Appeal of Ibrahim Transcends His Roots

South African-born pianist Abdullah Ibrahim’s music, especially that of his seven-piece ensemble Ekaya (“home”), is well-known to be rich with the rhythmic and melodic tradition of his homeland. But his trio appearance Saturday at Cal State Northridge Performing Arts Center, though having its roots moments, was a varied program of universal appeal as Ibrahim transcended category with subtle, straightforward themes and coolly considered play.

There were moments, notably in the second set, in which the trio jumped with township feel. But the night’s biggest impression was left by its more thoughtful moments, when the dignity of Ibrahim’s pace was at once spare, patient and spacious.

In two long, unbroken sets, Ibrahim frequently spun tales from this dreamy landscape. His improvisations worked at rhythmic counterpoint to deliberate riff and melody. The result was a performance often hypnotic in its contrasting moods and emotions.

Touches of Ibrahim’s champions, Duke Ellington and Thelonious Monk, fell into the flow, often as segue between numbers. And much of the pianist’s own material carried the flavor of those two masters in its thematic simplicity and rhythmic interest.

Some of Ibrahim’s music had the familiar feel of a folk-tune. Some pieces resembled hymns with their stately, dignified themes and devotional lyricism. Often, the lilting tempos suggested dance movement.

Tight, attentive interplay among the three men gave the music an especially sympathetic feel. Percussion shading crafted on rims and cymbals by drummer George Gray made for an orchestral effect against the piano chords. The drummer built this sound against a steady, sometimes African-influenced beat. Ibrahim’s spare style encouraged fills from Gray and bassist Marcus McLaurine, who likewise kept up support as he responded to the play of his bandmates.

When the music did move to African-rhythms, it jumped and swirled with an athletic grace. The pianist often joined in the percussive exchange, sounding chords against Gray’s bass-heavy beat.

Ibrahim’s ability to intertwine these rhythmic responses with beautiful, lyrical phrases made for engaging solos. Even when improvising at slower tempos, Ibrahim sustained interest with lines layered in counterpoint to the moving backdrop of his bandmates.

The small audience of fewer than 100 gave long standing ovations at the end of each set that Ibrahim, who did not introduce any part of the performance, accepted silently and graciously alongside Gray and McLaurine. The act was as dignified as the music that had just been presented.