Abdullah Ibrhin

For this excellent date, pianist Abdullah Ibrahim performs eight of his compositions with a particularly strong group of players: trombonist Robin Eubanks, John Stubblefield on tenor and flute, Horace Alexander Young switching between soprano, alto and piccolo, Howard Johnson on tuba, baritone and trumpet, bassist Buster Williams and drummer Brian Abrahams. But more important than the individual players are the colorful ensembles and the frequently memorable compositions. Highlights include "African River," "Sweet Samba," "Duke 88" and a beautiful version of "The Wedding".

Sometimes a musical message is so urgent that questions of recording quality are almost beside the point. Informally recorded in 1969 in a noisy club – Copenhagen’s famous Jazzhus Montmartre – the flavour of this album is ‘documentary’ rather than luxuriantly hi-fidelity, yet the essence of Abdullah Ibrahim’s communication comes through loud and clear. The listener is drawn into the robust rhythms of his solo piano style, as he re-examines the history of jazz from a South African perspective, with echoes of songs of the townships, and vamps that hint of Monk and Duke and much more. African Piano was a highly influential album, and it has lost none of its power.As part of the Re:solutions series this historical title has been mastered from original analog sources and reissued in January 2014.

This unusual set is powerful but clearly for selected tastes. Pianist Abdullah Ibrahim and saxophonist Talib Qadr, who doubles on soprano and alto, are mostly heard singing and chanting during Ibrahim's religious piece "Ishmael," a heartfelt but difficult-to-listen-to tribute to the pianist's Islamic faith. His other originals, which sometimes find Ibrahim playing soprano, are also quite spiritual, featuring a lot of emphasis on the melody statements and pure religious passion from the quartet, which also includes bassist Greg Brown and drummer John Betsch.

Abdullah Ibrahim revisits seven of his old compositions on this release, recorded live in Germany with the 17-piece NDR Big Band under the direction of Dieter Glawischnig. The new arrangements by Steve Gray and Fritz Pauer give Ibrahim's infectious melodies and rolling vamps added power. Even Ibrahim seems excited: between tunes he verbally invites the audience to "come with us" (e.g., "Now come with us to an African Market," "Now come with us, a beautiful African sunset, and soft rain, soft rain, Pule."). "African Market," "Kramat," and "Black and Brown Cherries" are nothing if not danceable, while "Mindif" and the relatively brief "Whoza Mtwana" introduce a more contemplative mood. The charts leave plenty of room for resourceful solos, chiefly by trombonist Joe Gallardo, saxophonist/flutist Fiete Felsch, trumpeters Claus Stötter and Ingold Burkhardt, and of course Ibrahim himself…

Abdullah Ibrahim's followers likely have preferences for his big-band, large-ensemble, trio, or solo works, but any of his fans will agree that all of his projects display a unique melodic touch that is immediately recognizable and pleasant. Well into his golden years, Ibrahim still proves he has the Midas touch on this collection of 22 solo acoustic piano pieces. It's a mix of familiar songs and new material, all referencing the elements of life, nature, hearth, and homeland that have always been central themes in what he calls storytelling, not mere music-making. On this triptych through memorable experiences, the pianist weaves his way through many short snippets of phrases that have served him well, and a few extended discourses that define his career and its struggles to come out triumphant…

Each year on October 9th, Abdullah Ibrahim performs a solo piano concert at the Hirzinger Hall in South Germany in order to celebrate his birthday. Due to lockdown restrictions last year, this traditional birthday concert was replaced with the opportunity to record a solo piano performance. Hirzinger Hall, in Riedering, South East Germany, is famous for its incredible acoustics, and Ibrahim's solitary performance lends itself perfectly to the space, The recording crew was sparse, the audience non-existent, yet Ibrahim’s communion with the piano remains warm and timeless.

This marvellous album from Abdullah Ibrahim (aka Dollar Brand) is as good way as any to start listening to this great South African Jazz Pianist. Listen to 'Sweet Basil Blues', its instantly catchy and it sounds very simple (probably fiendishly difficult actually!), and it certainly has a blues influence. All of Abdullah's self-penned tracks are like this. The musicians playing with him are of all of the highest quality, amongst the better known are Blue Mitchell and Basil Coetzee.
Abdullah actually stood in for Duke Ellington in the early 60's, and his influence and Monk's can certainly be heard in his Piano playing. On a few tracks here Abdullah gives a nod to that American influence, playing covers of two Monk tunes, and some of his own compositions are clearly Monk/Ellington inspired.

What an odyssee. From West Africa to America to South Africa. The jazz spirit here is so close to the joyful hurly-burly of the pre-bop ensembles, but with a distinctive local tinge of South Africa. The man himself gives plenty of space to his band, so fans of his piano need to look elsewhere if they want undiluted Abdullah Ibrahim.
There's enough sweet lyricism in this album to appeal to romantics, enough feel-good bounce to create a great ambience, and more than enough rootsy friction to ensure that things never get gloopy. No drum solos, overtone blowing, a-tonal excursions or other tricky stuff. Equally at home in a serious jazz collection or a musical magpie's cache.

This is one of the best of the 'Africa' sessions recordings by Abdullah Ibrahim/Dollar Brand. Eaily on a par with the fabulous Blues for a Hip King this album features some truly wonderful compositions that have the Mannenberg feel that was at the heart of Ibrahim's playing (the title track, and 'Rollin' stand out) and some inspired playing from his sidemen. The real gem on this is Kippie Moeketsi, one of South Africa's lost treasures, who plays a glorious burning solo on the title track.

"Tintinyana", Camden's fourth collection of Abdullah Ibrahim's African recordings (with these taken from 1971-75), is another sublime reminder of this South African heritage, endlessly linking the townships with the outside world existing beyond apartheid. Apart from featuring South African jazz's three finest horn players still working within the country - namely Basil Coetzee, Barney Rachabane and Duku Makasi - the record highlights the direct American influence on township music. On "Bra Joe From Kilimanjaro" Basil Coetzee combines with Blue Mitchell, Buster Cooper and Harold Land in a four man Afro-American horn section which reworks this earlier Ibrahim/Moeketsi classic into a fluid cultural crossover of different jazz styles…