>> From the Library of Congress in Washington, DC. >> It is such a great pleasure to be sitting next to this gentleman. I've spent a fair amount of time today going through some treasures in the collection. >> Yeah. >> And it was fun to see your reaction to those including some things you haven't seen in decades. >> Yeah. >> Some not in 50 years. But even before we start, I'd like to acknowledge and thank Reva and David Logan Foundation for underwriting this entire residency of Abdullah Ibrahim. They also were generous in supporting the Maria Schneider residency. So we are grateful to them, and we're happy that you all came tonight. So -- [ Applause ] And it occurs to me that there are many different ways you can learn about music. These days literally you can go to school. You can go to conservatory. You can learn your instrument and spend your entire life practicing. You can read books. You can go to live performances, but for me one of the greatest ways to learn about music is to talk to the masters, and we are very fortunate that we have one of these masters with us here tonight. I want you to help me Abdullah Ibrahim. [ Applause ] So I think I'd like to start just by asking, you know, I alluded to the fact that that we had a session this afternoon, and we looked at some of the treasures, and I wondered if there were any things in particular that resonated with you, that really caught your attention? >> Well all of them, all of them. There's a narrative in the experience locked into the [inaudible] and Mingus and Eric Dolphy, Duke. I was fortunate that could interact with these great musicians. I haven't been in this part of the world for some time, almost 20 years as we did our last tour. The United States is gratifying and it is quite a wonderful experience, almost a step back in time, but that time in fact being brought to this present moment. And a lot of the music that I looked at is more like the things that we forgot to follow up. Especially as a composer you are always left with residual stuff that needs to be updated and upgraded if you go back to it. Some of the things that we [inaudible] we call it the spur of the moment and some years later you begin to really understand what it means. So it's this wonderful present that we've been given to understand what we experienced in the past in this moment, this present moment. When Jay and myself, Jay is my colleague from Johannesburg, when we, after we spent what was four hours -- >> We spent four hours. >> Yes. We went back to the hotel and we had promised that we would celebrate with green tea. But the celebration still hasn't happened. [laughter] Just a little [inaudible] of this wonderful experience that [inaudible]. >> I should mention and share the fact the fact that one of the extraordinary parts of our collection had to do with the copyright office and the fact that musicians and composers who registered their work before the 1970s would literally write out the composition on what is called a lead sheet. It's basically a skeleton of the piece. And this is how you registered your work for copyright. You would send in the lead sheet with a little feed, and then the copyright office stamps it, and we had literally millions of these. Many of them are stored in our warehouse out in Landover, Maryland. And so because I knew Abdullah was coming, I spent an afternoon in the copyright office just looking for anything either under the name Dollar Brand, which was his original professional name, or Abdullah Ibrahim. The things for Abdullah Ibrahim, he registered with sound recordings, but the things under Dollar Brand's name we have maybe 15 or 20 of them. >> Some of them, yeah. >> And they're in his hand, which to me is always revealing, to see somebody's handwriting. And so it was an indescribable pleasure for me to bring this envelop, to have him sit down, and I said, take a look. And we pulled out these sheets that he hasn't seen in 50 years. >> Yeah. >> And those songs, some of you, some of these songs are very well known and some not at all. >> Yeah, not at all, yeah. >> Some things you hadn't even recorded. >> No. >> So, can you give me a sense. I know you tend to live in the moment. You know, we talked about that. But at the same time, what kind of memories go through your mind when you see a composition you wrote 50 years ago, and there's a story behind each one. I've got to say, it's a document that was created or initiated at that time, and something that we have to follow through. It was imbedded in there as -- it was 50 years ago, there was a, I wrote the music either about an event or about people, and there's always this expansion of understanding what it is that we captured at that time. So seeing the music today, some of the, most of those songs I hardly play anymore, but, and then when you showed me some of the Ellington [phonetic] things that we wrote, at that time in '60 and from '59, we were already working on nontraditional harmonies and rhythms. And when I met Ornette [phonetic] and of course Ellington when I met Ornette and Don Cherry, they really endorsed what we had been, or I had been writing. It was like in the late '50s. So seeing the charts today says to me that these are works that need to be revisited and maybe completed. Is that what the charts were actually just like, were lead sheets, so it doesn't give us an idea of how [inaudible] symbols. So I would like to take some of the songs and just of restructure them [inaudible] also write for, to, as an anchor curriculum for younger musicians. And then include these works that other composers, like Ellington's Such Sweet Thunder. There's a wealth of, there's a wealth of, there's a wealth of material. Most of [inaudible] things that we haven't touched, so we practice, we used to practice 24/7, now it's like 25/8 [laughter]. You've given me a task. >> You know, one thing that occurred to me, just gauging your reaction to things today, these compositions of yours are born out of your experience. These are not abstract feelings that are evoked. These are events that occur in your life or people that you know, is it still that way? >> Sure. When I was in high school, my composition teacher gave me, people in your life give you little treasures that you keep, and it guides you on the path, and my composition teacher in high school told me that when you write about something, write about the things that you know best. Right? And the things that I know best is the people that I interact or events that happen. So in that sense, I think the stories and music and the sound then become unique. So I really don't have to compete or challenge [inaudible], yeah. >> Yeah. So, I don't know how many people here understand or know much about Abdullah's past and the context that he comes out of as a creative pianist, composer, and band leader, but so let's talk just a little bit about that if you don't mind. You were born when and where. >> 1954, Cape Town. >> And Cape Town at that time, your mother played piano? >> My mother and grandmother were both pianists in the church, AME Church. >> Okay. And so you grew up with a piano in the house? >> Yeah. At that time the instrument of choice [inaudible] was a piano. So many people had pianos in their homes. Some were pianos. Some used to be pianos. But there was a piano there. >> Did you take to it naturally or did your mother have to tell you to practice? >> Not really because there was an instrument in the house, so soon I became curious and started, you know, on the instrument. And my grandmother realized, and she sent me to a, to the local school teacher to learn how to read music. That opened up a