Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

CD Review: Khaled – Liberte

This auspiciously mostly-acoustic cd is not a radical change from the slick electronicized dance material the famous Algerian rai-rocker has ground out for most of his career. There’s still drum machine on many of the cuts (especially the trip-hop and downtempo numbers), along with synthesizers faking brass and string parts (and also adding a completely unintentional, comedic 80s feel in places). But there’s also a full acoustic band here, a welcome continuation of the turn back to real North African rai that the former Cheb Khaled has taken over the last ten years – let’s not forget that the Algerians invented trip-hop in the first place. It wouldn’t be an exaggeration to say that musically at least, this is one of Khaled‘s best albums, right up there with his earliest stuff from 1982-83. This cd is back-loaded, almost the equivalent of two albums: the poppier stuff first, followed by the more traditional songs, rich with oud, flute, violin, rattling percussion and fullscale orchestration in places. Over the past almost thirty years, Khaled’s voice has also taken on a darker tone, lending a welcome gravitas to many of the songs.

Of the initial cuts, the title track kicks off with a long accordion and vocal jam and grows to a bouncy midtempo dance number that takes on a somewhat western feel with jangly guitar and synth. The most intense song on the cd is the dark, spare, Rachid Taha-inflected requiem Papa, Khaled’s anguished, melismatic French-language vocals laden with pain and loss. After the hip-hop flavored Raikoum, it’s all oldschool and and it’s very compelling, from the somewhat mysterious, shuffling Sbabi Ntya to the sparsely but beautifully orchestrated Soghri. The cd wraps up with a funky song that gradually adds layers, right up to a gorgeous, dramatic, lushly Levantine outro, and then a midtempo ballad with a nice bass-and-piano groove and a haunting violin solo. For non-Arabic speakers, this works equally well as chillout or dance music – it’s a great way to get to know one of the most important figures in the world of Middle Eastern music over the past few decades.

August 25, 2009 Posted by | Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , | 1 Comment

Layali El Andalus Live at Barbes, Brooklyn NY 3/1/08

Tonight the standing-room crowd in the little back room at Barbes were treated to the single best concert we’ve seen so far this year. It was a passionate, fascinating show. Performances by musicians who play traditional Arab music as expertly and emotionally as this group did tonight usually cost upwards of $50 at places like Symphony Space. Led by Moroccan singer/oud player Rachid Halihal, the all-acoustic sextet played a mix of mostly traditional dance numbers spanning the Arab world, including songs from Morocco, Tunisia, Yemen, and, obviously, Andalusia. With its extremely sophisticated counterpoint and microtonal scales, this stuff isn’t easy to play, but Layali El Andalus made it seem effortless. Interpolating a few sunnily upbeat, happily nostalgic numbers within a set of what was otherwise long, frequently hypnotic songs based on the haunting chromatic scale, it was a rare treat to witness a performance like this in such an intimate setting.

The setup of the band – oud, quarter-tone accordion, flute, violin and two percussionists – echoes the small combos used by pioneering composers like Mohammed Abdel Wahab and Said Darwish. Many of the songs they played tonight are popular standards, often lavishly orchestrated: one doesn’t often get to hear this material stripped down to its basics. Often, the band would pick up the tempo at the end of the song, flute player Daphna Mor letting out an eerily triumphant trill as the crescendo would rise to a peak. The individual musicians, including Bruno Bruzzese on violin, Uri Sharlin on accordion, and two percussionists, all got to take extended solos, unanimously proving to be terse, incisive, thoughtful players: this group doesn’t waste notes. Halihal is something of a ham: while re-tuning his oud after each song, he’d improvise on the next song’s melody until everything was on key. His attempts to get some audience participation going met with mixed results. Though he tried strenuously to get the men and women in the crowd to sing a call-and-response with each other on one number, this fell flat – perhaps they didn’t understand, or they were simply unfamiliar with what’s actually a common device in traditional Arab music. But by the end of the show anyone with enough room on the floor to dance (or at least sway a little bit) was doing that while clapping along ecstatically. The best-received song of the night was a richly melodic version of the original Ya Rayyeh (Let’s Party), best known to today’s listeners as French-Algerian rocker Rachid Taha’s signature song. They closed with a rather sentimental song that was somewhat jarring, considering the ecstatic intensity of their other material. But no matter. Layali El Andalus’ next show is Sunday, March 9 at 8:30 PM at Drom NYC, 85 Avenue A between 5th and 6th Avenues, and world music fans would be crazy to miss it.

March 3, 2008 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment