From fairly consistent appearances in this country down the years, the South African pianist has built a following that has learned what to expect from an Ibrahim concert and, certainly over the last decade, has rarely been disappointed.
They certainly were not on Friday's first night of this World Jazz weekend.
Ibrahim, with longstanding trio partners Belden Bullock on double bass and George Gray on drums, followed his customary concert procedure of playing a series of tunes without a break, the pianist providing the links alone and sometimes returning to a favourite theme for his neat segues.
The sound took a little time to settle, with Gray's drums dominating and sounding a little out of sync with Ibrahim's quiet piano (aside from a small bass amp giving the gentlest lift to Bullock's lower notes this was a concert refreshingly free of microphones and mixing desks).
Fifteen minutes in, and Gray had found the groove, Ibrahim had beefed up the volume a little and everyone was smiling.
The band is at its most attractive when they hit one of Ibrahim's signature walkingpace rhythms that runs as deep as the most infectious funk but with a lighter, dancing step. Bullock settles into a warm repeating bass figure, Gray tightens down with his brushes or rubbery sticks which give the power without the volume, and the pianist leaves the spaces and adds bass accents as only he can.
The hymn tunes and African/Malay folk melodies have always been there, but the spirits of Duke, Strayhorn and Monk increasingly infuse Ibrahim's more recent compositions.
The bandleader's pleasure in this performance showed as he encouraged his partners to step forward again and again to acknowledge the applause of a gently joyful and uplifted audience - and in the lengthy encore section which included two of his loveliest and most familiar tunes, The Mountain and The Wedding.