complete another world for me. Not just musically but in terms of experiencing global or international dynamic. >> Because you were hearing music from all over the world? >> Yeah, because Cape Town was very unique in that field because of its geographical position. >> It's a port city. >> It's a port city, but you know it's the gateway between west and east, you know, between Europe and the east, so a lot of shipping, ships came through. So it has a very, very deep history. We have perhaps people from all over the world. From Malaysia there were slaves and political prisoners who were brought to Cape Town because they fought the invading Dutch [inaudible], and it became a battleground before between east and west. Cape Town when the Dutch landed there and then the British, there was conflict with the British and the Dutch, especially during the Crimean War when Cape Town became a very strategic point. The first people from our research, the first people who came there were Venetians and Arabs. It was a very unique place. So, at an early age we were exposed to this world culture and world music. Indian music, Chinese music. People were in the community. So if we look at our relationship with the rest of the world, for example, not specifically the west but the east, one of the things that we are researching now is the narrative Admiral Zheng He, who was a 14th or 15th century Chinese explorer. And from China he did about seven expeditions. He had 300 ships. The mother ship was the size of a football field and unsinkable. He had doctors and scribes, and he did to India and then back to China. And then he came around to India, to the, to Arabia and then down the coast of East Africa. And from the upper East Africa in Kenya, the people still at this day they have memories and recollection of this armada that came to, that came to the east, I mean the east, east of Africa. So there has been a considerable interaction, you know. This was 13th or 14th century. We suspect that he rounded the [inaudible]. So during the years we've been researching this connection with ourselves and internationally, one of the things that we researched, researching Venice, because Venice at that point was the center of [inaudible]. And there was a young Venice, explorer from Venice who traveled parallel with Admiral Zheng He, and then he went to Venice and the Pope requested a meeting and told the Pope all of his experiences, and he drew a map of the world. This was the first map [inaudible], and this was the map that Columbus is thought to have used, but this was from General Zheng He. So a narrative, a narrative [inaudible] and especially in South Africa is a very, very, very broad in perspective with world [inaudible]. So we were influenced by all of these cultures [inaudible]. And so writing the music was, some say write about the things that you know best. >> So as you're growing up, you're hearing music on the street. >> Yes. >> You're hearing live performance. Are you hearing radio? Music on radio? >> Yeah. We listened to the radio programs. There was one program from Lorenzo Marks because everything for us was monitored during the regime. You know, there were things that were banned, but we had, as always, we have young people who are very resourceful, so everything that was banned we had access to it in some way. [laughter] So we had radio and one of the radio programs was the Voice of America with Willis Conover. And we corresponded to that, corresponded with him, and when he passed away, when we came to New York, I met his [inaudible]. So it was through radio, jazz programs but, I mean, you know in South Africa, if you don't understand in South Africa we have nine different nations with different language and different cultures. I was fortunate that I lived you know every way in South Africa, so I was able to absorb some, you know, some of this culture. Radio, one of the first things that I heard jazz was on the radio. But also at that time we had ice cream, ice cream vans that would go around the town. >> The ice cream man, yeah. >> Yeah, they used to Louis Jordan and that's why -- [laughter]. >> That's a pretty [inaudible]. >> Ice cream man. >> I like that. >> So that's when I heard Louis Jordan. I thought, I don't know who this person was who made that selection, and that got us interested in him especially because Louis Jordan was like a precursor to Johnny Hutchinson [inaudible] right? And it resonated with us because he was also very close to our tradition. Piano, boogie woogie. [laughter] >> Yeah. So when did you start to attempt to play jazz? >> It was in the early [laughter], apparently the word got around that there was this young piano player, and these limousines used to pull up to our house. Again, these young resourceful people with no means of visible, visible means of support would ask me if I would like to play for their concert or their vocal group. And then my grandmother said, well, what are going, I was about, first gig was about when I was 13 or 14 years of age. And I used to play for vocal groups. You know, based on like the deeper the voice, and they copied this but it was traditional [inaudible]. >> These would be popular songs -- >> Very popular. >> Or religious songs or -- >> Well we played for everything [inaudible] -- >> Band songs, yeah. >> Yeah, we would play in church and then Saturday night you do your thing, Friday night, and Sunday in church. We played all the music. >> So you were telling us earlier tonight about your first group, something about tuxedo, a group? >> Yeah, the first big band that I played in when I was about 16 years of age was a big band because at that time the big bands abounded in South Africa. >> Yeah. >> And in Cape Town there were two big bands. The one I played with was called the Tuxedo Slickers. >> Tuxedo Slickers. >> And the theme, the theme song was Tuxedo Junction. >> Erskine Hawkins. >> Erskine Hawkins, yeah. >> Right. >> So we had this broad experience of all music from Britain, Africa, America, yeah. >> The east? >> Yeah. >> So I suppose most people's perception of South African popular culture, I'm talking about internationally, is all tied to this brutal racist regime that imposed an apartheid system. And I wonder how that regime dealt with jazz, so what did it represent to the regime and what did jazz represent to the musicians? >> Well we had really unique mentors. They preferred to remain totally anonymous. They'd tell us we will teach you but don't tell anybody about us. These are unsung mentors in our communities. Incredible people. Very knowledgeable. So these were our mentors, and at an early age they made us understand that this was not, whatever the regime was trying to tell it was, it was not really true. That we were dealing with a human condition, which you had to transcend. And so at an early age it was impressed on us that it was imperative that we should recognize that they are not our teachers, they were not our teachers. My great grandmother, [inaudible] we do not have interaction with the bushman people, never fought a war. The call themselves the harmless people. Because we seem to resolve things. So whatever the regime attempted to put into our heads to make us believe that this was going to be nonconflict, we understood. And our leadership also knew. It was like Mandela, this is what the narrative that was happening [inaudible] and not what they were telling us we were supposed to be and what we were supposed to be doing. So we understood that they are not our teachers and that they cannot choose the battlefield for us. >> But at the same time, they were able to control your movement, for example, where