RABIH ABOU-KHALIL - Al-Jadida (1991) APE (image+.cue), lossless

Rabih Abou-Khalil, among the rare Arabic musicians who have recorded and played extensively with jazz musicians, successfully navigates the middle ground between traditional North African sounds and hard bop. Besides the leader's oud and flute, alto saxophonist Sonny Fortune provides the blues bite; bassist Glen Moore, the rhythmic connection, and percussionists Ramesh Shotham and Nabil Khaiat, provide the African seasoning. by Ron Wynn
Tracklist :
1 Catania 7:41
Rabih Abou-Khalil
2 Nashwa 9:33
Rabih Abou-Khalil
3 An Evening With Jerry 6:59
Rabih Abou-Khalil
4 When The Lights Go Out 7:14
Rabih Abou-Khalil
5 Storyteller 8:52
Rabih Abou-Khalil
6 Ornette Never Sleeps 4:01
Rabih Abou-Khalil
7 Nadim 8:29
Rabih Abou-Khalil
8 Wishing Well 5:25
Rabih Abou-Khalil
Credits :
Alto Saxophone – Sonny Fortune
Bass – Glen Moore
Drums [South Indian], Percussion – Ramesh Shotham
Frame Drum [Frame Drums], Percussion – Nabil Khaiat
Oud – Rabih Abou-Khalil

RABIH ABOU-KHALIL - Nafas (1988) APE (image+.cue), lossless

Recorded in Germany by Beirut native Rabih Abou-Khalil, this moody, atmospheric album is more like a soundscape than a collection of songs. Abou-Khalil's primary instrument is the oud, a lute-like instrument traditionally used in Arab music. This low, sweet-toned, obviously Far Eastern instrument is teamed up with nothing more than Arab drums in most of the songs. Sparse vocals, performed by Selim Kusur, do little to create any discernible melody. Instead, they add texture and effect -- or an intro in the case of "Incantation." Upbeat songs such as "Awakening" are carried along by the drums, while the melancholy sound of the oud dominates introspective tracks such as "Nafas." This album is a far cry from the complex, percussion-heavy, often slightly jangly albums that usually make it to the world music section in Western record stores. It is also unlike the techno-influenced worldbeat albums that found popularity amongst certain club circles. It is a wistful, lonely album. Its simple, spare instrumentation is its distinguishing feature; after listening to dozens of over-produced, musically complex albums, this one comes as a bit of a relief. Though certain world music experts consider Abou-Khalil to be an innovator within his subgenre, his music sounds neither new nor old. It's hard to fit within any time frame. by L. Katz  
Tracklist :
1     Awakening 2'06
Glen Velez
2     Window 8'56
Rabih Abou-Khalil / Selim Kusur / Setrak Sarkissian / Glen Velez
3     Gaval Dance 4'24
Setrak Sarkissian / Glen Velez
4     The Return 1 6'19
Rabih Abou-Khalil
5     The Return 2 4'28
Rabih Abou-Khalil
6     Incantation 6'03
Rabih Abou-Khalil
7     Waiting 7'32
Rabih Abou-Khalil
8     Amal Hayati 6'45
Mohamed Abdel Wahab
9     Nafas 1'37
Rabih Abou-Khalil
10     Nandi 2'07
Glen Velez
Credits :    
Frame Drum [Frame Drums] – Glen Velez
Goblet Drum [Darabukka] – Setrak Sarkissian
Ney [Nay], Voice – Selim Kusur
Oud – Rabih Abou-Khalil
Producer – Manfred Eicher

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 - Between Dusk and Dawn (1993) APE (image+.cue), lossless

