Introducing George Zghaib, "Miracle Child" Of Arabic Music

He is a little Lebanese boy who has been rocking Arabic music news with his talent. He plays a mean lute "oud" and does a great job covering classics of the Arabic songs. Pretty much all the legends he has memorized songs for them and can perform them life. People go wild for this boy and I have been burried in stories about him.

They call me the "miracle child" he is like a magician with that lute, I am speechless! This guy is getting people excited. Young people like him who have such talent have a bright future for them--they just need to be children. Lebanon continues to impress me with surprises liked boy George. Reports have confirmed George  residing in the Lebanese home of Syrian singer George Wassouf.

Not sure what the future holds for George but we have had stars start at a young age do songs like those. Singers like George Wassouf, Wael Jassar, Asalah and Angham started at a young age--they seem to have done well for themselves.

Georges Zgheib akhadou al ri7


الطفل الموهبة جورج زغيب يعزف و يغني ...أنا بعشقك


Al Jaras - الجرس - الطفل جورج زغيب يغني لعبدالحليم حافظ

Michel Bismut — Ur

I recently came across this album, a nicely balanced mixing of jazz and Arabic music.  Somewhat reminiscent of Rabih Abou-Khalil's music, but with more emphasis on traditional Arabic elements, especially with the oud playing.  I can't seem to find out much about the musicians.  Anyone know about them? I particularly enjoy the playing of Pardo and Nabil Khalidi.

 Michel Bismut (double bass), Jorge Pardo (soprano saxophone), Nabil Khalidi (oud), Keyvan Chemirani (zarb, daf, gatam)

Bill Frisell — The Intercontinentals

Bill Frisell is a unique musician, and probably the most immediately identifiable jazz guitarist of the past 30 years. He is constantly exploring new ensemble sounds and The Intercontinentals is a group that he put together to showcase the sounds of Africa and the middle east. Christos Govetas is a Greek oud player from Macedonia who plays in the Turkish style.

I guess this is another one that doesn't qualify as "Arabic", but I bend the rules for any jazz with oud. This is a really good album, one that appeals to a wide range of people. Frisell reportedly conceived the project as a collaboration with legendary Malian guitarist Boubacar Traore, but unfortunately it was not possible to make the record with him. They are joined by violinist Jenny Scheinmann, Brazilian guitarist Vinicius Canturia, and Malian percussionist Sidiki Camara, as well as slide guitarist Greg Leisz.

Marcel Khalife — Taqasim

Marcel Khalife needs no introduction to those familiar with the oud. A masterful player, composer, singer, and songwriter, he has contributed much to the world of Arabic music and oud playing. This album, a straightforward trio with bass and percussion, showcases the oud and the jazzier side of his playing in a stripped-down acoustic setting. Highly recommended.

Souren Baronian — Taksim

Souren Baronian is a tremendously talented Armenian-American clarinetist with extensive experience in both middle-eastern music and jazz. While his middle-eastern jazz music has influences primarily from Turkey and Armenia, and therefore isn't "Arabic jazz" exactly, I felt that the kinship of maqam-based music made it worthy of mention here. He studied with the reclusive jazz legend Lennie Tristano as well as the respected Turkish master Safet Gundeger, and has performed with many jazz greats like Carla Bley, Phil Woods, Paul Motian.

 He leads Taksim, his group that presents an original synthesis of jazz and eastern music. Their album from 2002 "Blue Algae" is worth a listen for Boronian's unique compositional and playing styles, as well as the masterful musicians in the group like the phenomenal oud player Haig Manoukian.
 

In addition, he performs in ensemble that have a somewhat more traditional approach, like his trio Transition, which released a wonderful album called Desert Winds.
 

Astrakan Café - Sheet Music

Here's a transcription I did of the title piece from Anouar Brahem's album Astrakan Cafe. There are two versions on the album. They are mainly the same, but are slightly different in the number of repeats and some of the rhythms are played with variations throughout. I tried to create an overall version. Another ending possibility is just repeating the last four bars and fading out.

You can purchase this great album from Amazon:
Astrakan Café

Joseph Tawadros

Joseph Tawadros is a stellar young oud player. He was born in Egypt and grew up in Australia.
He has a number of recordings, but this is his first foray into Arabic jazz. The Hour of Separation, a recent release, has an all-star lineup of great jazz musicians.

Joseph Tawadros, oud John Abercrombie, guitar John Patitucci, bass Jack DeJohnette, drums James Tawadros, percussion

Chaouki Smahi

Chaouki Smahi was born 1963 in Morocco and brought up in Algeria. He now lives in Switzerland. He is an accomplished oud player and violinist and percussionist. He has a few recordings, most of which involve jazz musicians.
Sadaka is my favorite of his recordings. Straightforward arrangements and recording, with the focus on oud, saxophone and percussion. Smahi plays in a fairly traditional Arabic style, but Mariano tastefully incorporates jazz ideas on the saxophone.