you went, how you could work, what kind of music you could perform. >> Oh sure. Who we should play with. You had to get a special permit for musicians, you know, [inaudible] ethnic group they are, but we understood that it was totally, not even unethical, it was, it was not correct because in the scheme of things you can't throw anything out of the universe. Where would you put it? [laughter] So no matter where, no matter where they tried to move us, [inaudible]. >> Was it dangerous for you to play jazz? >> It was dangerous, what they perceived to be dangerous [laughter]. We would, everybody was dangerous to them. Because their plan was to take away our identity, not just our ethnic identity but our human identity, you see, and make us believe that things can be solved through brutality, and we refused. We refused. And that was the power [inaudible]. >> Did you choose to play jazz just because you liked the music aesthetically, or were you trying to make a statement? >> Never making a statement. What should I make a statement about? What shall I say? [laughter] We understood and even up to the day that our goal is to perfect whatever it is that we are doing and nothing more. One of the bushman elders told us, I said to him, you know, humanity we are at loss. We need water and we need wisdom. So he said to me, that is a very interesting analogy that you draw, and he said, in the infinite there is always conflict between the planets and the stars, but it has to be like this because this is the order, and it takes a long time to maintain this order and there's a lot of suffering involved to maintain this order. And God put us on this earth to maintain this order. And it takes a long time and suffering, but eventually humanity will have to accept it. If you're like me, we were given the task to tell people about this order, whether they laugh at us or whether they push us aside. And wherever you are, I'm holding your hand. You are my brother. And this is the message that was there from our mentors and our elders. We are representatives here to maintain this order. And we will not follow them because it's not correct. >> Do you believe in fate? >> We say patience is to faith what head is to the body. >> Yeah, let me think about that. >> Patience -- >> Yeah. >> -- is to faith -- >> Yes. >> -- what head is to the body. Faith is actually patience. >> So -- >> [inaudible] patience. >> Are things in your mind, in your belief, are things predetermined? Were you fated or destined to be a musician, to be a composer? To live in the world? >> [inaudible] banned everything but we read everything. >> Ah, really. >> We experienced everything. I mean in the same case, [inaudible] we started reading everything. I mean everything from Shakespeare to Marx and Hagel and [inaudible]. We went through all of them. And [inaudible] the western philosophers, the process was this idea of predestination and free will. So how can you be predestined, be predestined, but you have free will. How does this work? Because if you are predestined, you can choose. If it's predestined, what is the conflict if you have free will. But the Lord's prayer says thy will be done. So everything is predestined. Either you believe it or not. This is where the separation comes. Because if you say that it's not predestined, you are saying that God does not know. And we were taught like from little children to live your destiny. And when you understand your destiny, you understand what other people live their destinies so we no conflict with all this. There is no reason to fight. >> So if you don't mind, let me resume the chronology. In early '60's, probably around '62, things become much worse in South Africa, and you choose to go into exile. >> Yeah. >> Was this just a gradual decision that you came to or was there an event or something that precipitated this decision? >> Yeah, for all of us there were events, like in the late '50's and '60's they became paranoid. You see, because they knew that change was going on because, and especially with the music that we played at that time. Our parent, our grandparents were a little more accommodating to understand that, but the '60's came and the collective understanding was that we are not afraid of you anymore. We have no fear of you, because before there was the fear. And especially with the so-called [inaudible] young people refused to study in African's language, and I took to the streets and everything was we have no fear for your anymore. And that was the beginning, the beginning of the end, and then they started reacting very violently. For me personally, because everybody understood this, there would be that knock on your door at four o'clock in the morning, you know, and nobody would see you after that. So, they came to me in the morning [inaudible] jail, and the next morning I appeared in court and I was charged with a traffic violation, and they were going to take me to some outpost there where I was supposed to pay the fine. But as I walked towards the court, the station commander, who was Africana, he said to me, are you not little Ibrahim, the jazz pianist, he said what are doing here. So I explained. So he pulled me out. >> He recognized you. >> Yeah, he pulled me out. You see, then I said wait a minute, there's something deeper than this. [laughter] Anyway so I explained to him, and he said okay, we'll try and fix it for you, all right. Then he was, well come into my office. Then he called this other policeman, Paul Jango [phonetic], this was his name, Paul Jango. And we all feared Jango because he was very brutal. So Jango came in, and then the commanding officer said to Jango, [inaudible] play nice music. Hey Jango, why don't you arrange a nice party for us? [laughter] Get some girls [laughter], get a [inaudible] because if [inaudible] this would be the end of me. So but my people bailed me out, and the next day I got out of South Africa because they were coming. >> And where did you go? >> I had a friend who invited us over to Switzerland. >> You went to Switzerland? >> Switzerland. >> And Zurich? >> Zurich, yeah. >> Yeah, okay. And at what point, is that where you met Duke Ellington? >> Yeah. >> Talk a little bit about the circumstances and what it led to. >> Zurich at that time, when we landed there, it was the coldest winter in 60 years. Whew. If we were headed right back. We stayed there, and some of students, they were very, very helpful, helped us get and accommodation. And then a lot of American musicians came through on concerts. I had a lot of them there, [inaudible], Jazz Messengers. >> Art Blakey. >> Art Blakey, yeah. [inaudible] That's where I met Wayne Shorter. >> Wayne Shorter. >> Yeah. >> Yeah. >> Freddie, Freddie Hubbard. >> And you start to meet more and more American jazz musicians? >> Yeah, jazz musicians. We had, I had this gig at this little club in Zurich. Then we had [inaudible] and so but the club owner didn't want us to have a night off to go there, so my fiance, my wife [inaudible], now she has passed on, Sathima, she went to the concert, and we were playing, in fact they were busy closing up the club when she walked in with Ellington and the whole entourage just come. I said, what? [laughter] She convinced Ellington to come and listen to us, and he heard us and then two days later he took us to Paris to record for Reprise, Reprise Records. And on that session, there was, Billy Strayhorn was there. Stray sat on the recording. So but before the session started, he asked Sathima, so what do you do? >> He didn't know she was a vocalist. >> No. >> You know that he was married at that time to Sathima Bea Benjamin. >> Benjamin. >> Who