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Rating: Cala Gonone is a tourist destination on the eastern coast of Sardinia, and every summer one of the island's most important international festivals takes place there, which in the past has seen the presence of artists like Pat Metheny and Chick Corea.
This year, the most prestigious name in the lineup was undoubtedly that of pianist Abdullah Ibrahim. Also known as Dollar Brand - he changed his name after his conversion to Islam - this South African musician represents a significant and fascinating chapter of jazz.
Born in Cape Town in 1934, he built his prestige due to a long career that began in the late '50s in South Africa, where he encountered many difficulties not only because of his ethnicity but also due to the fact that jazz was a forbidden music. He was forced to take refuge in Europe and later, with the help of Duke Ellington, who noticed his qualities, in the United States. It was only after the end of apartheid that he was able to return to perform freely in his homeland.
Because of his unique story, his music reflects diverse influences: from the roots of American song to African rhythms and Islamic culture. Learning then that the only Italian trio performance of this unique musician was set in this small location reserved for a few lucky ones prompted me to drive 200 km to hear him.
Around 9:45 PM, our artist takes the stage. His stage presence is striking: he wears a long black tunic, has a relaxed expression, a magnetic gaze, moves slowly and seems to walk on a cloud as he approaches his piano. Breaking the silence, the concert begins, immediately fostering the impression of a special evening. Within minutes, an unreal atmosphere is created, the audience remains petrified in reverent silence, while Abdullah develops an impressive series of thematic modules: mystical and evocative musical tableaux that show a great attention to melody and rhythm. His body remains composed, almost motionless during the performance, while only the anguished expressions on his face betray the penetrating meaning that his music generates. And he does so without stopping.
Almost 45 uninterrupted minutes of music during which he calmly places note after note. His touch is light, velvety. His sound is deep. The themes delicate and melancholic. A vast medley in which he melts the poignant "Blue Bolero" with "The Mountain" and the tribute "For Coltrane". But it's not the only musical soul felt. As expected, from the piano emerge both American sounds, hints of Thelonious Monk, and African sounds and Arabic rhythms ("Ishmael"), in total harmony with the scorching heat of the evening, which however doesn't seem a distraction for the audience. Indeed, they remain totally still, seduced by these sounds that seem to find no end. The music dictates the breathing rhythm of the audience now in a trance.
Anyone familiar with live jazz knows perfectly well that applause is a prerogative of every solo, often the musician himself even prompts it. But this is a different evening, in stasis and in ecstasy, until an irresistible duet of piano with drums comes, a tight and exciting "duel" of sounds that spontaneously breaks the enchantment, leading to an inevitable, warm, and almost liberating applause from the spectators.
At this point - free from hypnosis - we can better realize the other elements of the trio, so far experienced in the liquid musical union. And the musicians supporting Abdullah are truly astounding. The double bassist - Belden Bullock - has a rounded sound, without the slightest flaw and constantly dialogues - almost discreetly - with the piano, allowing himself measured and perfect solos. In short, he does his duty marvelously, almost without letting it show. The drummer - George Gray - is simply magical. Incredibly fast yet light, he puts on a show continually twirling the sticks over his head, using them like castanets, then shaking them on the skins and cymbals like a hummingbird's wings. He lightly caresses the drums with immense exquisite class. A rare elegance, simply delightful.
The trio understands each other perfectly and lets the time of music flow without pauses, with extreme ease, so much so that when the concert ends amidst applause, one feels light and not tired. For this reason, after the first typical encore, the audience’s enthusiasm is truly through the roof, and Abdullah realizes he can't deny us another fragment of the concert, another sensation of happiness until the real end when Abdullah, George, and Belden greet the audience with a bow, but honestly, it should have been us bowing for having received from them an unforgettable evening.
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