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Tarab
Rabih Abou-Khalil
első megjelenés éve: 1992
61 perc
(1993)   [ DIGIPACK ]

CD
4.737 Ft 

 

IMPORT!
Kosaramba teszem
1.  Bushman In The Desert
2.  After Dinner
3.  Awakening
4.  Haneen Wa Hanaan
5.  Lost Centuries
6.  In Search Of The Well
7.  Orange Fields
8.  A Tooth Lost
9.  Arabian Waltz
Jazz
World Fusion

Recorded at Sound Studio N, Cologne, Germany from February 28-March 1, 1992

Rabih Abou-Khalil - vocals, oud
Selim Kusur - nay
Glen Moore - bass
Nabil Khaiat - frame drums, percussion
Ramesh Shotham - South Indian drums, percussion

Tarab is an unusual album for the great Lebanese jazz composer and oud player in that it features no Western instruments or musicians, except for Glen Moore on the acoustic bass. The melody instruments are the nay (Arabic flute) played by the Syrian veteran Selim Kusur and, as always, Abou-Khalil on oud or Arabic lute (which more or less functions like the piano in a standard jazz quartet). Rounding out the group are Nabil Khaiat on frame drums and percussion and Rameesh Shotham on South Indian drums and other percussion. Everyone but Kusur has worked at least semi-regularly with Abou-Khalil. (Kusur did play on Abou-Khalil's Roots and Sprouts, an earlier instance of a album with no Western instruments.) The lack of Western instrumentalists gives Tarab a less jazzy, more Arabic feeling than Abou-Khalil's other albums. Abou-Khalil builds his albums around his guest instrumentalists, so Tarab features the nay prominently, but even more this is an album for the oud and for showing off the rhythm section. For example, on "In Search of the Well" there is actually a bass solo.

And there are a few other pleasant surprises scattered through the album. On "Awakening" someone - just who is not credited - lets forth a string of bol singing, that rapid-fire, tongue-twisting Indian chant made famous in the West by Sheila Chandra. And out of the blue on "Arabian Waltz" appears a jaw harp, presumably played by Shotham, who plays it on Between Dusk and Dawn. accenting the fast-paced original version of what later became the more lush title track of the album Arabian Waltz. This last song is especially welcome for its strong melody, standing out on an album that certainly does not lack for atmosphere, but which would have benefited from greater tunefulness. Still, a very worthy effort, though not the best place to start one's Rabih Abou-Khalil collection, especially if one is coming from a jazz background.
---Kurt Keefner, AMG



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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