3

Abullah Ibrahim at SFJAZZ

Harry S. Pariser By

Sign in to view read count
Abdullah Ibrahim
SFJAZZ
San Francisco, CA
April 29-30, 2016

At 81, pianist Abdullah Ibrahim, is still going strong, something he proved during a remarkable tour-de-force performance which spanned four nights at SFJAZZ in San Francisco.

For the first two evenings (Thursday and Friday), Ibrahim appeared in the company of his Mukashi Trio. For these nights, Ibrahim brought together bassist, cellist, and composer Noah Jackson, a Detroit native, and Cleave Guyton Jr. who played flute, piccolo and clarinet.

While Guyton has played with artists such as Aretha Franklin, Joe Henderson, Abbey Lincoln, The Duke Ellington Orchestra, Jon Hendricks, The Count Basie Orchestra and Chaka Khan, Jackson leads the NYC-based quintet Full Circle. The two playing cello and flute in tandem with Ibrahim's piano proved a sublime treat for the ears. Guyton played flute and piccolo with scintillating zest; Jackson dexterously thumbed a number of adroit bass solos.

Ibrahim's colorful personal history has contributed greatly to his prodigious musical output. Gospel and blues elements in Ibrahim's playing are clearly evident. He grew up in Cape Town, South Africa where his grandmother was the pianist for the local A.M.E. Church, while his mother led the choir. Christened Adolphes Johnnes Brand, Ibrahim began playing the piano at seven and was soon exposed to such musical influences as Fats Waller. Cape Town itself was a melting pot of styles: tribal music, Chinese, Indian and Islamic music was present, along with American pop and R&B. In 1962, he embarked on a three-decade exile in which he moved between Europe, the U.S. and Swaziland.

After hearing him play in Switzerland, Duke Ellington invited him to record for his Reprise Records, a date which proved to be the first of his sixty-plus recordings. At that time he was still known as Dollar Brand. The story behind this colorful name is said to be that, as a young man in Cape Town, Ibrahim would always carry a dollar in his pocket in the event that he would meet a Black American sailor selling coveted jazz 78s. Following his conversion to Islam in 1968, he changed his name to Abdullah Ibrahim. Since that time, he has produced a plethora of albums and CDs, and has also recorded several soundtracks for films by the renowned French director Claire Denis.

The evenings, both with the trio and, the Saturday and Sunday night dates, featuring his veteran band Ekaya, followed a similar pattern. The accompanying musicians' names and instruments were announced over the sound system. Then Ibrahim, clad in black, would take the stage and play one of his evocative and flowing solos to open the first of the evening's two sets. Each evening's second set would also commence with a virtuoso solo.

Ibrahim mesmerizes onstage. His playing encompasses a multitude of range and tonalities. Some lines are delicate—resembling waves washing up on a beachside cliff—while others conjure up an immense wall of sound structures ranging from aural crystal cathedrals to rhythmic staircases. He builds layer on layer, constructing a polyrhythmic structure on top of a basic foundation. At times resembling a one-man instrumental chorale, at other moments a full orchestra, his playing is lyrical, rhythmic and sometimes percussive. His poignant compositions, which flow from one into another, might be likened to short stories set to sound.

For Saturday and Sunday evenings, Ibrahim brought Ekaya to the stage. Guyton was again present; this time bringing his alto saxophone along to add to the sonic mix; Jackson brought his bass and cello, and four additional excellent musicians joined him onstage.

Ibrahim has always shown tremendous taste in his choice of sidemen. For this date, his veteran band Alex Harding, another young musician hailing from Detroit, proved himself to be a master of the baritone sax and bass clarinet. Once a member of the late Julius Hemphill's Saxophone Sextet, he has also performed with a remarkable group of artists, including Muhal Richard Abrams, Craig Harris, Lester Bowie, Frank Lacy, Oliver Lake, Greg Osby, Marshall Allen's incarnation of the Sun Ra Arkestra, the David Murray Big Band and Hamiet Bluiett's Baritone Group.

The versatile Andrae Murchison also surprised, delivering vibrant notes on trombone and trumpet, while Bobby Lavell's tenor saxophone shined. Will Terrill on drums filled out the rhythm section.

Tags

comments powered by Disqus

More Articles

Read Antonio Sanchez Group at Jazz Standard Live Reviews Antonio Sanchez Group at Jazz Standard
by Dan Bilawsky
Published: September 24, 2017
Read Match&Fuse Dublin 2017 Live Reviews Match&Fuse Dublin 2017
by Ian Patterson
Published: September 24, 2017
Read WOMAD 2017 Live Reviews WOMAD 2017
by Martin Longley
Published: September 21, 2017
Read Punkt Festival 2017 Live Reviews Punkt Festival 2017
by Henning Bolte
Published: September 17, 2017
Read Gary Clark, Jr. and Jimmie Vaughan at the Iridium Live Reviews Gary Clark, Jr. and Jimmie Vaughan at the Iridium
by Mike Perciaccante
Published: September 16, 2017
Read 38th Annual Detroit Jazz Festival Live Reviews 38th Annual Detroit Jazz Festival
by C. Andrew Hovan
Published: September 15, 2017
Read "The Wood Brothers at Higher Ground" Live Reviews The Wood Brothers at Higher Ground
by Doug Collette
Published: February 10, 2017
Read "Belgrade Jazz Festival 2016" Live Reviews Belgrade Jazz Festival 2016
by Thomas Conrad
Published: November 11, 2016
Read "Hyde Park Jazz Festival 2016" Live Reviews Hyde Park Jazz Festival 2016
by Mark Corroto
Published: October 4, 2016

Join the staff. Writers Wanted!

Develop a column, write album reviews, cover live shows, or conduct interviews.