2

AIEIDU LlJltt

I BRIlH 1M

IfJil!lmll'l rape Town ~!JNI Africa) in '1934, Abdul,l[lb Ibra t1i!'l1 earned hlsl'orml:! r IIlklmame "Oo'lliilr" o'l:5 it \I'D tI th wnen urgifl,g Arne rlcan 5~ri I· I]~!!i hi SlE!'1Jh [If! tha f1~wesft ~alll r~(I]riIk, In hi's OW,F1 I'll usic 110 n<ll5 brei ugM Jlm~,rfl:a n ~au hack 't[] tile Ci~:n:liMI11 will [[h :spawned ns bl;ack JIJ ~ts. E'M'e'fs,~i:I e fhl1! release of h~s lifebl'J~ alblJ m In 196,2. fl;!ro\J:~ ~ed bYflOIHl: ,~the.r thsn I)u~e EiHingmn). AbdIJH~11 ~br,a:him h:a:s <I ['iIrIlYS ' t i:llH~n II 5i:m!lE: i1lnd urJmi5tak.a.bh~ VIll'iEI:!an the illlelna:~j)l~,nlla:zz SCE'n~. A cO"~tuJndi:!'~' wf South Affr~a's le-!'lIf'lldi1l1)1' ~Ji!n E:l'li5UeS~ bad! illl 1:9'59 ;:lI'Id an ENIA, m.r;oming atrist ,SLfl:ce' 1971. il!:irah~1i1 ~~, liIe!1.n a b<lim!ll~de;~ for oVe~ fo~ ~Hi an~ hilS al$Jo worked wTlh miilny Oth!!f seminal artists indudin.g, \he \)Llk~ EliTn:gI[flil O.rcihe.51Ti<I.Elvin Imtls, Ml'ri ..rn Mal!.~b!a. Dil" Oref11¥, M.D:Roi3:rn, ~hl~ Shepp end Uid,V5mrtl18~a(k JVi;'3Jmbill'O. Anel'OqLlEJlt5j'1okesman~or Ahil;;an spirit.ua.ritY.M!Qlhe..antf,-Api31rthe~d m~l!l'IleJU, IIJr<liflim wa.sable to retnm
(0

Ills: home

CIl!LlrlItry ~~

the

lWOS.

~.I'l,hrl~ Uah IbraM rnls 11mastE!f l:I,fSHSpe,nse~" 5wi55-Am ~ica n arra l'I:ger !:Janie! Sd;lf1v.df!r 'ia:ys" "He is very aWa!r,e 0 lfile fu et 'bhBitlhe'3Ji:a()!!; i!Je:twerm lhill~S is sllm~(imE!'5 rntlre~mp[l:rt;Ul t than the thin g5 tturffiSI1'Lve.s, Eve.!l{ ~ ru:l1i~e:(-I. nd !f:\l'E:'rj' iI'Ile.r~ ro ~srgnE!:J ki'!owS tJ1'al,- b:u1 a la the ~L~tory of westE!m mu.!iT~, 100ill\.l;m'ltuTies m miE!IirE!lnpa ~fap!!'f 5e,tiI.se.l'Orsp~LiE!' !ltd fest." U a Ciilpe Town has a!wa.ys: bee-II a rnelliflg-pilt of rm.lSic:al Jnllue.flL[!S frilm mE'! c:!J~lfches and mosques. !'ram IFtdla and' Ameri~!I. 'Fmm [,aJn,~t turn es dnd Af!ll~an rnythm r{m~~ ,i!\bdull<l h Iil'ml1 im, ,01 n [!w sou nd if! jazz ,em~d cram [hIs, Sp;hit which e.i'II:.hiiint~d~heworlli'l1il1d has been imlirnted by musidi!rni on iI,lo!III Ji n~!'It>. for ove r 40 yeOlT5, ~dllll:ah n [brahlm's mus-It: of t.he snu], fQtlt.ad In S[luth Afric~ .•has !fIlli.!Ba ~leirll~.r5<<Ill O'o'erthe w~rl!il. tl:511I1WeI:S<lII£!flgu[Jge 15 based! on,;l mixtllre ~'fJazz, Afric.afl rhythm!;. A!rabT.m int~uel1~e~, .s<LcJ!!d ~hDJ"iIl n;ms1c >an.d IElJ.f(llile~n r!lllm<lJ]I:il!cmusk, It f;301fiilre'§ spirityallnle.pty ,allld~ommunlc-ative QneTglj.

