Abdullah IBRAHIM - Duke Ellington Presents The Dollar Brand Trio 1963

Abdullah IBRAHIM - Duke Ellington Presents The Dollar Brand Trio 1963
R 6111

Jazz

Black History Month at HurdAudio takes a spin of Abdullah Ibrahim's debut recording from 1963 - back when he went by the name of Dollar Brand - Duke Ellington Presents The Dollar Brand Trio.

"Dollar's Dance" opens with a great hook on the piano as the ears open up to a great piano trio in action. It is immediately apparent what caught the Duke's attention when he heard this trio playing at a club in Zurich and immediately agreed to produce three recordings and heavily promote this sensational pianist from South Africa. This trio is fantastic. The bass solo on this track is dead on and the overall sound is such a great balance between these three players and their big-ear interactions together. I'm struck by the rhythmic approach on the piano and the choice of harmonies that puncture the texture and occasionally move in parallel lines.

The liner notes provide no clue to the identity of two-thirds of this excellent trio. With a little digging around online I learn that this bassist is Johnny Gertze and the drummer is Makaya Ntshoko.

"Kippi" switches gears as a ballad. Here the focus in on the melodic line that is lovingly supported by a restrained trio along with some artfully arranged harmonies. This brief number has a wonderful conclusion as a well-crafted chord that spans the wide registers of the piano is allowed to decay naturally.

"Brilliant Corners" by Thelonius Monk is the lone non-Dollar Brand composition on this collection. The melodic bends and harmonic quirks of Monk are a natural fit for Abdullah Ibrahim both as a composer and pianist/interpreter. This is another track that allows a glimpse at the creative prowess of Gertze on the bass as he rips out another great solo on this one. This arrangement sticks close to the overall form and chord changes of this familiar standard. The brief flashes of double-time are incredibly cool.

"Jumping Rope" skips along, propelled by Ibrahim's deft navigation of some rapid chord changes before swirling around into a steady groove for some deeply laid back improvising. He packs a lot of surprising twists and turns over a steady cyclical chord sequence. This track is far, far too short. The Gertze bass solo seems to just get started before things swing into a coda.

"Ubu Suku" begins with piano alone as Ibrahim unfolds a melody and interjects increasing degrees of harmonic and rhythmic divergences into it until the trio eventually joins in. The texture alternates between smooth passages of linear melody juxtaposed against short doses of repeated sequences. This track is my personal favorite from this collection. There's a great sense of contrast at work in this one compositionally and it feels less abridged than the rest of the offerings on this disc.

"The Stride" closes out this listening experience with an up-tempo groove that seems to keep rolling over on top of itself. Ntshoko's drum work catches my ear on this one - even before his solo. This was a great trio and they really fused together on this track.

Compared to the records that Dollar Brand/Abdullah Ibrahim would later record this one is a modest introduction to a great talent that really deserves more attention.
**
Johnny Gertze- (Bass),
Abdullah Ibrahim- (Piano)
Makaya Ntshoko- (Drums)
**
A1.Dollar's Dance  (5:09)
A2.Kippi  (4:04)
A3.Brilliant Corners  (6:49)
B1.Jumping Rope  (4:07)
B2.Ubu Suku  (8:01)
B3.The Stride  (5:00)
**

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Abdullah IBRAHIM (Dollar Brand) - Black Lightning 1976

Abdullah IBRAHIM (Dollar Brand) - Black Lightning 1976
CR 2005

Jazz

A rare LP, still unreleased on disc as of 2001, Black Lightning finds the great pianist Abdullah Ibrahim (still generally known as Dollar Brand at this point) in the company of a number of fellow South African musicians for a very fine session that focuses on his township roots. The title track is a joyous, bouncing affair with the three-reed frontline strutting their stuff over a rolling rhythm that never loses its impetus. The melody is infectious and danceable, certainly relating to the local bands with whom Ibrahim grew up and played. The legendary tenor saxophonist Basil Manenberg plays with utter authority and is quite willing to extend into relatively free playing given the context. "Little Boy" has a decidedly funky feel and points the way toward a style that Ibrahim would dip into occasionally in the ensuing decades: a more relaxed, less ecstatically driven music than that which he practiced in the '60s and early '70s. "Black & Brown Cherries" finds him switching somewhat uncomfortably to electric piano with a quartet (though the song itself is enjoyable enough) and he takes things out with a homage to one of his heroes, Monk's "Blue Monk." Black Lightning, though not of the caliber of his incredible solo performances, covers several facets of Ibrahim's art and is well worth picking up if you're lucky enough to come across it.
By Brian Olewnick, All Music Guide.
**
If you look carefully on the liner notes for Black Lightning, you'll see the date 1976, the year of the Soweto student uprising, suggesting that this album was recorded shortly before Brand, disturbed by the continuing danger and cruelty in his homeland, once again sought refuge in New York. (There he based his ongoing successful career as Abudllah Ibrahim, until 15 years later he was able to return to record in South Africa.) Black Lightning's opening title track rides on a soulful blues vamp maintained by Brand's strong left hand, with tenors Coetzee (here calling himself "Basil Mannenberg") and Duku Makasi and veteran South African altoist Kippie Moketsi pursuing long solo meditations.
"Little Boy" returns to the Church of Mbaqanga, its affirming progressions satisfying the soul and Moketsi's slightly raw intonation working well against the sweetness. on "Black and Brown Cherries," Brand is again working an uncredited alternative keyboard, with soulful effect. In a rare (for this period) departure from original material, Brand closes the album with Thelonious's "Blue Monk," but the slack swing and less-than-apt improvisations suggest that this particular group should have stuck closer to home.
By Jeff Kaliss. AAJ.
**
Abdullah Ibrahim- Piano, Piano (Electric) 
Kippie Moketsi- Alto Sax;
Basil Manenberg- Tenor Sax & Flute;
Duku Makasi- Tenor Sax;
Sipho Gumede- Bass
Monty Weber, Gilbert Matthews- Drums.
**
A1. Black Lightning 15:00  
B1. Little Boy 8:00  
B2. Black & Brown Cherries 6:00  
B3. Blue Monk 7:00
**
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Abdullah IBRAHIM (Dollar Brand) - African Breeze 1974

Abdullah IBRAHIM (Dollar Brand) - African Breeze 1974
Recorded live at Tokyo, Yuhbin Chokin-Hall,
on the second night of Dollar Brand's first appearance in japan.

