Rabih Abou-Khalil Sultan's Picnic CD

Personnel: Rabih Abou-Khalil (oud, bass oud); Charlie Mariano (alto saxophone); Kenny Wheeler (trumpet, flugelhorn); Michel Godard (tuba, serpent); Howard Levy (harmonica); Steve Swallow (bass); Mark Nauseef (drums); Nabil Khaiat (frame drums); Milton Cardona (congas).
Recorded at Sound Studio N, Cologne, Germany from March 13-16, 1994. Includes liner notes by Harry Lachner & Geoff Dyer.
Personnel: Rabih Abou-Khalil (oud, strings); Howard Levy (harmonica); Michel Godard (serpent, tuba); Charlie Mariano (alto saxophone); Kenny Wheeler (trumpet, flugelhorn); Nabil Khaiat, Mark Nauseef (drums); Milton Cardona (congas).
Audio Mixer: Günther Kasper.
Recording information: Sound Studio N, Cologne, Germany (03/13/1994-03/16/1994).
Photographer: Sammy Hart.
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. ~ Kurt KeefnerDown Beat (12/95, p.73) - 4 Stars - Very Good - "...Alternately exuberant and pensive, Abou-Khalil's unique hybrid successfully spans the worlds of traditional Arabic music and jazz."