Chaouki Smahi: oud, violin, vocals, darbouka Charlie Mariano: alto saxophone

He is on another Charlie Mariano record called Nassim which is somewhat less succesful but still has some nice moments. It's definitely more of a deliberate "Arabic-Jazz" fusion, but overreaches at times.

It doesn't seem to be available in the U.S., but you might be able to find a download somewhere . . .

Rima Khcheich

Rima Khcheich is a talented singer from Lebanon. Here she teams up with stellar Dutch jazz saxophonist Yuri Honing and his trio in a live performance. Highly recommended: their Arabic version of Bjork's "Isobel" is alone worth the price of the cd. They perform versions of several classic Arabic songs ("Emta Hata'araf", "La Enta Habibi", "Ma Dam Tihib Betenkour lieh") which are re-arranged to include compelling jazz improvisations.

Yuri Honing - tenor saxophone Tony Overwater - double bass Joost Lijbaart - drums Rima Khcheich- vocals Basem Havar - djose Latif Al-Obaidy - ud, darbuka, riqq

Rabih Abou-Khalil, part 2

A couple of other nice recordings by Abou-Khalil:

Yara (1998):
very nice recording with strings.
Originally came about as music for a film of the same title.

Dominique Pifarely (violin), Vincent Courtois (cello), Nabil Khaiat (percussion)





Journey to the Centre of an Egg (2005):
One of Abou-Khalil's most modern-sounding records. Joachim Kühn's piano playing is inventive and dynamic, and challenges Abou-Khalil to stray a little farther from Arabic sounds into jazz territory.

Joachim Kühn (piano, alto saxophone), Jarrod Cagwin (drums, percussion),
Wolfgang Reisinger (additional percussion)

Anouar Brahem, part 2

	Astrakan Café - 2000 Anouar Brahem : oud Barbaros Erköse : clarinet Lassad Hosni : bendir, darbouka
	Le Pas du Chat Noir - 2002 A very subdued album that rewards repeated listening. Brahem's oud playing does not dominate, but blends with the piano and accordion, with echoes of Bill Evans, Philip Glass, Schubert and Chopin. Anouar Brahem : oud François Couturier : piano Jean Louis Matinier : accordion
	Voyage du Sahar - 2006 Very similar album to Le Pas du Chat Noir Anouar Brahem : oud François Couturier : piano Jean Louis Matinier : accordion
	The Astounding Eyes Of Rita - 2009 Brahem returns here to a more energetic style, with playing and compositions reminiscent of Astrakan Café and Thimar. Anouar Brahem : oud Klaus Gesing : bass clarinet Björn Meyer : bass Khaled Yassine : darbouka, bendir
	Madar - 1994 This is Garbarek's record, and it contains some compelling music. However, Garbarek has an unusual and strident tone of the saxophone, which is not everyone's cup of tea. Jan Garbarek : tenor and soprano saxophones Anouar Brahem : oud Ustad Shaukat Hussain : tabla

There are also some bootlegs of Anouar Brahem concerts floating around teh internets. I don't want to link to them directly, but the concerts are:

Live In Salvator Kirche Church at Duisburg, Germany
Live at Teatro Sociale, Bellinzona, Switzerland, 1998 (with John Surman and Dave Holland)
Zürich International Jazz Festival 1993 (with Jan Garbarek and Shaukat Hussain)

Amir ElSaffar

Iraqi-American trumpeter, santour player, vocalist, and composer Amir ElSaffar grew up in River Forest, IL, a suburb west of Chicago; he was first exposed to jazz recordings by his father, and his mother taught him to sing and play American folk songs on ukulele and guitar when he was nine. He eventually found his calling with the trumpet
After moving to New York in 2000, he became more involved with studying the Arab and specifically Iraqi maqam. In 2002, ElSaffar immersed himself in the music of his father's ancestral past, the Iraqi maqam. He traveled to Iraq, throughout the Middle East and to Europe pursuing masters who could impart to him this centuries-old oral tradition. He learned to play the santour (Iraqi hammered dulcimer) and to sing, and now leads Safaafir, the only ensemble in the US performing Iraqi Maqam in its traditional format. He has also uses techniques for the trumpet that enable microtones and ornaments that are characteristic to Arabic music but are not typically heard on a trumpet.

The record Two Rivers is ElSaffar's clearest mixing of jazz and Arabic music.

Amir ElSaffar: trumpet, voice, santoor Rudresh Mahanthappa: alto sax Zafer Tawil: violin, oud, dumbek Tareq Abboushi: buzuq, frame drums Carlo Rosa: bass Nasheet Waits: drums.

