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Артист: Rabih Abou Khalil Альбом: Blue Camel, 1992 Жанр: Jazz & World Формат файла: EAC & APE Ссылка 1: CD 1 20 clicks Ссылка 2: CD 2 9 clicks Нахождение: eDonkey/Kademlia Релиз-группа: Примечание: При риплении были ошибки - их, впрочем, не слышно.

The musical traditions of the Arabic world are fused with jazz
improvisation and European classical techniques by Lebanese-born oud
player and composer Rabih Abou-Khalil. The CMJ New Music Report noted
that Abou-Khalil has "consistently sought to create common ground
between the Arab music mileau of his roots and the more global musical
world of today." Down Beat praised Abou-Khalil's music as "a unique
hybrid that successfully spans the world of traditional Arabic music and
jazz." Although he learned to play the oud, a fretless, Lebanese lute,
as a youngster, Abou-Khalil temporarily switched to the classical flute,
which he studied at the Academy of Music after moving to Munich,
Germany, during the Lebanese Civil War in 1978. In an attempt to explore
new ways to play Arabic music, he returned to the oud and began to
incorporate techniques more often played on jazz guitar. In the
early-'90s, Abou-Khalil was commissioned by Southwest German radio to
write two pieces that were debuted in a performance with the Kronos
String Quartet at the Stuttgart Jazz Summit in 1992, and recorded with
the Belanescu Quartet four years later. Abou-Khalil has worked with a
mixture of Arabic, Indian, and American jazz musicians, including alto
saxophonist Sonny Fortune, frame drummer and percussionist Glen Valez,
conga player Milton Cardona, harmonica ace Howard Levy, and bassists
Glen Moore and Steve Swallow.

Об Абу Халиле.

Музыкальные традиции арабского мира сплавлены с джазовыми ипровизациями
и классическими европейскими традициями Абы Халилем, исполнителем на уде
и композитором, ливанцем по рождению. CMJ New Music Report
охарактеризовал его как "постоянно пытающегося создать общее
пространство между арабской музыкой , вышедшой из mileau и сегодняшней
мировой музыкой". Down Beat оценил музыку Абу Халиля как "уникальный
гибрид арабской музыки и джаза". После того, как он эмигрировал в Германию,
Мюнхен, во время ливанский революции 1978 года, Абу Халиль временно
переключился на классическую флейту, которую изучил в музыкальной
академии - несмотря на то, что в юности он учился играть на уде,
ливанской лютне. В попытках изыскать новые пути исполнения арабской
музыки, он впоследствии вновь возвращается к уду, и привносит в игру на
нем техники игры на джаз-гитаре. В начале девяностых он был востребован
Southwest German радио, которое поручило Абу Халилю написать пару
произведений, которые сыграли арабские, индийские и американские
джазовые музыканты, включая: альт-саксофон - Sonny Fortune, ударник и
перкуссия - Glen Valez, гонга - Milton Cardona, гармоника - Howard Levy,
басисты - Glen Moore и Steve Swallow.

<Извиняюсь за корявый перевод.>

Об альбоме.

Review by Kurt Keefner

Blue Camel is the pinnacle to date of Lebanese oud-player Rabih
Abou-Khalil's achievement as a jazzman. In both mood and scope, it can
almost be characterized as a new Kind of Blue. Both tense and
reflective, it is perfect for listening after midnight. Abou-Khalil
brings back Charlie Mariano on alto sax and Kenny Wheeleron flugelhorn
and trumpet, and they generally alternate solos with Abou-Khalil
himself. Rounding out the roster is Steve Swallow on bass, Milton
Cardona on congos, Nabil Khaiat on frame drums and Ramesh Shotham on
South Indian drums and percussion. They form a tight ensemble but
project that they are comfortable with each other. The album opens with
"Sahara," which contains both one of Abou-Khalil's tunes, a mesmerizing
melody that could be either Arabic or jazz, and one of Abou-Khalil's
best solos, a well-defined interlude that delightfully features the
unique timbre of the oud. "Tsarka" begins with a fast break on the oud
that turns out to be one of the two motifs on which everything is built.
After it is elaborated for a few bars, the oud comes back with another
building block. Then we get some stunning improvisations, especially
from Abou-Khalil. "Ziriab" opens with a trumpet solo in which Kenny
Wheeler tests the compass of his instrument, backed up with some
atmospheric sounds from the udu drum; then Abou-Khalil enters with
another great tune for everyone to build on. The title track is nothing
but fun. Seductive percussion ushers in Wheeler and Mariano playing in
unison a tune that is somewhere between Duke Ellington and the court of
Baghdad. As the percussion bubbles along, Milton Cardona's congos adding
a Latin flavor to the proceedings, AbouKhalil steps up with a very fast
and rhythmic, if not very tuneful, solo. Midway through the track,
Mariano blisters the paint with a screeching sax workout that bridges
the Arabic and the Latin, while remaining all the while pure jazz. Even
Steve Swallow gets a chance to feature his bass after which the ensemble
brings it together and takes it home. Some of the other tracks are not
as good as the ones mentioned above, but they are all listenable and
very atmospheric. The aptly named "A Night in the Mountains" is a slow,
thoughful walk, perfect for silent contemplation. The album ends with
"Beirut," named for the Lebanese city torn by civil war from which
Abou-Khalil had to flee many years ago. The track begins with a quite
oud solo and then builds to something more chaotic and strifeful. Blue
Camel may not be a perfect album, but it demonstrates better than any
other that a fusion between jazz and a musical form from another culture
is possible and can work to the advantage of both. Plus, it's just great
listening.

Взято отсюда
http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:rdlvad4kt8w1~T1

От себя: отлично. Очень гармоничная смесь джаза с арабской
музыкой. Вряд ли подойдет для дружеской вечеринки, но очень
располагает к релаксации и втыканию - хотя музыка местами очень живая и
агрессивная. Захватывает.

Первая ссылка - собственно диск, размер 306.68 мега, включает сканированый передник и задник диска (диск бумажный), сканировано на 300 dpi.
Вторая ссылка - прилагающийся к диску вкладыш, сканировано на 300 dpi.

При риповании были ошибки, при прослушивании в дальнейшем проблемных мест, впрочем, ничего выходящего за рамки я не услышал. Очень рекомендую. Мощный джаз.

[DrSpengler]

EAC extraction logfile from 26. December 2004, 20:56 for CD
Rabih Abou-Khalil / Blue Camel

Used drive : DVDROM 10X Adapter: 1 ID: 0
Read mode : Secure with NO C2, accurate stream, NO disable cache
Combined read/write offset correction : 0
Overread into Lead-In and Lead-Out : No

Used output format : D:\Program Files\Monkey's Audio\MAC.exe (Monkey's Audio Lossless Encoder)
Fast Lossless Compression
Additional command line options : %l--alt-preset 128%l%h--alt-preset standard%h %s %d

Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Native Win32 interface for Win NT & 2000


Range status and errors
Selected range
Filename F:\CDImage.wav

Suspicious position 0:44:59
Suspicious position 0:45:13 - 0:45:16
Suspicious position 0:45:20 - 0:45:27 <–– Audible Errors Here
Suspicious position 0:45:31 - 0:45:35
Suspicious position 0:56:06 - 0:56:42
Suspicious position 0:56:44 - 1:01:01

Peak level 100.0 %
Range quality 95.9 %
CRC 0DC4BCC0
Copy finished

There were errors

End of status report

[wowjan]

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[blackhorse]

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