One of Rabih Abou-Khalil's earlier albums, Between Dusk and Dawn features stellar sidemen such as master percussionist Glen Velez and jazz saxophonist Charlie Mariano. In places it exhibits that ecstatic melding of jazz and Arabic music that was later perfected on Blue Camel. But in other places it gives us long patches of noodling and less-then-engaging playfulness. An example of the former would be the first track, "Dusk." At just over 14 minutes, more than half of this piece is devoted to a shapeless and tiresome prelude for percussion and oud (Arabic lute). An example of the latter is the aptly named "The Thing That Came Out of the Swamp," which features everything but the kitchen sink, including Glen Velez's overtone singing, in a fantasy that sounds like Stravinsky crossed with Steve Reich. Yet there are solid, jazzy tracks like "Chess with Mal" which opens with a long but well-formed solo by Charlie Mariano before sax and oud synchronize for one of Abou-Khalil's gloriously rhythmic tunes. Or "Dawn," where Abou-Khalil plays one of his favorite tricks of making it sound as if the melody of the piece grows out of his initial improvisation. Despite the album's lack of overall focus, it does offer a bounty for the ear, especially in the percussion. A disc for fans of one or more of the musicians involved. by Kurt Keefner  
Tracklist:
1    Dusk    14:15
Rabih Abou-Khalil
2    Bat Dance    5:32
Rabih Abou-Khalil
3    Nightfall 6:38
Rabih Abou-Khalil
Flute – Rabih Abou-Khalil
4    Ugo In Love    3:46
Rabih Abou-Khalil
5    Chess With Mal    7:32
Rabih Abou-Khalil
6    The Thing That Came Out Of The Swamp 4:10
Composed By – Armann, Abou-Khalil
Flute – Rabih Abou-Khalil
Marimba – Christian Burchard
Overtone Voice [Overtone Singing] – Glen Velez
Piano – Michael Armann
7    Dawn    5:51
Rabih Abou-Khalil
8    And Finally ... The Oasis    6:53
Rabih Abou-Khalil
Credits:
Bass, Arranged By – Glen Moore
Frame Drum [Middle Eastern Frame Drums], Bodhrán [Bodhran (Irish Frame Drum)], Goblet Drum [Darbukka], Percussion, Arranged By – Glen Velez
Oud, Composed By, Arranged By, Producer, Photography [Cover And Layout] – Rabih Abou-Khalil
Percussion [South Indian Percussion], Thavil [Tavil], Ghatam, Jew's Harp [Mouth Harp], Dholak, Kanjira, Percussion, Arranged By – Ramesh Shotham
Soprano Saxophone, Alto Saxophone, Arranged By – Charlie Mariano

RABIH ABOU-KHALIL - Bukra (1989) APE (image+.cue), lossless

Tracklist:
1    Fortune Seeker    4:52
Rabih Abou-Khalil
2    Bukra    7:58
Rabih Abou-Khalil
3    Kibbe    8:16
Rabih Abou-Khalil
4    Remember... The Desert 7:10
Rabih Abou-Khalil
Overtone Voice – Glen Velez
5    Nayla    9:24
Rabih Abou-Khalil
6    Time    4:25
Rabih Abou-Khalil
7    Reflections    8:05
Rabih Abou-Khalil
Credits:
Alto Saxophone – Sonny Fortune
Artwork [Cover Art], Calligraphy – Georges Ghantous
Bass – Glen Moore
Drums [South Indian], Percussion – Ramesh Shotham
Frame Drum, Percussion – Glen Velez
 Oud, Producer, Design [Cover Design] – Rabih Abou-Khalil

RABIH ABOU-KHALIL - Roots & Sprouts (1990) APE (image+.cue), lossless

In a satisfying stylistic experiment, Lebanese composer and oud player Rabih Abou-Khalil has decided to put together an album of jazz numbers with no Western instruments other than Glen Moore's standup bass. There is Yassin El-Achek on violin, but the violin is almost as much a Middle Eastern instrument as a Western one. El-Achek usually remains in the Middle Eastern style of playing, but occasionally, as on "Wordless," he double-stops and trills like Paganini.

