This was a nicely blended, somewhat mellow and seemingly quite finished recording by Abdullah Ibrahim with Carlos Ward (alto sax, flute), Essiet Okun Essiet (bass), and Don Mumford (drums) called Zimbabwe. Interspaced with non-originals were four Ibrahim compositions, most of which were inspired by the imagery from Ibrahim's South African roots.
This project is built on a paradox: the idea that a large-scale African landscape can best be expressed musically in the most Germanic of media, the full romantic orchestra. Schnyder employs a sonic palette closely associated with Bruckner, Mahler and Strauss. It works because Ibrahim's eclecticism extends far beyond his African roots and encompasses American jazz and blues, Arabic influences, English choral and European romantic music. (Schnyder points out that, as a master of suspense and musical space, Ibrahim is a great "rest composer" in the tradition of Bach and Beethoven.) It also works because Schnyder's arrangements are deeply in touch with Ibrahim's belief in the hypnotic, cathartic, healing power of music. The huge ensemble never overwhelms or intrudes. It surrounds Ibrahim's trio (with Marcus McLaurine on bass and George Gray on drums) with airy, translucent elaborations that add scale and texture and fascinating detail to this varied fabric of incantations.