RABIH ABOU-KHALIL - Sultan's Picnic (1994) APE (image+.cue), lossless

Composer and oudist Rabih Abou-Khalil generates variety and interest by bringing aboard different guest musicians for each album. The personnel on Sultan's Picnic is so similar to that of Blue Camel that one might expect them to sound similar. But there's a key difference in the presence of Howard Levy on Sultan's Picnic. Levy is a talented harmonica player who has done a lot of offbeat work, including a stint with Béla Fleck & the Flecktones. Despite the power of Charlie Mariano on alto sax and Kenny Wheeler on trumpet, this album is dominated by the idioms of the harmonica, specifically the jazzy, quirky, lackadaisical idiom popularized by Levy's work with the Flecktones. This domination is noticeable from the beginning, on "Sunrise in Montreal." Occasionally, the harmonica recedes to the background and allows other instruments to shine through. On "Solitude," Levy provides only the occasional raspy sound effect, while Abou-Khalil steps forward with an instrument he had custom-built: the bass oud. Other novel instruments put in an appearance here as well. Michel Godard huffs and toots away on the tuba and its archaic predecessor, the serpent. (This is in addition to Steve Swallow on bass.) Whether because of the multitude of instruments -- all the aforementioned, plus three percussionists and an uncredited electric guitar -- or just too much influence from Levy, the album lacks focus, except when it sounds like the Flecktones. There are exceptions, like "The Happy Sheik" and "Snake Soup," where Abou-Khalil sounds like his dramatic self again. But on these tracks, Levy is used mostly as punctuation. by Kurt Keefner  
Tracklist:
1    Sunrise In Montreal    8:14
Rabih Abou-Khalil
2    Solitude    6:32
Rabih Abou-Khalil
3    Dog River    4:25
Rabih Abou-Khalil
4    Moments    6:17
Rabih Abou-Khalil
5    Lamentation    8:59
Rabih Abou-Khalil
6    Nocturne Au Villaret    6:33
Rabih Abou-Khalil
7    The Happy Sheik    6:02
Rabih Abou-Khalil
8    Snake Soup    4:28
Rabih Abou-Khalil
Credits:
Alto Saxophone – Charlie Mariano
Artwork [Cover Art], Calligraphy – Georges Ghantous
Bass – Steve Swallow
Congas – Milton Cardona
Drums – Mark Nauseef
Frame Drum – Nabil Khaiat
Harmonica – Howard Levy
Oud – Rabih Abou-Khalil
Oud [Bass] – Rabih Abou-Khalil (pistas: 2)
Trumpet, Flugelhorn – Kenny Wheeler
Tuba, Serpent – Michel Godard

RABIH ABOU-KHALIL - Arabian Waltz (1996) APE (image+.cue), lossless

Arabian Waltz is the pinnacle of Rabih Abou-Khalil's achievement as a composer and arranger. It is a sublime fusion of jazz, Middle Eastern traditional music, and Western classical. In addition to Abou-Khalil on oud (the Arabic lute), Michel Godard on the tuba and the serpent (the tuba's antique kinsman), and Nabil Khaiat on frame drums, the album also features the Balanescu String Quartet instead of the usual trumpet or sax. The presence of the Balanescu might seem to pose a dilemma for the composer: traditional Middle Eastern music uses no harmony but a string quartet is all about harmony. Abou-Khalil achieves a compromise by generally writing the string parts in unison (or in octaves), in effect using the quartet as a single voice, but also letting the quartet split up to play parts in unison with the other instruments or to provide ornamentation. Without surrendering jazziness at all, the presence of the strings makes possible a wondrous atmosphere, almost as if one is listening to the soundtrack of a classy movie set in Beirut or Damascus during the '40s. This feeling is greatest on "Dreams of a Dying City" with its brooding tuba and cello motifs and grave, repeated rhythms. "The Pain After" starts with an impressive tuba solo that turns into a long interlude for tuba and string quartet; sad, slow music that sounds like one of Beethoven's late quartets. Then Abou-Khalil finally enters on oud, bringing a sustained note of wistfulness. Fortunately, beside the darker numbers lie the propulsive drama of "Arabian Waltz" and the bobbing and weaving quirkiness of "Ornette Never Sleeps." Abou-Khalil is known for experimenting with the possibilities his guest musicians bring to his style. In this case, the guests have inspired the host to reach a new height and maybe even a new style. This recording suits every fan of world music, jazz, classical, or just good music. by Kurt Keefner  
Tracklist :
1    Arabian Waltz    8:10
Rabih Abou-Khalil
2    Dreams Of A Dying City    12:08
Rabih Abou-Khalil
3    Ornette Never Sleeps    6:58
Rabih Abou-Khalil
4    Georgina    11:09
Rabih Abou-Khalil
5    No Visa    9:59
Rabih Abou-Khalil
6    The Pain After    9:26
Rabih Abou-Khalil
Credits :
Artwork [Cover Art & Calligraphy] – Georges Ghantous
Cello [The Balanescu Quartet] – David Cunliffe
Drums [Frame] – Nabil Khaiat
Oud, Arranged By, Design [Cover Design] – Rabih Abou-Khalil
Performer – The Balanescu Quartet
Tuba, Serpent – Michel Godard
Viola [The Balanescu Quartet] – Paul Martin
Violin [The Balanescu Quartet] – Alexander Balanescu, Clare Connors

