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.
'Mukashi' sees Ibrahim joined by his companion of many years, reeds player Cleave Guyton, who combines sensitively with the pianist. However, Ibrahim also sought new textures for the recording, specifically fragile layers of sound. His addition of two master cellists with great expertise in all genres, Eugen Bazijan and Scott Roller, proves to be a master stroke as they fit seamlessly into this musical world and complement the other instrumentation wonderfully.
The source of the giant, South African-born pianist/composer Abdullah Ibrahim's genius is his orchestral piano style, derived from the ducal sound of his mentor/discoverer, Duke Ellington. So it's only fitting that Bombella, Ibrahim's follow-up to his 2008 Sunny Side/Intuition debut, Senzo, showcases Ibrahim's powerful pianism with the world-acclaimed WDR Big Band Cologne, recorded live in March/April of 2008 in Germany, performing a well programmed potpourri of selections from the leader's dancing and diverse catalog.