Abdullah Ibrahim

3

Gearbox

This live recording, 3, from NEA Jazz Master, pianist, and composer Abdullah Ibrahim (formerly Dollar Brand and dubbed the “Duke Ellington of South Africa) will long hold a special place for this writer and those fortunate enough to attend live performances of this repertoire in the states (where there were only three) or where it was originally recorded in London. We’ll get to that repertoire soon enough, but the sentiment is due to one of the most emotional and amazing encores witnessed in live performance.  Here is my account from the Exit Zero Jazz Festival held in Cape May in November 2023. “The reward for staying was a chilling vocal performance by Ibrahim unaccompanied at the end – “No one to welcome me home/I see the harbour lights/slave ships/Africa is far, far way/I will see my home someday.” His exit left such an indelible mark.

Here is a more elaborate account from his London performance at the Barbican, the site of the recording, from Jazzwise.com, comparable to what this writer witnessed down to every detail (although he does not provide the words as above) – “At 88 years-old the South African legend needs the reassuring shoulders of his assistant as well as those of bassist Noah Jackson and flautist Cleave Guyton, as he steadies himself after rising from the piano stool following an absorbing 90 minutes that also brings a receptive audience to its feet….On stage the four figures form what looks like a barbershop vocal quartet and Ibrahim intones a heartbreaking lament, initially in an indigenous language before continuing in English. His voice cracks on a tale of going home and escaping the dread of the slaveship, the melody sounding like the oldest and perhaps most unknown of Negro Spirituals. It is a powerful summary of an evening of many overlapping histories.”

As you read these accounts, it’s natural to shrug them off as “you’d just have to be there” but in fact this two-disc recording will take you there, at least musically. It’s a pensive, meditative, spiritual kind of listening, that, like the concert, demands concentrated listening. Nothing is hurried. Time seems irrelevant as his music transports one to a special, one-of-a-kind vibe. You must be prepared for it because it is not for the restless. The recording is spread across two performances, the first disc, Vol.1, without an audience, the second, Vol. 2, from the performance at the Barbican. Guyton (flute, piccolo and alto saxophone) has a resume that boasts Aretha Franklin, Dizzy Gillespie, and Joe Henderson. He and bassist Jackson are members of Ibrahim’s larger ensemble, Ekaya. Pieces are rarely rendered as a trio, however, especially on Vol.2 where the pianist alternates solo pieces with duets between Guyton and Jackson, the former mostly on flute or piccolo. Drums are not present, enhancing the mesmerizing quality of the music.

Vol. 1 does begin with a trio rendering, the lovely “Barakat,” one of several pieces that have long been staples of Ibrahim’s catalogue. “Tsakwe” is one of those said duets with Guyton on flute accompanied by the robust bass of Jackson. “Crotoa – Crystal Clear” follows as a spare, but brimming piece commensurate with its title, each note just lingering in the air beautifully. “Maraba’ is a gorgeous trio piece with Guyton again on flute. The bass and flautist duet again on one of the more up-tempo tracks, “Ismael” while the closer, and released single, “MIndif” is yet another trio rendering with Jackson in arco form and Guyton’s remarkable fluttering flute.

The audience performance, captured on Vol.2, is both a mix of jazz standards and Ibraim originals, beginning with Ellington’s “In a Sentimental Mood” again featuring Guyton’s vibrato laden Rahsaan Roland Kirk-like flute in an especially spirited take.  Jackson states the melody of Coltrane’s “Giant Steps” in an extended pizzicato run solo before we hear a 15-minute improvised solo piano excursion, “Reprise 1” that depicts his gentle, caressing touch, and lyricism that’s rooted in South African culture. He is a master at letting every note reverberate, here alternating fluid rapid runs with series of deliberate well-placed notes and chords, segueing directly into his original, the gripping, distinctly South African melodic “Water From An Ancient Well” which marks the return of his accompanists, Guyton alternating flute with piccolo. “Nisa” brings the tempo up a bit with the trio fully engaged with Ibrahim’s classic “The Wedding” yet another lyrical gem, this time featuring Guyton on clear-toned alto saxophone and Jackson again using his bow effectively, the three blending so well together harmonically.

“Tuang Guru” is a duo rendering from the accompanists save a few occasional chords from the pianist featuring outstanding turns from Guyton on piccolo and hard-hitting plucking from Jackson, eliciting an especially enthusiastic audience response. Naturally, Ibrahim follows with another lengthy improvised slow and steady solo in “Reprise 2” which dovetails into the tranquil, flute rendered trio piece, “Dream Time.”  The trio nods again to tradition with and inventive take on Monk’s “Skippy” with Guyton’s sparkling piccolo leading the way before yielding to another piano solo in the moody “Blue Bolero.” “Mindif” gets another brief airing before we hear those stunning words from Ibrahim described in our opening two paragraphs in “Trance-Mission.” Vol.2 also has digital radio edits of “Mindif” and “Water From An Ancient Well” but it’s for those of us who have experienced this live, we can’t go beyond the riveting encore.

Although we are just in January, Ibrahim’s 3 will surely be one of this year’s most revered recordings.

• Jim Hynes

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