RABIH ABOU-KHALIL - Odd Times (1997) APE (image+.cue), lossless

Odd Times is Rabih Abou-Khalil's first live album. Since it would be impractical to assemble all of the guests he has had on his albums over the years, Abou-Khalil has gone in the other direction and pared his ensemble down to what is for him the bare bones: himself on oud, Howard Levy on harmonica, Michel Godard on tuba and serpent (an antique form of the tuba), Mark Nauseef on drums, and Nabil Khaiat on frame drums. Most live albums contain well-known pieces from the artist's studio repertoire; in contrast, Odd Times is mostly new material. In general, the album is a mix of shapeless, overlong attempts at atmosphere ("Elephant Hips") and fairly bouncy and fun items ("Q-Tips"). The pared-down lineup is engaging because Abou-Khalil's oud and Godard's tuba are more prominent; unfortunately, Levy's harmonica is also pronounced, and simply clashes with the entire project of fusing Arabic music and jazz. Though in all fairness, on "The Happy Sheik" Levy sets aside his usual cadences in favor of something more bluesy that melds better with its surroundings. The album closes with a vibrant performance of "Rabou-Abou-Kabou," one of Abou-Khalil's best songs. by Kurt Keefner  
Tracklist :
1    The Sphinx And I    5:44
Rabih Abou-Khalil
2    Dr. Gieler's Prescription    5:15
Rabih Abou-Khalil
3    Elephant Hips    10:15
Rabih Abou-Khalil
4    Q-Tips    4:34
Rabih Abou-Khalil
5    Son Of Ben Hur    11:29
Rabih Abou-Khalil
6    The Happy Sheik    9:32
Rabih Abou-Khalil
7    One Of Those Days    10:31
Rabih Abou-Khalil
8    Rabou-Abou-Kabou    6:52
Rabih Abou-Khalil
Credits :
Drums, Producer – Mark Nauseef
Frame Drum, Producer – Nabil Khaiat
Harmonica, Producer – Howard Levy
Oud, Producer, Composed By, Arranged By, Design [Cover Design] – Rabih Abou-Khalil
Tuba, Serpent, Producer – Michel Godard

RABIH ABOU-KHALIL - The Cactus of Knowledge (2001) APE (image+.cue), lossless

Rabih Abou-Khalil's ninth Enja release features one of his most expansive lineups to date -- 12 pieces in all, including oud, brass, woodwinds, cello, and percussion. It's quite a departure from 1999's austere Yara. Here the tempos are bright, the unison lines darting and difficult, the improv heated, the tonal combinations ever-changing. Heavy-hitting jazzers dominate the band roster, including Dave Ballou and Eddie Allen on trumpets, Tom Varner on French horn, Dave Bargeron on euphonium, Antonio Hart on alto sax, and Ellery Eskelin on tenor sax. Gabriele Mirabassi's clarinet gives the music an almost klezmer-like sound at times (a tantalizing instance of Jewish-Arab reconciliation). The gorgeous booklet includes a prose poem by Gamal Ghitany (printed in English, French, and Arabic), as well as a series of campy band portraits and a full transcription of track number five, "Oum Saïd." Looking over the score, one gets some sense of the rhythmic complexity Abou-Khalil is dealing with (try counting in 6+5+5+3/16, for instance). by David R. Adler
Tracklist 1 :
1    The Lewinsky March    5:25
Rabih Abou-Khalil
2    Business As Usual    6:23
Rabih Abou-Khalil
3    Fraises Et Creme Fraiche    9:53
Rabih Abou-Khalil
4    Got To Go Home    8:51
Rabih Abou-Khalil
5    Oum Saïd    10:36
Rabih Abou-Khalil
6    Maltese Chicken Farm    9:36
Rabih Abou-Khalil
7    Ma Muse M'amuse    9:37
Rabih Abou-Khalil
8    Pont Neuf    5:41
 Rabih Abou-Khalil
Credits :
Alto Saxophone – Antonio Hart
Calligraphy – Georges Ghantous
Cello – Vincent Courtois
Drums – Jarrod Cagwin
Euphonium – Dave Bargeron
Frame Drum – Nabil Khaiat
French Horn – Tom Varner
Oud, Producer, Arranged By – Rabih Abou-Khalil
Tenor Saxophone – Ellery Eskelin
Trumpet – Dave Ballou, Eddie Allen
Tuba – Michel Godard