r

~.a

!iflu.th ,tl.1TT"a'5fore,moSj jQ!u messi2ri.!liEr.iI; like an MffciilJl IiIT.s'torT8!n. ~E"!adi.nC; from baoks rn wfllch :!iiQli,fl'lds~m the ][oH!!~ti\lE! mersorles of its p~olllesail'e written. HIli! te.u::I1e-.s that !1I1.Isic,if>:;l de~ply splrl~lIai fiiml'\ !!if l1X'Il~Ssi()I!'I,. p'~<ld:ioodl net in (I'HIJ£.f;lf~5 or mosqoteS, al!lt IUS wil:hill the' IUJm:e~s[J ul, Th!3 r:ru.J~Tc ,oF Ahrn u nail n.u.(l1im !lrn!!lsess:es hVpn !liNe. power. it offers a U nj1:!~e viev,1 (I r UJe w~r[cl". ill 1Il0rl-'We5tErfI ph~IQWllhy !hal.wmiiijder~ music lo bea .s~intlJlal rorce. U'k!i! <In.Mric:a{il ritual, it has rell.siowi, ID'I!dlical alld sJgjcialsi~llifltance a1lhe.

5am~_liT1'le. Ab!luUah Ilnai1Jm's .musi(" w~n:h ccml:lltnl'!!iAfricain rhythms wi~h melodies of pure beauty, 15 as'origjn~1 as h Is lirn:e~'~.$i!i_Says aJl''ill1El~J StiEve Gray: '~llbralhlm's IT:u,li~i~· fE!f1ell5h~; 'E!liIel1tM tire willl grea.t h ,",TIec-s,ty arid iiltH~Q Siil m,E!tI~ the allii'I fI1 uWiitates Un r",e,rsal 'Elling'S to a;n a.udience~ Hill tells lof hEetilm:n."
When Ibrahim taUt'S about the sec:~t of I'Ils mlt!;", 1m :5<l.YS~ "The iflea i51D e!X:pre~ 'II'.Cluf51l'lOn !he simpl~st w.;a.y pos,sH:de, 5\1t~ilt everyQnl';! [.a,ii! UndeT!iland VQU. H'ow~'I{er. in reality this mus[[ is anl/ithing but .simple:. Aft]~;j's so~nd dOc~DrS~hg.ve,wQrked '1l11llill fliiTIl'll!1a FOf I'I'Imenlflii<l,~' Ha!l!Hllrgen S:1;rtaaI. (i[irar:fs1.atiM: St@l"m 8a~r)

,

10

TI'l~:5&liUon

CD

sutresses.

rnraem ora:~in~ the (ll1th b ilthday

of Srn:yth African 'jw p&ani~t Abdullah

[bri31hhlJl, ffng!i to.iE'JE!I:hEr se lect'hlll ~ a

il

r hl'5--<gr~:ates[
mnre

Til" levet ofdTl'flcu[ty !fiIng~s rrem T'elatL¥e'lyeaS\!'pleGl!:'s~ed en slmpifl:! cl'nQrd pWgTeS5rons,. ~{lphi51k,ul1~ nmplls'1tion5 whJt'h will ch,~lt~nge eve" e'XiI::u~fremed pJi3iYl2f,s. '

:§'uihlbte'fnr .hobby .fluJskian5. to

Wfitin.lfmu!;lGal notatlon fur Ian icsa (OnitT;'l~iil:tol"lf blJr5Tn~ oi!T1dalmys idlWhle5;'1 ~olll'l!l.f\[imis;e betwellJl the OnE1n Bel~tivell'l{slITi'ple . l\aITilollk 5I:riJ ~ture' and a complex: melilH:lk p'i3Jttern" G uslav Ma ~tE!r's OISSE!fliDI'lthat lhl:! m est.fm t'lIJrI;ant p'.8'rtJs n,B t to be 'lbu nlil. ~T1 ' HIli! iioti!ltiomappHes Ihlll~E:"'>I%!:1l more llill.m inl'li:Ie ,I;;"'d·se'ofL~]'>b'al m'L1sir .. EspE!ljallly where Ithe fillitatilll'lijppear:s ~o be rnythmicalty
comlPli~tli1!d1. i~may m:rt.cmre:ctly re:r1etrt the' lJl_le.dr'U.JIiI:I:5t'EIfIC~S, ".1fH~h may be much sqmpler. Tb~ ilntOllt;ial'l c<ln only .s~rv~ ;JiS. an ,p;am'l¥It~ <llmf I:.Q'l'1Ivevan idea' of ptlS5rMe mel'odk variations. 5hObl~d l'tll!ll'erIlind~r th~ pt..yer from IIl,.enling;tiis!Dr l'Ii1rlllW'r'I vari:aUllns, ca·5ed on the: h!lmmnit strurtum ilmJ IdeJlneo illy tt:e rndiiVidui:llle:ve I ef ilbiTi:ty. Less LEI n vft.{!'n be more h Ere-.EIo&Abldul!IiP.i1 JhF<!nlm~!i IDVa'n 'playIng FFeIj !,I~~ny demim I15l:rat~1. Tf'lOs~ less iilClLustc ~ln!d [0 j.alZ tml@F!~VF6aLJoil cain USi!.the (rnrtlsLJi:~tl [l:ns olF !!i\lfllle of the SllIl{l'~ fouml. here' as exa,mp!lE!s'for pD&silble Improv[,saflonalwriOltfr.;lrls. OtheMk§i~the m'lII01i'ly of[h~s~ pieces [Ire simply models fQrim,p.rovis<lUon. Try noUQ, lust P~<lV M l'e'5 a~d (IIm'dee ~tKiund:by the wriLte:r1[musk. b ut ratne,~Use Ut~m as <I basis I'ory~ UT awn ([leati\l'~ e.fforts. the

