Adel Salameh: A master of the Arabian oud, a predecessor of the lute, Adel Salameh has expanded on the instrument’s musical vocabulary. In addition to a solo album, Solo, released in 1996, Salameh has collaborated with Tangiers-born flamenco guitarist Eduardo Niebla and Northern Indian sarod player Krishnamurti Sridhar. Known for his rhythmic improvisations, Salameh continues to perform with the percussion-backed Jewish-Arab Duo. A native of Niebla, Palestine, Salameh resides in England. ~ Craig Harris, All Music Guide.
Archive for the ‘Adel Salameh’ Category
The Palestinian Adel Salameh was amongst the first wave of virtuosic young oud (lute) players to take up the torch from Munir Bachir. He has now established himself as one of the finest Arab performers working in Europe and his recent collaborations with the French/Algerian singer Naziha Azzouz have been especially fruiful. In their latest project , Salameh has drawn inspiration from the music of Mohammed Abdel Wahab-the éminence grise of the mid-20th century Arab musical renaissance who wrote for all the great Cairo superstars of the day.
You’d have to be quite well-versed in Egyptian musical history to pick up on the references here, butthat should in no way mar your straightforward enjoyment of some extremely fine songs in the classic Egyptian style, playde by dazzlingly well-rehearsed group that includes violin, accordion and riq drum. Salameh, whose oud playing has never sounded more assured, writes sensitively for Azzouz’s voice, and his setting of words by some of th eArab world’s finest modern pets is such that you really don’t have to understand Arabic to appreciate their line and beauty. The empathy that all the musicians on this recording share runs throughout the disc: though they have always benn talents to watch Salameh and Azzouz’s musicalpartership has really blossomed on Rissala.
Adel Salameh and Naziha Azzouz may offstage be man and wife, but onstage their relationship is no less close: Kanza reflects a lovely congruence of artistic intentions. Naziha comes from a family of musicians in Oran, but since the age of 12 has lived in France; Adel was born in Palestine, studied music in Jordan, and has spent the last 12 years working in Europe. All the tracks on this compelling album are his own compositions or arrangements, but the magic they exude derives from an instrumental symbiosis: Adel’s oud, with Barbaros Erkose’s clarinet, Abdel Ghani Krija’s percussion–and Naziha’s voice. This latter has a dark timbre and exceptionally pure intonation, and it’s deployed with a very conscious artistry in songs that meld Palestine with medieval Andalusia. When Naziha takes the lead, Adel faithfully follows, echoing her melismatic turns of phrase. When Adel holds the floor, you hold your breath; when Barbaros’s clarinet soars up into the silent air, you can feel the silence all around. Everything here is acoustic, with no whiff of the studio; head, heart, hands and lips do the biz unaided. –Michael Church