Abdullah Ibrahim - Brother with Perfect Timing

South African jazz piano legend Abdullah Ibrahim, who passed away in June, left behind some extraordinary music on a vast array of over 70 recordings, including solo sessions, trio performances and large ensemble collaborations. Known as Dollar Brand before he converted to Islam and changed his named, Ibrahim was a gifted musician who possessed both deep spiritually and impeccable rhythm. A documentary about him was aptly named A Brother With Perfect Timing.

A number of Ibrahim’s songs, including his transcendent epic piece “Mannenburg,” which became globally identified with the struggle against apartheid, have long been personal favourites. Smitten with his sound, I have collected many recordings in the Abdullah Ibrahim canon, dating back to his earliest work with saxophonist Kippie Moeketsi, trombonist Jonas Gwangwa and trumpeter Hugh Masekela in the legendary Sophiatown group the Jazz Epistles.

The pianist, who Nelson Mandela called “our Mozart,” had a close connection to Toronto, having performed here a dozen times over the years, beginning in 1973 right up to his final concert in 2018 at Koerner Hall. I was fortunate to see him on several occasions, including at the Top of the Senator, Harbourfront and Massey Hall. Without exception, every one of his performances that I experienced drew me into a world entirely of his creation, which I believe is the mark of true artistry. 

Toronto jazz entrepreneurs John Norris and Bill Smith first brought Ibrahim to Toronto on February 18, 1973 to tape him for their Sackville Records label. It proved an eventful day: resulting in two fine albums, Sangoma and African Portraits, which perfectly capture his brilliant Cape Jazz piano sound. That evening, he performed to a lucky few at the tiny music library then run by the Toronto Public Library at Avenue Road and St. Clair.