,t

mr:lle pra,cliu:1 tip wh:enl.ea'ming these pieces! In Uu~ case or Ilhf! ifuster numbErs ~uch <liS; AfricBlIJ Ms:rke'tplac,e", ·'11ntiny.m ..••or "!:st!mael'"lt Is, hell,)fullI:l ~TsI! of a U de'll'elll ~aJ 's!l1Id u Jhyt~lm wT[l1 ~he 1 Eft hand. !)ractising the' ba 5S Hgu res. IblllItil.Hle' ,left biCIJ;ld yjrwaUy pIa.,!> llbem ilV itselr~. D.ol'li,h:e!'l !J~. We rl:!ClIlmrlillmd .iIldllJ[lIIg th~ rIght hlll'\!il.1iJ5in~ U ,[!], de.'\lc'lO;l';lIerl'iyLhmil;.l'!liiw5Tu:gs of VQlur own. R~!fI,emlJ~rth~t "H!lod'~ notes <lmlTe.quently .syncl!!lp;rl1!d. eith~r pulled farvraroi or pl.a.ye<~sl.ighlhli:lehTnd thE bEi!t~

Cne

05"-?JO

5~

3

De:r 11}34JI:! Kii,p!sl!!df (SiJdilfTlka)gebOI1lIftE ;AAdul!i3Jh lhrahfm e'rhr~lts~ill~n I'niheren 5piI:i:n~m~n ..Dt;lUiilrr"'.wener OIL'slug;i!'l1li1~irner llil!]fig <i_!'Iiie:~ikafd5di>E~ i3itrIl\s,~'I1 b;al, 119 d r~ Ileuesten !aUlPl-a~tEJlI ~tl '!!erita!ifen. I n seiner 'I!ige nen MusB'i( brall:hn!'er d!11n a !'I1erikai'l15-d:H~f:I Jazz M r:n auf den .KI!!I nE!]! z.urfick, dem dE( Jan setae SI:iJWl!IJ1Bn IEtlilfUis5<~ ~!mliqnkt. SilO!t '5~in~m' ~" nIl AI b urn lm Eiilhr i196.2 (Prl:ll1ll2'r~rl 1.'On .I!)u:keEWngi:Qn)§.'I;el:ll Ah dullah Ilbr1lhim efrleS:lllfke und LU1ViEJWEch.:iielbilre Slimm!!- ~~'r ~rd.!! rna.rionale 1'1 Iazz·s-nme dair. III rah till, del" der 'l951f>! die leiE'ei'IIdiilre Ban d ~Jazz EplSitles" m;lIbeg;rur\l1i.~tE und seilt 19ft ffir ENjA RlECOIl: DS ;mmrrnmh kan F1I iJuf![Ibe'r II {l Jahre Erfah_ru FIg a:1:5 Ban.1'ilea,i:Ier zi!drLickblh:l<;~rt u Ild a rheite'lie-auP.leniLem mit .musik'l'~isILJlef1 Gr,1Iill EI'I wif!' Ehin J't,HU1S, dl;!Q'IIDu ke E1Ungtull D[(;h~stra" E:lvln Jones. f ,Mlu.liim ,MlIkel!!ia, DIDn Ou~:rr:i. Mon RCI'i3~h" A[!L:nne .SheplJ und ladysmItll B ~iil:k.MamhaillQ. ~bJ:ill.limi:!!t ein lIed'egewand Ie. E!otsclla'fte rt dar afr[kilnisl[ heJl~pIritli.[l1l tallunii!l' J!:le.r.ArrtT,-Ap,a;rtJne;r d-BewlEglJiilgU!1d konnte rr] den 9i:J,Ef Jail nm end lil::h in S'em H ~imiltlan d zu rUi:k:keluenl.

