When I interviewed pianist Abdullah Ibrahim by phone in South Africa in 2011, he told me how much he looked forward to the arrival of the ice cream truck growing up in Cape Town in the late 1940s. But ice cream was only part of the joy. The truck blared recordings by Louis Jordan and his Tympany Five, music that first exposed him to American jazz.
His other big inspirations were the recordings by pianists Jimmy Yancey, Albert Ammons and Meade Lux Lewis. “They inspired me to woodshed boogie-woogie, developing left-hand independence and synchronizing it with traditional rhythms, leaving my right hand free to fly anywhere," he told me.
Earlier this year, the 89-year-old South African pianist released his 72nd album, a double-CD simply entitled 3 (Gearbox). Volume 1 of this three-part album opens with a direct-to-tape suite recorded in an empty Barbican Hall in London in July 2023. Abdullah was joined by Cleave Guyton Jr. on flute, piccolo and clarinet, and Noah Jackson on bass and cello.
Volume 2 was recorded later that evening during a concert performance by the trio at Barbican Hall. This volume is divided into two parts on the album. The three parts together are quite an audio journey by one of the world's great jazz pianists leading an unusual trio.
What's most remarkable about the album is its peacefulness and beauty. Abdullah, by nature, is a poetic soul, and his soft, cerebral playing reflects his quiet side. Adding to the album's pastoral feel are Guyton Jr.'s flute and piccolo and the velvety quality of Jackson's bass and cello.
It's a shame Abdullah's music isn't more widely known and played here. As a composer, his melodies and playing style combine classical and jazz, fusing the two like a perfect sandwich. Also interesting is that his subdued approach and tenor don't change much, from playing in an empty concert hall to one filled with an audience. He's measured and at ease.
Throughout the album, he is introspective and gentle, whether playing originals or jazz standards, such as Duke Ellinton's In a Sentimental Mood, John Coltrane's Giant Steps and Thelonious Monk's Skippy. It's like listening to one big cup of tea.
Abdullah's 3 will have a tranquilizing effect on you. Just put it on and let the music play. You'll hear South African storytelling through the music and will feel yourself unwinding in the process. Once again, Abdullah proves that jazz is more than syncopation. It's a product of improvisation and the release of emotion through notes artfully played.
JazzWax clips: Here's The Wedding...
And here's Krotoa—Crystal Clear...
His other big inspirations were the recordings by pianists Jimmy Yancey, Albert Ammons and Meade Lux Lewis. “They inspired me to woodshed boogie-woogie, developing left-hand independence and synchronizing it with traditional rhythms, leaving my right hand free to fly anywhere," he told me.
Earlier this year, the 89-year-old South African pianist released his 72nd album, a double-CD simply entitled 3 (Gearbox). Volume 1 of this three-part album opens with a direct-to-tape suite recorded in an empty Barbican Hall in London in July 2023. Abdullah was joined by Cleave Guyton Jr. on flute, piccolo and clarinet, and Noah Jackson on bass and cello.
Volume 2 was recorded later that evening during a concert performance by the trio at Barbican Hall. This volume is divided into two parts on the album. The three parts together are quite an audio journey by one of the world's great jazz pianists leading an unusual trio.
What's most remarkable about the album is its peacefulness and beauty. Abdullah, by nature, is a poetic soul, and his soft, cerebral playing reflects his quiet side. Adding to the album's pastoral feel are Guyton Jr.'s flute and piccolo and the velvety quality of Jackson's bass and cello.
It's a shame Abdullah's music isn't more widely known and played here. As a composer, his melodies and playing style combine classical and jazz, fusing the two like a perfect sandwich. Also interesting is that his subdued approach and tenor don't change much, from playing in an empty concert hall to one filled with an audience. He's measured and at ease.
Throughout the album, he is introspective and gentle, whether playing originals or jazz standards, such as Duke Ellinton's In a Sentimental Mood, John Coltrane's Giant Steps and Thelonious Monk's Skippy. It's like listening to one big cup of tea.
Abdullah's 3 will have a tranquilizing effect on you. Just put it on and let the music play. You'll hear South African storytelling through the music and will feel yourself unwinding in the process. Once again, Abdullah proves that jazz is more than syncopation. It's a product of improvisation and the release of emotion through notes artfully played.
JazzWax clips: Here's The Wedding...
And here's Krotoa—Crystal Clear...
This story appears courtesy of JazzWax by Marc Myers.
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