Jazz

The early 1970s were the age of Brand's majestic solo albums. Ancient Africa (june 1972), one long live medley of Brand compositions, was only the appetizer. One session produced material for two albums: African Portraits (february 1973) and Sangoma (february 1973). The latter, his masterpiece, contained the three-part suite The Alone And The Wild Rose, the six-part suite Fats Duke And the Monk and the side-long three-part suite Ancient Africa. Besides the much inferior Memories (december 1973) and Ode To Duke Ellington (december 1973), the other notably solo album of the era was African Breeze (february 1974).
**
01. Nim Vlula (the Rain Song) (3:26)
02. Msunduza (2:10)
03. Salaam (peace) (2:05)
04. Ancient Africa (11:25)
05. Salaam (peace) (1:26)
06. Single Petal Of A Rose (1:02)
07. Come Sunday (1:40)
08. Monk From Harlem (5:13)
09. Cherry (2:38)
10. African Sun (4:20)
11. Tintinyana (6:11)
**
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Abdullah IBRAHIM (Dollar Brand) - The Dream, Live in Copenhagen 1965

Abdullah IBRAHIM (Dollar Brand) - The Dream, Live in Copenhagen 1965

Jazz

No Comment
**
Abdullah IBRAHIM- (Piano)
Johnny Gertze- (Bass)
Makaya Ntshoko- (Drums)
**
01.The Stride
02.Smoke Gets In Your Eyes
03.The Dream
04.Tintiyana
05.Obluegato
06.Honey
**
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Abdullah IBRAHIM (Dollar Brand) - Memories 1973

Abdullah IBRAHIM (Dollar Brand) - Memories 1973

Jazz

Originally released by the Japanese Philips label, this solo piano set by Abdullah Ibrahim is spiritual, authoritative, melodic, wistful, nostalgic, and powerful, and grows in interest with each listen. Not previously available domestically (usually the West Wind label puts out concert dates), this studio session pays tribute to aspects of South Africa, as well as to Bea Benjamin; there's also a street parade and a medley of some of Ibrahim's favorite standards ("Memories of You," "How Deep Is the Ocean" and "Cry Me a River"). An excellent set, this CD may be a little difficult to locate, but fans of the pianist will definitely want it.
By Scott Yanow, All Music Guide.
**
01. Township Sunday (04:49)
02. Our Son Tsakwe (06:26)
03. Love Song For Bea (07:48)
04. Memories (07:03)
05. Carnival (02:53)
06. Majestic Warriors (04:55)
07. Gafsha: Life Is for the Living, Death Is for Us All (05:03)
**
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Abdullah IBRAHIM (Dollar Brand) & Max ROACH - Streams Of Conciousness 1977

Abdullah IBRAHIM (Dollar Brand) & Max ROACH - Streams Of Conciousness 1977
1978 Issue RVJ 6016

Jazz

Good stuff. The title hints at nutty free-jazz but apart from some rowdy moments on the 21-minute title track this is very fine and cool stuff. Both play with good humour and Ibrahim especially throws some eccentric world music & avantgarde curveballs at Roach, but their chemistry is excellent and things never get boring and neither one ever steals the spot. It's too bad that they didn't record more together, this is simply very fine stuff.
**
Abdullah Ibrahim and Max Roach entered the studio in 1977 with no preplanning of any kind, producing a powerful session of duo improvisation, 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 with one after another powerful theme (each one complemented beautifully by the drummer), which touch on African chants, gospel-like themes, along with a bit of avant-garde. "Acclamation" has the feeling of being composed, building to a feverish pitch before ending quietly with Roach's unaccompanied cymbals. Roach is initially at the forefront of "Consanguinity," with Ibrahim inserting brief, choppy chords, though the pianist takes on a much greater role as it progresses, finishing with a wave of tremolo chords. Sadly, they have yet to record together in the decades following this making of this remarkable recording. Originally issued by the Japanese label Baystate.
By Ken Dryden.
**
Max Roach- (Drums);
Abdullah Ibrahim- (Piano);
**
A1. Streams of Consciousness 21:01 
B1. Inception 3:53 
B2. Acclamation 9:29 
B3. Consanguinity 6:55
**
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Abdullah IBRAHIM (Dollar Brand) - Cape Town Fringe 1977

Abdullah IBRAHIM (Dollar Brand) - Cape Town Fringe 1977

Jazz

From this period and throughout the 70’s, he would record prolifically for a variety of labels, further expanding and extending his free form tonality and African infusion of spatial melody accompanied by a sometimes whispered rhythm, as ancient as Africa itself, he would go on to say that he was just a channel for this manifestation. It was during this creative period that he recorded “Ode to Duke Ellington” in Germany in 1973. This was his tribute to his good friend and mentor, and is a masterpiece. He does a magnificent job of intertwining his piano voicing with Dukes melodies. He returned to Capetown in 1973 and from ’74 to ’76 recorded with South African musicians. It was there that he recorded the legendary “Capetown Fringe”, under its original name of “Mannenburg”, (named after his tenor player at the time) it would become the anthem of the uprisings in the Soweto township, expressing musically the anguish of his people under the oppression of apartheid. He followed immediately with “Soweto”, which elevated his status back home and brought him international recognition for the effort. This album contains the classic cuts ‘Soweto’ on one side and ‘African Herbs’ and ‘Sathima’ (for his wife) on the other. This creative period was fueled by the political and social turmoil brewing back in Capetown, which affected and inspired him profoundly. For those of us lucky to have been listening, it was a time of musical resistance, solidarity, bewilderment, angst, and admiration. Right on!!
**
Paul Michaels- Bass
Monty Weber- Drums 
Dollar Brand- Piano 
Robbie Jansen- Alto Sax, Flute 
Basil Coetzee- Tenor Sax, Flute
**
A. Cape Town Fringe 13:36
B. The Pilgrim 13:00
**
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Abdullah IBRAHIM (Dollar Brand) - Anatomy Of A South African Village 1965

Abdullah IBRAHIM (Dollar Brand) - Anatomy Of A South African Village 1965
1975 Issue

Jazz

Here is one of the very great records by Dollar Brand/Abdullah Ibrahim.Just one of the best ones.Just an outstanding moment of music.
I saw and heard Abdullah IBrahim on stage,one month ago in Besançon,France,playing solo acoustic piano;two hours of the greatest music I've ever heard,and I heard a lot.Abdullah,born Adolph Johannes Brand in Cape Town,1934,is one of the greatest jazz piano players of all times,and one of the last great players still alive,with Hank Jones and Randy Weston.
It's a pity that some of his greatest recorded works are still not available, ("live at the Blackhawk with Carlos Ward","Dollar Brand"in Poland with Ward;the immense "autobiography",recorded in Switzerland,1978,is issued now on CD in Europe,but doesn't seem to be available in the USA).
This extremely magnificent album,recorded January 30,.1965,in Copenhagen,will let you listen to Abdullah's african music.Except for "smoke gets in your eyes",the rest of the program is made of african-oriented tunes,even if you can find here Monk's or Elmo Hope's or Herbie Nichols' or Duke's influences.THis south african trio,made of Abdullah,Johnny Gertze on bass and Makaya Ntshoko on drums (the trio which recorded the very great "Duke Ellington presents the Dollar Brand trio",Reprise label),this trio plays here some of the most haunting music ever played.The twenty minutes long suite,which includes "Boulevard East","sunset in blue" and "Easter joy" is a very high moment in the art of jazz,or simply improvised piano playing.Makaya Ntshoko's drive on drums is terrific,you could think of beeing listening to Max Roach or Sam Woodyard.Here is some very great music,by one of the most original jazz piano players.Absolutely essential!!!
By  JEAN-MARIE JUIF.
**
In the mid-1960's, Abdullah Ibrahim (then known as Dollar Brand) was an avant-garde pianist influenced by Thelonious Monk who was not yet displaying much of his South African heritage in his music. This CD reissue is quite valuable for Ibrahim (in a trio with bassist Johnny Gertze and drummer Makaya Ntshoko) performs the intriguing title cut, brief versions of "Smoke Gets In Your Eyes" and "Mamma" and a rather hypnotic suite. One of the better recordings of the early Abdullah Ibrahim
By Scott Yanow, AMG.
**
Dollar Brand- Piano
Johnny Gertze- Bass
Makaya Ntshoko- Drums
**
A1. Anatomy of a South African Village 15.11
A2. Light Blue 6:56 
B1. Tintiyana  4:31 
B2. Honey  6:01
B3. Round Midnight 6:30
**
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Abdullah IBRAHIM - Good News From Africa 1973

Abdullah IBRAHIM - Good News From Africa 1973

Jazz

"Good News from Africa" is good news to the world. Liberated from any genre, this precious music swings between its roots in (simple and bluesy) jazz and its african origin. Far from any genre or categorization this record oozes out the feeling of Beauty, Faith and Freedom.

A transcending experience which is completely free of ethno-kitsch ("World" Music) and esoteric jazz wankery (ECM, Jarrett). This record is absolutely essential for anyone remotely interested in Jazz. I do not know a better one.
**
The extraordinary South African pianist meets his countryman, the late, very great bassist Johnny Dyani, and the result is one of the single most beautiful recordings of the '70s. The duo mix in traditional African and Islamic songs and perform with a fervor and depth of feeling rarely heard in or outside of jazz. From the opening traditional Xhosa song, "Ntsikana's Bell," the rich, sonorous approach of these two musicians is evident, both singing in stirring fashion, Ibrahim guttural and serious, Dyani as free and light as a swallow. Ibrahim treats the listener to some of his all-too-rarely heard flute work on the following track, using Kirk-ian techniques of sung overtones in a gorgeous original. Dyani's bass playing is simply astonishing, never indulging in mere virtuosic displays but always probing, always deep -- what Mingus might have sounded like had he been born in South Africa. His whipsaw arco work on "Good News" provides an incredibly roiling yet solid framework for some inspired piano from Ibrahim. The Islamic prayer-song "Adhan/Allah-O-Akbar" is sung with such heartfelt intensity so as to melt the heart of the unbeliever and lay waste to countless quasi-spiritual attempts by lesser talents. The final two pieces are a fascinating pair. "The Pilgrim" is an Ibrahim special, based on a slow, irresistible loping groove, one that reaches its end lingering for a second or two before repeating, on and on like a luxurious desert caravan. The musicians embroider it exquisitely before reluctantly letting it go on its way after ten minutes. The next composition, Ibrahim's "Moniebah," begins in a stately manner, proceeding along for a minute or two until, as if drawn in by its ineluctable gravity, they return to "The Pilgrim," unable to resist its pull. It's an amazing, joyful moment that sends chills down one's spine. Good News From Africa was the shining, transcendent release by both of these great musicians and one that should grace every listener's collection.
By Brian Olewnick.
**
Abdullah Ibrahim- (Vocals, Piano, Bells);
Johnny Dyani- (Bass, Bells).
**
A1. Ntsikana's Bell   6:15
A2. Msunduza   4:37
A3. Good News (Swazi, Waya-Wa-Egoli)   7:25
A4. Adhan & Allah-O-Akbar   4:15
B1. The Pilgrim   9:50
B2. Moniebah (The Pilgrim)   12:00
**
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Abdullah IBRAHIM Trio - Cape Town Revisited 2000