,j.Alu.lutlah IbrahIm iSl eln Me!is[e r lief Span IIIYI1!:'·., IT! I1!lnl deJ s~'nveiz!1rrsrh 'I31medk;<ln is~:he Arrangeur [J 1111reI SdIlTlJl'!!h;:r. ,,(r is!; slch rJessen ID.eWUS5[,class dE'r R:1iU l1:I.zwi:5cl:i!11n den Dingj3<n n:J!iIlI'Immal be:.del!l_lSam.erI5la'1:5 diE m[lgl2 selhst, .~l2dEfAr:chilekt LInd jl!iler R~umde<srgn ef [hat d~es mkannl- aber in Ider Ge<.~6I11cfn'"e der we·~m~hefl Mus.lk hal es ~tRhrtlilflderl:e' ~edi3,ilei!1, UIiIt einr~[dht~~ G:l!sp,[]r RilLlm utI'!:! I'ilu R,uhe .ZlI en~itk!iitn.M Ka~sl:adt blld~le schnn lmmer ernie'll 5c.hme,lni\gge~ ver'5(;hi~.dene,T mus,IkaU&e::her 8~rill5S~ auS Kirchill1 luml' Mos~hf!iEn. iH.I~ Imilrlilfl IJl1Id l\JT!e:rrk<l4.(J!J_S Kilmelliil!sm:eh:n:lien und ilfrikani!;~herl Rhythmt'n. [lLm:h ,Abdliillla:h Ibrahim Efi!Slieg iIi'ITE5emGE~sr E:fi'1 nEUBr '5!;1l,lIld [m J'<w:. d~ die W(!U b~lorUOO rte ILllful VOn M L!~!~m idler KoI'lUI'1ente n ac,hge<l h mt wurde. ~ejl [iDe:r4ll Iabren bewE:gl ,Midu Ua.11[Ibran lms '511~I~Tl!TI~stk. 1I.!JfI Sud Olmk'1l1 ~~.1ihrt,. l!Jh6re:r auf d1er .g;l!!'Il.en W~Il:. Ihre u1ll1Ver&elt~ Spra'Chebe11J~l allr It'jnEJ Mis[hllng aus Jm, g mki!!l ts'!;;henR hythml!l1. il!'l3lbis:dt!![] Elnfl'iJ:!;;;!iicn 'KJrdhlllT!ci:!io!l!·n 'S!lwie l~urD'r;l,ai!ime r Mus] k der Ron] ilIntik. :Se!J]e Mu!>Jk slFilbLtsp1nlUEH12 e Waluhf!l1t lunmllrommu [11 kllrivi! Krnft aus,
'5i:id;;ifrik.a:r;, b~dlElJle[J[l'st.Er Ja2z-Bntl;chi3JF!:er WLrM wi:E eln ,aEriki3f1isGle.r H~hr'~kcr. d'ln il1JS BUl;ne;m U~st. in dene!'! d'~e Kl'lInge allis del'll Gediidrlnis, dEf Vmker ve,rzelchnel 5Irll:l. IEr rEhrt uns, dass Musi:k elne Uef !5iJlr~lufill~Aus:cl ru-c:k1ifu!rmT:st, di'l! nleht rill Kirct~e!l oder Mosdtee.n il,us.~~llblillirrrn, .~L'lJ1I:!Em lm IltlrtE.retD derr m,ErniibltUaien S~e.li'..AhcluUah Ihrahim~ Mu~il{ b!,!silzI; hYPflotjs~he M'lCht. Sie bT~l~t eTne eJnligariJgE!' S!d'll <1[Qf ~He Wd. e.rne nid~T-wesmclti'! PhIlo.sophie. d~rEMlliL5:ikiil5 .:5pirih!!~<U~Kr.J'ft b~tmd!ll!l ein aiFrikanisthe5 li!Ilua.~1!!;31.sl~ gleldlzeiliE r~lJgl6si'!. medb-.ii:!i.sell i'! I:lndl_ ~!lzri3Le Bedeutung.

w:r~

lbrahlms MllSik., in derafrik:anjscltie Rh'/flhmell aufMeladie1'l von: ~if1t'J' 5~nanh:l1!ltlr'£Rfeirl,istso Gray meirrt: .. Ibrahims MIJ!iifklwflekt:1ert se,in ereTgnisreTches le'ben mit ~r~~er E~rU[i1IlleR Hna Z.eh.IJf1Mi [Selle
j,eaer as ver!it:e

