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| 6.321 Ft
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| 1. | La Seduction: Qawarma
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| 2. | La Seduction: Charab Et Tout
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| 3. | La Seduction: Arrous Labneh
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| 4. | My Favourite Feet
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| 5. | Serenade To A Mule
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| 6. | Le Jardin De Chine
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| 7. | Ghantous
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| 8. | La Ladra Di Cuori
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| 9. | Yakhbeir John
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| 10. | Bofinger
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| 11. | An Oyster In Paris
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| 12. | The Birthday Gift
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| 13. | Afterthought
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Jazz / World Fusion
Rabih Abou-Khalil oud, composition
With more than half a million records sold, Rabih Abou-Khalil is among the top artists on the European jazz market. His name has long been associated with a musical style quite his own that is rooted in Arab tradition, American jazz and European classical music alike but goes far beyond all these. Raised in the cosmopolitan climate of Beirut (Lebanon), Abou-Khalil studied the oud, the Arab short-neck lute, from an early age. Forced by civil war to leave his home country in 1978, he went to Munich (Germany) to study classical flute at the conservatory. From the European perspective, he re-discovered Arab music in a new way and developed possibilities for himself to work simultaneously in two basically different musical systems. A new genre was born.
Abou-Khalil's complex compositions, often based on odd and changing metres, using Arab scales and integrating improvised statements, tend to meander charmingly like oriental tales. In a dozen recordings Abou-Khalil has proved his musical concept to work in different settings: with Arab musicians like Selim Kusur (nay) or Nabil Khaiat (percussion), with great jazz soloists like Charlie Mariano (sax) or Kenny Wheeler (trumpet), with world music protagonists like Michel Godard (tuba) and Milton Cardona (percussion) and even with classical ensembles like Balanescu Quartet and Kronos Quartet.
On his first recording as an unaccompanied oud player, Rabih Abou-Khalil steps forward to new ground. "Il Sospiro" came to life as some kind of musical diary over a period of two years. Whenever the artist felt the inner need to document new musical ideas, he called up his collaborator and sound engineer Walter Quintus for studio time. With great spontaneity and extraordinary sound quality guaranteed, the listener will feel as if sitting in the same room with the musician. "Il Sospiro" shows an intimate, fresh and emotional way of playing the oud that neither aims at virtuosity nor nostalgia. Rich of melody, rhythm, dynamics and creative form, "Il Sospiro" presents something very rare: a personal statement of unpretentious, natural beauty.
Rabih Abou-Khalil
Active Decades: '80s, '90s and '00s
Genre: Jazz
Styles: World Fusion
The musical traditions of the Arabic world are fused with jazz improvisation and European classical techniques by Lebanese-born oud player and composer Rabih Abou-Khalil. The CMJ New Music Report noted that Abou-Khalil has "consistently sought to create common ground between the Arab music mileau of his roots and the more global musical world of today." Down Beat praised Abou-Khalil's music as "a unique hybrid that successfully spans the world of traditional Arabic music and jazz." Although he learned to play the oud, a fretless, Lebanese lute, as a youngster, Abou-Khalil temporarily switched to the classical flute, which he studied at the Academy of Music after moving to Munich, Germany, during the Lebanese Civil War in 1978. In an attempt to explore new ways to play Arabic music, he returned to the oud and began to incorporate techniques more often played on jazz guitar. In the early-'90s, Abou-Khalil was commissioned by Southwest German radio to write two pieces that were debuted in a performance with the Kronos String Quartet at the Stuttgart Jazz Summit in 1992, and recorded with the Belanescu Quartet four years later. Abou-Khalil has worked with a mixture of Arabic, Indian, and American jazz musicians, including alto saxophonist Sonny Fortune, frame drummer and percussionist Glen Valez, conga player Milton Cardona, harmonica ace Howard Levy, and bassists Glen Moore and Steve Swallow.
---Craig Harris, All Music Guide |
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