GOOD NEWS / SWAZI / WAYA-WA-EGOLI
MONIEBAH / THE PILGRIM
Good News from Africa
Abdullah Ibrahim
Enja : 1973
AI, piano, bells; Johnny Dyani, bass, bells, vocals.
One of the loveliest strains in jazz flows straight out of South Africa. The almost unbearable beauty of this music stands in stark contrast to — and defiance of — the brutal conditions that fostered it. Abdullah Ibrahim, as defiant a musician as any, is himself responsible for some of the sunniest tunes in the South African canon. Despite noting the universality of what he does — “Indian ragas or Stockhausen; for us it’s music, it doesn’t matter where it came from” — the sense of place that emerges from his keyboard is overwhelming and unmistakable.
In 1973, Ibrahim returned to Cape Town after time in neighboring Swaziland and promptly went on a tear. This duet with the mighty, mighty Johnny Dyani is one of several creative peaks from around this time. Showcasing Ibrahim’s integration of Ellington, Monk, and African folk forms, and Dyani’s massive, soulful sound, “Good News / Swazi / Waya-Wa-Egoli” gives each player ample room to cut loose. Rich in texture, and feeling, the sound is somehow expansive and intimate at the same time. “Moniebah / The Pilgrim” finds Dyani and Ibrahim mining a basic four-note phrase and finding endlessly inventive variations; Dyani takes over the tune a little more than halfway through before the pianist reclaims it. They end it all too reluctantly.
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Formerly Dollar Brand, Ibrahim changed his name with his conversion to Islam in 1968. An old professor of Chilly’s, a South African poet and novelist, thought that Dollar Brand lost something musically when he changed his name to Abdullah Ibrahim. It was surprising to hear this sort of talk from a nationalist and ANC supporter. “You’ve got to pay attention to the power of words,” he said. “There’s an ineffable power and panache to Dollar Brand that Abdullah Ibrahim can’t match. It slowly sapped his musical strength, like Sampson cutting his hair.”
Ibrahim’s recordings over the last two decades may prove the professor’s point, as the George Winston-like tendencies barely hinted at here have become more pronounced. But the name is ultimately immaterial (a comment that could equally be applied to recent discussions centering on “jazz”). In a world where geography is fate, still, if Ibrahim/Brand was to survive, his music would have to live, and be revolutionary. And it is. That it is also beautiful is a gift, and further evidence, always needed, of the existence of grace.
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Elsewhere:
–Olewnick has been there, done that, and explains it all for you — and us.
–And this album, though not widely available, appears to be purchase-able as a reasonably priced import at OmniTone.
K Evangelista // Mar 21, 2007 at 1:53 am
Excellent choice. Presently separated from my copy (a future sojourn to LA will rectify that…), I can’t add much–only that the power and almost mythological poise of these two musicians (Ibrahim-Brand… and of course Mbizo) is/was a rare thing indeed. They’re fine players in virtually every context, but for a sure indication of why Dyani and Abdullah are legends–this album is it. It’s like sonic ritual.
A special note on “Ntsikana’s Bell” (the first track on this album)–it’s based on the same folk melody that birthed Dudu Pukwana’s “Ezilalni” (from In the Townships). The difference in approach between these two “versions” showcases the individualism of the Blue Notes roster–Dudu’s rendition is charging and exultant, whereas the Brand/Dyani performance is a measured, transcendent thing (something like the difference between evangelizing and meditating). It’s all beautiful, though.
SdC // Mar 21, 2007 at 5:40 am
I love this piano player but didn’t know these tunes.
Tx
mwanji // Mar 21, 2007 at 9:29 am
Great album. I should take the time to listen to it again sometime soon.
Brian Olewnick // Mar 21, 2007 at 4:54 pm
Hey, thanks for the citation. Yeah, such a beautiful album. Ibrahim (then Brand) up through about ‘73 is virtually faultless to my ears. The early Japo sides and the two on Sackville, especially. I gave up after the first couple of releases on Ekapa in the mid 80s (though those garnered much praise) and what little I’ve heard subsequently hasn’t caused me to regret that decision (re: the Winston comments above).
One of the single amazing concerts I’ve ever seen took place in the summer of ‘77 at Environ, loft temperature about 120 degrees. Ibrahim played solo for about three hours non-stop. Un-fucking-believable, rivulets of sweat pouring off his forearms. Incredible music.
We had a little juice and wine table off to the side but by the end of the show, all the juice was long gone. Ibrahim came over, desperately thirsty, asked for some juice. “Um, sorry, it’s all gone. All we have is wine.” He hemmed and hawed, grimaced and finally said, “All right! Give me some of that poison!”
centrifuge // Mar 23, 2007 at 5:30 am
heh heh.
anyway… i’ve always avoided this musician, doubtless put off by the comments of others/received opinion in general – and in fact if this is a career high for him i shan’t necessarily be seeking much out (i find it a little sentimental at times). but it is interesting, some of the playing is very creative and dyani is fantastic (this is a player i’ve only heard recently and usually via substandard sound, so to hear him that clearly is a joy)
really i suppose the themes and some of the overt emotionalism is what does for me, because the more meditative aspects of it are quite rivetting.
maybe i hear andrew hill more than monk in those fractured rhythms (occasional flashes of mal waldron too)
Dan // Mar 23, 2007 at 9:05 pm
There’s a great documentary about Ibrahim Ferrer that was made with german subtitles…I can’t remember the name of it. It’s worth seeking out though.
