Abdullah Ibrahim, the South African jazz pianist and composer celebrated for blending indigenous Cape Town sounds with global jazz influences, died on Monday at the age of 91. He passed away in a hospital in Prien am Chiemsee, Germany, near his home in Aschau im Chiemgau, according to his lawyer, Jonas Herbsman.

Born Adolph Johannes Brand on October 9, 1934, in Cape Town, Ibrahim grew up amid the complex cultural and racial dynamics of apartheid South Africa. Early family tragedies, including the death of his father and discovering that the woman who raised him was actually his grandmother, shaped his formative years. Despite these hardships, Ibrahim’s musical talent emerged early. Guided by the musical traditions of his family and his environment, he began piano lessons at age seven and quickly developed a distinctive style rooted in the diverse rhythms and melodies of Cape Town’s multicultural communities.

By the late 1950s, Ibrahim had established himself in the local jazz scene, forming the Dollar Brand Trio and collaborating with prominent South African musicians such as Hugh Masekela and Jonas Gwangwa. Their group, known as the Jazz Epistles, produced South Africa’s first bebop recording in 1960. He earned the nickname “Dollar” from American soldiers in Cape Town during World War II due to his eagerness to collect jazz records.

Ibrahim fled South Africa in 1962 amid increasing apartheid repression and relocated to Europe, where he gained the attention of jazz legend Duke Ellington. Under Ellington’s supervision, he recorded “Duke Ellington Presents the Dollar Brand Trio” in 1964, marking the beginning of a prolific recording career that spanned more than 70 albums. His works encompass a variety of styles and formations, ranging from intimate trio and solo sessions to orchestral projects.

Throughout his career, Ibrahim’s music defied simple categorization. His compositions, such as “Mannenberg,” “The Mountain,” and “The Wedding,” combined spiritual aspiration with political expression, resonating deeply with South Africans during the struggle against apartheid. “Mannenberg,” recorded in 1974 and named after a Cape Flats township, became a symbol of resistance and hope, embracing local goema rhythms and capturing the mood of a nation yearning for freedom.

Following the Soweto uprising of 1976, Ibrahim went into exile once again, settling mainly in New York, where he continued to collaborate with avant-garde icons including Ornette Coleman, Don Cherry, and Archie Shepp. His embrace of Islam in the late 1960s led him to change his name to Abdullah Ibrahim, reflecting a spiritual renewal that informed much of his work. He made the pilgrimage to Mecca in 1970 and sought to integrate his faith and heritage into his music.

After the dismantling of apartheid, Ibrahim returned to South Africa and performed at Nelson Mandela’s 1994 presidential inauguration, where Mandela famously referred to him as “our Mozart.” Ibrahim spent his later years dividing his time between Cape Town, New York, and Germany. In recognition of his enduring contributions to jazz, he was named a Jazz Master by the National Endowment for the Arts in 2019.

Beyond performance, Ibrahim was dedicated to education and cultural preservation. In 1999, he opened M7, a music education center in Cape Town, emphasizing the transmission of ancient wisdom through sound. He often described music as a universal language, stating that individual expression is part of a collective sound shared across humanity.

Ibrahim is survived by his partner, Marina Umari; his son Tsakwe, a pianist and guitarist; and his daughter Tsidi, a rapper known as Jean Grae. His legacy endures as a musical ambassador who melded artistry with activism, reflecting the complexities of his homeland and the transformative power of jazz.