.m nge ..lr

,erzaiht[ \Ion de:1i Fte Ih-eit ..••

DwlgirrcU wl~ zeltlos ..Dcr #l;_lTilng~UII".ste\ie er\le.rrnrttEI~ !!;!li[ll3nwh(ir!i\m ;w[~~idten

g:eilrDelfi11 r

Welln ~br.lhim VOn'! GeneTml'lis SeilllH MU!i1k sprithl,s.agt er:.,,[ler 6edanklE" isl, .sh:ll. auf die eItI'fildts;t!E.Art <iIiL!lZudti'ir:kf![J, .$1;1 cLass ~t D'el1natl1 fs~ tHese M~..lk n idlt ,e-infa:tl1. 0 h~r .JoiIhrtiill1&~nd~ [11'nweg hahen di~ [(laf!:gftlrSime:rAfrikas an diesleJ Ferill el

,Die-51! I\uS!l"IJD'I'! lum

70. Gll'burt,Stllg

des s;[ldafr'rkal'!lsdlienl

Jifl:lpla nlsten

Plbdulta.h rblill!1lm

v~reJI1Jgl e file I!,U5WOil11s~inE.r griiBl:en

Erfulge.

'Der .sdlnyierJg~~eitsgrad 'iI<l:nl~rtVOn elnf.u:h'en Stiicke.n ([IT in [ern!$sie rtf! Laien, die a uf ~rtlrj:j.rne;rr Ilreirda.i1~bli3irm[J!"ll<!_i!ltJ:rt)1ll.LEIf1,.b:isl:!ill!;m ;:ms.f.le'~~i~t-er~!'I :Kom'prl!;itilOI'lIlIl, mitei'lI'ch fUir geilhtere KI<I\lie,r:s'plele~eirHlf1r An~e<il bl~ten.•
!liE! f[4otaf'!on von JflJi"Z-stiJd!ien isleine wi'ci!erspriilthliche Arlgetege'lfIheit !J!1(1 imrner audl ein KClmpromis5 ;[wi~me!:l dern [J)IFt rei-!;Ilil.i Ilrnhl!::nen 1iI<!m1onisdle'11 ~llJnds~hema IJrld I!in~r difOO[~mi!e'Ii£!8 MeLodfk. GTIJr:u:lslUzllctligIll brer it1.~hr[loib ills b-EikliiSSisdll:!f Mus1~ GU'5fi1v MiI.hlcn;; AliIIs.:5iI§!!.~di5S das WeSiEmUidile nlcht til den 'Note n s~eht. Ge.rade da, WI:I tile !'II n l'aiUOIl rhyLnfjfdsdi kG-mpl~ziErt i'!irS!-heint:. :spi'i!~~l :!lie oft llicliHr!!f1 Wll h ren Siu::l1verflaU \lVlde r. d!!!r ~ftSCE!hvi'E!l einrnc:i'1 ~rusl:. DIll! N eten k.liMen daileI flllr reinil~:elspif!l sel 11nnd IEil] E r I'!llnung 'vermitt!ellll, Me' man m Iil!ot!ifdl \liIIi~en!f1 ka 1II11!. Ke,Tn~Sifiilll!ii 5~ Ute' m Bn5t~h (lavon abhaU~f! lassen. al.if Basis des ha tm [I{I_isdn~f1 G!Ufild!!fol:h!!ffiilli! el~;e!'le Vilriii!!l'hm. ~lrient'lert iHn !j:f!lieler[~:t:hE!1'I KonlIlen, .2:Uemnd.e<n. 'W_eru,ge,r iSl dabe] (!i:[ FIiI~hr; wle~ ~1Ta;n OInl AbQu1~lIh lillfllhJms. il!iFi~n[lm 5piE!1 sl!hp.n, bl1ss!!r I'II!!I>[h=I1ti~~f1 ~OJnn, Wer di!be~ lo'It'enig iEJrfuhrun.g liI'I lan:ImpNn'~satJon rnIU!ir~n.~. ki'l))(lsicn an ~rni~ell i'liU~~_s,hri~lb!!!-!lIl!l ~H ein 13~~~ph:d fUr moglidui improvisllti®rlsvanllrltll'lII niehm.en, Ansonslen ";'ind -eile Fne:ks~e-nSUl:i::koe: e'n~E S I,mProv15iJti·oIl-S\l'@FtOlg!!. b~i lieu die' Empfl:!h ~u."g -gilt, nkht an den NOlen ZIJ kileben. sJch nic.ntsklavisc h d'as Gesc!liie:I!E1.!le Zl.] lhilUEJl1 slJnd ml 'Si'e ~IsVodi!gfl cigc:ner Ges'lfl Uu II1gsl,ll)r'!<Llch'iil neh m~n. III