was a great South African vocalist, and so -- >> She said I sing. >> And he said, okay, we'll start with you. [laughter] >> In the studio? >> Yeah. >> Okay. >> So, I said, what do you want to do? >> And she said, I Got it Bad. >> So, he looks at me, will do you do it? >> I said no, maestro, this is your song. So I said okay, let me do it. He said what key. I said B. He said, okay, you do it. [laughter] I said you got [inaudible]. So they recorded, they recorded her and some of people, Billy Strayhorn, what is the piece that he recorded last time it was recorded it was by Ivy Anderson. >> I Got it Bad. >> Yeah. >> Bad and Good. >> And Strayhorn playing song, yeah. And this was done for Reprise Records business, Frank Sinatra's label. >> So Frank Sinatra basically hired Duke Ellington to be a producer or an A and R person? >> A and R, yeah, for Reprise. >> For his label. >> Yeah. >> And you were one of the first people they signed. >> Yeah, the first one. >> Wow. >> Yeah. >> And so what is Ellington like in the studio? Is he relaxed? Is he controlling? What's his personality? >> Very, very relaxed. [laughter] I learned a lot about recording, at recording session, because I mean when you look at recording studies in South Africa, you know, they, the process of recording was [inaudible] little thing that he said to us, and this totally, totally relaxing, relaxing man. I remember so one of the pieces, my drummer like to drum sometimes to the tempo, if the tempo starts like this, it would end up like this. [laughter]. >> That's typical. >> So, yes. So I said to do that I think we should record it again. I said well why? He was well, you know, the drummer picked up the tempo and I just leave it. That's folk. [laughter] >> Exactly. >> So, yeah. [inaudible] second take or a third take, you know. What is it? Unless it's a technical mistake, you know. >> For that you were working with your trio or -- >> Yeah, my trio. >> Okay. >> We had, and Svend Asmussen -- >> The violinist. >> The violinist, yes [inaudible]. >> Yeah, great player. >> He recorded, a lot of people around there at that time in Paris, and this was at the period when he did the famous Paris concert. So, we were blessed. >> And so I assume that when that record comes out and literally the title is something like Duke Ellington presents -- >> Presents, yeah. >> -- Dollar Brand Trio, that must have done something for your career? >> Yeah. We didn't realize until afterwards, but talking to musician especially afterwards and getting the impression of how this album really [inaudible] because it was something that they, they never heard about or thought about to go into, in terms of composition and in terms of concept, just go in another direction and open up everything away from a static total center. And Duke asked me, one of my songs was called Sunday the Seventh, and he liked the song, and he said to me, why don't you arrange for a big band. And everytime when he came to the [inaudible] and asked me, did you finish that? And I was absolutely terrified to write something for Duke, and I said, I didn't write it. He says, why? I said, I'm afraid I'll make a mistake. Well then tear it up and write another one he said. [laughter] Well I never attempted it [inaudible]. >> But there are good mistakes, right? >> [inaudible]. In the end when I studied budo [phonetic] and martial arts, we realized there is no mistake. There is no such thing as a mistake. A mistake is just something that occurs that you have to resolve whether it's in music or whether in your life. So, my Japanese budo master says when you make a mistake, make good mistake [laughter]. >> By the way, I know you have studied martial arts for many years. Are you studying Aikido? What are you, what specific art. >> There's only, well this idea of martial arts is totally a new concept to people. The term in Japan is budo, and budo is the calligraphy, is two words, so one in bu, which means stop fighting. >> Stop fighting. >> Bu, do, and do is the day, the way of not fighting. That nothing is worth fighting. The idea is the challenge with the self. So the principle is that you do not try to overcome others, you become unbeatable. And this is also the concept of playing the music, the way that, that's why you keep on practicing and practicing, right? In order to reach that [inaudible]. >> So if you practice enough maybe you become unbeatable? >> My teacher says budo not for fighting. If you want to fight, use gun, quicker. [laughter] >> Yeah, I see. Uh-huh. >> So the -- for us the practice is 95 percent, performance is 5 percent. Because the essence and the understanding lies in the continuous repetition in practice. This is where you begin to understand yourself because music is just your means to an end. It's not an end. >> Yes, you said yesterday it's pointing. >> Yeah, like language, you see, language is a finger pointing at the moon, but it's not the moon. >> It's an illusion. >> Pardon? It's an illusion. So you're dealing with what is hidden and what is obvious. So for many people in a culture you have about people of 90 percent obvious and 10 percent hidden. For us it's 10 percent obvious and 90 percent hidden. And so you understand with all the jazz masters that this is the way to attainment. >> So when you're talking about practice, what are you referring to specifically? Are you talking about technique, being able to play cleanly, evenly at the keyboard, or are you talking about something else? >> You know, if you're a piano player, you know finally after all these years I bought, I could afford to buy a Fazioli grand piano. >> Oh, nice piano. >> Yeah because the studio, the factory is just up the road from where we are generally. So finally I got a Fazioli piano. Now if you have a piano, you need a home. [laughter] >> It helps. >> Yeah, I move stuff all around, you know. So finally, my fiance, she's a medical doctor [inaudible] so now I have a grand piano. So now the problem comes with practice with the neighbors. [laughter] >> Oh. >> Yeah, it was always a problem. >> Oh. >> You know, those years we tried to sound proof the rooms and you had one of these, something that they put the eggs in, you remember? >> Yeah, egg cartons. >> [inaudible] work. >> Yeah, sound proofing. >> So, we were thinking, well how are we going to do this, how are going to sound proof this room. And then my fiance said, why don't you speak to Fazioli because they're working with Yamaha and they've created this attachment, it attaches to the piano, but you put the ear phones on, you see, so it's still the sound of the piano. It's not a Mickey Mouse sound, you know. So you [inaudible] and you play acoustically, or you put the ear phones on. So, the reason why I got is because my neighbor, when I started practicing, he said to me, oh that's wonderful playing, but can you play a complete song? [laughter] I said to my fiance, get the ear phones. Because the practice is the principle of repetition. So like with everything, if you want to perfect it, it comes through repetition. And sometimes it's very, very boring, but you begin to understand the things that emerge through this constant repetition. Because there are no secrets. There are only basics. >> Are you a disciplined person? >> That's a big word. Yeah, yeah. >> Organized? >> Yes. People might not see it like that, you know. [laughter] I always don't play anything but I have these things lying around the floor, don't move this. The hotel room, in the hotel room when I stay more for three days I leave the do not disturb sign on the door. Don't come in here. You know, because the maid wouldn't understand and move it, move it