Abdullah Ibrhin

"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…

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".

African Sketchbook is a superb example of the kind of solo concerts Abdullah Ibrahim (then known as Dollar Brand) performed early in his career. They were lengthy, non-stop affairs with pieces strung together end on end, sometimes repeated, sometimes with interpolations from Monk or Ellington, and always supremely creative and moving. He would often introduce the evenings with a composition for flute, as is the case here with the gorgeous "Air." After that, it's wave upon wave of songs. Some are rhythmically propulsive numbers with Ibrahim vamping for all he's worth with the left hand while deftly evoking aspects of South Africa with the right. The songs tend to have a basis that may strike Western listeners as gospel-related while, in fact, it's gospel that shows these same African roots…

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.

Also made available domestically at one time by the defunct Black Hawk label, this superior Abdullah Ibrahim recording features the pianist/composer with a very strong septet. Such superior musicians as tenor saxophonist Ricky Ford, altoist Carlos Ward, baritonist Charles Davis, and trombonist Dick Griffin are heard at their most creative and emotional on these eight Ibrahim originals. Many of the melodies (particularly "Mandela," "Song for Sathima," "Water From an Ancient Well," and the beautiful "The Wedding") are among Ibrahim's finest compositions.

After a decade of generally intriguing recordings, pianist Abdullah Ibrahim really found his own voice by the early '70s. His lengthy solo set from February 18, 1973, was released as a pair of Sackville LPs (Sangoma and African Portraits). One selection apiece from the two albums have been grouped with the previously unreleased "Salaam Peace" to form this disc. Ibrahim is heard on three lengthy medleys; best are "African Portraits" and "Fats, Duke & the Monk," although Fats Waller (who is only represented by a brief "Honeysuckle Rose") gets short shrift on the latter. Ibrahim's passionate solos (which are sometimes joined by his verbal cries) are picturesque, episodic, and utterly fascinating on this set even if Ancient Africa actually gets the edge.