, all I could think was, What am I going to play? I had nothing prepared. But I knew I had to go with the flow.
So, I did what I’ve always done—I started playing. It wasn’t planned, just pure improvisation, letting the music guide me. And then, something magical happened. The children started clapping, but it wasn’t just random clapping. It was like they had their own rhythm, something deeply rooted in them, in the land, in their culture. Their hands clapped together with such precision, adding a whole new layer to the music. Suddenly, the beat of their clapping became the foundation for my melody.
It was as if the land itself was playing through these kids. Their rhythm became my rhythm. And for those few minutes, it didn’t matter that I didn’t have a band. Their clapping was the band. Their laughter was the melody. And I was just there, playing along with them, connected in a way I had never been before.
This wasn’t just about music anymore. It was something deeper, something primal. An unspoken language that transcended words, electricity, or technology. It was pure connection. In that moment, I realized what music was really capable of. It didn’t need any of the usual trappings—just people, rhythm, and an openness to let the magic happen. It just was.
Meeting the Leaders of History
During my stay, I had the privilege of meeting several village leaders from Sudan and Southern Sudan. These weren’t just local figures—these were people who had lived through, and in many cases, led their communities through unimaginable challenges, including the devastating civil war. Nearby, there was a refugee camp filled with families who had fled the violence. As I sat with these leaders, I listened to their stories—stories of displacement, hardship, and survival.
One man, in particular, stood out. He had three distinct circular scars cut into his head, a mark of high rank and deep cultural significance. I remember asking him about the scars, and he explained that each circle represented a different stage of life, a different level of respect within his community. One cut could mean honor. Two, even more. But three? That meant you were among the most respected, the most trusted. And yet, despite the status these markings afforded him, he carried himself with a quiet humility that I’ll never forget. He didn’t need to broadcast his rank; his presence spoke for itself.
These leaders were like guides—servants in some ways—making sure that Bishop Patterson and I had everything we needed during our time there. But their service wasn’t out of obligation. It came from a deep respect for the moment and the role that music and connection could play in healing wounds, not just physical but emotional and spiritual. They treated me, a 22-year-old musician, with such deference that it humbled me in a way I hadn’t anticipated.
Hearing their stories left a lasting impact on me. Here I was, a young saxophone player, in a place where people had endured some of the worst hardships imaginable. And yet, they spoke with resilience, with a strength that wasn’t flashy but deep and unshakable. Their eyes told stories of survival but also of hope—hope for a future where their children wouldn’t have to carry the same scars.
It was humbling, to say the least. For someone used to the hustle of the music world, where success can feel fleeting and fame often comes and goes, this was a moment of clarity. These leaders reminded me that life is about more than those highs and lows. There’s a deeper rhythm that guides us—a rhythm tied not to fame or fortune, but to purpose, community, and resilience. It was a rhythm I had only just begun to understand.
Crossing into Southern Sudan
As incredible as Lokichogio had been, the next phase of the journey took things to a whole new level. We boarded a small UN plane, bound for Southern Sudan. But this wasn’t the kind of flight I was used to—no smooth runways, no TSA checkpoints, no air-conditioned terminals. Instead, we flew low over a vast, untouched landscape, a land raw with history and conflict. The hum of the plane’s engine was the only sound as we crossed the border, and with every mile, I felt like we were leaving the familiar world even further behind.
I remember gripping the seat as we began our descent, watching the ground get closer. But instead of the smooth tarmac I was expecting, we landed on dirt. And I mean just dirt. No tarmac, no terminals—just raw earth. The plane bounced and rattled as it touched down, and for a split second, I wasn’t sure we were going to stop. The sensation was surreal, a mixture of fear and awe as the dust swirled up around us, engulfing the plane. I glanced at the other passengers, but their faces were calm, used to this kind of landing. This was just another day for them, but for me, it felt like stepping into another world—a place where time had stood still.
There were children on the plane with us, and as soon as we landed, they bolted toward their families, who were waiting on the dirt runway before the engines had even cooled. It was a sight I’ll never forget—the pure, raw emotion of reunion. Tears, laughter, embraces. These children had been away, and now they were home. It reminded me that this journey wasn’t just about playing music; it was about connection. Humanity. Witnessing that reunion made me realize that no matter where we come from, we’re all tied together by the same fundamental emotions—love, loss, hope.
Later, as we settled in, one of the elders approached and offered us a gift: a live calf. I wasn’t sure why at first, but I soon realized it was meant to be our meal. A few hours later, we dined on that calf with rice, cooked over a fire right there in the village. There was no electricity, no modern comforts—just us, the village, and the stars above. The simplicity of it all struck me. There was something so real, so unfiltered about that moment. After a long day, eating a meal prepared by the hands of the people who lived there, it felt like I was tasting a piece of their world, their history.
