Seeing Abdullah Ibrahim, formerly known as Dollar Brand, at the Baxter Theatre in Cape Town in February 2013 was a treat. I attended the show with an African-American, Trayvon, from the Twin Cities. We both love jazz, and it is indeed a rare treat to meet young people who appreciate jazz music. Before the concert began, we simply sat in our seats, not great seats, but from an angle where we could see Ibrahim’s back. We discussed great jazz albums and artists, as well as Louis Jordan (in addition to Bobby Hutcherson, Andrew Hill, Eric Dolphy, and Herbie Hancock) until Abdullah Ibrahim and Ekaya came on stage. Abdullah Ibrahim, a Coloured South African jazz pianist active since at least the 1950s, has a mostly African-American band with an amazing Ghanaian bari sax. The entire band was 7 people, Abdullah Ibrahim on piano, the African-Americans on alto/flute, tenor, drums, bass, and trombone, and the bari sax played by a dark-skinned, bald-headed Ghanaian. The concert lasted from 8 to 11 with a 15 minute intermission.
We sat next to a German old man from Hamburg, a white Capetonian, and, to Trayvon’s right, an older white couple. Most of the people in attendance were white, like jazz shows in the US, but with some conspicuous Coloured and blacks in attendance. I did not spot too many young faces there, unless they were with their parents or relatives. The woman to Trayvon’s right also said that Abdullah Ibrahim, or Dollar Brand, established himself in Germany at some point and bought her tickets at the last minute. For about R250, the concert was by no means cheap, but definitely worth every penny to hear a legendary South African jazz musician (as well as the composer of the highly-acclaimed anti-apartheid anthem, “Mannenberg.” Alas, Ibrahim did not play the show, even after someone in the audience shouted, “Mannenberg!” Abdullah Ibrahim’s wife was also in attendance, a Japanese tour group, and a mostly packed audience. There were some seats that were open after the intermission, but it was a successful show in terms of turnout.
The concert consisted of some blues numbers, 2 long, introspective Ibrahim piano solos, 1 funky track whose rhythm was built by the bassist and drummer, some ballads and midtempo pieces and the concert ended with what Ibrahim referred to as their theme, “Water from an Ancient Well.” Alas, no “Mannenberg” or characteristically “Cape Jazz” or “South African-inflected” jazz. Abdullah Ibrahim spoke to the audience, alternating between English and Afrikaans, as well as making a joke about Muslims playing in the Christmas marching bands of Cape Town. The band then proceeded to play a Christmas tune in the traditional style while Ibrahim accompanied the drummer with a tambourine. Unfortunately, it was difficult to understand Ibrahim at times, partly because he did not speak very loudly, and because of his frequent use of Afrikaans, his native tongue. But he made the crowd laugh a few times and clearly is an experienced performer.
Ibrahim’s second piano solo was more moving and interesting than the first while the bari sax featured some great blues-drenched soloing. One song almost sounded like Ellington’s “Fleurette Africaine” and Ibrahim also referenced other jazz legends’ music in the beginning of some of his own compositions, including a Monk song. Other highlights included the ballads and a rousing version of “Summertime” where an old Capetonian saxophonist joined Ibrahim and Abdullah on stage. Alas, the drummer only had one ‘shine’ or solo but the alto saxo player and flutist had some great solos for ballads and blues. Anyway, after almost 3 hours and calls for an encore, the Ibrahim ended the show. I could not help but notice how often he made his bandmates bow for applause at the end of the first set and afterwards. Also, he often did not take too many solos while playing with the band, accompanying them or simply directing/leading them. Overall, it was a good show and worth R250 for 3 hours of jazz, but it was disappointing that there was no encore. Also, I had been hoping to hear “Mannenberg” and more Cape Jazz-sounding material. Nevertheless, Ekaya was great, producing such a large orchestral sound with only 6 people. And I will never forget seeing a South African jazz legend live in Cape Town.
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