81st Street

 

The recent passing of Abdullah Ibrahim has forced us to revisit his albums again. We were pleasantly reminded of "81st Street" from the 1960s, a recording with Gato Barbieri of Argentina. With just the introspective style of Dollar Brand and Gato Barbieri's inventive wailing on saxophone, it is impressive how "81st Street" sounds as if it was recorded by a larger band.

RIP Abdullah Ibrahim

Like many today, we have recently heard of the passing of Abdullah Ibrahim. An utterly unique musician and talented jazz pianist, Ibrahim is also one of the jazz legends we have had the good fortune to see live. His music takes the listener on a journey through many moods, landscapes, and images, employing dissonance, balladry, Monkish or Ellington-inspired blutopia. Our only regret is not pursuing the chance to see Abdullah Ibrahim again in the US. Requiescat in pace.

Into Yam

"Into Yam" has long been one of our favorite songs performed by Miriam Makeba. Ever since hearing it in the trailer in Come Back, Africa, actually. To make it even more amazing, Miriam Makeba performed it live in 1978 with Dollar Brand, or Abdullah Ibrahim. There's something majestic in South African music, and their jazz tradition is also exemplary. Combining the two is always a good idea, as Johnny Dyani and other South African jazz artists have demonstrated.

The Best of Gato Barbieri: A Personal List

Over two months after his Gato Barbieri's death, I am still awe-struck by his music, particularly his output in the 1960s and 1970s. Barbieri was, in my humble opinion, one of the most intriguing jazz musicians in the avant-garde and Latin Jazz worlds. This is part of the reason Eric Dolphy and Archie Shepp, among others, intrigue me, since they straddled the jazz avant-garde and bop worlds. Bringing South American indigenous instrumentation and even, at least a few times, the tango, into his jazz vocabulary was a bold risk. I believe that somewhat raucous and unruly combination of styles, sounds, and musicians usually succeeded, especially with the accompaniment of polished musicians like Lonnie Smith. Furthermore, prior to going his own way in the 1970s, Barbieri proved himself more than capable in avant-garde circles in Europe, even collaborating with Don Cherry and Abdullah Ibrahim with spectacular results, not to mention his presence in seminal works by Carla Bley and Charlie Haden. Unfortunately, after 1975, Barbieri's commercial route lessened my interest in his music, but that fiery, passionate voice of his remained ever-present in his later musical forays. So, in light of his passing, here is a personal "Best of Gato Barbieri."

1. Complete Communion by Don Cherry for an introduction to Barbieri's work with a fellow jazz legend. Cherry's long composition is suite-like and fueled by Eddie Blackwell's busy drumming (at times hinting at Cherry's interest in "world music", but perhaps sounds a little too similar to Ornette Coleman's work at times, especially around 13 or 14 minutes in). After ten minutes into this rather lengthy composition, El Gato gets his time to shine and it's stunning, as well as a second solo later. In the past, I have compared Barbieri's saxophone style to Pharoah Sanders, but he's in a category of his own. 

2. Nunca Mas for the pathos of Barbieri's tenor and the bandoneon of Dino Saluzzi. I have yet to hear a better, sweeter tribute to Barbieri's native Argentina. Saluzzi's bandoneon sounds perfectly at home while Gato wails his heart out. Barbieri also recorded a version of this with a similar large ensemble featuring a variety of South American instruments, almost matching "Encuentros" in its intensity. 

3. Lluvia Azul is worthwhile just to hear Barbieri's passionate take on more conventional Latin Jazz. While not likely to shock fans of his earlier music with the 1960s "New Thing" in jazz, all the pieces come together beautifully here: percussion, lilting piano, an organized ensemble, and non-static, surprising directions that gradually build themselves into something larger than the sum of all its parts. Barbieri's supported by an excellent horn section. Barbieri also recorded this live.

4. Encuentros, an aptly titled song, is what led me to think of Barbieri as the "Pharoah Sanders" of Latin Jazz or Latin America. Combining Brazilian rhythms in a large ensemble playing numerous native South American regions, "Encuentros" brings together Brazil and Spanish-speaking South America, Afro-Latin America and indigenous influences in a way I have never heard elsewhere. Gato was at the intersection of the "Third World" quite literally, in this musical tribute to Latin America.

5. Maria Domingas was written by Jorge Ben, my favorite Brazilian singer. Naturally, I adore Gato's take on a classic in Brazilian samba, plus Lonnie Liston Smith and Stanley Clarke to keep things grounded. Gato even tries a little singing in that utterly unique, yodel-like manner Jorge Ben does. Brilliant.

