to start

you

 

 

 

 

 

 
. . .the artist's soundworld on available compact discs
   

 

Part I. 1960 - 1979
piano solos
duos
trios
ensembles
    see: compilations [a]
Blues For A Hip King
for the 2.4.1960 sessions
=starting points
see: compilations [a]
Blues For A Hip King
for the 2.4.1960 sessions
   

Duke Ellington Presents the Dollar Brand Trio
(Reprise <> 2.24.1963)

Remarkable for its revelatory breadth and maturity, this was the first widely available record date and demonstrates the pianist at 29 was already one of the most distinctive stylists and composers in music.

[Reprise 2-6111]
=starting points

 
   

(1) Anatomy of a South African Village

(2) Round Midnight
(Fontana <> 1.30.1965)

[1:Black Lion 760111
2: Black Lion 760172]

 

Reflections
(Black Lion <> 23.16.1965)

[Black Lion 760127]

     

African Sketchbook
(Enja <> 5.16.1969)

[Enja -Ger- 2026]

     

African Piano
(Spectator <> 10.22.1969)

Volcanic, earthy live solos excerpted from sets recorded at Jazzhus Montmartre, Copenhagen. The playing is electrifying as the spontaneous improvs are reconciled by the African designs. . .in real time!

[ECM/JAPO 60002]

     
    see: compilations [b] & [c]
Tintinyana
for the 10.?.1971 sessions
 
      see: compilations [c]
African Sun
for the 10.?.1971 sessions

Ancient Africa
(Sackville <> 2.18.1973)

Intensely sculpted extended essays erupt into swirling dances, ringing prayers, and enchanted memories of home. Includes two 'suites': "Ancient Africa" and "The Aloe and The Wild Rose".

[Sackville -Can- 3049]

     

Fats, Duke and Monk
(Sackville <> 2.18.1973)

Rooted in the ancient waters that stream through Harlem by way of Africa. The middle suite, "Fats, Duke & The Monk" is a prime example of the 'Africanization of Ellington', or how a musical circle is given a second full turning! The first suite presented is "Salaam - Peace" and the date closes with the sober-ecstatic "African Portraits".

[Sackville -Can- 3048]

     
     

African Space Program
(Enja <> 11.7.1973)

Epic big band date made at the height of the loft scene in NYC. Simply structured around two flavorful vamps, including "Tintinyana", the simple African harmonic structures provide deceptively sophisticated launching pads for long strings of fervent solos. (The African Space Program would serve as the 'workshop' and touring group out of which the first permutations of Ekaya would be drawn.)

[Enja -Ger- 2032]

 

Good News From Africa
(Cameo <> 12.10.1973)

Tribal focused like tribal drum blows deliveringGod-centered Afrocentric messages from the ancient future.

[Enja -Ger- 2048]

   

Memories
(Philips <> 12.12.1973)

Favored themes and a medley of standards, including dedications to family members that resonate with a particular feeling of grace and affection. Includes four suites: "Township Sunday", "Love Song for Bea", "Memories", and "Majestic Warriors".

[Westwind -Ger- 2029]

     

Ode to Duke Ellington
(Philips <> 12.12.1973)

Echoes of Duke (Westwind) Marvelous interpolations and transmogrifications of Ducal themes place the King, Ellington, in the African tradition and remind the listener of Duke's central inspirational role.

[Westwind -Ger- 2020]

     
      see: compilations [a] & [c]
Blues For A Hip King
African Sun

for the 3..1974 sessions
      see: compilations [d]
Voice of Africa
for the 6..1974 sessions
      see: compilations [b] & [c]
Tintinyana
African Sun

for the 2.4.1975 sessions
      see: compilations [d]
Voice of Africa
for the 5.28.1975 sessions
      see: compilations [a] & [b]
Blues for a Hip King
Tintinyana

for the 11..1975 sessions
      see: compilations [a] & [d]
Blues For A Hip King
Voice of Africa

for the 5.16.1976 sessions
   

Banyana - The Children of Africa
(Enja <> 1.27.1976)

Teachers and spiritual precedent is remembered with an affecting sobriety. Includes "ASR", "The Honeybird", both highlights of the trio recordings and two long entrancing versions of "Ishmael - Zikr".

[Enja -Ger- 2070]

 
      see: compilations [c] & [d]
African Sun
Voice of Africa
for the 2.4.1977 sessions
   

Buddy Tate Meets Dollar Brand
(Chiaroscuro <> 8.25.1977)

Trio tracks: "Shrimp Boats / Zikr-Did You Hear That Sound". Both are highlights of the artist's trio recordings.

[Chiaroscuro 165]

Buddy Tate Meets Dollar Brand
(Chiaroscuro <> 8.25.1977)

Tate's peerless swing blooms in the midst of the pianist's trio. Although no lyrics are sung, the words are the very essence here, suggested in trio and quartet versions of several standards.

[Chiaroscuro 165]

 

Duet (with Archie Shepp)
(Denon <> 6.5.1978)

Shepp's languid, breathy and raw locus reworks itself in the company of the pianist. Mal Waldron's "Left Alone" is ravished into a poignant hymn.

[Denon -Jap- 8561]

   

Autobiography
(Plainisphere <> 6.18.1978)

Arguably the best choice for a desert island disc: in an hour-and-a-half almost the entire spectrum of the artist's solo art is captured. Unlike the intense African Piano, this set is burnished rather than burning. A great statement of generosity and hope.

[Denon -Jap- 80587]

   

 

     

Africa Tears and Laughter
(Enja <> 3.11.1979)

A spacious sound rises from this quartet on its feature, "Did You Hear That Sound?". However, this date is also notable for its solo "The Perfumed Forest Wet With Rain" and trio "Liberation Dance".

[Enja -Ger- 3039]

 

Echoes From Africa
(Enja <> 9.7.1979)

Tidal pressures felt in these ovations to spirit and mystery. Includes a glorious chant with duo partner Johnny Dyani, "Namhlanje" and the lovely desert airs of "Saud", dedicated to McCoy Tyner.

[Enja -Ger- 3047]

   
     

African Marketplace
(Elektra <> 12..1979)

Solos and a trio popped out of the little big band assembled here. As well as some storming township-flavored swing which distinguish this record made at the height of the much ballyhooed jazz revival in the US in the early 80's. Not surprisingly it remains, listening to it today, one of the most joyous records to have been issued during that era.

[Discovery 71016]

 
=starting points


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PART II.1980-current >>

PART III. COMPILATIONS >>

THIS IS PART I.