RABIH ABOU-KHALIL - Morton's Foot (2003) APE (image+.cue), lossless

The band on Morton's Foot is a truly international ensemble. Composer and master oud player Rabih Abou-Khalil has assembled a cast that includes accordionist Luciano Biondini and clarinetist Gabriele Mirabassi along with Michel Godard on tuba, Jarrod Cagwin on trap and frame drums, and exotic Italian vocalist Gavino Murgia. Abou-Khalil composed all the tracks here. He shares the front line with Biondini and Mirabassi as Godard adds a serious bottom-end punch to the rhythm section. Certainly there are precedents for a group like this: Richard Galliano's 1980s bands as well as Chris Speed and Brad Shepik's Pachora, for example. Abou-Khalil's compositions here, as on his other recordings, involve detailed, complex, and labyrinthine melodic structures, though rhythmic invention and harmonic counterpoint add balance and offer tight turns of phrase and dynamic shifts. The title track, "Lobotomie Mi Baba Lu," and "Hopping Jack" are standout tracks, yet it is the sum of everything here that makes this one of Abou-Khalil's very best outings.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1 :
1    Ma Muse M'abuse    6:22
 Rabih Abou-Khalil
2    Morton's Foot    8:12
 Rabih Abou-Khalil
3    Il Ritorno Del Languore    7:24
 Rabih Abou-Khalil
4    Lobotomie Mi Baba Lu    7:11
 Rabih Abou-Khalil
5    L'histoire D'un Parapluie    6:04
 Rabih Abou-Khalil
6    O Papaia Balerina    6:17
 Rabih Abou-Khalil
7    Dr. Gieler's Wiener Schnitzel    7:16
 Rabih Abou-Khalil
8    Il Sospiro    6:52
 Rabih Abou-Khalil
9    Hopping Jack    7:33
 Rabih Abou-Khalil
10    Waltz For Dubbya    4:07
 Rabih Abou-Khalil
11    The Return Of The Maltese Chicken    You 2'46
 Rabih Abou-Khalil
Credits :
Accordion – Luciano Biondini
Calligraphy, Artwork [Cover] – Ahmed Al-Mufti
Clarinet – Gabriele Mirabassi
Drums, Frame Drum – Jarrod Cagwin
Lyrics, Music, Oud – Rabih Abou-Khalil
Tuba – Michel Godard
Vocals – Gavino Murgia

RABIH ABOU-KHALIL - Trouble in Jerusalem (2010) FLAC (tracks+.cue), lossless

It is always very exciting to hear classical music composed by artists outside of Western cultures and to hear what non-Western influences, folk melodies, and instruments they might use. However, good music is good music anywhere, just as unexciting music is unexciting music. This album, unfortunately, is not so exciting and does not live up to its potential. Played by the German Youth Orchestra (BJO) along with composer Rabih Abou-Khalil on the oud and two other soloists, the music seems to neither move nor be adequately programmatic. The album was composed as a modern soundtrack to a 1922 classic film called Nathan the Wise, which would suggest that the music would tell the story of the film in a clear manner, perhaps with a more distinct sense of motifs than one hears here. The CD opens with Jerusalem, which begins with an odd-sounding unison that precedes the oud, but the piece does not move. The string lines, which lack vibrato, could be more lush and sweeping (a characteristic one naturally might expect of string music from the Middle East). Though the oud's line is interspersed with orchestral passages, the music still feels dull and hovering. This sense of stagnation continues through various pieces on the album, even in the ending called "A Prayer for Tolerance." "Lament" is more interesting to listen to, as a brass solo as well as violin and cello solos showcase some of the best musicians in the orchestra. "Gerusalemme Liberata" has more musical drama when the brass enters and there is more texture in the strings. However, it feels random and lacking in motion, with fragments repeated. Perhaps the most interesting movement is "Once Upon a Dervish," where the use of percussion enlivens the piece. Abou-Khalil makes better use of orchestral colors here, which leads one to ask why he did not choose to do this in the previous movements. Once again, the solo violin plays nicely, and the strings have texture. Yet overall, the music does not come alive due to the combination of the music itself (with a heavy use of unisons, even taking cultural differences into account) and an orchestra that is not experienced enough to give the music more shape. This is by no means a criticism of younger musicians or youth orchestras, for there are plenty who are professional-caliber at a young age. Trouble in Jerusalem just does not make for an inviting musical experience. by V. Vasan  
Tracklist 1 :
1    Jerusalem    8:50
Rabih Abou-Khalil
2    Lament    10:24
Rabih Abou-Khalil
3    Gerusalemme Liberata    12:08
Rabih Abou-Khalil
4    Once Upon A Dervish    12:07
Rabih Abou-Khalil
5    Saladin And Nathan The Wise    7:29
Rabih Abou-Khalil
6    A Prayer For Tolerance    2:19
Rabih Abou-Khalil
Credits :
Cello, Soloist – Sophie Notte
Conductor [Orchestra] – Frank Strobel
Frame Drum [Frame Drums] – Jarrod Cagwin
Orchestra – The German Youth Orchestra (BJO)
Oud – Rabih Abou-Khalil
Tuba, Serpent – Michel Godard
Viola, Soloist – Sarina Zickgraf
Violin, Soloist – Tobias Feldmann