6. Yesterdays has been a favorite ever since hearing Billie Holiday emote the standard. Gato does it justice while Lonnie Liston's comping and Ron Carter on bass don't hurt. Playing standards in a Latin vein does not always succeed, but this is one of the successful examples, especially in the combination of Gato's softer, sentimental side with unbridled passion and vibrato.

7. La China Leoncia Arreo La Correntinada Trajo Entre La Muchachada La Flor De La Juventud is another number bringing to mind Pharoah Sanders or the "world music" phase of other spiritual and free-jazz artists of the 1970s, especially in Barbieri's shrieks and weeping saxophone. Again, unlike most Latin Jazz, "Amerindian" insturments like the charango and drums are used with special effect. Unlike my "Encuentros," this isn't cluttered, either.

8. Vidala Triste makes the list for featuring significant vocals from Gato and prominent acoustic guitar in a simple yet mysterious romp.

9. Brasil is propelled by Nana Vasconcelos playing his heart out on berimbau and Smith's piano chops. This is not your lounge-jazz bossa nova at all, which is refreshing, since the song builds up slowly from the slower tempo to a frenetic pace while Gato soars, alluding to his freer period while remaining melodious.

10. Yo Le Canto A La Luna, by Atahualpa Yupanqui, is another lyrical tribute of sorts to Argentina and one of the great songwriters who honored indigenous heritage. Jazzy accompaniment by Smith, Barbieri's smooth singing is not bad at all, either. For an idea of the source material, Yupanqui's is a great place to start.

11. Carnavalito is another Brazilian-flavored song, but does not comprise on Gato's tenor driving the entirety of the song, including higher register skronk calling back to his 1960s days. Vasconcelos is back on berimbau, a deceptively simple while Gato straddles between jazz avant-garde and Latin Jazz.

12. Cancion del Llamero/Tango is noteworthy as an early foray into Latin music, or Gato standing at the corner of the Third World. Featuring Charlie Haden on bass, The Third World captures Barbieri in a transitional phase, but it's hauntingly beautiful. The trombone is awkward, but gives it a multilayered texture. Anastasio Quiroga's original version, just vocals, is equally beautiful. The "Tango" part of the equation sounds like Piazzolla's Prepárense, which was also recorded by Barbieri several years later, again. It's a pity the two never recorded together.

13. Fiesta is where Barbieri went for a more commercial sound, embracing funk, soul, and popular music. While an entertaining number, and musically speaking, more interesting than a lot of popular music of the disco era and beyond, it's just not the Gato whose earlier work speaks to me. This, oddly, sounds like like Harlem River Drive with a Latin beat.

14.  El Arriero, composed by Yupanqui, is a rollercoaster ride with a brilliant percussion section backing Barbieri with some dissonant squeals and honking.

15. Parabola, by Alan Shorter, brother of Wayne Shorter, wrote a fascinating song that, well, like a parabola, moves up and down. Muhammad Ali, not the boxer, drums assertively over walking bass and Barbieri's solo takes my breath away. Although this kind of composition sounds like something Grachan Moncur III would have written, the sidemen make it unique, especially Muhammad Ali's propulsive polyrhythms.

16. India for its austere beauty. Written by a Paraguayan, Gal Costa also sang the song.

17. Girl in Black (Para Mi Negra), the highlight for the soundtrack of Last Tango in Paris. Sensual, lush soundscape again reflecting the influence of the tango. Oliver Nelson, who I love for his 1960s classic exploring the blues, did an excellent job arranging this.

18. Hotel Overture, from one of Carla Bley's ambitious projects in the 1970s, is a favorite for Barbieri's brief yet soul-stirring solo in a cacophonous overture for Bley's lofty jazz opera. With a whiff of Ellington and Mingus, Bley's jazz orchestra's are usually rewarding. Carla Bley is rightfully highly regarded as a composer and arranger, but sometimes a little goes a long way for those unable to listen to the entirety of Escalator Over the Hill. This overture will suffice.

19. Latinoamérica is just an adorable Brazilian-influenced tribute to Latin America. A "cute" Latin Jazz song like Charlie Parker's Little Suede Shoes or Marion Brown's La Placita, this is another avenue for Gato's sensitive, emotionally restrained side to express itself with enough cavaquinho to last a lifetime.

20. El Gato because I am a cat lover and a fan of Oliver Nelson. Barbieri is, as one might expect in a song named after him, introspective while Nelson's horn arrangement responds to his call. Nelson's solo is less adventurous, within the bop realm, yet interesting to hear the contrast in Gato's tenor versus his alto.