But that night… that night, I’ll never forget. I was trying to sleep in a small hut, no more than a few feet wide. There was no bed, just a cot and a net. The ground was dirt, and the heat was unbearable. I remember tossing and turning, covered in sweat, trying to catch some sleep, but a single mosquito had other plans. I couldn’t catch it, and it kept buzzing around, making the night feel endless. It was a simple thing—a mosquito—but it made me realize just how far from home I was. I wasn’t just in a different country; I was in a different world, both physically and mentally.
During the day, two eagles perched on nearby posts, watching us as we ate. They were massive, their presence commanding. One of them, in particular, would look me straight in the eye, like it was sizing me up. There was no fear in its gaze, only a deep intelligence, a kind of knowing that I couldn’t fully understand. One eagle left after a while, but the other stayed, keeping its watchful eye on us. I couldn’t shake the feeling that their presence meant something—that they were guardians of this place, sentinels watching over us in silence. After some time, the first eagle returned, and the other left, like they were taking turns, passing the guard. It felt like a silent message from nature itself—a reminder that we were visitors in a world far older and wiser than we could comprehend.
Reflections on Growth and Legacy
Looking back now, I realize how deeply those experiences in Lokichogio and Southern Sudan shaped me—not just as a musician, but as a person. At 22, I was still finding my way, trying to figure out where I fit in the world, in my music, and in my identity. But something about that trip—the land, the people, the culture—gave me a sense of clarity I didn’t even know I needed.
Growing up in both Virginia’s Tidewater area and Syracuse, NY, my understanding of Africa was distant—an ancestral connection, a place I knew was part of me but felt worlds away. Yet, standing on that soil, walking those dirt roads, and hearing the stories of resilience from the people, I felt that distance shrink. It was more than just a journey; it was like a homecoming to a part of myself I had never fully understood. The rhythm of that place, from the clapping of the children to the silent gaze of the eagles, was a reminder of something ancient, something that’s been a part of me long before I even picked up a saxophone.
Being in Africa, in places like Lokichogio and Southern Sudan, wasn’t just about travel for me—it was like coming face-to-face with a part of myself I hadn’t fully understood. As an African American, my roots are a mix of cultures, histories, and struggles. It’s complex, layered. But stepping onto African soil, feeling the energy, hearing the rhythm of life—it felt like it unlocked something in me. A part of me I didn’t even know existed just woke up. Everything resonated, like I was finally tapping into something deep that had always been in my blood. I wasn’t just visiting a place; I was reconnecting with something I’d been searching for without even knowing it. The music, the people, and the land itself carried a sense of rhythm and resilience that spoke to me in ways beyond words. It was like finding a pulse that matched my own, profoundly influencing not just the music I play, but also the man I’ve become.
The resilience of the people I met—the leaders who had weathered civil war, the families who had endured unimaginable hardship, and the children whose clapping created a rhythm that transcended language—showed me the true power of connection. Music, like life, is more than just notes on a page or fleeting moments of fame. It’s about rhythm, about finding that deeper pulse that connects us across time and borders. Whether it’s through shared meals, stories, or even the watchful eyes of an eagle, that rhythm runs through everything.
That’s why I wrote Lokichogio. It’s more than just a melody—it’s a tribute to the people, the land, and the moments that left an indelible mark on my soul. Every time I play it, I’m taken back to those dirt roads, to the children clapping in perfect sync, to the elders who treated me like one of their own, and to the eagles watching over us as if they held some ancient wisdom. The song is a piece of history—a part of me that I carry in every note.
As I prepare to release the single, I want you to feel that same connection, to hear the rhythm of Lokichogio in every sound. Because Lokichogio isn’t just a song—it’s the sound of resilience, hope, and a deeper understanding that goes beyond borders, beyond time. It’s a reminder that no matter where we come from, we’re all part of the same rhythm. And in that rhythm, we find our strength, our identity, and our place in the world.
4 thoughts on “Lokichogio: The Story”
This story took me deep into your journey, Jackiem. I can feel the rhythm of the land and people in your words. I’m really looking forward to seeing how all of this translates into your music!
Reading about your connection to Africa was incredibly moving. It’s clear that your experiences are woven into your art, and I can only imagine how powerful your upcoming single will be after such a transformative journey.
Oh Wow! Jackiem LoKichogio is AWESOME! I love it!!!! ABSOLUTELY BOSS!
Dr. CC
Thank for sharing. Was deep. Reading while playing Lokichogio.