to start

you

11.17.83
orig.issue:
EKAYA (HOME)
Ekapa 005

. . . TO TURN THE LOCK OPEN

Over the course of a recording career that will surpass four decades at the dawning of the new century, Abdullah Ibrahim has gifted the world with a singular and distinguished discography. (62 records as of this note being written in 1999). As a musician of the people, or as a creative improvisor, or as a artist of the African tradition, this portfolio is unique among international artists in the era of recordings. Yet, it is important to note that this tangible documentation is merely the tip of the artist's gift, most of which has been directly transmitted via performances and his work with musicians, (especially younger ones). Ask anyone who has been blessed by that life moving experience at a concert or 'gig', or come into tune and played with Ibrahim.

The 62 records, of which thirty or so are currently available, vary in quality. Yes: they range from the very good to the very fine to the exceptional. In each decade Ibrahim has offered up at least one signal offering for that decade, sometimes even offered up more. There are no misteps at all. Defects in recording quality, or musicianship are few, and nowhere are they enough to undermine the artistic moment. The pianist and composer is one of a literal handful who's recorded documentation has obtained this level of consistent high quality. And, perhaps, only his noble precedents, Duke and Monk, composed modern songs of African tradition more generously.

Mostly, as you experience these records over time, the familiar gets transmogrified and retransmitted in an opus designed to bring joy, then to sympathize with and quicken the listener. Every single record will reward the sensitive attention, one's 'receptivity'.

I'd like to suggest a few initial doorways to go through. They all lead home should you get turned on. If this happens, then proceed to the recordings which lead to the center of this music, as far its documentation. Let me offer five suggestions for those initial doorways and then suggest, from there, three further routes directly into the center of this artistic wellspring.

First is AFRICAN RIVER, the third Ekaya recording, and, perhaps, the most purely ingratiating of the ensemble dates.

Second is AFRICAN MARKETPLACE, similarly celebratory, more rocking, full of zest.

Third is CAPETOWN FLOWERS, a trio date bursting with attractive melodies and concise essays. (As an added extra it gives the trio take on "Joan", a composition from AFRICAN RIVER.)

Fourth is AFRICAN DAWN, likewise a concise solo piano review of several favored themes as well as offering versions of compositions by essential ancestral noblemen, Monk and Ellington.

Finally, there is the compilation THE MOUNTAIN, made up of most of the first two Ekaya dates. With this purchase on the mountain, you, the aware listener, are in a position to go where your hearing will take you! It should lead via several route deeper into this stream of music!

First and foremost, is the route through the South African ensemble recordings. Start with the essential group dates made with Kippie Moketsi in 1960 and reissued as a part of the compilation, (JAZZ IN AFRICA VOL.1; CAMDEN 1004) and his debut under his own name, DOLLAR BRAND PLAYS SPHERE JAZZ, reissued with the exception of one song on BLUES FOR A HIP KING. This route naturally leads through the later South African ensemble dates reissued first on Kaz and then on Camden (in the UK) and also would include MANTRA MODES, the first South African date after the artist returned home, as well as his latest recording, available in South Africa only, MADE IN SOUTH AFRICA TOWNSHIP - ONE MORE TIME.

Second are the Enja and Tiptoe dates which branch upward from the first four suggestions. These include the essential duo dates with Johnny Mbizo Dyani, GOOD NEWS FROM AFRICA and AFRICAN ECHOES; and more from Ekaya, NO FEAR, NO DIE, and MINDIF; and the rocking live date, SOUTH AFRICA. ZIMBABWE, an intense quartet moment featuring alto saxophonist and flautist Carlos Ward is essential.

Last is a direct route via the solo piano dates which are full of invigorating alchemical playing and invoke both ritual realities as well as innovative syncretism joining African tradition and the mighty rivers of Ellington and Monk. Their vortex is entered best through AFRICAN PIANO, from the famous live sets recorded at the Jazzhus Monmartre in 1968. Next, proceed through the two Sackville dates and the 'Felli Farm' reissue, STANDARDS, ODE TO DUKE ELLINGTON, and, if you can find it, the Plainesphere date, (a high point,) reissued in Japan on Denon. The solo piano dates are all full of bright moments and magic.

(In the listening guide, I've indicated the fifteen "starting point" records mentioned here with a rosette .)

I'd like to mention one other record. It is essential even as it stands apart from the discography as a singularly evocative, personal moment. Recorded after Abdullah returned from 15 years in self-exile, it is a bittersweet celebration of loss and gain. KNYSNA BLUE showcases the artist as a one man band yet it is the atmospheric and deeply revelatory title track with its (almost) impossibly affecting narration that reminds the listener of what is at stake in this peoples' music. It is a shout out of hope aimed into the future. What is made the stake is, as Abdullah Ibrahim titled one of his compositions, simple yet starkly rendered on this profound record: 'life is for the living, death is for us all'. Perhaps it is KNYSA BLUE that is the one key to turn after your heart has been stirred deeply...when you've experienced your own moment of Capetown musical magic.

Approach with receptivity and be engaged! Have fun. Be moved. May God will it so for you; for all peoples.

NOTES:

This is a work in progress. I intend to add more descriptive guidance to records not fully noted. Those are currently indicated with a brown box. I've made the decision to root the guide in recordings available in the U.S. but will include imports that are also obtainable there. The guide goes in order of recording date except for compilations which are at the end. This historical view is vertical: you go downward starting with the oldest recordings. As you see, the horizontal view goes from solo to duo to trio to ensemble.

If you have any suggestions or corrections, feel free to contact me. Your input is appreciated.

I am indebted to Lars Rasmussen, author of _Abdullah Ibrahim: A Discography_ . His comprehensive discography is the backbone to this resource. (More information is available on this site and also at the publisher's [Booktraders web] site.) This discography is an essential adjunct to a deep engagement of this music; highly recommended. This guide, in fact, is dedicated to Lars Rasmussen. Thanks, man!

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PART I. 1960-1980 >>

PART II. 1980-current >>

THIS IS PART III.