from the floor. So that is my, that is my order. >> Let me ask you a little bit about your process as a composer. Are you someone who constantly works to create build a composition, or does it ever just come to you fully realized? >> Sometimes it comes fully realized [inaudible], and I have no explanation of how it comes. I have a song called, a composition called "Did You Hear that Sound." And it was just before day break, and in a dream this man comes to me and says to me, come to the piano. So, if somebody tells you in a dream, you better do it. So I go to the piano, and he says play this. [ Imitating Composing Music ] And then it disappears, you know. So I went to the piano, and there was the complete, the complete changes of the song. In our tradition we refer to it as transmission, but T, R, A, N, C, E. The trance, transmission. [laughter] >> I get it. >> Yeah. And that is how knowledge is imparted from the elders to us also is through this process, because it's not an intellectual process, it's something that happens on another [inaudible]. >> You mentioned earlier that when you are looking at some of your older works that you hadn't seen in years and hadn't been performing in years that you might like to revisit them, and I wonder if when you do revisit an older composition, are you tempted to tinker with it? Do you change it in some ways, or is it fixed? >> Well, this project that I have in South Africa, I call it ancient tradition new relevance. Because no matter what it is, if you wrote it 50 years ago, it's an ancient tradition but there is new relevance to it. Everything has new relevance because for us there's no past. There's no future. There's only now. Right? And that's why we -- jazz music is [inaudible] because you're dealing with this instant, and it's also the mindset and tradition of the ancients that you're dealing with now. Art Blakey never allowed his musicians to bring music to the stage, written music. You had to memorize everything. And so if you, for example, you're dealing with, only dealing with written music, you are dealing with the past. Something that has been recorded in the past, but it's now. >> So when you write a new work for one of your bands, let's say Ekaya, do you actually hand out the music or do you teach it to them for their ear? >> How I do it is maybe I write something but just sketch it out. I keep it hidden. Then I go into the studio, and they're busy setting up. Then I start playing the new composition, and then some don't hear what I'm playing. And then the tenor player will say, hey, what was that? You know, [inaudible]. Then we expand from there. Something that I learned from Monk. Monk was recording, and somebody who worked in the studio with Charlie Rouse, so they were rehearsing, and so I said to Monk, Monk when do you want me to take a solo? And Monk said just find a nice place [inaudible] [laughter]. And I said, wow, nothing technical about it. Is this what you learn? We learn from the masters how you can convey what, you know, your compositions to musicians. So you give them the freedom to express themselves. >> I know you've spoken about the healing power of music. >> Yeah. >> Do you think all music is healing? >> Well -- -- everything is beautiful. It's only our individual perception that says it's not. [inaudible] the Japanese, Japanese tradition and culture that says this concept of finding beauty in decay. >> Yes. >> Finding beauty in decay, as if something is old, you have to remove it. But in our tradition, there is no, there is no past. There is no past. There is no for the record. It is now. So there's this object that you see whether it's a human being or whether it's a tree or whatever, that point, from our perception, it is old, but the perception, excuse me, this is a, this decay, this [inaudible] life, whatever. So to see the beauty, see the beauty in decay. >> Yeah, because if we are conditioned and used to throwing things away as they get old, what do we do when we start to decay? >> We don't decay, we just get smarter. [laughter] >> Oh, you think? >> Sure. >> Okay. >> Fully. [laughter] That's what Bruce Lee said. >> Ah, yes. >> Whatever is when you get old and you can't fight anymore and you get smarter. [laughter] >> Does, you were talking about practice and how beneficial that can be, and I wonder whether practice enables us to meet certain unexpected challenges in performance or in life. >> It deals with your ego. >> Oh, we talked about ego the other day. >> Yeah, it deals with your ego because through practice there's always a challenge. We he says, oh, you don't know it. You know. So it challenges the ego, constantly. >> And this ego, I think you referred to as the whisper. >> The whisper, sure. The ego, the ego is always there. >> Always whispering. >> That's why the stage is the most dangerous place in the world, performance based. >> Why is that? >> There's a whisperer. When I play a concert and when I get up and there's applause from audience and I acknowledge their applause, and the whisperer says to me, hey that was a great concert you played. [laughter] Then I said to him, I only do this through grace. Then he says, wow, you're really humble. [laughter] So you are under attack, you're under attack constantly. So through practice you are actually engaging and challenging with self because the gateway to knowledge is past the whisperer. Because the whisperer's job is to keep you away from it, keep you away from the knowledge of the self or whatever knowledge, so if you can understand, I never understood when I started engaging with this and I did not have any work and then my teacher told me you better your whisperer to work, otherwise you will starve. >> The whisperer is like the lions at the gate. >> The meat cake. [laughter] >> Okay, sure, why not. I have many more questions I'm dying to ask him, but I think some of you may also have questions, and we certainly could entertain those questions now. If anybody has anything you'd like to ask Abdullah, in the back of the room there's a microphone. >> Good evening. I appreciate your artistry and your humanity. My question is, are you looking to explore music scores some more? I really enjoyed the Chocolat music score that you did. You are you looking to do more music scores. >> Yeah. Movie scores. Chocolat was Claire Denis, the director. This was her first film as an independent director because she worked with some vendors on Paris, Texas. And so she asked me to do the music for her, but she had been listening to the music after she was, when she was filming, or getting the concept. We are working on several new ones. One of the, one of the ideas that we are working with the filmmaker now is to do the same process that Miles did with Ascension to the Gallows, where there was no written score, but you show the movie and you improvise and play on it. So busy with, we were busy with this. Claire, what is [inaudible], No Fear, No Die was another score that we did for her. So films really, yeah, this synergy that I can create between the musicians and the film itself, so with Claire and also this new movie that we're working on, the concept is that I suggested to her that I ascribe an instrument to a character. You see, so for example, we have Rickie Ford, you know, because he has that temperament, you know, locking with the character. And it works. Instead of actually writing, you know, the film score -- are you a filmmaker? >> Ah, no I'm not. >> Okay. >> Who else has a question? We have right in the center here. If you want to pass that microphone down. >> Good evening, thank you. I wanted to ask you a question about sort of your musical