South African pianist and composer
Abdullah Ibrahim has been a prominent figure on the international jazz scene since 1963. Then known as
Dollar Brand, he was discovered and subsequently recorded by
Duke Ellington (
Duke Ellington Presents the Dollar Brand Trio,
Reprise, 1964). His many acclaimed recordings testify to a deep spiritual center and an adventurous musical spirit. On July 15, 2023, just months before his 89th birthday,
Ibrahim and his
Ekaya trio --
Cleave Guyton, Jr., flute and piccolo;
Noah Jackson, bass and cello -- performed and recorded two sets at London's Barbican Hall.
The concerts on
3 offer compositions from the catalog, solo improvisations, and covers. The first set was recorded sans audience. Its six tracks include a new reading of "Barakat" ("Blessing") that is intimate, deliberate, and spacious. The three instrumentalists speak to one another around the sparse lyric melody; in places, they almost whisper, more suggestive than insistent. "Tsakwe" is brisk, approaching hard bop at times while remaining intensely lyrical and polished. Originally issued on 1969's
African Sketchbook, "Krotoa" is completely re-envisioned; it nakedly reveals the melody in a slower tempo, without dissonance. "Maraba" showcases
Ibrahim's gospel roots. The processional tempo is reverent, yet, thanks to the glorious flute and double bass interplay, it's resonant with quiet joy.
The second volume has an audience present and opens with an exceptionally elegant reading of
Ellington's "In a Sentimental Mood," introduced with a skeletal piano solo before a flute delivers the lyric.
Jackson's double bass adds dimension, texture, and assonant color in accents, fills, and canny rhythmic asides. Following a labyrinthine flute solo,
Ibrahim re-enters framing a key change before ushering it to a close. It's followed by a lovely three-minute solo double-bass reading of
John Coltrane's "Giant Steps." Arguably the set's high point is the nearly nine-minute version of
Ibrahim's classic "Water from an Ancient Well." It's introduced by a solo piano working the gospel-tinged chord changes before
Guyton enters on flute, entwining gospel, blues, and jazz.
Jackson walks quietly in the backdrop bridging dialogue between his bandmates.
Ibrahim picks up on the blues cues and appends his phrasing. "Dreamtime" bears twin influences: impressionist classical music and
Ellington. The reading of
Thelonious Monk's "Skippy" begins with rippling dissonance before the instantly identifiable vamp ushers in the band.
Ibrahim drops out as
Guyton swings hard in a piccolo solo accompanied by
Jackson's fleet, woody walking bass. Just before closing the concert, the trio offers a longer, more inquisitive improvisational version of the wonderful "Mindif" (the theme from
Claire Denis' 1988 film Chocolat). The show closes with "Trance-mission," a three-minute vocal solo from
Ibrahim that is, in essence, barely discernible but serves as a fitting benediction. Pristinely recorded, warm, and utterly engaging,
3 showcases not just
Ibrahim's virtuosic pianism, but also his iconic approaches to harmony, interplay, and nearly instinctive communication with
Ekaya. Magnificent. ~ Thom Jurek
![Jaco [Original Soundtrack]](http://prodimage.images-bn.com/pimages/0888751413320_p0_v4_s90x140.jpg "Jaco [Original Soundtrack]")
![Pharoah [Expanded Edition]](http://prodimage.images-bn.com/pimages/0680899800822_p0_v2_s90x140.jpg "Pharoah [Expanded Edition]")
