DAVE VALENTIN — Tropic Heat (1993) FLAC (tracks+.cue), lossless

Flutist Dave Valentin's 16th album for GRP is one of his best. His regular group (a quartet with pianist Bill O'Connell, bassist Lincoln Goines, and drummer Robbie Ameen) is augmented by two percussionists and an excellent seven-member horn section that consists of the reeds of Dick Oatts, Mario Rivera, and David Sanchez; trombonist Angel "Papo" Vasquez; and three trumpeters, including Charlie Sepulveda. All of the horns get their opportunities to solo and the result is a particularly strong Latin jazz session. Valentin continues to grow as a player and he cuts loose on several of these tracks.  Scott Yanow

Tracklist :

1 My Favorite Things 4:40

Oscar Hammerstein II / Richard Rodgers

Arranged By – Bill O'Connell

2 Sweet Lips 6:12

Bill O'Connell / Dave Valentin

3 Don Q 5:05

Arranged By – Bernd Schoenhart

Written-By – Bernd Schoenhart

4 Danzon for My Father 6:08

Arranged By – Oscar Hernandez

Written-By – Oscar Hernandez

5 Mr. Evil 4:54

Bill O'Connell 

6 Bello Amanecer 4:44

Tito Enriquez

Arranged By – Angel "Papo" Vasquez

7 Sam's Groove 6:13

Bill O'Connell

8 Tasty Mango 4:01  

Arranged By, Written-By – Angel "Papo" Vasquez

9 Sangria 5:48
Dave Valentin
Arranged By – Bill O'Connell, Dave Valentin
Credits :
Alto Saxophone, Soprano Saxophone – Dick Oatts
Bass Clarinet, Tenor Saxophone, Vocals – Mario Rivera
Congas – Jerry Gonzalez
Congas, Percussion – Milton Cardona
Drums – Robby Ameen
Electric Bass – Lincoln Goines
Flute, Producer – Dave Valentin
Guitar – Bernd Schoenhart
Piano – Bill O'Connell
Tenor Saxophone – David Sanchez
Timbales, Percussion – Andreu Johnny Almendra
Trombone – Angel Papo Vazquez
Trumpet – Charlie Sepulveda, David "Piro" Rodríguez, Ray Vega

RABIH ABOU-KHALIL - Blue Camel (1992) APE (image+.cue), lossless

Blue Camel is the pinnacle to date of Lebanese oud player Rabih Abou-Khalil's achievement as a jazzman. In both mood and scope, it can almost be characterized as a new Kind of Blue. Both tense and reflective, it is perfect for listening after midnight. Abou-Khalil brings back Charlie Mariano on alto sax and Kenny Wheeler on flügelhorn and trumpet, and they generally alternate solos with Abou-Khalil himself. Rounding out the roster is Steve Swallow on bass, Milton Cardona on congos, Nabil Khaiat on frame drums, and Ramesh Shotham on South Indian drums and percussion. They form a tight ensemble and play comfortably with each other. The album opens with "Sahara," which contains both one of Abou-Khalil's tunes, a mesmerizing melody that could be either Arabic or jazz, and one of Abou-Khalil's best solos, a well-defined interlude that delightfully features the unique timbre of the oud. "Tsarka" begins with a fast break on the oud that turns out to be one of the two motifs on which everything is built. After it is elaborated for a few bars, the oud comes back with another building block. Then we get some stunning improvisations, especially from Abou-Khalil. "Ziriab" opens with a trumpet solo in which Kenny Wheeler tests the compass of his instrument, backed up with some atmospheric sounds from the udu drum; then Abou-Khalil enters with another great tune for everyone to build on. The title track is nothing but fun. Seductive percussion ushers in Wheeler and Mariano playing in unison for a tune that is somewhere between Duke Ellington and the court of Baghdad. As the percussion bubbles along, Milton Cardona's congos adding a Latin flavor to the proceedings, Abou-Khalil steps up with a very fast and rhythmic, if not very tuneful, solo. Midway through the track, Mariano blisters the paint with a screeching sax workout that bridges the Arabic and the Latin, while remaining all the while pure jazz. Even Steve Swallow gets a chance to feature his bass after which the ensemble brings it together and takes it home. Some of the other tracks are not as good as the ones mentioned above, but they are all listenable and very atmospheric. The aptly named "A Night in the Mountains" is a slow, thoughtful walk, perfect for silent contemplation. The album ends with "Beirut," named for the Lebanese city torn by civil war from which Abou-Khalil had to flee many years ago. The track begins with a quiet oud solo and then builds to something more chaotic and striving. Blue Camel may not be a perfect album, but it demonstrates better than any other that a fusion between jazz and a musical form from another culture is possible and can work to the advantage of both. Plus, it's just great listening. by Kurt Keefner  
Tracklist :
1    Sahara    8:18
Rabih Abou-Khalil
2    Tsarka    6:45
Rabih Abou-Khalil
3    Ziriab    6:49
Rabih Abou-Khalil
4    Blue Camel    8:20
Rabih Abou-Khalil
5    On Time    6:19
Rabih Abou-Khalil
6    A Night In The Mountains    8:37
Rabih Abou-Khalil
7    Rabou-Abou-Kabou    4:47
Rabih Abou-Khalil
8    Beirut    10:52
Rabih Abou-Khalil
Credits :    
Alto Saxophone – Charlie "Sir Charles" Mariano
Artwork [Cover Art], Calligraphy – Georges Ghantous
Bass – Steve "Dr. Zvalov" Swallow*
Congas – Milton Cardona
Drums [South Indian], Percussion – Ramesh Shotham
Flugelhorn, Trumpet – Kenny Wheeler
Frame Drum – Nabil Khaiat
Oud, Producer, Design [Cover Design] – Rabih Abou-Khalil

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