Abdullah IBRAHIM Trio - Cape Town Revisited 2000

Jazz

As is Ibrahim's tendency on live recordings, recently reflected in last year's  African Magic , the music tends to evolve over time through a series of smaller units. In this case the average track length is four minutes, which means things change a lot; but that's a superficial analysis because Ibrahim's trio does a wonderful job connecting everything together. (Trumpeter Feya Faku guests on three tracks, mixed too far to the front but still a worthy addition to the group.)

The most dramatic example of Ibrahim's tendency to assemble suite-like collections is "Cape Town to Congo Square," which comes in three units spaced early on the record. The suite draws its name from the connections between New Orleans and Cape Town, something that's obvious to South African jazz players but may be a discovery for outsiders. (Gospel is a very big thing in South Africa.)

The first part features very active snare drumming by George Gray, proving old debts to the marching band tradition and the unstoppable momentum of New Orleans. But Ibrahim's piano, however funky it may become, also radiates a sense of carefree joy and celebration, tribute, and accessible, open harmonic progression. The suite is well received, especially upon its return, with rumbling, blocky bass patterns leading up to a bluesy reprise of what has become one of the most memorable cadences in the history of South African jazz.

Other highlights include the old school backbeat of "Soweto," the reduced solemnity of "The Wedding," and the fresh perk of "Someday Soon Sweet Samba." But there's really no sense in breaking up the flow as Cape Town Revisited winds its way along.

This is one of the warmest, most heartfelt and reverberant records ever made in South Africa.
By Nils Jacobson.
**
Abdullah Ibrahim- Piano
Marcus McLaurine- Bass
George Gray- Drums
Guest:
Feya Faku- Trumpet
**
01. Damara Blue 04:05
02. Someday Soon Sweet Samba 04:45
03. Cape Town To Congo Square 1st Movement 07:36
04. Cape Town To Congo Square 2nd Movement 02:04
05. Song For Sathima 03:26
06. Cape Town To Congo Square 3rd Movement 02:00
07. Tintinyana 03:47 
08. Tuang Guru 06:15
09. Eleventh Hour 03:56
10. Water From An Ancient Well 05:42
11. Tsakwe Royal Blue 03:19
12. Soweto 04:07
13. The Mountain 02:16
14. The Wedding 02:11
15. Barakaat The Blessing 03:01
*
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Abdullah IBRAHIM (Dollar Brand) - Dollar Brand At Montreux 1980

Abdullah IBRAHIM (Dollar Brand) - Dollar Brand At Montreux 1980

Jazz

I highly recommend Live at Montreux, a rocking passionate performance. The reeds, trombone, bass and drums serve to compliment one of jazz's most underrated pianists. This is a definite must for any fan of live jazz.
**
A1. Tsakve 1:34
A2. Whoza Mtwana 8:40
A3. The Homecoming Song 7:10
A4. The Wedding 3:34
B1. The Perfumed Forest Wet With Rain 9:18
B2. Ishmael 9:22
**
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Abdullah IBRAHIM - Soweto 1978

Abdullah IBRAHIM - Soweto 1978

Jazz

This obscure and long-out-of-print Chiaroscuro LP does not have any recording date listed, but it was recorded in Europe in 1965.
Pianist Dollar Brand (aka Abdullah Ibrahim) is heard leading two groups comprised mostly of fellow expatriate South Africans — a quartet with tenor saxophonist Basil Mannenberg and a septet. The three originals ("Soweto," "African Herbs" and "Sathima") are very much in Ibrahim's mature style, full of rich melodies, expert use of repetition and percussive piano. On "African Herbs," he doubles effectively on soprano and electric piano.
By Scott Yanow. AMG.
**
In his online All Music Guide review, Scott Yanow refers to African Herbs by an alternate title, Soweto, and shows it as released in 1965 on Chiaroscuro. In fact, Chiaroscuro's first album, featuring Earl "Fatha" Hines, didn't appear till 1971, and African Herbs, according to Joe Thloloe's brief liner notes, was "the product of two sessions: the February 1975 session in Cape Town, which produced the title song, and the Johannesburg one last June [presumably also 1975], which gave us [the other two tracks, also by Brand] 'Satihima' and 'Soweto'." In a phone conversation, Yanow acknowledged that he might have received erroneous information from a European source, but in any case Soweto was in fact released as a now out-of-print LP, Chiaroscuro 2012.

The title cut ("African Herbs", that is) is once again redolent with mbaqanga sweetness, ramified by Basil "Mannenberg" Coetzee's happy but sometimes slightly off-tone tenor. Thloloe states that "Dollar Brand plays electric piano for the first time on a record on the title tune," a perhaps dubious claim, and notes that the leader doubles on soprano sax. Tholoe goes on to illuminate the composition's background: "Some years back we enjoyed watching solo trotters, singing along to the accompaniment of their concertinas. Township kids would be right there behind them. 'African Herbs' takes one back to those days. . . you get the two sides of Dollar fused into one: the slow, thoughtful left, almost carpet texture, and the right ululating to fill the gaps left by Coetzee."

