Rabih Abou-Khalil: Oud
Jarrod Cagwin: Drums
Michel Godard: Serpent, Tuba, Acoustic Bass Guitar
Walter Quintus: Sound Engineer
Luciano Biondini: Accordion (Morton's Foot, Em Português)
Ricardo Ribeiro: Voice (Em Português)
Gevorg Dabaghyan: Duduk (Songs for Sad Women)
Joachim Kühn: Piano, Saxophone (Journey to the center of an Egg)
Gavino Murgia: Voice, Saxophone Soprano (Morton's foot)
Gabriele Mirabassi: Clarinet (The Cactus of Knowledge, Morton's foot)
NEW RELEASE: Rabih Abou-Khalil "Selection" (www.enjarecords.com)
Rabih Abou-Khalil grew up in Beirut and moved to Munich, Germany during the civil war in 1978. From early on, he learnt to play the oud, a fretless string instrument, similar to the European lute or Greek bouzouki. He studied in the Beirut conservatory from oud virtuoso Georges Farah. After moving to Germany, he studied classical flute at the Academy of Music in Munich under Walther Theurer. He has often blended traditional Arab music with jazz, and has earned praise such as "a world musician years before the phrase became a label, he makes the hot, staccato Middle Eastern flavour and the seamless grooves of jazz mingle as if they were always meant to" (John Fordham, Guardian 2002). He helped highlight the oud as a vehicle of eclectic "world jazz". Abou-Khalil and his associates are arguably creating a new international platform for improvised music, comparable to John McLaughlin and his associates in Shakti. Humor is a very important ingredient in Abou-Khalil's art and live performances. Various compositions are inspired by humorous stories, common to many is the absurdity of "commuting between cultures". Rabih Abou-Khalil's CDs are conspicuous for their high quality covers depicting Arabic art.
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.
Was macht ein libanesischer Komponist, Oudspieler und Bandleader als Nächstes, der schon Aufnahmen und weltweite Tourneen mit Jazzgrößen, mit traditionellen arabischen Musikern, mit klassischen Streich-quartetten oder mit armenischen Musikern gemacht, Auftragswerke für das BBC-Orchester in London und für das Ensemble Modern in Duisburg komponiert hat – immer mit seiner eigenen Handschrift und doch grundverschieden im Ergebnis? Richtig, er wendet sich nach Portugal, vertont Gedichte portugiesischer Dichter und spielt sie mit einem jungen Fadosänger aus Lissabon ein.
Wie kam das Ganze zustande? Der Direktor des Nationaltheaters in Porto, Ricardo Pais, fragte bei Rabih Abou-Khalil an, ob er daran Interesse habe, portugiesische Gedichte zu vertonen und in Lissabon und Porto aufzuführen. Abou-Khalil, der das alles zunächst für einen gelungenen Witz hielt – zumal er zu dem Zeitpunkt kein Portugiesisch sprach –, sagte dennoch sofort zu, nicht zuletzt aufgrund des Reizes dieser surrealistischen Idee. Abou-Khalil hatte zudem schon länger mit dem Gedanken gespielt, Gedichte zu vertonen, nur fehlte ihm bisher der geeignete Sänger, nämlich ein freigeistiger Virtuose, der Abou-Khalils vertrackte Rhythmen und ungewohnte Melodien singen kann, gleichzeitig aber so weit in der eigenen Musikkultur wurzelt, dass er auch imstande ist, sie zu transzendieren. Sollte das Ganze nun auf Portugiesisch stattfinden, dann eben auf Portugiesisch, auch wenn es noch so absurd anmuten mochte.
Abou-Khalils Neuentdeckung ist Ricardo Ribeiro aus Lissabon, ein Sänger, der bisher „nur“ in der klassischen Fadoszene tätig war und sich trotz seiner jungen 25 Jahre schon einen Namen in Portugal gemacht hat. Er singt Abou-Khalils Kompositionen, als wären es seine eigenen; rhythmisch sicher und melodisch souverän meistert er die schwierigen Taktarten und ungewöhnlichen Melodiebögen. Seine so samtweiche wie gewaltige Stimme schmiegt sich dem lyrischen Oudspiel von Abou-Khalil an, verschmilzt mit ihm zu einer Einheit, als würden beide dem gleichen Quell entspringen. Gleichzeitig fließt mit Ricardos „Saudades“ die portugiesische Wehmut in die Musik ein.
Nicht allein unterstützende Funktionen haben Abou-Khalils langjährige Musikerkollegen. Da ist etwa Luciano Biondini aus Spoleto in Italien am Akkordeon, der sensibel die melodischen Akzente setzt. Oder der Franzose Michel Godard an der Tuba, am Bass und am Serpent -- leichtfüßig wie immer füllt er den Bassbereich aus. Seit etlichen Jahren spielt der amerikanische Schlagzeuger Jarrod Cagwin bei Abou-Khalils verschiedenen Projekten Rahmentrommeln und Drumset; blindlings versteht er dessen musikalische Intentionen und bringt wie kaum ein anderer diese Musik zum Swingen. Das Ergebnis ist eine „imaginäre Folklore“, eine Musik, die neu und fremdartig ist und doch vertraut und natürlich klingt, so als hätte es sie schon immer gegeben. Fern jeder Banalität ist hier etwas entstanden, das wie das fehlende Glied zwischen Ost und West, zwischen Orient und Okzident, zwischen Klassik und Moderne, zwischen Folklore und Kunstmusik klingt -- verwurzelt im Nirgendwo und Überall zugleich.
Written with a pen Sealed with a kiss If you are my friend, Please answer this: Are we friends or are we not? You told me once, but I forgot. So tell me now and tell me true,
So I can say, I am here for you. Of all the friends I've ever met, You're the ones I won't forget. And if I die before you do, I'll go to Heaven And wait for you.
Show your friends how much you care. Send this to everyone you consider a FRIEND, including the one who sent it to you. If it comes back to you, then you'll know you have a circle of friends.
Ok, Friend Send this to............. 0-2 peeps you are a Bad friend. Booo!!! 3-5 peeps you are an OK Friend
sèlème MR RABIH ABOU-KHALIL,un respectueux merci pour l'acceptation,et un autre enorme merci pour votre musique dont l'etendue s'en trouve etre a mes yeux illimité. sèlème MR RABBIH ABOU-KHALIL
We opened on our page the AFRO PEPITES SHOW competition ( Photos, Paint, Videos, sculpture, musics, modes, hairstyles). Opened from July 1st till December 31st 2009. The 1st competition researcher of Africans pepites. Fast come to discover what an AFRO PEPITE on our site...
Spend the information, Competition opened to the whole world !
Ours news : - The competition Music of Sahara Africa is opened From 1st till 15 October : musicians, share with our Internet users your best composition. Music lover, share with us the link towards the most beautiful composition which you like listening to. See how participating on our page. - From October 15, it is the competition Music of South Africa that opens. - Here, are the participants of Sahara African Music competition :
L I V E - D V D _
& _ C D _ P R Ä S E N T
A T I O N:
das TRANSORIENT ORCHESTRA freut sich, zur Präsentation der
neuen Live-DVD/CD einladen zu können! Aufgenommen im Rahmen eines Konzertes im
Katakombentheater im letzten Jahr sind jetzt endlich Bild und Ton geschnitten,
gemischt etc....
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