Rabih Abou-Khalil - 1996 - Arabian Waltz

Rabih Abou-Khalil 

1996

Arabian Waltz

01. Arabian Waltz 8:10
02. Dreams Of A Dying City 12:08
03. Ornette Never Sleeps 6:58
04. Georgina 11:09
05. No Visa 9:59
06. The Pain After 9:26

Rabih Abou-Khalil / oud, composer, arranger & co-producer

With:
Michel Godard / tuba, serpent
Nabil Khaiat / frame drums

The Balanescu Quartet:
Alexander Balanescu / violin, co-producer
Clare Connors / violin
Paul Martin / viola
David Cunliffe / cello

Recorded 22-26 September 1995 at SWF Studio, Baden-Baden, Germany and 18-23 December 1995 at CMP Studio, Zerkall, Germany.

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.

This would be readily included among my "desert island" discs. Some of Rabih Abou-Khalil's work has steered uncomfortably close to the cocktail lounge, but this set is a work of genius.

While the title track is awash with exciting tempo changes & vigor, "Dreams Of A Dying City" is incredibly sensual and steamily meandering. Definitely one of the most gorgeous compositions that I have ever heard. "Ornette Never Sleeps" is slightly more jazzy, yet still retains the pronounced Arabic feel of the rest of the disc.

"Georgina" has a starkly beautiful opening statement from the oud and some virtuoso playing from The Balanescu Quartet. The chamber orchestra feel during the beginning of the piece evaporates, leaving an incredibly sensual solo from the oud in its place.

"No Visa" has a more "refined" sound, but the dark beauty remains. The orchestral "swoops" accent the Arabic flavor. "The Pain After" is the only chamber piece I can think of that uses a tuba in a bewitching way. As with all of these pieces, this composition is haunting in its dark beauty. This disc is apparently out of print, which is a travesty. If you can find it, I heartily recommend that you get it & experience the beauty for yourself!