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Abdullah Ibrahim--Blues For A Hip King-1989
Full name: Abdullah.Ibrahim--Blues.For.A.Hip.King-1989-iMPG.nfo
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artist: Abdullah Ibrahim
album title: Blues For A Hip King
release date: 11/12/2001
label: Camden
genre: Jazz
original date: 01/10/1989
ripper: decimetre
tracks: 12
bitrate: 192k
size: 100MB
......................................................................
credits:
Sleeve notes
Abdullah Ibrahim has always flowed with the diverse streams
of sound winding through the history of South African music;
strands of ancient African songs echo through American jazz
dissonance just as traditional tribal melodies melt
seamlessly into township rhythms in a ceaselessly fluid,
open-ended music. This has always been the way with his
music, even right back to the days before Islam when he was
known only as Dollar Brand.
In establishing himself in the early '60s as one of South
African jazz's prime exponents, Dollar maintained the line
of deep American influence running through his township
music, stretching back to the late 1920s when a flood of US
78s swept through Johannesburg's black slum-yards inspiring
local musicians to create their own shebeen-driven version
of ragtime and swing. It was a maddeningly addictive sound,
known everywhere as 'marabi', creating the basis for a jazz
scene which proved itself second only to that in America in
terms of producing singular musical styles and charismatic
performers.
America shadowed this sound endlessly as even the names of
township jazz's formative groups testify - The Manhatten
Brothers, The Shantytown Sextet, The Jazz Maniacs, The
Harlem Swingsters, and Dollar Brand's own Jazz Epistles.
Most of them played in Sophiatown where the toughest hoods
belonged to the "Americans" gang; they'd dance away wild
shebeen nights to the sound of marabi, Louis Armstrong and
Count Basie while calling each other names like Satchmo and
Scarface.
However there was more than just violent escapism to this
American link. The country's leading musicians - headed by
Dollar and Kippie Moeketsi - moved deep into the darker,
African-tinged spirituality of American innovators like
Parker, Coltrane, Monk and Mingus. It was a crucial
crossover reaffirming the fact that American jazz was rooted
in Africa in much the same way that township jazz was shaped
constantly around sounds from Harlem.
Jazz's Afro-American circle was widened further for dollar
when he moved to New York in the mid-60s. But, in
underlining his African heritage, he was initially
confronted with some American scepticism: "I had bad
criticism in the States and Europe in the mid-60s. One of
the prime influences then was the Schoenberg twelve tone
technique, purposely aimed away from repetition. In the
States they have a horror of 'slick thinking'. If anything
is too simple or repetitive and it gets through to them they
cut it off!' Yet the remarkable breadth of his playing soon
earned him considerable critical reputation as one of the
world's finest pianists with a style which, while owing
debts to Monk and Duke, was ultimately his alone.
'BLUES FOR A HIP KING', therefore, is a particularly
significant and fascinating addition to Camden's catalogue
of Abdullah's African recordings as it catches this cultural
collision with startling clarity. The American influence
(epitomised by the songs and spirit of Monk, Ellington and
Coleman and by the actual presence of Blue Mitchell, Buster
Cooper and Harold Land) shines through the music but
Abdullah keeps the crucial African context intact with the
inspired help of local musicians like Basil Coetzee and
Robbie Jansen, drawing us into an eclectic music whos impact
is still unfolding a decade later.
Apart from American/African links, 'BLUES FOR A HIP KING'
is also notable for being centred around a series of
cherished song tributes. Besides the obvious Monk and
Coleman homages, he also makes specific declarations to his
wife, ('Blues for B'), to his son ('Tsakwe Here Comes The
Postman') and to Basil Coetzee ('Sweet Basil Blues'). The
'Hip King' in question is King Sobhuza II, the late Swazi
monarch ad renowned jazz buff who played host to Abdullah in
the late 1970s from when he and other exiled South Africans
used Swaziland as a temporary retreat from apartheid. In
that time they also imparted some of their musical knowledge
to Swaziland's young music students. Although 'BLUES FOR A
HIP KING' is a direct song tribute to King Sobhuza it's
certain that the cool Swazi ruler would have insisted that
the title be bestowed just as smoothly on Abdullah Ibrahim
himself - the hippest king of them all
--Donald McRae, London
......................................................................
track list:
01 Ornette's Cornet
02 All Day & All Night Long
03 Sweet Basil Blues
04 Blue Monk
05 Tsawke Here Comes The Postman
06 Blues For A Hip King
07 Blues For B
08 Mysterioso
09 Just You, Just Me
10 Eclipse At Dawn
11 King Kong
12 Khumbula Jane
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