"Sathima" suggests another link to America, conscious or circumstantial, this time to the spiritual quests of tenor Pharoah Sanders, whom Coetzee seems to echo here. Sipho Gumede's bass lopes evocatively, supported by Peter Morake's insistent drumming, on this tune titled for the Muslim name of Brand's singer wife, born Bea Benjamin. "Soweto Is Where It's At" is one of the best of Brand's ensemble outings, handsomely constructed and arranged. He introduces the carefree mbaqanga theme on electric piano, then passes it to the tightly teamed horns, Coetzee on tenor, Duku Makasi on alto, and Dennis Mpale on trumpet. Brand trades passages artfully with the horns and Gumede's bass, and tenor and trumpet solo brightly and brilliantly, the latter reminiscent of the sound of Hugh Masekela, Brand's former Epistle. The piece ends gloriously with an extended coda, engaging the listener in waves of brass, resolving to the composer's solo piano.
**
Bass- Basil Moses (tracks: B1) , Sipho Gumede (tracks: A1, B2)
Drums- Gilbert Mathews (tracks: B1) , Peter Morake (tracks: A1, B2)
Piano, Electric Piano, Saxophone- Abdullah IBRAHIM (Dollar Brand)
Saxophone- Barney Rachabane (tracks: A1, B2) , Basil Coetzee , Duku Makasi (tracks: A1, B2)
Trumpet- Dennis Mpale (tracks: A1, B2)
**
A1 Soweto   17:40
B1 African Herbs   10:15
B2 Sathima   11:22
**
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Abdullah IBRAHIM - The Third World - Underground [Live] 1972

Abdullah IBRAHIM - The Third World - Underground [Live] 1972

Jazz

This is pure pleasure. The sole album from The Third World trio is so rare that it’s easy to discount. There’s the slightest tang of collector-bait obscurity, the notion that this is merely a curio with a fascinating line-up. But hearing is believing. This music hits the joy receptors hard, delivering the sort of instantly pleasurable music that could easily be used to win over avant jazz skeptics. Or hell, jazz skeptics, period. Sadly, Underground remains criminally out of print and largely unknown.

The disc presents a live set recorded in 1972, at Jazz-House Montmartre, Copenhagen, Denmark. The two side-long tracks are actually multi-part suites. If you click the link above (and perhaps wait a while), you’ll hear side two. The first section, “Bra Joe,” features some of Dollar Brand’s finest playing – a solo that moves between soulful stride and rapturously knotty vamp; you can hear echoes of Randy Weston, Cecil Taylor, and ’60s-style R&B, but Brand makes this his own. It’s constantly on the verge of revelation, finally erupting into ecstasy with some blissful glissandos.

Next, it’s the trio on “Jabulani-Easter Joy,” futher elaborated on by the horns of Don Cherry and Carlos Ward in counterpoint; dancing around the theme. After a brief break, the trio swings into the final medley: the piano-led, vocalized ”Waya-Wa-Egoli,” followed by “Swazi / Wayeah-Wayeah-O,” all gospelized groove and tumbling blue notes. At the end, the club audience lets out an audible sigh of ecstasy before remembering to clap.
**
This is one of those jazz "albums" that is really a concert selection: Nov. 14, 1972 : Jazz-House Montmartre : Copenhagen, Denmark. The Third World Underground is actually: Don Cherry, Dollar Brand (one of my favorites), and Carlos Ward. . . . a little research reveals that Dollar Brand and Carlos Ward played together fairly regularly. Don Cherry seems to be a temporary addition. Don's Song/Cherry is the first of the disc's two "songs" (more like medleys) and it contains all of the things I love about Dollar Brand's piano-playing: his steady rolling left hand, a minimalism in chord changes, and an almost architectural quality in his chord variety and phrasing. He does a beautiful job of both laying a solid foundation and creating an open space in which the soloists can explore." from earfuzz.
**
Dollar Brand- Piano & Vocal,
Don Cherry- Trumpet,Vocal& Percussion,
Carlos Ward- Sax,Vocal & Percussion
**
A. Don's Song , Cherry  
B. Bra Joe from Kilimanjaro , Jabulani-Easter Joy , Waya-Wa-Egoli , Swazi / Wayeah-Wayeah-O
**
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Abdullah IBRAHIM (Dollar BRAND) - Zimbabwe 1983 (REPOST)

Abdullah IBRAHIM (Dollar BRAND) - Zimbabwe 1983 (REPOST)
All Credit Goes to *intotherhythm*

Jazz

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.
By Bob Rusch. AMG.
**
A gifted player, excellent on ballads and able to combine African rhythms and a jazz sensibility in a totally original manner. He began playing piano at seven, and was part of a superb group the Jazz Epistles with Hugh Masekela. This band made the first genuine South African jazz record in 1960. Brand, now known as Abdullah Ibrahim, left South Africa with his wife Sathima Bea Benjamin in 1962 and moved to Zurich. He met Duke Ellington there, who arranged a recording session with him in 1963 and then two years later sponsored an appearance by him at the Newport Jazz Festival. Brand played with Elvin Jones in 1966, toured Europe as a soloist and played in groups with such musicians as Don Cherry, Gato Barbieri and Johnny Gertze. He converted to Islam in 1968. After a return to South Africa and some extensive recording sessions in 1976, Ibrahim moved permanently to New York. He formed his septet Ekaya in 1983.
By Ron Wynn, All Music Guide.
**
Abdullah Ibrahim- Piano, Sax (Soprano);
Don Mumford- Drums;
Essiet Okon Ossiet- Bass;
Carlos Ward- Flute, Sax (Alto)
**
01. Kramat (Ibrahim) 6:37
02. Guilty (Akst, Kahn, Whiting) 5:09
03. Bombella (Ibrahim) 6:26
04. Don't Blame Me (Fields, McHugh) 3:30
05. Zimbabwe (Ibrahim) 5:27
06. It Never Entered My Mind (Hart, Rodgers) 5:02
07. For Coltrane, No. 11 (Ibrahim) 10:08
**
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Abdullah IBRAHIM (Dollar Brand) - African Piano 1969

