After the notorious Sharpeville massacre of 1960, mixed-race bands and audiences were defying the increasingly strict apartheid laws, and jazz symbolized resistance, so the government closed a number of clubs and harassed the musicians. Members of the Jazz Epistles went to England with the musical King Kong and stayed in exile. These were difficult times in which to sustain musical development in South Africa. With Nelson Mandela imprisoned and the ANC banned, in 1962, Dollar Brand and Sathima Bea Benjamin left the country, joined later by the other trio members Gertze and Ntshoko, and took up a three-year contract at the Club Africana in Zürich. In 1963, Sathima persuaded Duke Ellington to listen to them play, which led to a recording session in Paris – Duke Ellington presents the Dollar Brand Trio – and invitations to perform at key European festivals, and on television and radio during the next two years.
In 1965, the now married couple moved to New York. After appearing that year at the Newport Jazz Festival and Carnegie Hall, Dollar Brand was called upon in 1966 to substitute as leader of the Ellington Orchestra in five concerts. They followed a six-month tour with the Elvin Jones Quartet. He received a Rockefeller Foundation grant to attend the Juilliard School of Music, in 1967. Being in the USA also afforded him the opportunity to interact with many progressive musicians, including Don Cherry, Ornette Coleman, John Coltrane, Pharaoh Sanders, Cecil Taylor and Archie Shepp.
The year 1968 was a turning point, Dollar Brand went back to Cape Town where he converted to Islam, taking the name Abdullah Ibrahim. Searching for an increasingly fractured life in spiritual harmony, making a pilgrimage to Mecca in 1970. Music and martial arts further reinforced the spiritual discipline he found. After a couple of years based in Swaziland, where he founded a music school, Abdullah and his young family returned in 1973 to Cape Town, though he still toured internationally with his own large and small groups. In 1974 he recorded “Mannenberg – ‘Is where it’s happening’”, which soon became an unofficial national anthem for black South Africans. After the Soweto student uprising, in 1976, an illegal ANC benefit concert was organized before long, he and his family left for America, to settle once again in New York.
There was a melting-pot of cultural influences during his childhood in Cape Town. It became known that the young Dollar Brand was exposed to American jazz, CapeMalay music, township jive, as well as to classical music. He developed the distinctive style, out of this blend of the secular and the religious, the traditional and the modern, harmonies and musical vocabulary that are inimitably his own. South Africa’s most distinguished pianist and a world-respected master musician, was born in 1934 and baptized by Adolph Johannes Brand. Musical memories were of early traditional African Khoi-san songs and the Christian hymns, gospel tunes and spirituals that he heard from his grandmother, who was pianist for the local African Methodist Episcopalian church, and his mother, who led the choir.
His made professional debut at fifteen and began playing piano at the age of seven and later recording with such local groups as the Tuxedo Slickers. In the forefront he was of playing bebop with a Cape Town flavour and 1958 saw the formation of the Dollar Brand Trio. Groundbreaking septet the Jazz Epistles, formed in 1959 (with saxophonist Kippie Moeketsi, trumpeter Hugh Masekela, trombonist Jonas Gwanga, bassist Johnny Gertze and drummer Makaya Ntshoko), recorded the first jazz album by South African musicians. That same year, he met and first performed with vocalist Sathima Bea Benjamin; they were to marry six years later.
The 1980s we saw him involved with a range of artistic projects that depended on his music: Garth Fagan’s ballet Prelude (first performed 1981), the Kalahari Liberation Opera (Vienna, 1982), and in 1983 a musical, Cape Town, South Africa, featuring the septet he formed that year, Ekaya. In 1987, he played a memorial concert for Marcus Garvey in London’s Westminster Cathedral, and the following year he played at the concert in Central Park, New York, commemorating the seventieth birthday of Nelson Mandela. He founded with Sathima in determing to manage his own affairs in America, the record company Ekapa in 1981.
Freed from prison, in 1990 Mandela invited him to come home to South Africa. Emotions of reacclimatizing fraught are reflected in Mantra Modes (1991), with the first recording South African musicians since 1976, and in Knysna Blue (1993). Memorably he performed at Mandela’s inauguration in 1994.
Composing scores for film, including the award-winning soundtrack for Claire Denis’s Chocolat (1988), as well as for No Fear, No Die (1990) and Idrissa Ouedraogo’s Tilai (1990), he featured part of production Amandla: A Revolution in Four-Part Harmony in the 2002. Having been the subject of several documentaries: for instance, Chris Austin’s 1986 BBC film A Brother with Perfect Timing, and A Struggle for Love, by Ciro Cappellari (2004).
For more than a quarter-century he has toured the world extensively as solo artist or with other renowned artists (notably, Max Roach, Carlos Ward and Randy Weston) appearing at major concert halls, clubs and festivals, giving sell-out performances. His collaborations with classical orchestras have resulted in acclaimed recordings, such as African Suite (1999, with members of the European Union Youth Orchestra) and the Munich Radio Philharmonic orchestra symphonic version, “African Symphony” (2001), which also featured the trio and the NDR Jazz Big Band.
His seventieth birthday was celebrated in October 2004, which the occasion was marked by the release of two CDs by Enja Records (the Munich-based label with whom he has recorded for three decades): the compilation A Celebration, and Re:Brahim, his music remixed. His discography runs to well over a hundred album credits.
In addition to composing and performing, he has started a South African production company, Masingita (Miracle), and established a music academy, M7, offering courses in seven disciplines to educate young minds and bodies. When not touring, he now divides his time between Cape Town and New York. Recently in 2006 he spearheaded the historic creation (backed by the South African Ministry of Arts and Culture) of the Cape Town Jazz Orchestra, eighteen-piece big band set to further strengthen the standing of South African music on the global stage.
Every opportunity to visit his master in private trips to Japan, he takes as martial arts Black Belt with a lifelong interest in zen philosophy. In 2003 he performed charity concerts at temples in Kyoto and Shizuoka, the proceeds going to the M7 academy.
As a musician and a tireless initiator of new projects Abdullah Ibrahim remains at his zenith. With his own words:
“some do it because they have to do it
we do it because we want to….so we do not require much sleep…
so we have to do it “
Spiritually strong as both teacher and disciple, the recipient of many awards and honorary doctorates, Professor Abdullah Ibrahim is a true inheritor of the ancestral name SENZO.
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