"In

N!:I'd! eill j:!rillld~t;hef

I-llirrwcis 'fur ff~!rI U:.r!'!cndcn; Br;ti d~n !!tW;Js!ichn~Ul!JeJ[l:st(jik~n wrl2 .. AfrkOlfl MO!r-ke.l\li!Ililce~... Tintinya!'! .... oder ~15l1mille1a r,s:te!i i1nrrei~,h.ltlei'S'l mIt dei'linke!] HarJo rhvtl;;ml'.!;cfn~ Si[ihfl rht:!il ztl !:!Iltwl dro~1l Und dl~ Bassfigu!'ell sQ ~~ngg lullbel'l. t!lJ!5:d:ie L111JIol.e' l'Id quasi VOn se[bst !.l!uflDaoo e;r.sl[IEJij pIl~nU Ha e-s srEh, d,ie mdltl;!!' HiJmil hinzUflun:~lhm~n IUrld[ [!~~n[! Frlllh(!it~n ~Il! fi!nl:wr-~I~l!In.vor allem i!'l '~hy01rnj;sth:er Hln5Jchl~ .M~I_odieti'ifU:l s-olUce
In all

liO[l!ieh!l-f'l ode:[ etw'ils '$:pa~J 5J;Jiifl:le-n.gnul!dsaIzlid1 a:~o oflliecfllL

