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.
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 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.
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.
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.
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 (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.