The tracks are nicely constructed, and the improvisations are not allowed to run amok or become shapeless. The tunes are, as usual with Abou-Khalil, Middle Eastern melodies with phrases and turns that nod at Western notions of what "Oriental" music sounds like. This conceit paves the way for the extremely rare event of Abou-Khalil covering someone else's song. And which did he choose? Duke Ellington's "Caravan," the all-time most famous faux-Arabic jazz number! The song turns into a duet between El-Achek's violin and Selim Kusur's nay (Arabic flute). It's fun but lightweight compared to the album's originals. All the instrumentalists are in fine form, particularly Glen Velez, who really shakes his tambourine as well as pulling out his snare drums for several numbers. Abou-Khalil has never been better as a performer, especially on the opening of "Remembering Machgara," where he makes his oud sound like an electric guitar. It helps that the album is unusually well-arranged, even for Abou-Khalil, and well-recorded, even for Enja, everything sounding wonderfully present and defined. This album represents the expatriate Lebanese composer-musician in his prime. by Kurt Keefner  
Tracklist:
1    Remembering Machgara    7:10
Rabih Abou-Khalil
2    Walking On Air    9:03
Rabih Abou-Khalil
3    Nida    6:38
Rabih Abou-Khalil
4    Revelation    5:38
Rabih Abou-Khalil
5    Wordless    8:05
Rabih Abou-Khalil
6    Sweet Rain    4:59
Rabih Abou-Khalil
7    Outlook    8:25
Rabih Abou-Khalil
8    Caravan 5:32
Composed By – Ellington, Mills, Tizol
9    Dreams Of A Dying City    11:06
Rabih Abou-Khalil
Credits:
Bass – Glen Moore
Oud, Arranged, Producer – Rabih Abou-Khalil
Goblet Drum [Darabukka] – Mohammad Al-Sous
Ney [Nay] – Selim Kusur
Percussion [Frame Drums] – Glen Velez
Violin – Yassin El-Achek

RABIH ABOU-KHALIL - Tarab (1993) APE (image+.cue), lossless

Tarab is an unusual album for the great Lebanese jazz composer and oud player in that it features no Western instruments or musicians, except for Glen Moore on the acoustic bass. The melody instruments are the nay (Arabic flute) played by the Syrian veteran Selim Kusur and, as always, Abou-Khalil on oud or Arabic lute (which more or less functions like the piano in a standard jazz quartet). Rounding out the group are Nabil Khaiat on frame drums and percussion, and Rameesh Shotham on South Indian drums and other percussion. Everyone but Kusur has worked at least semi-regularly with Abou-Khalil. (Kusur did play on Abou-Khalil's Roots & Sprouts, an earlier instance of an album with no Western instruments.) The lack of Western instrumentalists gives Tarab a less jazzy, more Arabic feeling than Abou-Khalil's other albums. Abou-Khalil builds his albums around his guest instrumentalists, so Tarab features the nay prominently, but even more, this is an album for the oud and for showing off the rhythm section. For example, on "In Search of the Well" there is actually a bass solo. And there are a few other pleasant surprises scattered throughout the album. On "Awakening," someone -- just who is not credited -- lets forth a string of bol singing, that rapid-fire, tongue-twisting Indian chant made famous in the West by Sheila Chandra. And on "Arabian Waltz," a jaw harp appears out of the blue , presumably played by Shotham, who plays it on Between Dusk and Dawn, accenting the fast-paced original version of what later became the more lush title track of the album Arabian Waltz. This last song is especially welcome for its strong melody, standing out on an album that certainly does not lack for atmosphere, but which would have benefited from greater tunefulness. Still, a very worthy effort, though not the best place to start one's Rabih Abou-Khalil collection, especially if one is coming from a jazz background. by Kurt Keefner
Tracklist:
1 Bushman in the Desert 8:00
Rabih Abou-Khalil
2 After Dinner 5:53  
Rabih Abou-Khalil
3 Awakening 8:06
Rabih Abou-Khalil / Erik Berglund
4 Haneen Wa Hanaan 8:07
Rabih Abou-Khalil
5 Lost Centuries 7:10
Rabih Abou-Khalil
6 In Search of the Well 3:37
Rabih Abou-Khalil
7 Orange Fields 9:38
Rabih Abou-Khalil
8 A Tooth Lost 5:20
Rabih Abou-Khalil
9 Arabian Waltz 5:00
Rabih Abou-Khalil
Credits:
Bass – Glen Moore
Oud, Cover [Cover Design], Design [Cover Design] – Rabih Abou-Khalil
Drums [South Indian Drums], Percussion, Jew's Harp [Mouth Harp] – Ramesh Shotham
Frame Drum [Frame Drums], Percussion – Nabil Khaiat
Ney [Nay] – Selim Kusur

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 - Yara (1998) APE (image+.cue), lossless