a a 5elCltn Oaniel Srhll¥J1elj. Elle anre une vue I1iliqU!!l du miiililde.uees.'DU II puisaJiI.. Ii narle de Lthert:~.~e.md'u lIDem:!! ilflniV!. lellPT'! e '~m pe. au it est reoomm..:lu Sud] est lei un hlstorten afric. [I. teilJllI nifliel a:frrrn~il.li'1imapIHI:rtB sur la scene jn1temlltJi'. ~e moml![1t.us.conUnenrs. .ill des accents forts et ~nccm.i!lql. C"l\merique.IUInive!~U du ryth m ~ ~td I! s'exen:er allil.la mU.ue.riUIjH! Stl~-afriCiain ~az2' ~piistJe.rahim poSSed.jifabl. il dit~ «L"[liel!' est alii s'expnmer de ta fu~n la 1I111s imple !l1J~ibl~.li (orn. .erm~s aralbe:s. 'Io'ile'S~inten.stJrnOn'ime ~D!l[tlf!! rnr adolescent it demandi!lt sCLl\leonr aux rnsrtos ilmerfcains r'I-e luivendre 1e5 derrn. MirTam Ma I\:eba" 1)01'1ch~rry. mais I d'ans ['hlStioir.sdave d~ l'e~lt.(prndU[l p!<lr Duke EllTngtfln) Abd.l3!n'l: l.p]. ba~'e qJuaSbment rusq LJ'iI [e qtJ E Iii.ses lnlluenres noires..~hie She pp et larlvsm1th Elbt:k.lilburn e1il1. des mosq. QlJand . Ile·ljo ilrui. Pallf [j ui iii p~u d 'e1llikie.st aussl oliginelle q u'inte9'l pore.Ibrahim parle dill seeret de sa mLisique.sJ.rus 5Omrent.5rlltpi!i. que la musiq!ie'~~[ LJ.11 rnmen6 tl? rElu :ampI'fcall'l '6lJf Ii? c:cmfinen't if d.jue's Uber"l'es.n1l liHliI1e d'('!xpre5SInt'l h-alilement !i1lirthJE!lle qUilne sa pratiql.'espau~ et du repos.e ellrope. une slgnil'i:cat:Io1'l reUlJJ. plus &~ndl.[Omp fllimisJ enUe Ie 51:he rna de baSi" rre[alivem ent simp I'~~t una mi!lodJqlle W:5.se avec IiIrI grande fidilim@et. aiMI que de Ia muslqll. surtout enc:e.atiilfl pratique pO In cetui qui ap. d de Iilelo(i~e5 de c. Uf d'ewnwe lies v.nde s. Sf 1iI0[l.hlm fllten 19'59 Ie ~lI4ondale. arr..'Ell Afrique duSud.~mall! une verl'~e sp[rltueUe afnsl qu'une pUlssalice' communicative.le pas.. SeulePlenU.ler !'llu!>t. II 'est c'Gns:ciellt qD e t'espace entre les.962 .posilions La !1.liItatillfi de 111 ilfCe-rulx [IE! !ilZl 'Est SOU. Jli3f IlIri[Jnp-e donI.HIX.jIJ5qLl'a de'S plus 50pl'Ji:SUI:ijLJee:s preselirt~lltl.nulilng'lil ur !rylh Steve Gray. de TICpass!! r~lnQ're e.~ tel..!.» 1F CapstaJdt a tolllilu['5ell'!: un p!llnt de l1enc:onWe: 'il1f1u~'lces mu.I1(f!' m dmls Il'impr'O'Iisiltiol'l.prel'llh p. Ibrahim est restii la tl!le ue son .vellt Hifib'<idJ 111nire I:!l est SIiJ uVl!nt. deosrn~tCldte5 de toU te beayte. .l' essf!nlieh Id.<l'tuli d. d"rnd'e.ILa1lbral:ll m est.lLl m'llsiquE! d'lb~lIhlm re:fI!~te sa.tr [In.5GTIlillD1 modliile. D~PlJls plus de 40 all5.mOs. 181e j:ul5SEde.amavaiou.~!lI~ar aVe!~ l~ m(li'n droile' et 5e p:em'iettre qiJe[l. mi~(ldi~ ou 1!1!5j[ll. Scm ~anga.ais au plus prl'lfOfid dE L'arne humalne. dilieTencll!e. Le [J~LJS :gril[ld amhassadeur dll jazz de l'Alffque. ptu!> Il"l'i'lmi est I'effet.l'liah l.iJases sur des hallll'ioliil~s de-lrlade&. Un De demIt en aucun cas s'l!m[lll!r:he'r.T'SollJ1e'l.5TqlJed'Abc:h.ama'~ me entre jau.maHre du suspen se.s.liIa5~ harmrmlque. la PO ptlllpaJi1 des maril:e.e C. chorales d'egUS8.!mba:z:o.qHBi$ rn.qiilH dans til rill!Zz quT f!rnl:!Jveilla Ie rruil'!de· eLful rep·ris par les musI[J.I!Line puT:SSIll1t:e hypnotiqllle. I theses est qlll elquefuiis pills f m portan t que les (hoses '~Lles.Olnst.4 ABDUllAH IBRAHIM N.grn upe pend.MmI 'i'loaril" A.D Hillls-lii rgen Srha al 1[Tr. Malgre mut c~tte m'IJsiqlIl! liI'est pilS 5lm p la.maIn jrme d'ellemem~.it. mais de ~Si~ienl!rtiI'Tr .l.e:s.ILommilrl de' de ll'avafll.ifui~.te euhmnel LIne Ll:hifle' des possibil1£es devariadon m~[odique..e ii CilpSittatH en ::!~B'4. Hii'll'! f~ nes.enne' romantteue.Abduliah Ibranlm un nomre'Ii.afth:aiii5.s q tJ e ~'&ie![luke ElITngton Dd'l~hestra.lJf du 'liigendi8'inl' g.d~5.'OSE! un (!lobi de: (~S piilligrantl. .stav MElhlff.ens de tOlJiS Iles . Sa mlJ5ilf!Hl.te51l:iv1l'rsesvenues soT~. ql. n" Est pa51i1ans 115natl!5.Fe:5'S'e. de ryii:][oes aFrlcaili5.."om m'E!e~emple IPOIH 1..bra. hi FI. dans Ills ( egll!le5 nu LeS.m .mie de t'~me:..uUan IDrn. ga.assju:leiUr j§ctgquellt de 1<11 Sllitlh[ElU~ ahlrnrne et du rrtlJuvement anLi-Apartthi~id! 1Lne rut aUlorise • rentre ~dallS son P i:!i. Ahiill111a'h Ihrahlm fu:l.e' UlIIi". let p a ~iJ rf!aveC Ie!. I. 5!l'lo fll".~.ain qui Ilil dans des livres dOll't las sons iml iailli d Iii memoire' des peuples. a. Des son premler . ~TintillyanaD Oil I'Isi1mi!dD.a.etie nE1 reflelt'l' pas Ie contenlJl r~e'l qui s(uNenl est beilucQup pllJs falEih. DaM son style l!I]en pe.I'J'Ioil'lS on el'1. 1.hur til!Ue fWTIUlIE p@'oollnt des mil.: olTheaL fralllk Helfnr:h .qUi ~ono~me til rythm~: on dC'Vl"llIit d'onn!!rI'importance au!)! nQ1~ dill la.l1i oilla nonnTol1 p!<llfiI'itt:iilmplJqueealJ niveabll:lu !)!'lhm~. plus que daas la mus. seten Gu.Arnb. no Ui'[te' par' ['Amqu Ii! du Sud Lam li'Ie1.11 neo tm'Piov~1Jtion pe.les SlDU5.ecliJrite :.attrart redain pOin des Ili<llilstes exNces..gur le:s morti~ampl!!l. dj'e'X!l"e'rh'nenter selonson niveall.ut I. G[~(e .ul !i011sider'e la lI11usique comml! une fan!:!! 511Jill'iituaitl!!.lelllaires..mps.5 que dans [es an ilI~es 9ili.ge'Ulr su [SlSe··am~111cal !l'Abil i1.iers diSqlles de jan pa!1l5..1L91\1 i1e nre:gi!stre: PIJI!i. lel1 raison du 5ch~m:lI d~ .lllch e JlD IJF d ilvl!loppl!f urle g'ffl. Olfin !:lUi! rharun s plJisse ell m pnmdrno. j . Mr.ca.er la main. S lJ'neautre illdi'l.uketpldc. [Ilfliu. I'\'tlhmes .m@ofrle-s. un .sl>ell:depui5.all. d'lltailii!:::iUd ~mCJil"lAbcl'Ut~lIh Ihr.~ audile UfS dalls te mande e!llti~r.out arch] i:e'Cte et de{!l:rateur I'on [ mum AU d epui<s:longte. it est re'Oi~Trma nde' de prendire e~lrllUpt'E!sur qlJ.iqlJe cl.e de lei muiique oC!cldel:lt<l.[. eneore 'mieul(: ~Tl!lm!l!' onpeu t 1'·en'liel'1d'fe.nd. [e jE!_Ut!'Atlilhl Ua'~ Ibiiahim.1!I.rmale(iu.rs:aire du p[ilniS-li!. 011 paul [Qmm. le degre de Ililfficlitteva de moreeaux Iilciles ii rnte'Pre:t'i~r JHIur I!In amaitel1'F ime. IJlii!e phHoS(lphie qUi ne Vilellt paslilE!! 1''Occident. s te'lsqUI!~hiLlm M.l'hl'm~ (ettle eiiil ilion prop.ciale.rsQnn eH!!. I~~s savants a frll:OIillS tl LI 511:111 (mttl'IDmill.l 501'1lssu de 'tat esprit n".u:flJ[tiOIl: cum!! .egU5e5.la mllsique d'l\bclJUilih !b~nlm.er:se ~nls:ulte dE! l.eusE'.!:on5tIefl~ de I. It nilLJSappreriil.eJl.Finge:r) A ~o'IKCillSI[.r Lamat$On de disq iJ. LB nates peu'IIeru '~lre' selllemen[ un rutemp.E! ne' pasirI:stJercolte iii idK'hotl!5. mMicate eLso.itssique.01allu des siech~5 pom prendre . La muslque d' Ibrahim Gill! U JiI~]_de!> mes ahicain.ILep[.l'r~El'tions d'impnwis. II Est re.e r ~ltlI'l5.E~S IENJA.lE!n meme temps lral'lsmet 1'Iw<periem:e Ufl[~rselle 11 ell's BiIHll U:~IJJ&. [.s su[e·is.b.

