18 members strong, the NDR Big Band is the largest jazz-oriented ensemble Abdullah Ibrahim has ever recorded with. Directed by Dieter Glawischnig, EKAPA LODUMO features arrangers Steve Gray and old hand Fritz Pauer and documents one night in the life of this long-standing collaboration. The set was recorded June 24, 2000 at Jazz Open Air in Rothenbaum, Germany before a surprisingly mellow audience.

The band itself is more than enthusiastic and winds its way through an intriguing stream of compositions which include two compositions from the soundtrack of Mindif, the title track and "Pule", and the rarely essayed "Duke 88", as well as staples such as "Black and Brown Cherries" and "African Market". The project's ambition marks this as a historic realization. However, it also can be said to fall short on a number of tracks, and, therein lies the rub.

Overall, the concert is very good. Rough spots are isolated and only, to this listener's biases and hearing, disrupt two of the tracks, "Black and Brown Cherries" and "African Market". First, veteran drummer Alex Riel, a proven master of hard bop and big band percussion, simply cannot fit his stylish swing (along the lines of Mel Lewis,) seamlessly to the the two mid-tempo tracks. No doubt fans of this music have become accustomed to the floating lift supplied by the numerous African drummers and others but the able enough Riel sounds exposed on the two aforementioned tracks. Elsewhere he is more integrated, less right on top of the beat, and propulsive.

The other surprising disruption comes on Pauer's arrangement to "...Cherries". Again, perhaps overly accustomed to the kind of arrangements which have done the various small ensembles so much justice, (most by Ibrahim,) on this track the sound is decidedly in the classic mode of (say) Bill Holman or Maynard Ferguson. (Why not Ellington?) The voicings are brassy and bold but the effect is workmanlike. Pauer has a better time with "African Market", for which his fifties bent is more in synch with the carnival atmosphere. At least here the influence of popular American big bands on the music attractively underscores the connection between cultures.

The slower tracks better fulfill the promise of the collaboration. Generally both Pauer and Gray have chosen at slower tempos to offset smaller groupings and clear up the textural contours. "Kramat" is a case in point. After a soft guitar chord, Riel and percussionist Jose Cortijo hook up a lilting veldt vamp and a solo flute -with Ellingtonesque coloration tracking it- seemingly discover the theme. Fiete Felsch's flute solo is marvelous. Bassist Lucas Lindholm pins down the flow. He is a pillar of strength throughout the evening. As the band's interjections grow in power, Ibrahim begins to tap dance on the piano, the band falls away briefly, only to return now led by the the flutes and Riel. The band restates the circular theme and vamps out on more light dancing from the pianist. It's a very strong beginning.

"Mindif" follows. The pianist sketches his intro in a captivating solo. Bass clarinet cues the shift and with flute and soft brass colors the mood is sustained (bringing to mind Gil Evans,) for the trio's statement of the theme. Here Riel's work on toms is ideal. The band's colorations grow and lead in to a fine solo from trombonist Joe Gallardo. The big band, here sounding smaller, sustains the dusky mood behind Ibrahim and the ensemble backgrounds itself during a series of call and responses in counterpoint to Lindholm.

After the vigorous "Black and Brown Cherries", Ibrahim announces soft rain and sunset will be depicted on "Pule". Gray captures the picture beautifully with muted brass and flutes. Reeds float into the scene. Peter Bolte's conversational solo is unusual and evocative. Reiner Winterschladen continues the dialogue on trumpet before Felsch wraps up on flute and Ibrahim briefly recapitulates the song's pattern at the end.

The staple "African Market" receives a slow and soft build, bass and drums vamping behind a growing crowd of celebrants. Gallardo and Claus Stotter have their say, and then the band drops out to allow for the trio to accompany Lindholm. After more marketplace effects from the band Ibrahim captures the end of this busy day.

Ibrahim starts "Whoza Mtwana" with a slow reading of the stately theme. Similarly, the band comes in with determined restrained shouts before tenorman Lutz Buchner casts his solo in a spiraling upward reach. It boils away leaving Ibrahim and guitarist Stephan Diez to state the theme. Gray's arrangement is understated and apt.

"Duke 88" is the finale. It's a string of solos surrounded by typical big band replies, yet with the cups in the brass player's hands and a twisting clarinet solo midway by Buchner, Gray's arrangement ripples with late Ellington heat. ...a fine ending for this historic recording.

EKAPA LODUMO integrates the big band idiom roughly in spots but remains a very enjoyable change of pace and format. As documentation of a night on the road it's full of spontaneous solo flights and energized music. The collaboration of Dr. Ibrahim and the NDR Big Band represents months over years of dedication in a relationship that is itself decades old. But, this new record also begs a question: what would a South African big band make of Ibrahim's 'book'?

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