RABIH ABOU-KHALIL — Tarab (review)

RABIH ABOU-KHALIL — Tarab album cover Album · 1993 · World Fusion Buy this album from MMA partners
3.5/5 ·
Sean Trane
In the RA-K albums I've heard so far (some 7 or 8), Tarab is probably the most "world" music in the sense that it's the most "ethnic", even we can't talk of a specific ethnic or continent with the Lebanese genius. It's actually no surprise since this album dates from 93 and is one of his earlier works, and one of the first to bear that luxurious Arabic arts wafer cardboard digipak.

In the accompanying band we can getv acquainted with contrabassist Glenn Moore and percussionist Nabil Khaiat, both of whom will become usual suspects in RA-K's discography. Tarab has a very much Arabic or Mid-Eastern sound, but some passages are strongly influenced by classical Indian music, especially when percussionist Ramesh Shotham plays tabla drums and engage in some raga. Unlike many of its successor, Tarab does not have much jazz influences, and remains acoustic and almost totally instrumental. The different pieces can range from festive and happy to reflective or even a tad melancholic, often coloured by Selim Kusur's flutes, of which the bamboo flute, but not only. If in general with later albums, the obvious Oregon or ECM label comparisons are unavoidable, it's not really valid with Tarab, although it could fit on the German jazz label without sticking out much.



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