This is one of Abdullah Ibrahim's most colorful band recordings. With a 12-piece group that includes altoist Carlos Ward, trombonist Craig Harris and bassist Cecil McBee along with some lesser-known names, Ibrahim performs eight folklike originals that pay tribute to his life growing up in South Africa. "The Homecoming Song," "Anthem for the New Nation" and especially "The Wedding" (a beautiful hymn) are particularly memorable.
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".
This was a nicely blended, somewhat mellow and seemingly quite finished recording by Abdullah Ibrahim with Carlos Ward (alto sax, flute), Essiet Okun Essiet (bass), and Don Mumford (drums) called Zimbabwe. Interspaced with non-originals were four Ibrahim compositions, most of which were inspired by the imagery from Ibrahim's South African roots.
This project is built on a paradox: the idea that a large-scale African landscape can best be expressed musically in the most Germanic of media, the full romantic orchestra. Schnyder employs a sonic palette closely associated with Bruckner, Mahler and Strauss. It works because Ibrahim's eclecticism extends far beyond his African roots and encompasses American jazz and blues, Arabic influences, English choral and European romantic music. (Schnyder points out that, as a master of suspense and musical space, Ibrahim is a great "rest composer" in the tradition of Bach and Beethoven.) It also works because Schnyder's arrangements are deeply in touch with Ibrahim's belief in the hypnotic, cathartic, healing power of music. The huge ensemble never overwhelms or intrudes. It surrounds Ibrahim's trio (with Marcus McLaurine on bass and George Gray on drums) with airy, translucent elaborations that add scale and texture and fascinating detail to this varied fabric of incantations.
Abdullah Ibrahim (born Adolph Johannes Brand on 9 October 1934 and formerly known as Dollar Brand) is a South African pianist and composer. His music reflects many of the musical influences of his childhood in the multicultural port areas of Cape Town, ranging from traditional African songs to the gospel of the AME Church and ragas, to more modern jazz and other Western styles. Ibrahim is considered the leading figure in the subgenre Cape jazz. Within jazz, his music particularly reflects the influence of Thelonious Monk and Duke Ellington.
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.
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.
Abdullah Ibrahim's spiritual and very melodic South African folk music is always worth hearing and his individuality remains quite impressive. This set, recorded live at the Montreux Jazz Festival, features the pianist (who also plays a bit of soprano and adds his emotional voice to the proceedings) with his longtime altoist Carlos Ward, bassist Essiet Okun Essiet, drummer Don Mumford and vocalist Johnny Classens. The music, dealing with themes related to South African life, is quite personal, unique and surprisingly accessible.