ffor.BlUE.CQ'LISUC Music 'Gmll'H &. Mli nehen. ('0.r[Jck" (iE!irm:a.35: (ira I:appelti"ui [mJ. THE.V!:!lfde:s!8W1 U II1d fieslalrli 1'Ig. pul!ll[rsi'li rig Firundisber.r.$ S@'le 6.453:--9'3·6 ~SM!II M"7fJ(.5 Seitel Page I Page 4. ::Ii!~ .w~. 1].$11I EnnJ!!lg:e.ostfacn 1945 0-49009 Osna b.ny W'i'fI.UU RD LINE SAMBA 15. .GElD Kratz. 26 12.44 whls: TItei[foto: Oro CalPJl!E1!U1Ili P'(I[tr<li~ auf U ~ ~'!:hlagr(lckwite: ENJAR. II NTI. 1114 16 B. AM:B 70Dl~ ~SEl.dl. IlsIItilMAU.atol!islic-1f! usJu!e . M'I)flika lKolie~.: M i3lf'l'frei'! :P~IIE:r1.~rr<i'B.U170-"g3-!il! bV ef!~a mlJ:sTc.S fOR M.ei~ IJH. IG'errniU'1lY.!'. DAMARA IBWE S.o6']. Trail15krl ptii'aHe!'lu II1d N~tel'li!l'J'<lfik: Fid il~ IHetrdlrh ILek>tor<it:~ar:ge. . 'WHOZA MTWANA.N ~'-<9311..'i.NYANI\i.n 't:[lnill:!J)E!r. KG p..all E€'51leU-Nr. !'jrul:l Kra!l::Z<it Pm!ll\JktiOfl: JOrg.-.e!'njamlisi~r~'(1J'1i!l @ iiloa(j IJInd :C!.OUIN1AINI 37 AH~P KING 40 142 14.

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[.ABDULLAH ..ElESR'A"TnHI IBRAHIM .

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