This was Arab Jazz Rock at its most contemporary, most compelling, and forward-looking. This was where Arabic Oud tradition meets western influences with technology, and the result was hypnotic fusion at its best.
Trio Joubran from Palestine performed at the Royal Opera House of Musical Arts for two sold-out performances last weekend. Brothers from a family of oud makers and players of exceptional mastery and skill, they are in great demand worldwide, and their collaboration with like-minded, innovative musicians has helped broaden and develop their popular acclaim on the international stage.
Trio Joubran was, in fact, a Quintet. They were joined on Friday night by the extraordinary Palestinian percussionist, Youssef Hbeisch, who underpinned and enhanced many of the pieces in their program with intricate, complex rhythms. On cello and synthesizer was the multi-talented Valentin Mussou, a recorded artist, and jazz musician in his own right. Another important collaborator of the evening was the Palestinian-born poet, Mahmoud Darwish, whose words permeated their compositions and were a constant presence throughout the program.
The performance opened with the pre-recorded words of Darwish narrated, possibly in his own voice, projected onto a darkened stage over a drone.
The electronic music designed by Mussou accompanied his “Palestinian Project” (first released in 2018 in collaboration with Pink Floyd drummer, Roger Waters), now taken for those suffering in the current crisis but written over 40 years ago. Hbeisch’s entry with subtle percussion effects introduced the Joubran brothers’ oud ensemble. Mussou played pizzicato Cello patterns as the ouds passed motives between themselves. Characteristic interplay of improvisational solos resolving into unison repetitions of themes was a regular feature of their ensemble style. They were clearly enjoying the fraternal interaction!
The “Long March” – slow, solo oud with percussion - was backlit on a dark stage, creating atmospheric silhouettes of the musicians behind. Gradually syncopated rhythms backed some improvised dialogue between oud and bowed cello in hypnotic, meditative Arabic jazz inspired by Darwish. Samir, the oldest brother, thanked the audience for coming and the Opera House for inviting them to perform their creations.
The next piece – “Masar with Darwish” - was a mournful dirge in 3-time. The unison melody over cello bass built up in repetitions, not unlike an Arabic “Bolero”; insistent and passionate while pre-recorded words were again projected behind.
“More than Once” was a dark solo oud composition over keyboard bass and irregular rhythms from Hbeisch. There was a solo on Cajon which built up crescendos in frenzy and tension until it burst - into applause then silence. Adnan Joubran took the next solo, reaching a rising chromatic climax, then silence. How does this work so well? Their use of insistent repetitions on percussion underlying the melodic lines – often three times like an Indian Tihai – gives a natural sense of tension and excitement.
“The Trees We Wear” with oud duet between Adnan and Wissam was funereal. Slowly it unfolded with Cello doubling the melody, evolving into a Tango with the most beautiful minor theme, Piazzolla-like. The style was rhapsodic, loosely improvised, always falling in plaintive sequence until a surprising Greek dance rhythm crept in towards the end!
“Mawtini” was the most classically Arabic musical language but underpinned by a driving bass percussion. Live song was performed by Samir in a very slow 4-time. The music was accessible to all; the audience was a mix of all backgrounds, nationalities, and cultures. Western elements and constantly repeated phrases over ostinatos bridge gaps and bring the listener to the heart of the pathos and message. It concluded with Wissam’s solo over passacaglia-like phrases in the bass.
“Hanging Moon” after Darwish was performed by Samir and Adnan while Wissam kept a 2-note drone going all through, in front of projected moon and stars. It was incredibly effective and atmospheric in darkness, with cello joining for a while in a brilliant solo using fast arpeggio shapes met by spontaneous applause. The ouds returned with the original material over the 2-note drone, gradually dying away: perfection!
Of course, the Finale had to be a contrasting upbeat number with moving lights and a keyboard providing Hammond organ chords. The interplay between the three ouds was so compelling because they are such skilled musicians. It built up to a Joubran tutti climax then stopped abruptly. A popular percussion solo ensued over synthesizer effects, the final oud statement of the tune in unison – and a standing ovation!
It was fitting that the prepared encore was a popular Egyptian song by Abdul Halim Hafiz – which everyone knew and sang together beautifully. It was a fantastic conclusion to a stunning concert – which lasted just 75 minutes.
Photos by Khalid Al Busaidi
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