21. Last Tango In Paris Jazz Waltz stands out from the famous soundtrack for it's clave rhythm and overt jazz character.

22. Michelle as an early example of Gato's 1960s avant-garde years and a lovely tribute to his wife. Just a trio with bass and drums, allowing Gato to blow us away in a free-jazz song that is still structured and accessible, albeit 19 minutes too long for some ears.

23.  Viva la Quince Brigada from Liberation Music Orchestra's suite of Spanish Civil War songs is a showcase for Gato. Haden, Bley, Don Cherry, and just about everyone else participated in this landmark recording of left-wing, anti-imperialist jazz.

24. What Will be Left Between Us and the Moon Tonight? is similar to Hotel Overture and is unmistakably Carla Bley, but from her Tropic Appetites. Barbieri, or "Unidentified Cat," solos over what would not have been out of place on some of his own Latin American-inspired records from the same era as this exotica suite encompasses various African, Indian, Asian and Latin moods.

Duke Ellington, Sathima Benjamin and "Solitude"

After watching segments of the documentary, Sathima's Windsong, I know understand how Benjamin describes her singing as "emoting" as well as noting the influence of Billie Holiday on her vocal style and outlook to jazz vocal artistry. "Discovered" in Europe while Duke was on tour in Zurich, back in 1963, "Solitude" was part of a series of recordings that were never released until the 1990s. Duke plays piano whilst members of Dollar Brand's South African trio accompany, though the somber tone and relatively sparse arrangement is based on an ethereal Sathima's longing vocals, heartbreaking yet optimistic. Indeed, this is perhaps my favorite recording of Ellington's standard, "Solitude," along with an instrumental take from the Money Jungle sessions with Max Roach and Charles Mingus from the same decade. Her take on "Lover Man" from the same 'rediscovered' album recorded in 1963, showcases her affinity for Billie Holiday as well as a unique use of space with occasional stops of breaths that permeate the "Solitude" and "Lover Man."

That these South African jazz artists, from Cape Town, were exposed to jazz and other American (particularly, African-American) musical and cultural influences is noteworthy, too. As a cosmopolitan port city with exposure to American minstrelsy, African-American gospel hymns through the influence of the African Methodist Episcopal Church (Abdullah Ibrahim was exposed to this Christian church, which appealed to many Black South Africans and some Coloureds, and, according to lectures at UCT, Black South Africans generally looked up to or valued African-American intellectuals and culture, to a certain extent), the presence of West Indian and African-American sailors in the docks  (apparently, that's the origin of the nickname, "Dollar," for Ibrahim, and Ibrahim's grandmother was a founding member of the AME church in South Africa, according to this interview ). In addition, radio, marabi and local evolutions of jazz in South Africa's townships, derived from ragtime, blues, as well as 'traditional' forms of music of the Xhosa, Zulu, and other ethnic groups carried over to create a plethora of local jazz scenes and styles in South Africa, as well as the influence of American swing and bop. And, as Sathima herself describes in Sathima's Windsongs, the parallels between American Jim Crow and racism with South African apartheid, from the similar language (Coloured and Colored) to racial segregation, provided another link between Cape Town and South Africa's urban Black population (Black meaning Black South Africans as well as Coloureds), illustrated evidence of trans-oceanic links within a broader sphere of the "Black Atlantic" with similar struggles and identity formulations. The 1970s "Afro" movement in some Coloured Cape Town townships during the rise of youth anti-apartheid resistance, though never completely bridging the divide between Xhosas and Coloureds in the Cape Flats, is another instance of African-American culture, music, and aesthetics appealing to a broader "Black" world across the Atlantic, as John Edwin Mason so convincingly argues in his "Mannenberg: Notes on the Making of an Icon and Anthem."

Thus, Sathima's relationship with Duke, not only represents their musical affinities for one another, but part of a broader process and dynamic set of relations that transcend national divisions, linking Cape Town to 'colored' people of the US in terms of music and, to a certain degree, religion and resistance to apartheid, both American and South African. And last but not least, the beautiful heterogeneous music of American jazz, itself a fusion of African, European and Latin American influences, was never decidedly "American" due to its diverse origins, spread, and codevelopment of local styles all over the world, from South Africa to Ethiopia, France to Russia. We, the listener, are treated in the process with compelling music, that shows the intersections of humanity along cultural lines, through oceans, mountains, deserts, and tundra. Jazz, simply, is universal music.