and spiritual roots being in the African Methodist Episcopal Church and you've since transitioned to Islam, and I'd like to ask you about whether or not there's a certain time in your compositional history where that transition is reflected and how it might have changed your practice or your composing or anything you do musically. >> Oh. Some people have asked me now to do other things, to create a musical on my life story, you know. So, we were looking at how do we connect this narrative chronologically [inaudible] you do it through actual time period with dates, you know. I said well, this has been done so many times. As you people suggested, okay, so why don't we take the characters, and that is the link. And I said, no, I think the link is the spirit. Right? Because the spirit is [inaudible], and the spirit is universal. And again, like I said, well what happened with the [inaudible] said it was a collective change of the spirit. So even my grandmother was one of the founding members of the AME Church in Cape Town. It was the African Methodist Episcopal Church out of Philadelphia [inaudible] founder of it, and they sent bishops to Cape Town, African American bishops, and they intermarried there. So at an early age in the AME Church I had this Bishop Barnard, Bishop Young, and this experience of whether, the experience in the United States. And it always has to do with not what you think but what you feel. So for us always, always the expression, technique, technique of me to, the technique is there really so that you can better tell your story. That's what the technique is about. But the communication is through feeling. And this is at the heart of the narrative of all people everywhere in the world. I realized when I was a young person that what I needed to do was to find my own voice because I knew what everything sounded like. If I would hear a car, that's a car. If there's was sound of a bird, that's a bird. But what was my sound? So I started researching what is my sound. And then when you find this, then you are unique because millions and millions of people on this earth, and I can hear your voice anywhere and recognize it. So the voice is our relief on identity. >> Who else? Yes sir, in the front? >> Well, I actually, no, no, he answered my question. I was going to ask you a question about your spirituality because when you spoke I could hear certain things from Islam and certain things from Christianity and then with you going to Japan, I didn't know if some Buddhism or Hinduism was in there, but you answered the question when you talked about finding your own voice. >> I think, thank you so much. I think basically what we, when we look at this, we always equate things through religion, you see. We equate it through spirit, you know, the spirituality of it and not the exterior dynamics, because they're all the same with little differences here and there, the narrative has been changed, but it's basically the same. And some of those things are imbedded, for example, in the spiritual. I did some changes to the spiritual, some people don't like it, but one of the things is -- as you know, we're jazz musicians, right, because you [inaudible] play the changes. You know, that's why I started writing my own compositions because I said I am going through my own changes [laughter], why should I be worried about playing somebody else's changes. Well [inaudible] you've got a harp, I've got a harp, all God's children got harp, when I get to heaven I'm going to play on my harp but only with the guys who know the changes. [ Laughter ] That makes sense [inaudible]. So we don't perceive religion or nations or tribes or colors. What we have been given, the spirit within us, hopefully. >> Right in front. >> Thank you, for me Gil Scott Heron in the early '70's was an important voice to bring me some awareness to South Africa. Did you get a chance to ever meet him and collaborate with him since he was somewhat crossover. >> Who was that? >> Gil Scott Heron. >> No, I remember when Gil Scott, we had been planning to do, when he was at Johannesburg, what is it, Cape Town, what is it called? [inaudible] yeah we had to be thought about doing a collaboration with [inaudible]. What a great musician. There were a lot of open [inaudible] with that song, what was it called? Johannesburg? >> Johannesburg, exactly. >> Yeah. So there were many musicians around that time. Some of them didn't get the exposure but were involved in supporting the struggle. Because, you know, remember like the late 50s, you know, there was a great international. One was like [inaudible] change with many, many things. Globally. And we were almost sort of like at the center, the center of it, you know, at the beginning of the liberation of Africa. You know, many things have changed. So we as young people at that time, as musicians, we were involved in this change, and so when we were living in South Africa, living in the township, you see, I mean we had everything. From Shakespeare sonnets to Russian poets to things fall apart from [inaudible]. It was an opening, I guess maybe the more you impress people the more they want to go out, so yeah. >> I assume you keep up with what's happening in the world. >> Yeah. >> Do you look at the news? >> Sure. >> Do you think things are coming together or falling apart. >> It's the same. It's our only perception, you know, whether it's falling apart or whether -- >> But what is your perception? >> There's no past, there's no future, there's now. So most of the conflicts that we see are things from the past. I think -- and so for me this concept of playing jazz music, okay let me put it this way. I worked with symphony orchestras and philharmonic orchestras. There are 90 musicians. I say, anybody want to take a solo? No. Why? We're afraid. What are you afraid of? We're afraid we'll make a mistake. But jazz music is, the concept is the concept of entrepreneurship. Because if you go and look for a job, you want to know how much you get paid. You want to know if you get insurance, right. You want stability, but the person that you're going to work for was somebody who took the last hundred bucks and took a chance. So this principle of entrepreneurship is within this concept of the now, improvising. Right? So this is something that we can create, and when you're talking to people in government, they said well how do we address this issue of young people every year being thrown out into the job market with pieces of paper and no job. [inaudible] in entrepreneurship [inaudible] and the question is having the fear, you see, because the devil threatens us with poverty. >> And you always have that whisperer. You always have your whisperer and think you can't do it. But jazz music says to you, we feel this. >> Who else has a question? Right there. If you want to hand the microphone back. Okay. >> Thank you. A number of years ago I had an opportunity to sit in a similar kind of situation with the Library of Congress and there was an interview with Dafnis Prieto. >> I remember that. >> He's a Cuban drummer. >> Dafnis Prieto, the Cuban drummer. >> And when I was there, I was struck by his comment that he regretted in some way living in New York because he was separated from the place of being where his Cuban roots were. And I'm wondering for you if you still have access in an authentic way to reconnect with your place where you came from originally and how does place change what it is that you're creating. >> You mean where I am in South Africa for example? >> If you have access to go back to South Africa, if there's an evolution that's coming, something new that's coming out. Dafnis, I