Abdullah Ibrahim (Dollar Brand) - African Piano 1969

Jazz

An (almost) solo live gig recorded in a Scandinavian jazz club accompanied by much loud eating, drinking and conversation. It's hard to believe that anyone with a working set of ears would not be completely transfixed by this intense and committed performance - my meatballs would have certainly remained untouched until the last note had faded away. Thankfully, the background noise does not interfere with the listeners enjoyment. I first heard this record 20 years ago and even though I spent several of those years without a copy, the indelible impression left by this blend of South African folk melodies and modern jazz sensibility bound together with a constant muscular, supple rhythmic pulse and an almost tangible spiritual sincerity, has kept it as one of my most beloved of all albums.
By  David Gary Roberts.
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A1. Bra Joe From Kilimanjaro 11:23
A2. Selby That The Eternal Spirit Is The Only Reality 1:55
A3. The Moon 8:08
A4. Xaba 0:44
B1. Sunset In Blue 4:26
B2. Kippy 5:02
B3. Jabulani - Easter Joy 2:06
B4. Tintinyana 4:38
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Abdullah IBRAHIM (Dollar Brand) & Johnny DYANI - Echoes From Africa 1979

Abdullah IBRAHIM (Dollar Brand) & Johnny DYANI - Echoes From Africa 1979

Jazz

Abdullah Ibrahim, born in Cape Town, South Africa in 1934, remembers hearing traditional African songs, religious music and jazz as a child - all of which are reflected in his music. He received his first piano lessons in 1941 and became a professional musician in 1949 (Tuxedo Slickers, Willie Max Big Band). In 1959 he met alto saxophone player Kippi Moeketsi who convinced him to devote his life to music. He meets and soon marries South African jazz vocalist Sathima Bea Benjamin in 1965.
In 1962 the Dollar Brand Trio (with Johnny Gertze on bass, Makaya Ntshoko on drums) tours Europe. Duke Ellington listens in at Zürich's Africana Club and sets up a recording session for Reprise Records: Duke Ellington presents the Dollar Brand Trio. 1963/64 sees the trio at major European festivals, including TV shows and radio performances.
In 1965 Dollar Brand plays the Newport Jazz Festival followed by a first tour through the United States. In 1966 he leads the Duke Ellington Orchestra: "I did five dates substituting for him. It was exciting but very scary, I could hardly play". Other than six months playing with the Elvin Jones Quartet Abdullah Ibrahim (who changed his name after his conversion to Islam in the late 1960s) has been a band leader ever since. 1968 sees a solo piano tour. From then on he has continuously playing concerts and clubs throughout the US, Europe and Japan with appearances at the major music festivals of the world (e.g. Montreux, North Sea, Berlin, Paris, Montreal, etc.). A world traveler since 1962, Ibrahim went back to South Africa in the mid-1970s but found conditions so oppressive that he went back to New York in 1976.
In 1988 Ibrahim wrote the award-winning sound track for the film Chocolat (released on ENJ-5073 2 "Mindif") which was followed by further endeavors in film music the latest being the sound track to No Fear, No Die (TIP-888815 2).

An eloquent spokesman and deeply religious, Abdullah Ibrahim's beliefs and experiences are reflected in his music. "The recent changes in South Africa are of course very welcome, it has been so long in coming. We would like a total dismantling of apartheid and the adoption of a democratic non-racist society; it seems to be on the way." In 1990, Ibrahim returned to South Africa to live there but keeps up his New York residence as well. Several tours took him around the globe featuring his groups and also doing much acclaimed solo piano recitals. 1997 saw the beginning of a duet cooperation with the dean of jazz drums, Max Roach.
Later projects (1997 and 1998) are of a large scale nature: Swiss composer Daniel Schnyder arranged Abdullah Ibrahim's compositions for a 22 piece string orchestra (members of the Youth Orchestra of the European Community) for a CD recording and a Swiss Television SF-DRS production and also for the full size Munich Radio Philharmonic Orchestra again for CD production and for concert performances featuring the Abdullah Ibrahim Trio.
The world premiere of the symphonic piece was at the renowned Herkules Saal, in Munich, Germany on January 18th 1998, under the direction of Barbara Yahr and the Zürcher Kammerorchester premiered the string orchestra version at Zurich's Tonhalle in February 1998.
The string orchestra version was released in September 1998 ("African Suite", TIP-888832 2) and met widest critical acclaim from the worlds of both jazz and classical music. The symphonic version ("African Symphony") will be released in 2001 in a double CD set which also features Abdullah Ibrahim with the NDR Jazz Big Band giving the full scope of his large format music.
Another highlight was the premiere of Cape Town Traveler, a multi-media production at the Leipzig music festival in 1999. A one hour performance featured A.I. & the Ekaya Sextet, a vocal group, filmmaterial from the early days in South Africa and the European years, electronic sounds ranging from impressionism to drum&bass - a great experience.
The newest album is "Cape Town Revisited" (TIP-888836 2), recorded live in Cape Town. The piano of A.I. is featured with Marcus McLaurine (b) and George Gray (dr) and added is the fiery trumpet of South African Feya Faku on several tracks.
A great honor has been bestowed on Abdullah Ibrahim when the renowned Gresham College in London invited him to give several lectures and concerts (beginning in October 2000 at Canary Wharf). Among his predecessors at the famed institution which looks back at a history of 500 years are John Cage, Luciano Berio, Xenakis.

