Abdullah Ibrhin

Abdullah Ibrahim - The Balance (2019) {Gearbox Records GB1554CD}
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© 2019 Gearbox Records | GB1554CD
Jazz / Post Bop / Contemporary Jazz / Cape Jazz / Piano

Abdullah Ibrahim's discography goes back sixty years, and although there are longer periods between his releases than there used to be, Ibrahim has retained all his grit and jubilance. The pianist and composer continues to make gloriously uplifting music steeped in its South African roots, in a style which still carries echoes of his formative overseas influences, Duke Ellington and Thelonious Monk.

Max Roach & Abdullah Ibrahim - Streams Of Consciousness (1977) {PIADRUM-0301 rel 2003}
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© 1977, 2003 Baystate / Piadrum Records | PIADRUM-0301
Jazz / Post Bop / Drums / Piano

Abdullah Ibrahim and Max Roach entered the studio in 1977 with no preplanning of any kind, producing a powerful session of duo improvisation in Streams of Consciousness. Their long opener, the title track, is never dull, even at 21 minutes. Roach provides unaccompanied segues as Ibrahim repeatedly ducks out and returns powerful themes one after another (each one complemented beautifully by the drummer).

Abdullah Ibrahim - African Dawn (1982) {Enja Records ENJ-4030 2 rel 1999}
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© 1982, 1999 Enja Records | ENJ-4030 2
Jazz / Contemporary Jazz / Post Bop / Piano Solo

On this solo piano set, Abdullah Ibrahim pays tributes to some of his musical heroes: Thelonious Monk ("'Round Midnight," "Just You, Just Me," "Blue Monk," and "For Monk"), John Coltrane ("For Coltrane"), and Billy Strayhorn ("A Flower Is a Lovesome Thing"), although surprisingly not Duke Ellington this time. But even on the direct tributes (which are sometimes a bit abstract), Ibrahim sounds very much like himself. The pianist, who also contributed five other colorful originals, displays his South African heritage and his optimistic view of the future in his unique brand of jazz. African Dawn is a fine example of his solo piano talents.

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.

Abdullah Ibrahim sings and plays soprano on "Ishmael" but otherwise sticks to piano on this trio set with bassist Cecil McBee and drummer Roy Brooks. As usual Ibrahim's folkish melodies (this CD has six of his originals plus a previously alternate take of "Ishmael") pay tribute to his South African heritage and Islam religion without becoming esoteric or inaccessible. Some of the unpredictable music gets a bit intense (Ibrahim is in consistently adventurous form) but his flights always return back to earth and have an air of optimism. An above average effort from a true individualist.

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.