South African pianist and composer Abdullah Ibrahim is riding an extensive late-career creative peak. His latest is 3, which releases January 26 as a triple vinyl or double compact disc set through Gearbox Records. It finds Ibrahim in exquisite form, both solo and in discourse with his trio featuring Cleave Guyton Jr. on flute, piccolo, and saxophone and Noah Jackson on double bass and cello. Played live with and without an audience, it is a record of abundant beauty and power.
Abdullah Ibrahim originally came to prominence as Dollar Brand (he converted to Islam and changed his name in 1968), first with the Jazz Epistles, a South African outfit that included trumpeter Hugh Masekela, alto saxophonist Kippie Moeketsi, trombonist Jonas Gwangwa, bassist Johnny Gertze, and drummer Makaya Ntshoko. Their Jazz Epistle- Verse One has been reissued on wax a few times in the 21st century and their entire body of work (14 pieces of sharply executed bop) can be found on the Jazz in Africa – Volume One CD and streaming as The Complete Recordings.
Gertze and Ntshoko joined Ibrahim for numerous trio dates including the 1960 set Dollar Brand Plays Sphere Jazz and notably, Duke Ellington Presents the Dollar Brand Trio, which was released by Reprise in 1964. Moving forward, Ibrahim piled up a sizable discography ranging from solo to larger ensembles, most productively in connection with the Enja label (African Sketchbook, African Space Program, Banyana – Children of Africa), but also ECM subsidiary JAPO (African Piano and Ancient Africa).
Through all his work, Ibrahim maintained an adventurousness that strengthened his relationships with avant-garde and spiritual players while also cultivating a melodious sensibility that was distinctly South African. Related to this approach, there are notable duo albums with drummer Johnny Dyani (Good News From Africa, Echoes of Africa, Enja), drummer Max Roach (Steams of Consciousness, Baystate), and Archie Shepp (Duets, Denon).
While there are fewer rough edges and forceful gushing in Ibrahim’s recent output, the creative daring remains and is enhanced by beautiful playing that’s fortified by subtle intensity. 3’s first six tracks, all recorded sans audience prior to the concert at London’s Barbican Centre on July 23 of last year, magnifies this striking gorgeousness, and nowhere better than in the opener “Barakat.”
It helps that these pre-concert pieces were captured analogue on a reel-to-reel device, and specifically a 1″ Scully tape machine previously used at Sun Studios in Memphis to record Elvis Presley. But foremost credit to the musicians, as Ibrahim’s playing is contemplative but sturdy. When he enters, Guyton’s flute is pretty but rich. And Jackson alternates pizzicato and arco to outstanding effect.
Although 3 offers some fine readings of Duke, John Coltrane, and Thelonious Monk (all from the Barbican concert), the release primarily consists of Ibrahim’s compositions, and in the manner of late masters who have learned how to cut away all but the absolutely necessary in an artwork, many of the pre-concert pieces thrive on a gripping concision. “Tsakwe,” which has appeared on numerous Ibrahim albums, is tightened to under two minutes, as is the robust, fast paced “Ishmael.”
A range of material is reexamined. “Krotoa,” a piece spanning back to the ’69 release African Sketchbook, segways directly into “Crystal Clear,” a number culled from the 2013 set Mukashi (Once Upon a Time), as the combination spotlights Ibrahim’s still potent abilities in solo mode. But the trio quickly returns for the wonderful “Maraba,” which is maybe the most stunning track on a release that’s loaded with them.
“Mindif,” a composition that debuted and titled a 1988 Ibrahim album (that also served as the soundtrack to the great French film director Claire Denis’ feature length debut Chocolat), is the only piece played both pre-concert and at the Barbican. To warm up the crowd, the trio delivers a sweet version of Duke’s “In a Sentimental Mood” with Guyton at the forefront, and then Jackson goes it completely alone with a dive into Coltrane’s “Giant Steps.”
“Reprise 1” is a quarter hour of Ibrahim solo, warm and tender but never too tranquil and with definite nods to the sublime melodies that elevated his earlier albums to classic status. A prime example of Ibrahim’s skill with beauty moves is “Water From an Ancient Well,” the cut flowing directly out of “Reprise 1,” the trio in full effect and giving “Maraba” a run for its money. Added perks are Guyton’s Roland Kirk-like throat action on the flute and the heft of Jackson’s bass presence.
It’s a substantial boost that Ibrahim is disinterested in formulating a late-career “Greatest Hits” package- style live show. Both “Nisa” and “The Wedding” (where Guyton switches to saxophone) are from the fairly obscure 1978 album Nisa, which was only released in Germany and Switzerland and has never been reissued. “Tuang Guru” is handled by Guyton and Jackson, having played it as part of the band on Ibrahim’s The Balance, as the pianist lays out here.
“Tuang Guru” and “Dreamtime,” also from The Balance, bookend another Ibrahim solo excursion, as “Reprise 2” begins with a brief quotation of “Blue Bolero.” And if avoiding the “Greatest Hits” route, the trio does deftly guide the concert to a dynamic conclusion, working up a spirited version of Monk’s “Skippy” (also heard on The Balance) followed by a brief return to “Blue Bolero.” And then, “Mindif” brings the house down.
After three minutes of applause, Ibrahim sends them home happy with the a cappella “Trance-mission.” 3 is another exceptional late work from a jazz elder statesman.
GRADED ON A CURVE:
A