Abdullah Ibrahim has recorded 20 albums for ENJA RECORDS and we are proud and happy that this great artist now finds the recognition due him for a long time
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“ This is a rather emotional duet set by pianist Abdullah Ibrahim and bassist Johnny Dyani, two masterful musicians from South Africa. Their often introspective music includes three originals (with one piece dedicated to McCoy Tyner) plus a nearly 17-minute improvisation based on a folk melody that also allows one to hear the voices of the two musicians. This moody music has an almost sacred credibility and is quite personal.
By Scott Yanow,All Music Guide.
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Abdullah Ibrahim- (Piano)
Johnny Dyani- (Bass)
**
01. Namhanje (Today) 16:51
02. Lakutshonilanga (When The Sun Sets) 03:43
03. Saud (Dedicated To MC Coy Tyner) 05:54
04. Zikr (Remembrance Of Allah) 05:26
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Abdullah IBRAHIM (Dollar Brand) - Africa - Tears And Laughter 1979 (REPOST)

Abdullah IBRAHIM (Dollar Brand) - Africa - Tears And Laughter 1979 (REPOST)
Label: Enja
Release Date: May 25, 2002

Jazz

I think, this is the first album after changing his name from Dollar Brand to Ibrahim. Alone the prayer Ishmael is worth to have this item, no matter if you are a Muslim or not(like me).
Sit down, close your eyes and relax - I garantee you will like to hear it again and again and again - time stands still.
By Manfred Kopischke.
**
Adolph Johannes Brand, 9 October 1934, Cape Town, South Africa. Ibrahim began playing piano as a small child, learning church music and hearing many other forms, including jazz, from radio and records. Known initially by the name Dollar Brand, he began his professional career in the mid-50s playing popular music of the day, but by the end of the decade had formed a band that included Hugh Masekela and concentrated on jazz. In the early 60s his political activities drew the attention of the authorities and he embarked upon a protracted visit to Europe with singer Sathima Bea Benjamin, whom he married. In Switzerland they attracted the much more benign and welcome attention of Duke Ellington, who helped arrange a recording session and opened other doors that led to appearances in the USA in the mid-60s. Later resident in New York City, Ibrahim played with leading exponents of free-form music, amongst them John Coltrane, Don Cherry and Ornette Coleman. He also continued to develop his involvement in politics and religion and in the late 60s he converted to Islam, subsequently adopting the name by which he has since been known. The banning of the African National Congress made it difficult for Ibrahim to retain close personal ties with his homeland but he returned there occasionally for recording sessions.

Despite the enforced separation from his roots Ibrahim continued to explore African music and the manner in which it could be blended with contemporary American jazz. As a consequence, his extensive performing and recording sessions, often of his own compositions, are shot through with rare intensity. In the early 80s Ibrahim expanded his musical horizons with the composition of an opera, Kalahari Liberation, which was performed throughout Europe to great acclaim. From the mid-80s his seven-piece band, Ekaya, has recorded and performed in concert and at festivals. As a performer, Ibrahim's playing of the piano (he also plays cello, flute and soprano saxophone) is vigorously rhythmic, intriguingly mixing bop with the music of his homeland and overlaid with touches of Ellington and Thelonious Monk. As a composer Ibrahim has ably and convincingly mixed the music of two cultures creating a distinctive style through which his highly motivated political and religious beliefs can be spread to a wide, mixed audience.
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Abdullah Ibrahim- Piano
Greg Brown- Bass
John Betsch- Drums
Talib Qadr- Soprano & Alto Saxophones
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01. Tsakve   1.32
02. The Perfumed Forest Wet With Rain   3.59
03. Ishmael   13.51
04. Did You Hear That Sound   9.12
05. Liberation Dance   4.34 
06. Imam   6.09
07. Tsakve   1.04
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Abdullah IBRAHIM - Banyana 1976

Abdullah IBRAHIM - Banyana 1976
Label: Enja
Original Release: 1988
Recorded at Downtown Sound Studio,
New York on January 27, 1976.

Jazz

Tremendous work from Abdullah Ibrahim -- a set that not only has him working with a wonderful trio, but one that also features some soprano sax work as well! The record's got a sense of darkness that you don't always find in other albums by Ibrahim -- possibly from the brooding rhythms from Cecil McBee on bass and Roy Brooks on drums -- both players who really bring a lot to the date, and hint at some bolder musical ideas outside of the usual Abdullah Ibrahim universe. Abdullah seems to take their inspiration strongly on his piano -- playing with bold force, and sharper edges than on some of his sweeter records -- and on the wonderful track "Ismael", he plays soprano sax with this really raspy edge that's totally great. Other tracks are piano-based, and include "Yukio Khalifa", "The Honey Bird", "The Dream", "ASR", and "Banyana".  © 1996-2009.
From Dusty Groove.
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This 1976 Enja recording is a rare New York trio date by the South African pianist Abdullah Ibrahim. Not so much African jazz, the music is very much in a modernist post-bop mode a la Andrew Hill or perhaps a sparer, more cerebral McCoy Tyner. ...    Full DescriptionThe opening, pop-like "Banyana (The Children Of Africa)" even recalls Vince Guaraldi's celebrated score for Charlie Brown! Only on the closing, the 10-minute-plus "Yukio Khalifa," does Ibrahim deliberately reflect his Afro-centric roots, with an introductory Arabic chant and extra soprano sax work on his part. Throughout these explorations, an energetic, fluent rhythm section of Cecil McBee on bass (who plays arco on "The Dream") and Roy Brooks on drums adroitly follows Ibrahim wherever he may lead. Enja reissued BANYANA in 24-bit remastered sound in 2008.
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Abdullah Ibrahim- (Vocals, Soprano Saxophone, Piano);
Cecil McBee- (Bass);
Roy Brooks- (Drums).
**
01.Banyana-The Children Of Africa  2.03
02.Ishmael  15.03
03.ASR  8.18
04.Honey Bird  6.21
05.The Dream  6.44
06.Yukio-Khalifa  10.25
07.Ishmael - (alternate take)  12.59
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Abdullah IBRAHIM (Dollar BRAND) - Ekaya 1983

