| | Rabih Abou-Khalil Bukra CD Rabih Abou-Khalil Discography of CDs
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Recorded at Sound Studio N, Cologne, Germany in May 1988.
Personnel: Rabih Abou-Khalil (oud); Glen Velez (vocals, drums, frame drum, percussion, background vocals); Sonny Fortune (alto saxophone); Glen Moore (bass guitar); Ramesh Shotham (drums, percussion).
Liner Note Authors: Jerry G. Bauer; Rabih Abou-Khalil.
Recording information: Sound Studio N, Cologne, Germany (05/1988); Soundstudio N', Cologne, Germany (05/1988).
Personnel: Rabih Abou-Khalil (oud); Glen Velez (vocals, frame drums, percussion); Sonny Fortune (alto saxophone); Glen Moore (bass); Ramesh Shotham (South Indian drums, percussion).
Rabih Abou-Khalil Bukra Songs Bukra Review
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Purchase Bukra CD To buy, Click on price to add to cart | Reggie Workman Summit Conference CD (1993)
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| | Rabih Abou-Khalil Odd Times CD (1997)
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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 ...
| | Corey Harris Downhome Sophisticate CD (2002)
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Vic Brown, Houston Ross (bass); Johnny Gilmore (drums); Darrell Rose (percussion); ...
| | Wooden Wand & The Vanishing Voi Xiao CD (2004)
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Xiao is Wooden Wand & the Vanishing Voice's homage to American Christianity, of the plastic-Jesus-on-the-dashboard variety of downhome worshipers who fear a vengeful god while letting slip with small sins every now and again, because, after all, they're human, ain't they? Alot of the lyrics and spoken word rants are deliberately ...
| | Michael Musillami Glass Art CD (1992)
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For part two of Michael Musillami's series of Playscape recordings, the guitarist's quintet becomes a sextet with the addition of trumpeter Randy Brecker. Pianist Kent Hewitt, drummer Steve Johns, and the late altoist Thomas Chapin all remain, while bassist Nat Reeves is replaced by Ray Drummond. The addition of trumpet allows Musillami to create arrangements of greater depth and complexity, most notably on the quick 3/4 tune "Shoeshine," which stretches to nearly 12 minutes. This remarkable piece begins with Musillami playing deft, swinging lines, backed only by Johns on brushes. Drummond then enters to set up a vamp, which introduces a marvelously intricate three-part melody involving Brecker on muted trumpet, Chapin on flute, and Musillami on guitar. From an orchestrational standpoint, this is a good deal more advanced than what one hears on Musillami's previous outing, Archives. There are similar nuances on the opening track, "GlassArt," where Musillami deploys the three melody instruments in such a way as to simulate sectional writing. "Cousin Jim" also finds Musillami reaching new heights of originality and surprise. Beginning as a ballad, the tune abruptly switches to a brisk 6/8 tempo and remains there throughout. It's a simple idea -- the best usually are -- yet one that elevates the piece quite far above the ordinary. The theme, lyrical and yet staggeringly complex, is undoubtedly some of Musillami's finest writing to date. The other tunes feature great playing but don't quite rise to the same level as compositions. There's the breezy Latin piece "Mar's Bars"; a fast modal tune called "Out of Balance," which features an especially ...
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| | John Coltrane Quartet Plays CD (1965) Reissue; Remastered
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Digitally remastered using 20-bit technology by Erick Labson (MCA Music Media Studios).
1965 was a seminal year for the John Coltrane Quartet, a period in which the leader instigated a bold cycle of exploratory new directions, leading to such extended free jazz rites as ASCENSION and MEDITATIONS. Yet for all the emotional turbulence and the protracted solo flights, THE JOHN COLTRANE QUARTET PLAYS finds the saxophonist taking an affectionate, powerful backwards glance at the foundation of his quartet's collective sound.
From the opening strains of "Chim Chim Cheree," it's obvious that this unlikely tune represents a return to the near-Eastern style of incantation which made "My Favorite Things" such a hypnotic vehicle for ...
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