Abdullah Ibrahim and Ekaya in Cape Town

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 American. We both love jazz, and it is indeed a rare treat to meet young people who appreciate jazz music (but that's a conversation for another time). 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 South African jazz pianist active since at least the 1950s, has a mostly African-American band with an amazing Ghanaian baritone sax. The entire band was 7 people, Abdullah Ibrahim on piano, perhaps African American musicians on alto and flute, tenor, drums, bass, and trombone, and the baritone 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 an old German man from Hamburg, a white Capetonian, and an older couple. I did not spot too many young faces there, unless they were with their parents or relatives. 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 song, even after someone in the audience shouted, “Mannenberg!” Abdullah Ibrahim’s wife, Sathima Bea Benjamin, 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, two long, introspective Ibrahim piano solos, one funky track whose rhythm was built by the bassist and drummer, some ballads and mid-tempo 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.” 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 baritone saxophonist delivered 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 on stage. Alas, the drummer only had one opportunity to ‘shine’ or solo but the alto saxophonist and flutist had some great solos for ballads and blues. 

After almost 3 hours and calls for an encore, 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 and 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.” 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. 

Anti-Apartheid Songs

Gil Scott-Heron's Johannesburg is a funky track about apartheid South Africa. As always, Scott-Heron's conscious, politically-charged material is enjoyable.
http://www.youtube.com/watch?v=oDkQY6cOH0s

Max Roach's Tears for Johannesburg refers to the Sharpeville Massacre where anti-apatheid protesters were shot and killed. At least 69 were murdered and the recent massacre of striking mine workers at Marikana echoed the Sharpeville Massacre.
http://www.youtube.com/watch?v=vgNWYmgdO5Q

Max Roach's Man from South Africa is a jazz piece composed in honor for anti-apartheid South Africans. Roach, a committed black nationalist, was also dedicated to African liberation and the American Civil Rights Movement.
http://www.youtube.com/watch?v=R3aALURKt1U

Ibrahim Abdullah's Mannenberg refers to District 6 of Cape Town, which was forcibly evacuated during apartheid. Apparently the melody came from some old marabi song, which can be heard here. Read about it here
http://www.youtube.com/watch?v=tJw6weFdJOw

Ndodemnyama (Miriam Makeba) is a song composed by a South African who was executed during apartheid while singing his anti-apartheid anthem. The song is a warning to Verwoerd, the architect of South Africa's apartheid policy.
http://www.youtube.com/watch?v=DYwgmOxhUvk

Khawuleza (Miriam Makeba) is a beautiful song.
http://www.youtube.com/watch?v=Mwi_MdAdyHc

Bob Marley's War makes references to apartheid.
http://www.youtube.com/watch?v=JL9DXaXufh8

A Tribe Called Quest's Steve Biko (Stir It Up) is not really about Steve Biko or apartheid, but does mention him in the title.
http://www.youtube.com/watch?v=ZItLBiHG9gc

Peter Gabriel's Biko is actually about Steve Biko, the leader of the Black Consciousness Movement during anti-apartheid days. A stirring tribute from Peter Gabriel.
http://www.youtube.com/watch?v=3ncVyxQRw70

The list of anti-apartheid songs is obviously quite extensive. A future post will give additional songs.

Abdullah Ibrahim's Mannenberg

South African jazz musician Basil Coetzee's composition, "Manneberg," remains a classic in South African and Cape jazz. I am ashamed to admit I never started listening to South African music until recently, although I have investigated Congolese and some West African and Ethiopian music. Beautiful, inspirational tune with a great solo from Coetzee. Go South Africa! Abdullah Ibrahim, or Dollar Brand, is a famous South African jazz pianist who converted to Islam and changed his name. The song was initially recorded in 1974 and also known as "Capetown Fringe," a reference to a Colored township of Cape Town where coloreds were forcibly relocated out of District 6.

Hugh Masakela is another great South African jazz artist, trumpeter, and someone whose music I need to seriously listen to beyond "Coal Train." Beautiful music...Check out this great link
http://www.kalamu.com/bol/2008/03/17/abdullah-ibrahim-%E2%80%9Cmannenberg-is-where-it%E2%80%99s-happening%E2%80%9D/

Dollar Brand (Abdullah Ibrahim) and company playing "Mannenberg"
http://www.youtube.com/watch?v=tJw6weFdJOw&feature=related
Dollar Brand Duo's "Msunduza" http://www.youtube.com/watch?v=Nf9wuz6uG78&feature=related
Here's "Ishmael" http://www.youtube.com/watch?v=0xEmfQ-g4mc&feature=related
Here is a picture the composer of "Mannenberg," a Cape Town native of district 6, Basil Coetzee.