Simon Shaheen

A Palestinian, born in the village of Tarshiha in the Galilee, Shaheen's childhood was steeped in music. His father, Hikmat Shaheen, was a professor of music and a master 'oud player. Simon began playing the oud at the age of five and the violin shortly thereafter.

Most of Shaheen's recorded output is on the more traditional side. His jazziest disc, Blue Flame is somewhat reminiscent of the music of John McLaughlin or Paco DeLucia. Shaheen regularly makes extensive use of microtonal maqamat such as Rast, Sikah and Bayati.

All of his recordings are very highly recommended.

Shameless plug: I'm playing guitar on this one in Ramallah!

Anouar Brahem

All of Brahem's available releases are on ECM. He has a simpler, more contemplative style than most oud players, and has on occasion shown his more traditional side. He rarely plays microtonal maqamat.

Selected discography:

	Barzakh - 1991 With spare instumentation, much of the album is quite understated, though not without flights of virtuosity. Anouar Brahem : oud Béchir Selmi : violin Lassad Hosni : percussion
	Conte de l'incroyable amour - 1992 One of Brahem's more traditional-sounding records, there is a lot of nice playing here by everyone, though the compositions do not stand out as Brahem's best. Anouar Brahem : oud Barbaros Erköse : clarinet Kudsi Erguner : nai Lassad Hosni : bendir,darbouka
	Khomsa - 1995 Featuring a larger ensemble and more jazz-influenced writing, Khomsa was rated 4 stars by Downbeat Anouar Brahem : oud Richard Gálliano : accordion François Couturier : piano, synthesizer Jean Marc Larché : soprano saxophone Béchir Selmi : violin Palle Danielsson : double-bass Jon Christensen : drums
	Thimar - 1998 This is one of my favorite albums. Haunting sounds, excellent compositions and beautiful playing by all. 4 stars from DownBeat. Anouar Brahem : oud John Surman : bass clarinet and soprano saxophone Dave Holland : double-bass

Rabih Abou-Khalil

Lebanese oud player, one of the first to work extensively with jazz musicians. A prolific composer, Abou-Khalil is known for his rhythmically intricate compositions that (unlike traditional Arabic music) frequently change meter in a free-flowing way, often several times within a phrase or section. He does not use any of the microtonal maqamat (modes, sing. maqam in his music. He generally performs with Western musicians, most of whom have jazz backgrounds. He occasionally works with Eastern musicians, such as on Roots & Sprouts and Tarab.

Selected discography:


Bukra (1988): with Sonny Fortune (alto sax), Glen Moore (bass), Glen Velez & Ramesh Shotham (percussion)



Roots & Sprouts (1990): Fairly traditional middle-eastern instrumentation:
Selim Kusur (nay), Yassin El-Achek (violin), Glen Moore (bass), Glen Velez (frame drums), Mohammad Al-Sous (darabukka)



Tarab (1992):
Selim Kusur (nay), Glen Moore (bass), Nabil Khaiat & Ramesh Shotham (percussion)



Blue Camel (1992): One of Abou-Khalil's jazziest records.
Charlie Mariano (alto sax), Kenny Wheeler (flugelhorn), Steve Swallow (bass)
Milton Cardona, Nabil Khaiat & Ramesh Shotham (percussion)

Ahmed Abdul Malik

Jazz Sahara (1958) Ahmed Abdul-Malik (oud, bass); Jack Ghanaim (qanun); Naim Karacand (violin); Johnny Griffin (tenor saxophone); Al Harewood (drums), Mike Hamway, percussion

East Meets West (1958) Ahmed Abdul-Malik (bass, oud); Lee Morgan (trumpet), Curtis Fuller (trombone), Benny Golson and Johnny Griffin (tenor saxophones); Ahmed Yetman (qanun); Naim Karacand (violin); Bilal Abdurrahman, Mike Hamway (Darabeka, daf).

The earliest attempt at jazz fusion with middle eastern music. Basically they play some dawalib (sing., doulab: short instrumental piece often used as an introduction) and improvise. Abdul Malik was a well-known jazz bass player of Sudanese descent, best known for his work with Thelonious Monk and John Coltrane. Both albums feature his Monk bandmate Johnny Griffin on saxophone along with various middle-eastern nightclub musicians and jazz musicians such as Benny Golson, and Lee Morgan.
Jazz Sahara is a strong album, while East Meets West is a little uneven (though with some excellent performances). In the liner notes to Jazz Sahara, Abdul-Malik pointedly avoids referring to the music as "Arabic", and suggest "Mid-Eastern" is more accurate because of the varied traditions involved. The oud playing is somewhat rudimentary, but the overall effect is compelling.