Editing Abdullah Ibrahim (section)

==Early international career==
Ibrahim moved to Europe in 1962. In February 1963, his wife-to-be, [[Sathima Bea Benjamin]] (they married in 1965), convinced [[Duke Ellington]], who was in [[Zürich]], Switzerland, on a European tour, to come to hear Ibrahim perform as "The Dollar Brand Trio" in Zurich's "Africana Club".<ref name=Biography /> After the show, Ellington helped set up a recording session with [[Reprise Records]]: ''Duke Ellington presents The Dollar Brand Trio''.<ref name=carr/> A second recording of the trio (also with Ellington and [[Billy Strayhorn]] on piano) performing with Sathima as vocalist was recorded, but remained unreleased until 1996 (''A Morning in Paris'', under Benjamin's name). The Dollar Brand Trio (with Johnny Gertze on bass and [[Makaya Ntshoko]] on drums) subsequently played at many European festivals, as well as on radio and television.

Ibrahim and Benjamin moved to New York in 1965<ref name=Joburg /> and that year he played at the [[Newport Jazz Festival]], followed by a first tour through the US; in 1966 Ibrahim substituted for Duke Ellington on five dates, leading the Duke Ellington Orchestra.<ref>[http://www.music.org.za/artist.asp?id=83 "Ibrahim, Abdullah (Dollar Brand) (South Africa)"], music.org.za. {{webarchive|url=https://web.archive.org/web/20141015204229/http://www.music.org.za/artist.asp?id=83 |date=15 October 2014 }}.</ref> In 1967, a [[Rockefeller Foundation]] grant enabled him to study at the [[Juilliard School of Music]] in New York.<ref name=Biography /> While in the US he interacted with many progressive musicians, among them [[Don Cherry (trumpeter)|Don Cherry]], [[Ornette Coleman]], [[John Coltrane]], [[Pharoah Sanders]], [[Cecil Taylor]] and [[Archie Shepp]].<ref name=Biography /> As the [[Black Power movement]] developed in the 1960s and 1970s, it influenced a number of Ibrahim's friends and collaborators, who began to see their music as a form of cultural nationalism. Ibrahim in turn began to incorporate African elements into his jazz.{{sfn|Mason|2007|pp=29–30}}