believe, was suggesting that there were new ideas that were in Cuba that he was not really able to access because in New York he was being asked to play kind of traditional styles and couldn't really be branching out too much. >> Yeah, I get the sense before in South Africa we have nine different nations, and I am fortunate that I lived in all of them, and we still accessed all of them. [inaudible] all the languages, but we understand that -- so through the, but through the music we have created a synergy, and this is what we are working on. We have a project called ancient tradition, new relevance. And we acquired a farm in northern Cape which was called a green Kalahari. We have 800 hector, so seven kilometers by seven kilometers by 5 kilometers. We have suites underground, water system, which comes from a very unique underwater delta that runs under the farm [inaudible]. We have about 150 spring [inaudible]. We have ostriches and everything grows there. We are in the heart of solar power that is being developed. We are in the heart of wind power that is being developed now. We have just created a relationship with a project called SKA, which is the Square Kilometer Array, the [inaudible] telescope that looks into the universe. It's a one-hour drive from the farm, they would set this up. Last year we graduated about 170 young astrophysicists. And about three hours up from the farm, we are at the border of Namibia and Botswana. There's the last remaining group of bushman people who still speak the language. So we have been working with them for years because they can transmit this information. They're helping us with plants and understanding the animals. They have something called a hooday [phonetic], which we know when we grew up, you know what it is? The root that you eat and it cuts off the hunger center so you can go without eating for days. I think about it down in America, now they're created a, what you call it, a slimming pill. So we are working with them. And how we can transmit this information through the younger generation but also make it viable for them to be a reliable product, new product. So the SKA [inaudible] Square Kilometer Array project, they know about the part that you can actually put the telescope, you can look into the universe, you can look into the creation. So in Cape Town, for example, they have a command center. In Cape Town they have about 50 young people [inaudible] going there you see that they are, the console they are locked into, to monitoring the universe, second by second. So we have, because they have a like one-hour drive from where we are, there's a part of the project that we brought on board. So when we are creating like they have agreed for us to [inaudible] on telescope, because in the [inaudible] next to us, the biggest one, the largest, biggest business [inaudible] because there's nothing [inaudible] there's nothing there, it's desert, it's the clearest vision into the sky. So we are looking, we are looking at this project, so we have, heaven, earth, and we have people, because [inaudible] young people. So what do we say to the young people, okay, why don't you create, write compositions about or write music about these events. Or say even create a product about it. So the [inaudible] animals. At the University of Johannesburg, there's a team of scientists who have been working on this project, you know, the dung beetle, right? We used to watch this dung beetle when we were kids and played with it, but the dung beetle always moves the ball backwards, right. [inaudible] sometimes he gets on top of the ball and he [inaudible] and then he goes on again. So what they realize now they put barriers [inaudible] because how can you find a home with the ball going backwards. So I find that when there's a barrier, he stops and makes his dance and then goes around the barrier to find another way. So they understand now that during the day, when he has to dance on top of the ball, he gets orientation, in the day gets orientation from the sun and at night from the Milky Way. This is the dung beetle. So, these are things that we knew when we were children, but we didn't know the -- you know, always the question, what, what is this, what is thing doing. So now with modern technology we're beginning to understand. Why isn't the scope of education and why isn't the scope of possibility for job opportunity, for work. Yeah. For one of the, one of the ideas, and so we look at all the different animals. And you see the relationship that the bushman people had with animals, which is like all hunter gatherers. And if you see them hunting, hunting a deer and the process of when an animal dies, you know, speaking to the animal and thanking it for giving it's life, you know, for sacrificing it's life. So the idea is this not breaking the link of the cycle. If we break the link with the cycle, then we have disaster. In Cape Town, for example, I'm [inaudible] have problem with me because the bees are gone, which we know everywhere, the bees are gone. So, you know, if the bees are not there, it means that there's no food protection. So on the farm we know that there are bees, though we know there is honey, we haven't found the nest, because we see the bees. So one person suggested we should do something. What do they call this bee farming with the -- so we say yeah well I know guy, the guy can bring a queen bee. I said, whoa, wait, wait right there because now you are upsetting the natural rhythm. So to answer your question, we've been busy for many years, and now some people are coming on board, people in government, because they are beginning to understand that this may be a viable, viable idea. But it's also a way that we think and play the music. It's organic. >> We have time for, oh, one last one in the back. >> Yes, thank you. This has been a wonderful experience. I'd like to revisit a question that Larry asked about when you went into exile with kind of a two-part question. So when you went into exile and during that time when you were away from South Africa, how did the news of hearing about family or friends or comrades you know being lost to the apartheid system impact your music and playing while you were in exile, and then when apartheid ended, and you were finally able to come home, how did being able to return home to a new environment, a new South Africa, that was different from what you left impact your playing? >> The experience is through the spirit. Cape Town is the place where I grew up, you know, five, ten kilometers outside of Cape Town, called Kensington, is where I grew up. And we used to have this what they shabeans [phonetic] brothels because we were not allowed to drink liquor. So the people they elicit what we call them shabeans, where you could buy this liquor. Then it became a communal thing, something that is still ongoing there where people collect and meet socially. And there was one of these places in Kensington. It was an old little house with corrugated iron, and I always loved to go through the shabean to go and drink some beer there because I had a special feeling about this place. I didn't know what it was, but it felt so calm and wonderful. So when we went into exile, this was one of the recurring dreams that came. You know, this feeling that I am back home and then you wake up to reality. So when we went back I said let me, let me go and find this place. The first thing that [inaudible], let me go an find this place. What is it there. So, I went, and I grew up in the place. I drove around for a week. I couldn't find it. Up and down, up and down. So I told my teacher, and my teacher said just try it again. So