Rabih Abou-Khalil Arabian Waltz CD

Personnel: Rabih Abou-Khalil (oud); Michel Goddard (tuba, serpent); Nabil Khaiat (frame drums).
The Balanescu Quartet: Alexander Balanescu, Clare Connors (violin); Paul Martin (viola); David Cunliffe (cello).
Producers: Rabih Abou-Khalil, Alexander Balanescu, Walter Quintus.
Recorded at SWF Studio, Baden Baden, Germany in September, 1995 and at CMP Studio, Zerkall, Germany in December 1995. Includes liner notes by Geoff Dyer, Bernard Aime and Harry Lachner.
Personnel: Rabih Abou-Khalil (oud); Clare Connors, Alexander Balanescu (violin); Paul Martin (viola); David Cunliffe (cello); Michel Godard (serpent, tuba); Nabil Khaiat (drums).
Audio Mixer: Walter Quintus.
Liner Note Author: Bernard Aimé.
Recording information: CMP Studio, Zerkall, Germany (09/22/1995-12/23/1995); SWF Studios, Baden-Badfen, Germany (09/22/1995-12/23/1995).
Photographer: Sammy Hart.
Arranger: Rabih Abou-Khalil.
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. ~ Kurt KeefnerDown Beat (9/96, p.58) - 4 Stars - Very Good - "...The Balanescu Quartet is well integrated, playing with urgency and passion. Abou-Khalil's solos are frequently dark and searching..."
JazzTimes (11/96, p.75) - "...where earlier projects veered towards the jazz tradition, it's another story on the enthralling ARABIAN WALTZ, an album at once more close to his heritage and further afield....Jazz is never too far from this oud player's mind: nor is the idea of bounding over barriers."
Option (9-10/96, pp.116-117) - "...draws heavily upon...Middle-Eastern heritage...although Western-style counterpoint and harmony is used selectively and effectively....Seldom does a recording appear which seems to be perfect...both in concept and execution, but ARABIAN WALTZ certainly approaches such lofty heights..."