mfs@mhuxr.UUCP (Damballah Wedo) (10/06/85)
This album was recorded October 3, 1983, in the midst of an extended Monday
evening gig at Sweet Basil's over the fall and winter 1983 for Ibrahim,
appearing in a duet with longtime collaborator, alto sax/flute man Carlos Ward.
Much superb music was made those Monday nights, and this album catches its
letter and spirit. The atmosphere is relaxed without becoming languid,
lighthearted but not somber. These two men evoke serious subjects, but do
not become overwhelmed by them.
The LP opens with Ibrahim playing solo. His piano style is one of block
chords and dark, minor-key figures. In that, I always hear his music as
that of a man haunted by something, which may have to do with the fact that
he is South African and very involved in the anti-apartheid movement.
Even at fast tempo, his music sounds like it is being dispensed slowly,
with time between notes for digesting their content. His piece, "The Dream"
is stately, with sparse left hand figures building structures he deftly
embellishes without overloading, in the right. It moves into "And Find me
a Shelter for the Storm" where Ward enter, on flute. I prefer his alto
sax work, and his playing here is competent, though not eye catching.
The two men swing into "Mummy," where they still sound as if they have not yet
decided where the night will take them.
By the time they hit the extended "For Coltrane (I and II)/New York City,"
which ends Side I, Ibrahim and Ward have hit upon a telepathic groove.
They anticipate each other's phrases beautifully. Ward has a lovely alto
tone, somewhere between the harsh, vocal cry of Charlie Parker and Ornette
Coleman and the creamy silkiness of Johnny Hodges. The result is urgent,
but does not get caught on the ears on the way in. It register full impact
a note or two later, and leaves listeners with a sense that they cannot
keep up with him. It is interesting that when he finishes his solos,
there is a slight pause before applause, while his past phrase is digested.
Side 2 opens with "Anthem for a New Nation." I don't know whether it is a
purposely political piece, but it reminds me of songs like Otis Redding's
"Respect," which while not overtly political, made their point clearly
in a charged atmosphere. This tune is uptempo, but it is not a party tune.
Ibrahim expounds gravely on the tune, followed by the extroverted Ward.
There is an orthogonality to their musical personalities that helps them
mesh all the more; they are each other's musical complements, each stating
what the other leaves out. This duet performance is not the sum of two
men playing, but an organic, atomic whole.
The music gains assertivity through the rest of Side 2, through the traditional
"Black Lightning" and into "The Stride." Side 1 and these tunes alone would
make this a very good album, but when added to the closer, they take it beyond
mere success into the realm of history. The tune is the glorious "Soweto"
and it displays all the attributes that make Ibrahim's music so compelling.
Abdullah is wary but proud, Ward triumphal but measured. The tune is built
on the blues, but transcend the twelve bar structure into free form and
varying length choruses. It is based on the 1, 4 and 5 chords we have all heard
in church, and moves like it was preaching forth from a pulpit, with
increasingly longer phrases, Ward rising ecstatically above Ibrahim's
ostinato. This tune is GREAT, people.
That this is labeled Volume 1 intimates more to come, all supposedly
recorded that same evening, over the second and third sets. Since jazz
performances invariably get better as the players get to know what the night
is giving them, Volumes 2 and beyond should be incredible.
This album is on Ekapa records, 222 West 23rd St, Suite 314, New York, NY
10011. Phone is (212) 255-9845. Don't miss it.
--
Marcel-Franck Simon ihnp4!{mhuxr, hl3b5b}!mfs
" Papa Loko, ou se' van, ou-a pouse'-n alle'
Nou se' papiyon, n-a pote' nouvel bay Agwe' "