‘Passport’ – Omar Rahbany

passport

STAMPED with kaleidoscopic impressions from around the globe, Lebanese pianist Omar Rahbany’s Passport is a sumptuous fusion of jazz, orchestral and world music, presented by more than one hundred and eighty collaborators from twelve different nations.

Read the full review at LondonJazz News…

Released on 10 March 2017, Passport will be available from Rahbany Yahya Productions.
Audio samples at Omar Rahbany’s Facebook artist page.

 

Omar Rahbany piano, keyboards, additional bezok

Individual artists listed mostly in track-sequence appearance:
Ghada Nehme
vocals
Christopher Michael drums, Brazilian and miscellaneous percussion
Tony Dib accordion
Trad Trad clarinet
Steve Rodby acoustic bass
Raymond Hage percussion, Arabic percussion
Cuong Vu trumpet
Wayne Krantz electric guitar
Ali Madbouh ney, mezmar
Keith Carlock drums
Elie Afif electric bass
Andrew Hachem vocals
Faraj Hanna bezok, oud
Scott Harrell trumpets
Judy Lee horns
Timothy Albright trombones
Morris Kainuma tuba
Claud Chalhoub violin
Khachatur Savzyan double bass
Tom Hornig soprano saxophone
Nidal Abou Samra alto, tenor and baritone saxophones, trumpet
Karim Ziad drums
Jihad Assaad kanoon
Raed Boukamel ney
Jessy Jleilaty, Mirna Ileilaty Abdo, Andree Dib female chorus
Simon Obeid, Nader Khoury, Elie Khayat, Gilbert Jalkh, Tony Azar male chorus
Loyal El Mir vocals
Rami Maalouf flute
José Fernandez guitar
Alain Makdessi electric guitar

The Kiev City Symphonic Orchestra conducted by Volodymyr Sirenko
Members of the Lebanese Philharmonic Orchestra
additional strings

omarrahbany.com

Self-released (2017)

‘Via Maris’ – Melange

Melange

MELANGE BY NAME, melange by nature… this jazz-inflected world music release from cellist Shirley Smart’s London-based collective is gloriously difficult to categorise.

Along with Smart, the core line-up in this recording comprises Stefanos Tsourelis (oud), Peter Michaels (guitar) and Demi Garcia Sabat (drums, percussion) – a quartet whose celebration of Middle Eastern, North African and Mediterranean music is, by turns, joyous, atmospheric and often deeply affecting. But then add in significant contributions from Maurizio Minardi (accordion), Joe Browne (saxophones), Jake Painter (trumpet) and Michele Mintolli (bass), and the creative hues become more broadly pronounced.

In 1989, Shirley Smart swapped the UK for Jerusalem, becoming immersed in its cultural life for a decade. It was there that this eight-piece ensemble was conceived, bringing together musicians from Greece, Spain, Morocco, Iraq, Italy and the UK – and importantly, despite prevailing political and social tensions in areas of conflict, these artists were able to continue to compose and perform together, confirming music’s universal power to transcend and overcome such challenges. Smart’s open and eclectic vision for this group is surely founded on her experiences performing with Palestinian, Israeli and Moroccan bands, as well as tours across Europe, Russia, Jordan and Egypt.

The overriding impression is of live, interactive music, joyfully played – easy to imagine a distant, energised pulse or lyrical phrase caught on the breeze, gradually intensifying with each closer footfall until this impassioned music is seen and heard in all its colourful splendour. And however familiar or unfamiliar this exotic sound world – incorporating Arabic maqam, jazz improvisation and including traditional tunes plus original compositions – the impassioned instrumental textures and rhythms become wholly arresting. Indeed, to more Western ears, the sound of Stefanos Tsourelis’ oud immediately evokes the world of Anouar Brahem, as in spirited opening number Bia Oula Bik (Between Me and You) whose whirling vibrancy is accentuated by trumpet and sax, and also in sultry, percussively fragrant Anosis.

Throughout, the leader’s assured, often vigorous improvisations are integral to the overall palette, her own Marrocai burning brightly in festive folkiness, with Peter Michaels’ guitar and Tsourelis’ oud complementing the rich cello sonority; and Maurizio Minardi’s typically adventurous, evocative accordion in old Iraqi love song Foq El-Nakhal contributes greatly to an irresistible levity. Longa Kismet‘s smouldering mystery confirms just how effective the quartet of cello, oud, guitar and percussion can be, whilst the gentle introduction of Joe Browne’s chromatic soprano sax and Minardi’s subtle accordion in Anouar Brahem’s Halfaouine adds spice.

Certainly a journey into the unknown, this album delights at every turn: Erotokritos sounding fascinatingly medieval, Longa Sha’anaz‘s exotic riffs absolutely charming, Azraq (another of Smart’s originals) hitting a rocky groove as well as treading into dark, oud-improvised alleyways, and Greek- or perhaps Bulgarian-suggested Kiselo Mlkako fizzes with audacious, exuberant mischief (‘has to be heard!). Breathless, anarchic, tenor-screeched Turkish stomper Longa Sakiz, too, is a brilliant showstopper, whilst end piece Sound of the Ground parties on with an almost Mexican radiance.

Melange are a complete delight, and Via Maris an enthralling debut release. Available as CD or download, on Two Rivers Records, at Bandcamp.

 

Shirley Smart cello
Stefanos Tsourelis oud
Peter Michaels guitar
Demi Garcia Sabat drums, percussion
with
Maurizio Minardi accordion (tracks 1, 4, 6, 10, 11, 12)
Joe Browne saxophones (tracks 1, 6 , 11, 12)
Jake Painter trumpet (tracks 1, 7, 12)
Michele Montolli bass (tracks 1, 10, 11, 12)

melangecollective.com

Two Rivers Records – TRR 013 (2016)

‘Thymos’ – Matt Ridley Trio

MattRidley_Thymos

THIS DEBUT RELEASE from double bassist and composer Matt Ridley has been fascinating me for a number of weeks, as I repeatedly return to its charming blend of sophistication, mystery and vitality.

Ostensibly a piano trio album with John Turville (piano) and George Hart (drums), ‘Thymos’ begins with that same highly-charged energy that we have come to experience with the likes of e.s.t., Phronesis and Vijay Iyer – yet this is different. Firstly, it becomes clear that Eastern musical influences are being explored here (to great effect, I might add), and then there is the masterstroke of judiciously augmenting the trio on some numbers with the considerable talents of Jason Yarde (sax), Attab Haddad (oud) and Vasilis Sirkis (percussion). The result: an exciting and diverse programme – written or arranged by Ridley and led by his distinctly melodic bass technique – which pleasingly achieves his own vision of “a sound encompassing the exotic flavours and emotions of Middle Eastern music with the jazz sensibility of improvisation on complex structures”.

Following a freely improvised opening, the trio immediately display their connectedness on the strong, bass-driven Siamese Twins which unfolds into heady splendour, George Hart’s hard-hitting drum improvisation over a repeated piano and bass phrase heightening the fizz of this seven-minute opener. Theme and Variations – a touch of baroque in 9 – displays Ridley’s liking for a transparent bass melody, John Turville’s piano contributing the same clarity; and Hart simply shines with his equal show of strength and dexterity. It’s impressively balanced, right through to the delicate close.

Homage to Kenny Wheeler opens with Jason Yarde’s molten soprano flowing and skipping effortlessly to Hart’s changing rhythms… and, again, Ridley is so melodically lucid, Yarde needing no prompt to take flight (imagining KW’s flugel) in this soaring, upbeat tribute. The Middle Eastern flavour of the album is unlocked with Siddhartha, the trio spinning expertly through a repeated descending motif, Turville and Ridley sharing complex lines as well as independently improvising (Matt Ridley frequently engages melodically even when fulfilling more of a supporting bass role!). Again, George Hart’s drumming is key to the overall sparkle here, as he then leads percussively into The River, eventually paring it down to a luscious, spacial, heartfelt piano/bass ballad with shimmering cymbal decoration and an achingly beautiful high bass lead (especially magical through high-quality earbuds).

Jason Yarde’s playing is always so characterful, typified by the rebellious-then-sheepish growl just seconds into his introduction to Ridley’s arrangement of Sari Gelin – a slow-burning take on a traditional tune which also finds Attab Haddad and Vasilis Sirkis skilfully interweaving mystical oud and percussion. Title track Thymos picks up the momentum first heard at the head of the album to create another lively, snappy, trio performance – it’s such a gripping vibe, I’d swear there were more than three of them in there!

Hijaz (Matt Ridley’s arrangement of a piece by Attab Haddad, whose oud provides its atmospheric intro) raises the heat still further – an intoxicating, pulsating showstopper in which Turville and Yarde respond magnificently to the intensifying bass/drums/percussion-led frenzy. Then, finally, over a calming, bell-like percussion drone, Matt Ridley eases things down with typically intricate bass… leaving us to ponder the thrill of the journey.

Certainly now (for me) an on-loop favourite, ‘Thymos’ was released on 1 October 2013 by Whirlwind and can be sampled here, along with further information and video.


Matt Ridley
double bass  mattridleybass.com
John Turville piano  johnturville.com
George Hart drums  whirlwind/georgehart
with
Jason Yarde sax
Attab Haddad oud
Vasilis Sirkis percussion

Whirlwind Recordings – WR4643 (2013)