Abdullah IBRAHIM (Dollar BRAND) - Ekaya 1983
Label: Ekapa

Jazz

A gifted player, excellent on ballads and able to combine African rhythms and a jazz sensibility in a totally original manner. He began playing piano at seven, and was part of a superb group the Jazz Epistles with Hugh Masekela. This band made the first genuine South African jazz record in 1960. Brand, now known as Abdullah Ibrahim, left South Africa with his wife Sathima Bea Benjamin in 1962 and moved to Zurich. He met Duke Ellington there, who arranged a recording session with him in 1963 and then two years later sponsored an appearance by him at the Newport Jazz Festival. Brand played with Elvin Jones in 1966, toured Europe as a soloist and played in groups with such musicians as Don Cherry, Gato Barbieri and Johnny Gertze. He converted to Islam in 1968. After a return to South Africa and some extensive recording sessions in 1976, Ibrahim moved permanently to New York. He formed his septet Ekaya in 1983.
**
Pianist,composer Abdullah Ibrahim had one of his strongest groups for this studio date,
a septet LP with altoist Carlos Ward, tenor saxophonist Ricky Ford, baritonist Charles Davis,
trombonist Dick Griffin, bassist Cecil McBee, and drummer Ben Riley.
It is always enlightening to hear Ibrahim's originals, of which there are six on this out
of print LP, being performed by a medium-size band.
There is a great deal of beauty to be heard in these rich melodies;
if only this highly enjoyable and spiritual set would be reissued on CD.
It is always enlightening to hear Ibrahim's originals, of which there are six on this out of print LP, being performed by a medium-size band. There is a great deal of beauty to be heard in these rich melodies; if only this highly enjoyable and spiritual set would be reissued on CD.
By Scott Yanow, AMG.
**
Abdullah Ibrahim- Piano;
Carlos Ward- Alto Sax;
Ricky Ford- Tenor Sax;
Charles Davis- Baritone Sax;
Dick Griffin- Trombone;
Cecil McBee- Bass;
Ben Riley- Drums.
**
01. Ekaya (7:40)
02. Sotho blue (5:40)
03. Ntyilo, Ntyilo (4:27)
04. Bra timing from Phomolong (5:07)
05. Ek sê ou Windhoek toe nou (8:03)
06. Cape Town (6:54)
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Abdullah IBRAHIM (Dollar Brand) - African Magic 2001

Abdullah IBRAHIM (Dollar Brand) - African Magic 2001
Label: Enja / Justin Time
Released: 03/02/2003

Jazz

This concert,recorded July 13,2001,in Berlin,Germany,is one of Abdullah Ibrahim's greatest record.This extraordinary piano player,also known as Dollar Brand,was born Adolph Johannes Brand in Cape Town,South Africa, 1934.During a trip to Europe,he met Duke Ellington,in the early sixties;Duke was so fascinated by the young african musician that he organized a recording session for the Reprise label ( Duke Ellington presents the Dollar Brand Trio,February 1963;at this time,Frank Sinatra's label,Reprise,had an excellent musical director,a certain...Edward Kennedy "Duke" Ellington !!!).Then,Dollar became one of the most talented and adventurous jazz piano players,and his music always combined strong jazz and classical influences and the magic of african music.Just like Randy Weston.
Dollar Brand,then Abdullah Ibrahim,recorded several masterpieces: "African piano","anatomy of a south african village","ode to Duke Ellington","Memories","anthem for the new nations","live at Sweet Basil"(with Carlos Ward),an outstanding duet with Gato Barbieri,and recently,"Cape Town revisited".
This sublime concert is build like an Ellingtonian suite;it turns around "Blue bolero",which appears four times during the recital until a fifth one,an extended version,the last tune of the night.There are some of Abdullah's well known tunes,like "Blues for a hip king"(dedicated to King Sobhuza of Swaziland,who died as a very old man some 10 or 15 years ago),"Cape Town flowers","the mountain","Tsakwe";some salutes to Duke Ellington,"Duke 88","in a sentimental mood" and "solitude";a tribute to Trane,"for Coltrane",and even a glance at Kansas City,
with a short excerpt from Bennie Moten's "Moten swing".
Backed by Belden Bullock on bass and Sipho Kunene on drums,Abdullah Ibrahim drives us into his magical world;it seems like the best of both jazz and african music are combined to create one of the most fascinating music ever played.
Within one month,on June 27,I'll be lucky enough to see and hear Abdullah on stage in my town.Lucky because the guy who was supposed to play that night cancelled the date.It was Paul Bley.
Abdullah will replace him.This will be a somptuous evening!!!
By JEAN-MARIE JUIF.
**
Abdullah Ibrahim- (Piano)
Belden Bullocmk- (Bass)
Sipho Kunene- (Drums)
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01. Blue Bolero (Fragment 1)    0:26  
02. Third Line Samba    2:54  
03. Blue Bolero (Fragment 2)    0:16  
04. Blues For A Hip King    3:16  
05. District Six    1:51  
06. Tuang Guru    3:58  
07. Blue Bolero (Fragment 3)    0:14  
08. Joan - Cape Town Flower    3:39  
09. Pule    1:39  
10. The Stride    3:11  
11. Thaba Bhosigo    2:22  
12. The Mountain    2:19  
13. Machopi / Jabulani    0:41  
14. Black Lightning    1:09  
15. Duke 88    3:59    $0.89  
16. Solitude    0:16    $0.89  
17. Eleventh Hour    2:40  
18. Blue Bolero (Fragment 4)    0:14  
19. In A Sentimental Mood    2:52  
20. Moten Swing    0:33  
21. For Coltrane    6:13  
22. Whoza Mtwana    2:20  
23. Tsake / Royal Blue    3:20  
24. Blue Bolero    4:01    $0.89
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