godoggo // Mar 24, 2007 at 3:34 am
This is actually not related to this, but to the discussion of guitarists a few posts down. I’ve gotten a little bit obsessed with the mysterious Richard Martin. I’ve googled info about 4 albums with him (5 if you add a Defunkt best-of anthology), and a bit of other info. Here’s what I got:
From Discography for City of Gabriels: The Jazz
History of St. Louis 1895-1973 By Dennis C. Owsley (pdf here:
Oliver Lake-Ntu Point From Which Creation Begins (LD): Baikida E.J. Carroll, Floyd
LeFlore (tp, perc) Joseph Bowie (tb, perc) Oliver Lake (fl, sop, as, perc) John Hicks, Clovis
Bordeaux (p) Richard Martin (g} Don Officer (b) Famoudou Don Moye (cga) Charles “Bobo”
Shaw (d)
St. Louis, summer 1971
Africa
Tse Lane
Electric Freedom Colours
Eriee
Zip
All titles Arista AL1024
Kenny Rice-Richard Martin Quartet with Nat Adderley-Recorded Live (DCO): Nat
Adderley (cnt) Freddie Washington (ts, sop) Ray Kennedy (p) Richard Martin (g) Kenny Rice
(d)
Southern Illinois University, Edwardsville, IL, c. 1977
Natâ??s Tune
On Green Dolphin Street
Work Song
A Child Is Born
All titles on Recorded Live
Solidarity Unit, Inc.-Red Black and Green (BL): Charles “Bobo” Shaw (perc) Richard Martin
(g) Oliver Lake (as, fl) Floyd LeFlore (tp) Joseph Bowie (tb) Arzinia Richardson (b) Clovis
Bordeaux (p) Danny Trice (cga) Baikida Carroll (tp) Kada Kayan (b)
St. Louis, September 18, 1970
Something to Play On
Floreto
Beyond the New Horizon
BAG Live Concert Series (LP)
From artistdirect (amongst other places):
defunkt/thermonuclear sweat
1 Make Them Dance (8:02)
2 Strangling Me with Your Love (4:11)
3 In the Good Times (4:31)
4 Blues (3:11)
5 Defunkt (6:26)
6 Thermonuclear Sweat (3:48)
7 Melvin’s Tune (2:42)
8 We All Dance Together (5:50)
9 Razor’s Edge (12″ Version) (9:23)
10 Strangling Me with Your Love (Revisited) (Live)(*) (10:47)
11 Defunkt (Live)(*) (4:35)
12 In the Good Times (Live)(*) (5:34)
13 (CD 2) Illusion (5:37)
14 (CD 2) I Tried to Live Alone (5:10)
15 (CD 2) Cocktail Hour (Blue Bossa) (3:29)
16 (CD 2) Ooh Baby (6:07)
17 (CD 2) Avoid the Funk (4:28)
18 (CD 2) Big Bird (Au Private) (2:09)
19 (CD 2) For the Love of Money (5:57)
20 (CD 2) Believing in Love (7:25)
21 (CD 2) Big Bird (Au Private) (Live)(*) (2:10)
Kenny Martin Drums
Richard Martin Guitar
Vernon Reid Guitar
Clarice Taylor Vocals
Bill Gill Engineer
Janos Gat Producer
Jeff Lipton Mastering
John Mulerin Trumpet
Dave Hubbard Saxophone
Kelvyn Bell Guitar
Byron Bowie Producer, Horn Arrangements
Joseph Bowie Trombone, Vocals, Producer
Joe Boyd Producer
Kim Clarke Bass
Ted Daniel ?
Also, this comment from Greg Osby from allaboutjazz:
I left St. Louis in 1978 so I can’t elaborate on how the scene was in the 80’s. However, between 1973 and 1978 I was fortunate enough to experience a great deal of music from a wide variety of disciplines. Around town, there were several organ trio and small group rooms where jazz was played on an almost nightly basis. I was introduced to a high standard of playing by musicianss like Willie Akins (tenor), Richard Martin (guitar) and Freddie Washington (tenor), to name a few. There were many more and I was just a youngster trying to find my way. It was a good environment for a student. However, things started to change and I felt a dramatic difference in the quality of local music there during my holiday visits from college. Gone were the provocative rooms and players, which gave way to what is now called smooth jazz. In fact, since my departure in 1978 I have only performed in my hometown once with my own group. All requests by my agent to present my band have been repeatedly declined. Go figure.
From Bluesworld: Richard Martin–played guitar with Terry Williams, Willie Akins, and possibly Albert King, now deceased.
From Big Bands Database Plus:
1984. Richard Martin, guitar, piano, died in St. Louis, MO, USA. Age: 36
Dan // Mar 24, 2007 at 10:26 am
FYI, the documentary’s name is A Struggle For Love.
skt // Mar 27, 2007 at 9:47 am
brilliant stuff as usual. thanks!
BlindWilliam // Mar 27, 2007 at 6:56 pm
A wonderful post. Mo’ info/tunes from the capetown scene requested. THanks for all you do.
Tracy Martin // Jul 1, 2007 at 9:46 pm
I was just Goggling my dad’s name and this website popped up!
It’s pretty awesome that there are people out there interested in his music. I now have a 15 year old son (who looks alot like my dad, Richard Martin) and he plays guitar, too. Unfortunately he was not born when my father died (I was only about 15).
Anyhow, if anyone has any resources about where to obtain any of his music I’d appreciate it. My mom only has some old albums of his and lots of memories!
Thanks,
Tracy Martin
eremite records // Nov 15, 2008 at 4:45 pm
hi’ tracy martin, my label eremite is reissuing bobo shaw’s SOLIDARITY UNIT l/p. as i’m sure you know your father plays brilliantly on it! if by some good fortune you should return to this website & find my comment, forward me your mailing address via eremite.com so i can send you a copy of the record when it becomes available.
philip // Jul 30, 2009 at 3:03 pm
could someone from eremite records email me, thanks