Of the many exceptional world music projects by the Lebanese oud master Khalil, this is one of the more intriguing cuts used from the soundtrack of the Yilmaz Arslan-directed film Yara. Though the verbose liner notes by Harry Lachner extensively describe music in movies, it gives little clue as to how this music connects to the flick. But the music of Khalil does stand beautifully on its own, generally of a very patient construct, the oud player joined by violinist Dominique Pifarely, cellist Vincent Courtois, and Nabil Khaiat on the frame drum. Selections flow freely into each other, much unison playing between the string instruments is prevalent, and Khalil takes the bulk of the lead, but Pifarely and Courtois have many opportunities to contribute melodically. Not nervous or anxious, those elements are stripped from this music; instead, virtues of trust and belonging are most extant. The gorgeous melding of these instruments on a lower key level is similarly expressed for "Requiem," "A Gracious Man" (for Rabih's father), "Grateful Parting," "The Passage of Life," and "Lithe Dream." The caravan like "Imminent Journey" is in 6/8 time, more Indian raga based, as is the slow "Puppet Master" and slower oud-frame drum-based "Bint El Bahr." "On a Bus" (to Beirut??) in 5/4 crackles with Khalil's riveting, forward-moving improvising. "Through the Window" is joyous, and seemingly free of structure, with no easily discernible meter. Haunting themes with only violin and cello for "The End of Faith" and the equally full group finale "The Knowledge of a Child" end the movie, and this set, on a remarkably somber note. There's pure wonder and revelation in this music. You'll have to see the film to get the full gist, but without the moving pictures, Khalil's unique music is indeed a moving experience in and of its own accord. Recommended. by Michael G. Nastos   

Tracklist :
1    Requiem    6:48
Rabih Abou-Khalil
2    Imminent Journey    1:17
Rabih Abou-Khalil
3    A Gracious Man    4:55
Rabih Abou-Khalil
4    On A Bus    4:16
Rabih Abou-Khalil
5    Grateful Parting    7:09
Rabih Abou-Khalil
6    The Passage Of Life    4:05
Rabih Abou-Khalil
7    Through The Window    5:43
Rabih Abou-Khalil
8    Lithe Dream    5:38
Rabih Abou-Khalil
9    Puppet Master    3:42
Rabih Abou-Khalil
10    Bint El Bahr    6:47
Rabih Abou-Khalil
11    The End Of Faith    2:16
Rabih Abou-Khalil
12    The Knowledge Of A Child    2:19
 Rabih Abou-Khalil
Credits :
Cello – Vincent Courtois
Drums [Frame] – Nabil Khaiat
Oud, Producer – Rabih Abou-Khalil
Violin – Dominique Pifarely

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

RABIH ABOU-KHALIL - Il Sospiro (2002) APE (image+.cue), lossless

Tracklist :
La Séduction    
1    a. Qawarma    5:46
2    b. Charab Et Tout    2:03
3    c. Arouss Labneh    6:52
4    My Favourite Feet    5:45
5    Serenade To A Mule    3:37
6    Jardin De Chine    3:38
7    Ghantous    5:36
8    La Ladra Di Cuori    2:49
9    Yakhbeir John    5:19
10    Bofinger    5:45
11    An Oyster In Paris    3:32
12    The Birthday Gift    6:01
13    Afterthought    1:27
Credits :
Calligraphy, Artwork [Cover] – Ahmed Al-Mufti
Oud, Written-By – Rabih Abou-Khalil

RABIH ABOU-KHALIL - Journey to the Centre of an Egg (2005) APE (image+.cue), lossless

 Tracklist :
1    Shrewd Woman    3:38
 Rabih Abou-Khalil
2    Little Camels    2:46
 Rabih Abou-Khalil
3    Die Brücke    5:47
 Rabih Abou-Khalil
4    I'm Better Off Without You    11:12
 Rabih Abou-Khalil
5    Natwasheh And Kadwasheh    13:27
 Rabih Abou-Khalil
Drums – Wolfgang Reisinger
6    Mango    7:25
 Rabih Abou-Khalil
Drums – Wolfgang Reisinger
7    No Plastic Cups, Please    3:17
 Rabih Abou-Khalil
8    Sweet And Sour Milk    4:20
 Rabih Abou-Khalil
Credits :
Calligraphy – Ahmed Al-Mufti
Drums, Frame Drum [Frame Drums] – Jarrod Cagwin
Producer, Oud, Design [Cover] – Rabih Abou-Khalil

