South African jazz pianist Abdullah Ibrahim, who has died aged 91, defined the heartfelt sound of South African jazz with his inimitable style. From the pain of apartheid to luscious beauty, here are ten of his best recordings.
Scullery Department (from Jazz Epistle Verse 1, 1960)
Born Adolph Johannes Brand in Cape Town in 1934, Ibrahim made his professional debut at 15 as Dollar Brand. Co-founding the Jazz Epistles in 1959, their first album Jazz Epistle Verse 1 showcases his nascent skills on the closing track Scullery Department, heavy-swinging over a bluesy motif with an earthy groove.
Jumping Rope (from Duke Ellington Presents the Dollar Brand Trio, 1964)
After fleeing apartheid for Europe, Duke Ellington set up a recording session for Ibrahim's trio. Jumping Rope explores his virtuosity, speeding up melodic Monkisms into modernist bursts of fire.
Mannenberg (Mannenberg – Is Where It’s Happening, 1974)
Named after a Cape Town township, Mannenberg became an unofficial civil rights anthem. Featuring an ebullient melody and a roaring sax solo by Basil Coetzee, it was a favorite of Nelson Mandela.
Jabulani (Joy) (The Journey, 1977)
With jazz fusion trumpeter Don Cherry, Ibrahim turned toward the avant garde. The seventeen-minute suite Jabulani (Joy) opens with a cheerful lead line before a barrage of free improvisation.
Just You, Just Me (African Dawn, 1982)
A delicate solo outing, Ibrahim's interpretation of the 1929 musical number employs a heavy left-hand bass drone, stride rhythm, gospel phrasing, and bluesy improvisation.
Mandela (Water from An Ancient Well, 1985)
With his septet Ekaya, the opening track Mandela features a deep swinging feel with joyous solos from the horn section while Ibrahim gently pushes the rhythm.
The Wedding (African Suite, 1998)
Paired with a 17-piece string section, The Wedding showcases melismatic strings and Ibrahim's precision piano, containing wistful emotion akin to a lead vocal line.
Joan Capetown Flower (Emerald Bay) (Sotho Blue, 2010)
A return to the Ekaya format, this track features a down-tempo, swaying melody and an interweaving duet between tenor saxophonist Keith Loftis and Ibrahim.
Dreamtime (The Balance, 2019)
At 85, Ibrahim delivered a late-career surge. Dreamtime eschews his upbeat tone for a breathy, mysterious mood with short improvised lines and emotive flute by Cleave Guyton.
Nisa (Solotude, 2020)
On one of his final solo recordings, Ibrahim embraces physical limits for a ruminative, introspective version of Nisa, with swinging feel and aching melody unmistakably his own.