the second time I found it. And it was still an old house. It changed a bit. It was still basically the same thing. And I said I want to make a dealy dee [phonetic], a story, get some filmmakers and you know write some music and tell this narrative about this house. So I went to this house and I said to the people, please I would like to do a film here with some music. And they said well you need to ask the owner of the place, and the owner of the place lived in the street just up the way. But the grounds were massive. It was almost like to the end of the street, the whole block, and there was this house sitting at the back there. And then I remember from childhood that those people in that house we never had contact with them. They were there, but we never saw them and it was don't -- there was no communication with them. Anyway, so I said let me go to this house and ask the owner there if I can film. I was standing at the gate, and there the guy from across the street comes and says how you doing? What are you doing? And I said I want to shoot this film, but they told me to come and speak to this, to the owner. He said, well you came at the right time because I am the only one allowed in this area who has access to this house and the family, so I'll take you inside. So we walk into the house, and he knocks on the door. And the door opens and the picture that I see, I'm looking into maybe like the 16th century. The furniture, they had the, you know those old oval picture frames with sepia, and this woman comes out, right, pitch black with dark, dark hair, and I look at what she's dressed in, like 16th century. You know, I thought I was seeing a ghost or something, you know. And she was very, very reserved. I introduced myself and said I would like to do a film [inaudible] it's okay. So I left. I said wait a minute now. So I drive around. This was in Seventh Street, right? So I drive around in Sixth Street because this is where we grew up. And this house, the people in this house, we never saw them, but from Sixth Street, because this place is like on a hill, there used to be a tunnel that we used to play in, you see, but the tunnel at some point was closed. So I said but this tunnel leads into this house. Then we discovered what it is, you see. This was a slave quarter, right. It was a slave quarter, and that lady was a descendent from the slaves that were taken there. So there's a slave quarter. That was what we saw when we played as kids, this, this tunnel. So what I felt I think at that time, why this thing resonated with me, you know, of going to this house, in our terms is the answer was speaking to us. So what is our task now? This happened some years ago. I just left it at that. We are going to New York on -- >> Saturday. >> Saturday. We're meeting, I don't know if you know Dr. Olastar [phonetic]. You know, she's at Brown University. She has been doing an internship in South Africa and in Cape Town especially, looking at the history of slavery, right. So she's actually gone to Cape Town to where these slave quarters were and trying to research it. So we are working with her together. So, to answer your question, you see, being in exile and coming back, it has in some ways nothing to do with people. You see, we are just a conduit for something that takes us there and what we are supposed to do. Right? I think what we need to do is just accept our destiny. And through the music hopefully we can, we can this narrative of the self. Narrative of the self and the narrative of the history of the planet. When we speak about what Admiral Zheng He, 14th century explorer with 300 ships, and we're talking about the bushman people, and talking about my teacher in Japan, and being here for example. Today Jay and myself spent four hours with him just looking at these documents, you know, the music that these people have. Now we are fortunate in that we know some of them, Mingus, Eric Dolphy, Ornette, Ellington. I mean for us, they're actually not musicians. Ellington for us, when we grew up in South Africa, Ellington was not an American. He was a wise old man in the village that you could go to and ask for advice, and the advice was imbedded in the music. So the idea is just to give acknowledgment to all these great people who are actually mentors, and like with all mentors, they never tell you the story straight. [laughter] You have to go research and find out what did they actually say. >> And now we've come more or less full circle. >> Yes? >> Yeah. >> You have one last question? This will have to be the last one. >> I want to just ask one question. I grew up listening to you in Rhodesia, right next door, and they used to play your music, but it's kind of like, in those days it was kind of sensitive or back in the '70's before our independence. I was wondering, how come you're, you're actually singing like some [inaudible] but how are they political and what are you really -- I don't see any enthusiasm or popularity with the jazz in our region in Zimbabwe, Mozambique, Botswana, [inaudible] it is something you are doing lesser to probably cultivate [inaudible] in southern Africa, but I don't know what is your opinion about jazz in southern Africa, especially? >> I'm trying to understand what you -- >> Yes, what I'm saying is what, how do you assess the impact of jazz in our area, in southern Africa, or in Africa as a whole, including [inaudible]. >> Jazz music? >> Yes, jazz music. Yeah, of course, we have a lot of great artists from [inaudible]. I don't see a lot of jazz enthusiasm in the young generation. >> Let's let him answer the question. >> Yeah, thanks. >> You sure? Well where you from? >> From Zimbabwe. >> From? >> From Zimbabwe. >> Zimbabwe. Have you been to South Africa recently? >> Oh, it's been a while but -- >> It's smoking man, there's so many musicians. [laughter] >> You know South Africa has the biggest jazz audience in the world. >> Ah, okay. >> Yeah sure. South Africa, we had the only black-owned jazz record shop in the world. South Africa in the townships on a Sunday, they have -- it's almost like secret societies. They meet every Sunday at people's home, and they play jazz music, and they put them over the speakers. That's where you can go. Go into the township and you ask anybody about Ornette Coleman or Guy Warren. You know Guy Warren? Guy Warren is a drummer from Ghana. He came to the states and played [inaudible]. Right now, right now in South Africa there's a wealth of young musicians who are playing jazz and also we just created a, or started creating a jazz, a little jazz club. All over South Africa, every weekend in the townships, they have what they call jazz clubs. Every township in South Africa. And people get together at homes, and then they play the speakers, and they have a little taste, but that's where you hear all the jazz music. >> I was also asking about the [inaudible]. >> About? >> I was also asking about the other countries in the region, like Mozambique [inaudible] some of the -- >> I wrote a song called Zimbabwe. >> Yeah, yeah, I know. >> I wrote a song called Mozambique. [laughter] I wrote a song called Namibia. >> Oh yeah. >> I wrote a song called Botswana. >> Oh, okay. >> So we thank you for that question. >> Okay, thank you. >> We thank everyone for coming tonight. And it occurs to me that we've come full circle. We started out by talking about how you can learn about music from talking with the masters, and this is a perfect example tonight. Please help me thank Abdullah Ibrahim. [ Applause ] >> Thank you so much. [ Applause ] >> Thank you. >> This has been a presentation of the Library of Congress. Visit us at loc.gov.