RABIH ABOU-KHALIL - Songs for Sad Women (2007) APE (image+.cue), lossless

Tracklist :
1    Mourir Pour Ton Décolleté    7:29
 Rabih Abou-Khalil
2    How Can We Dance If I Cannot Waltz    7:08
 Rabih Abou-Khalil
3    Best If You Dressed Less    6:56
 Rabih Abou-Khalil
4    The Sad Women Of Qana    8:46
 Rabih Abou-Khalil
5    Para O Teu Bumbum    7:08
 Rabih Abou-Khalil
6    Le Train Bleu    6:55
 Rabih Abou-Khalil
7    A Chocolate Love Affair    11:09
 Rabih Abou-Khalil
Credits :
Calligraphy – Ahmed Al-Mufti
Drums, Frame Drum – Jarrod Cagwin
Duduk – Gevorg Dabaghyan
Oud, Producer, Design [Cover] – Rabih Abou-Khalil
Serpent – Michel Godard

RABIH ABOU-KHALIL - Em Português (2001) FLAC (image+.cue), lossless

Oud master Rabih Abou-Khalil has been known to mix and match various ethnic strains, but in the case of Em Portugues, he's outdone himself. The music has the obvious Middle Eastern tinge you would expect, but also sounds more like a head-on collision of fado and Hasidic or klezmer music underneath heavily sexual Brazilian sounds. What is most striking is that what Abou-Khalil has concocted sounds nothing like any of these distinct musics individually, but more a brand-new hybrid that only he could provide a definition for. It's a powerful, driving, feverish sound that speaks a strong emotional language, due primarily to the pronounced singing of Ricardo Ribeiro. In fact, Ribeiro is so confidently powerful that he may seem arrogant, especially when you read the translation to the lyrics of the lusty "Amarrado à Saudade" or "No Mar Das Ruas Pernas." He can also express abject regret, as heard on "Ja Nao dá Como Esta," where his traditional old-fashioned life is ruined by modernism, or "A Lua Num Quarto," which expresses complete lonely isolation. Then you have reflections on the game of life during "Jogo da Vida," lost youth never revived for "Adolescencia Perdida," and the value of love's smile on the touching "Quando Te Vejo Sorrir." This is more Ribeiro's than Abou-Khalil's album, but once again the brilliant sound engineer Walter Quintus balances all of the musicians to give the CD a live, one-and-only-one-take feeling. A recording for specific tastes and the leader's fans, it certainly gives food for thought as to what will be the next move from the brilliant bandleader and single-minded world musician, who continues to be in a class by himself. by Michael G. Nastos 
Tracklist :
1    Como Um Rio    6:08
2    No Mar Das Tuas Pernas    2:46
3    A Lua Num Quarto    4:33
4    Amarrado À Saudade    3:35
5    Já Não Dá Como Esta    4:12
6    Se O Meu Amor Me Pedisse    3:02
7    Quando Te Vejo Sorrir    6:54
8    Casa Da Mariquinhas    5:59
9    Beijos Ateus    8:29
10    A Gaivota Que Tu És    3:48
11    Jogo Da Vida    6:18
12    Adolescência Perdida    3:38
Credits :
Accordion – Luciano Biondini
Bass, Serpent, Tuba – Michel Godard
Drums – Jarrod Cagwin
Oud – Rabih Abou-Khalil
Vocals – Ricardo Ribeiro

RABIH ABOU-KHALIL - Hungry People (2012) FLAC (tracks+.cue), lossless

Tracklist :
1    Shrilling Chicken    4:11
 Rabih Abou-Khalil
2    When The Dog Bites    5:12
 Rabih Abou-Khalil
3    A Better Tomorrow    6:43
 Rabih Abou-Khalil
4    Bankers' Banquet    5:32
 Rabih Abou-Khalil
5    Dreams Of A Dying CIty    5:37
 Rabih Abou-Khalil
6    Fish And Chips And Mushy Peas    4:42
 Rabih Abou-Khalil
7    Hats And Cravats    6:08
 Rabih Abou-Khalil
8    When Frankie Shot Lara    6:32
 Rabih Abou-Khalil
9    Si Tu Me Quittes    7:05
 Rabih Abou-Khalil
10    Shaving Is Boring, Waxing Is Painful    4:48
 Rabih Abou-Khalil
Credits :
Accordion – Luciano Biondini
Drums, Frame Drum [Frame Drums] – Jarrod Cagwin
Oud, Composed By, Producer – Rabih Abou-Khalil
Soprano Saxophone, Voice – Gavino Murgia
Tuba, Serpent, Bass – Michel Godard