The Manrilla Blog | Life. Art. Religion. Culture.

The following is an article about the Sudanese bassist and composer, Ahmed Abdul-Malik, that was originally published in Down Beat Magazine, July 4th, 1963. The article was written by Bill Coss. Beyond an excellent insight into the workings of a master musician, Abdul-Malik ties the thread between knowing the Creator and knowing one’s world. Given Modernity’s fractured vision on the relation of things, Abdul-Malik’s words are erudite and moving. He was also a stellar musician of world-class calibre. Hat tip to Doug Benson for the resource. May Allah have mercy on his soul.

In some degree, all music is about something. But what it is about, its contents, differs widely and generally determines its essential worth.

For composer Ahmed Abdul-Malik the content encompasses all the sciences. particularly the sociological, ethnic, and theological. The easiest thing to say would be that Abdul-Malik is different from most jazz musicians, and both his brief biography and the development of his thought immediately show that difference, while at the same time serving as a primer for youngsters who might aspire to be what Abdul-Malik considers the complete musician.

All his conscious development has come from religious convictions. “People think I am too far out with religion,’ he said. “But it is so necessary to know the Creator, to know the rules of being - what it means - to know the commandments, to know you are commanded to use your intellect and will… That allows you to advance in all subjects. How else can you know about life? And music is life.

“You must do subsidiary study. All music has its own history, of course, and you need to know that, but it is also important to know the non-musical side of a people. That way you learn more about their music. By studying a people’s habits, you find their musical expressions.

“That you are commanded to do. The whole health of the world is based on each contributing to one another: doctors, bakers, musicians. If musicians want to co-operate, they must be masters of all scales which will broadcast to the receiver of the mind.”

“Really, a musician should be in excellent condition, physically, mentally, professionally, and scientifically,” Abdul-Malik continued. “I have studied all the elements: animals, insects, plants, space – the universe - old and new jazz but most importantly the Creator.

“How can you play beauty without knowing what beauty is, what it really is? Understanding the Creator leads to understanding the creations, and better understanding of what you play comes from this. How can you understand fully without knowing the start, the continuation, and the ending? Read more this entry »

Through my middle brother, who is a professional musician, I have come to know many other musicians here in the Philadelphia area. I’ve known Tom Tallitsch for quite some time now, as he’s played with my brother for many years. Tom is a jazz saxophonist and jazz educator here in the NJ/Philadelphia area. He was putting together a new media kit for his new disc, Duality [see iTunes], and wanted me to photograph him for it. It was a simple session I did in my place with a couple of strobes. Canon 10D. ISO 100. Hand-held with studio strobe.

Retrospective?

Life for the past six months has had its fair share of unenjoyable moments. Non-stop work, study, writing papers and the like have left me with little free time, none of which has been spent listening to live music (which is one of my favorite things to do). The last two nights was an enjoyable break from that trend. For the first time I had an opportunity to listen and also photograph Kurt Rosenwinkel, who played at Chris’s Jazz Cafe, in Center City Philadelphia.

I have been a long time admirer of Rosewinkel’s work. He is without a doubt one of the most unique voices in modern jazz, both in his sound, playing style and especially, his song writing. Kurt was joined by Mark Turner on the tenor saxophone, who recorded with Kurt on his latest album, Deep Song. Rodney Green accompanied on drums (who played his ass off on Christian’s Sci-Fi album), as well as Aaron Park on piano and Joe Martin on bass.

Both sets I heard consisted of the same song list (my only critique as someone who came two nights in a row. Kurt’s got so many good tunes I’d've liked to have heard a few more). A couple of songs from his new album as well as a new original, Ezra, a ballad of sorts that is name after his new son. They also took a spin on Milestones which was quite enjoyable. On a personal level, Kurt was very amenable and even had a chance to shoot him with one of his old teachers, Jimmy Amadie, who showed up to see him. I hope to have another opportunity in the future to see him play. If Kurt shows up in your neck of the woods, I’d highly recommend taking the time to go as well as picking up anyone of his very good albums (Deep Song is on regular rotation for me). Additional photos here.

Last night was a night that will never escape my memory. I photographed, hung-out with and talked to James Moody, of the famous be-bop Moody’s. He was in town as part of the traveling New Port Jazz 50th Annicersary Tour. Cedar Walton was also there (of Jazz Messenger fame), as well as Randy Brecker, Lewis Nash, Peter and Kenny Washington, James Carter, and Howard Alden. The music was fantastic but the best part was just sitting down and talking with these guys. They were all real gentelmen and were very kind with me, allowing me to take some more intimate pictures of them back stage. Many thanks to Barry Bergstrom as well for letting me come in and do my thing.