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| 1. | Como Um Rio
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| 2. | No Mar Das Tuas Pernas
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| 3. | A Lua Num Quarto
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| 4. | Amarrado á Saudade
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| 5. | JÁ Nao Da Como Esta
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| 6. | Se O Meu Amor Me Pedisse
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| 7. | Quando TE Vejo Sorrir
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| 8. | Casa Da Mariquinhas
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| 9. | Beijos Ateus
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| 10. | A Gaivota Que TU ÉS
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| 11. | Jogo Da Vida
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| 12. | Adolescencîa Perdida
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Jazz / World Fusion
Rabih Abou-Khalil oud, composer
Ricardo Ribeiro vocals
Luciano Biondini accordion
Michel Godard tuba, serpent, bass
Jarrod Cagwin drums, percussion
After recording with jazz greats, with traditional Arab musicians, with classical string quartets or Armenian musicians, after writing symphonic orchestral works for the BBC Orchestra in London and the Ensemble Modern in Germany - what would a Lebanese composer do next? Of course he would go to Portugal, put music to Portuguese poetry and record the songs with a young fado singer from Lisbon.
The adventure started with an inquiry by Ricardo Pais, the director of the National Theatre in Porto. Rabih Abou-Khalil, who first thought the whole idea was humorous - especially considering that he spoke absolutely no Portuguese at the time - immediately consented; the thrill of doing something that surreal was simply irresistible. It had not been the first time that Abou-Khalil considered working with a singer. However, he had not encountered the right one before - a free spirited virtuosic vocalist, who could sing Abou-Khalil's complex rhythms and unusual melodies, sufficiently rooted in his own culture to be able to transcend it. These traits have always played a major role in the choice of musicians Abou-Khalil made. And if the lyrics should have to be in Portuguese, so be it, music transcends language…
Abou-Khalil's discovery is Ricardo Ribeiro, a young singer from Lisbon, who until now has "only" sung fado, Portugal's national music. Despite his 26 years he has already established a reputation for himself. He sings Abou-Khalil's compositions as if they were his own, he masters the complicated rhythms and unusual melodic lines with absolute ease. His voice, at times tantalizingly silky, at others rapturously powerful, melts into Abou-Khalil's oud playing to create a new unity, as though the two sprung from the same source. Ever present is Ricardo's "saudades", the Portuguese art of sadness and longing.
Abou-Khalil's long-time companions have more than supporting roles. Luciano Biondini from Spoleto in Italy, the accordion virtuoso, is as discreet as he is present, masterfully accentuating the musical subtleties. Michel Godard from Paris, the French tuba player, who doubles on bass and serpent, has been playing with Abou-Khalil since 17 years. It is always a revelation to hear the tuba played this light-footed, or to hear the almost human voice of the serpent, a renaissance instrument brought back to life by Michel. Jarrod Cagwin, the American drummer from Iowa, is once again part of Abou-Khalil's recordings. He moved to Europe eight years ago so as to join the band, and has become an expert in Abou-Khalil's rhythms, making every note swing with an infectious drive.
The result is an "imaginary folklore", a music that sounds new and strange, yet familiar and natural, as if it had always existed. Far away from any banalities, something new has been born. Perhaps the missing link between East and West, between Classical and Modern, between Folklore and Art Music, deeply rooted in the everywhere and the nowhere.
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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