Rabih Abou-Khalil Between Dusk and Dawn
- Released: June 28, 1999
- Originally Released: 1999
- Label: Enja
Song previews provided courtesy of iTunes
Personnel: Rabih Abou-Khalil (oud, flute); Glen Velez (vocals, frame drums, bodhran, darabukka, percussion); Charlie Mariano (soprano & alto saxophones); Christian Burchard (marimba); Michael Armann (piano); Glen Moore (bass); Ramesh Shotham (tavil, ghatam, mouth harp, dholak, kanjira, percussion).
Recorded at Tonstudio Bauer, Ludwigsburg, Germany in 1986.
Personnel: Rabih Abou-Khalil (oud, flute); Glen Velez (vocals, drums, frame drum, percussion, background vocals); Charlie Mariano (soprano saxophone, alto saxophone); Michael Armann (piano); Christian Burchard (marimba); Glen Moore (bass instrument); Ramesh Shotham (percussion).
Recording information: Bauer Studios, Ludwigsburg, Germany (1986).
Photographers: Klaus "Feci" Federa; Rabih Abou-Khalil.
One of Rabih Abou-Khalil's earlier albums, Between Dusk and Dawn features stellar sidemen such as master percussionist Glen Velez and jazz saxophonist Charlie Mariano. In places it exhibits that ecstatic melding of jazz and Arabic music that was later perfected on Blue Camel. But in other places it gives us long patches of noodling and less-then-engaging playfulness. An example of the former would be the first track, "Dusk." At just over 14 minutes, more than half of this piece is devoted to a shapeless and tiresome prelude for percussion and oud (Arabic lute). An example of the latter is the aptly named "The Thing That Came Out of the Swamp," which features everything but the kitchen sink, including Glen Velez's overtone singing, in a fantasy that sounds like Stravinsky crossed with Steve Reich. Yet there are solid, jazzy tracks like "Chess with Mal" which opens with a long but well-formed solo by Charlie Mariano before sax and oud synchronize for one of Abou-Khalil's gloriously rhythmic tunes. Or "Dawn," where Abou-Khalil plays one of his favorite tricks of making it sound as if the melody of the piece grows out of his initial improvisation. Despite the album's lack of overall focus, it does offer a bounty for the ear, especially in the percussion. A disc for fans of one or more of the musicians involved. ~ Kurt Keefner
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