Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

CD Review: Gaida – Levantine Indulgence

Syrian-born chanteuse Gaida’s debut cd has been highly anticipated in world music circles: for once, it’s a release which lives up to its hype. Her high, versatile voice with just the hint of a jazzy, smoky edge draws comparisons to Natacha Atlas, and like Atlas, she proves equally captivating not only at the levantine ballads intimated by the title, but also bossa nova and rock. What’s most notable is how she and the group behind her shift between styles, often mingling jazz and Brazilian motifs within a traditional levantine framework. As much as there may be tears close to her eyes, as she puts it, on many of these songs, there’s also joy and exuberance. When she became part of the scene at New York’s music mecca Alwan for the Arts, a who’s who of expatriate Middle Eastern musicians assembled around her. The band on the album is extraordinary – credits include Amir ElSaffar on trumpet and santoor, Bridget Robbins on ney flute, Johnny Farraj on riq, Tareq Abboushi on buzuq and Zafer Tawil on oud, qanun and percussion. In fact, the album’s title track may be its most disarmingly beautiful, a taqsim (improvisation) with Gaida’s fetching vocalese surrounded by wary qanun, percussion and even a terse upright bass solo.

The cd begins with a classic Mohammed Abdel Wahab style Egyptian ballad featuring ney flute and characteristically vivid trumpet accents from ElSaffar. Ammar picks up the pace with insistent buzuq and oud chords and a triumphantly ululating choir of women’s voices – and even a little piano for extra spice. Gaida’s most wrenchingly intense vocal here is on the imploring habibi jazz ballad Khaifa Uhibuka, which segues into a slinky levantine number featuring qanun and oud. There’s also a haunting piano-based European-style art-rock song (with Arabic lyrics), a swaying, upbeat one-chord groove number, a straight-up bossa song, and the majestic anthem Bint Elbalad, wrapping up the album with intense, darkly soulful solos from buzuk and trumpet once again. You’re going to see this on a whole lot of “best-of” lists at the end of the year, including ours. Gaida plays the cd release show on 3/21 at 6:30 PM at le Poisson Rouge, advance tickets are an absolute must because the show will sell out.

Advertisements

March 11, 2010 Posted by | Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Brooklyn’s Best-Kept Secret

Back in the days before myspace, this was often how you learned about shows: some guy would stand outside a venue after the band had finished and the crowd was exiting, feverishingly handing out cards for another similar show elsewhere. Word of last Saturday’s show reached Lucid Culture HQ via the program notes given out at the scintillating solo oud performance by Zafer Tawil and then George Ziadeh at Barbes last Friday. As it turned out, the Brooklyn Arts Council had been promoting a monthlong Arab music festival at venues throughout New York, which Friday’s show had been a part of, and as much as fun as it undoubtedly would have been to have seen more of these events, it was still great fun to catch the tail end of the festival.

Arab music is Brooklyn’s best-kept secret. Arab culture as it exists today is vastly more musical and literate than corporate-driven American culture, and the Arab diaspora throughout New York swarms to events like these. Saturday night at Alwan for the Arts downtown, it was mostly the diaspora that showed up and packed the hall, although there were other communities represented. Essentially, the program was Arab country music. “These days, you get mostly Levantine dance music and Egyptian pop,” the woman from the BAC told the crowd. “Not that that’s a bad thing!” She was right: this was a brilliantly assembled bill featuring seldom-heard music from across the Arab world, from outside the cities. The night started with singer Naji Youssef and his band, playing a passionate set of Lebanese standards including songs by the “voice of Lebanon,” Wadie el Safi. There’s a darkness and melancholy in a lot of this, and Youssef, with his soaring baritone and his supporting cast, brought out all of it. Maurice Chedid played oud, reminding of how much fun it was back in the day when he was essentially the house band at the Hosri family’s somewhat legendary Cedars of Lebanon throughout the decade of the 90s.

The next act was Yemeni expatriate Ahmed Alrodini, playing oud and backed by two percussionists, doing a fascinating set of music from across Yemen. Most Yemenis in New York hail from around the capitol, Sana’a, but Alrodini comes from the seacoast, thus, his repertoire is somewhat more diverse. He opened with a “habibi” song, imbued with considerable sadness and longing before changing tempos in an instant toward the end of the song and turning it into a dance number. After that, the group did a Hindi love song (the area has a sizeable South Asian population) with more of a hypnotic feel, followed by a brief but rousing drum interlude where they boisterously showcased the area’s various rhythms. They closed with a complex, intriguing pastoral number, Alrodini’s split-second timing and seemingly effortless tremolo-picking as energizing as it was throughout the rest of the show: he’s a spectacular player to watch.

The evening’s final act was essentially a bass-and-drums unit. Southpaw Moroccan multi-instrumentalist Abdel Rahim Boutat played the loutar, a four-string acoustic bass and sang, accompanied by two percussionists. Strangely, the drummers were playing what looked to be modern drum heads that weren’t locked down, producing a shivery rattling throughout the show that may not have been intentional. In the corner of the room, a drunken reveler was clapping and singing along: “Go to the middle!” Youssef encouraged him. Genius: the crowd where the guy had been holding a party for one could hear the music again, and now the band had a dancer up front with them. In his all-too-brief set, Boutat frequently sang the same lines he played on his instrument, running through a set of Moroccan mountain music. It’s more melodic and Arab-inflected than the hypnotic, afropop-inflected music usually found elsewhere in Morroco. With the dancer bouncing around up front, the crowd was energized and so was the band. They opened with a haunting, hypnotic number, then another in a similar vein featuring the percussion toward the end, then brought the night to a rousing crescendo with their third song. Bass and drums never sounded more melodic or more interesting, as the crowd seized on the counter-rhythm and clapped along. The hypnotic yet ecstatic party ambience continued through the end of the show.

Even if you don’t speak a word of Arabic, concerts like these are a great introduction to what could become a lifelong addiction: the calendar at Alwan for the Arts is a good place to start.

April 2, 2008 Posted by | concert, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment