Dollar Brand - ABDULLAH IBRAHIM - Blues For A Hip King 2LP
Dollar Brand - ABDULLAH IBRAHIM - Blues For A Hip King
Record is vG+ light scuffs
Cover has ringwear
Super Rare World-Jazz Double Lp - DMM Direct Metal Remaster!
1. Ornette's Cornet
2. All Day And All Night Long
3. Sweet Basil Blues
4. Blue Monk
5. Tsakwe Here Comes The Postman
6. Blues For A Hip King
7. Blues For B
9. Just You Just Me
10. Eclipse At Dawn
11. King Kong
12. Khumbula Jane
13 Boulevard East
This marvellous album from Abdullah Ibrahim (aka Dollar Brand) is as good way as any to start listening to this great South African Jazz Pianist.
Listen to 'Sweet Basil Blues', its instantly catchy and it sounds very simple (probably fiendishly difficult actually!), and it certainly has a blues influence. All of Abdullah's self-penned tracks are like this. The musicians playing with him are of all of the highest quality, amongst the better known are Blue Mitchell and Basil Coetzee.
Abdullah actually stood in for Duke Ellington in the early 60's, and his influence and Monk's can certainly be heard in his Piano playing. On a few tracks here Abdullah gives a nod to that American influence, playing covers of two Monk tunes, and some of his own compositions are clearly Monk/Ellington inspired. Its also worth mentioning the opening track 'Ornette's Cornet' which I believe is a reference to Ornette Coleman.
These tracks are a mixture of trio and sextet tracks and I strongly recommend the album.
another co-release with EMI, was apparently longtime Brand producer Rashid Vally's timely seizing of the opportunity of a South African visit by four American jazzmen, Harold Land (tenor), Blue Mitchell (trumpet and flugelhorn), Buster Cooper (trombone), and Doug Sydes (drums). Vally brought the Americans together at Gallo Studios with Brand, Coetzee, and bassist Lionel Beukes, in November of 1975. Cooper, an Ellington alumnus, had met Brand during his exile in New York, and this one-time aggregation around four Brand originals worked pretty well for all players.
The limited harmonic framework and blues vamp of "Blue Monk". Thloloe argues convincingly that "Coetzee is playing at his best in this album, better than in the Gold Disc winner Mannenberg". Brand seems to be using electric piano again.
"Sweet Basil Blues," dedicated not to a future New York club but to Coetzee, is a sort of swinging mbaqanga, inducing golden horn harmonies and joyous burbles from Beukes' bass. Thloloe advises about this number that, "those listeners who have been looking for another Mannenberg might find echoes in this old fashioned South African song." "Tsakwe Here Comes the Postman," dedicated to Brand's son, is set on a somewhat lackluster melody, but once again Mitchell gives things wings, alongside Cooper's progressive J.J. Johnsonish 'bone and Land's rapid but tasteful arpeggios.
The title track is actually more reverential gospel than blues, drawing a particularly soulful solo from Land and what Thloloe rightly calls "dramatic and beautiful variations in tempo" by Mitchell. Coetzee establishes his unique voice here, his burr and sass contrasting with Land Brand's moving harmonic modulations suggest a prayer for things and folks living and dead
Basil Coetzee (Flute, Sax (Tenor),Blue Mitchell (Trumpet, Flugelhorn),Buster Cooper (Trombone),Abdullah Ibrahim (Piano, Arranger, Main Performer),Robbie Jansen (Sax (Alto)Gilbert Matthews (Drums),Victor Ntoni (Bass),Makaya Ntshoko (Drums),Sipho Gumede (Bass)Duke Makasi (Sax (Tenor),Arthur Jacobs (Sax (Tenor),Kippie Moeketsi (Sax (Alto),Lionel Beukes (Bass),Nazier Kapdi (Drums)