Customer Reviews

Yara

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4 star:		(1)
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As a long-time fan of Rabih Abou-Khalil (I've got the whole series), I am very pleased to hear him continue to grow in new musical directions. His use of solo violin and cello on this album shows that he knows how to exploit the possibilities of these instruments within the kind of music he loves. I think it's a great improvment over his Arabian Waltz album, where the string quartet with tuba was pleasant enough, but to my ears his music is much more interesting with fewer players sharing a looser, more personal interaction.

Yara is both the basis of a film soundtrack and Rahih Abou-Khalil's response to the death of his father. Either might appear unpromising as a starting-point, yet the recording has a startling freshness and entrancing sensuality.
Abou-Khalil once gave an apt explanation. "If you go out into a desert or out on the sea, there's a certain sadness that fills you, but it's not entirely unpleasant. You enjoy it and want it to linger, because it's a precious emotion, even if it's painful."
He was talking both about "Yara" (`wound in the soul') the movie - which is set in the vast steppes of central Turkey - and his own feeling about the loss of his father, William, who died in March 1998. "Yara" the album has a starkness and intensity that reflects both.
There is a lot of space in the music, composed for a quartet with cello (Vincent Courtois), violin (Dominique Pifarely) and frame drums (Nabil Khaiat). The arrangements are often sparse. And there is far, far more of Abou-Khalil's oud-playing than on albums like "Arabian Waltz" and "Odd Times".
There is also an infectious spontaneity. Abou-Khalil wrote the music in two days without sleep after receiving an unexpected phone-call from Turkish director, Yilmaz Arslan, asking for music for a film about a girl who flees a despotic uncle across the wastes of Anatolia. But Rabih's frantic burst of creativity was in large part the outpouring of his feelings about his father, which he had left unexpressed in all the practical problems after his death.
The opener "Requiem" is a thoughtful, slow, sensual tune, established with cello and violin, with the melody and the oud gradually becoming more pronounced over Nabil Khaiat's frame drum. There is a solemnity in the strings that evokes the pessimism of Shostakovich's eighth string quartet, but the oud never allows the outlook to be entirely bleak. And then we are jolted, awoken by "Imminent Journey", before in turn we are once again exposed to the open spaces as "A Gracious Man" evokes most clearly Rabih's emotions about his father.
This is the pattern of the album. Aside from "On A Bus", there is nothing that sustains a faster tempo, and nothing as recklessly joyful as previous tunes like "The Happy Sheik", "Catania" or "Rabou-Abou-Kabou". The album ends with the fragile "The Knowledge of a Child" - perhaps as Rabih says goodbye to his own childhood.
This is one of the best of the 15 or so albums Rabih Abou-Khalil has recorded since he left Lebanon for Germany in 1978, aged just 19, originally to finish his studies on classical flute. "Yara" is both other-worldly and steeped in the elements of earth and fire - savouring the experience of the here and now. This is an extraordinary record from a restlessly creative musician, bravely caught at one of life's great passages.

Friends ! Here, in my humble opinion, Rabih Abou Khalil is at his BEST !...These are wonderful moderate violin peaces , accompanied by oriental rythms of frame drums...Thoughtfull and somewhat melancholic flow of Cairo nights arias...If truth be told, I am not even an avid fan of the composer, but this particular album is MAGNIFICENT !

This is one of Rabih Abou-Khalil's most impressive achievements. The melodic lines are astonishingly long, varied and beautiful. Some of his loveliest -- and saddest -- tunes are here. The arrangements (with Dominique Pifarely on violin, Vincent Courtois on cello and Nabil Khaiat on drums) approach the perfection of a string quartet, every note crystalline, yet the music is accessible to all listeners. If you can get hold of a copy of Yara, I am sure you will treasure it.

I don't know... I've never really understood why pain and wound existed, but today, now, I realised that one of the many reasons of their existence, is the inspiration it gives us (humans) and especially them (artists) to create something as good as this.

Rabih has reached one of the peaks of his career, but not only his, with Yara, one of the best albums in history of music.

The arabic touch he has given to the songs, combined with the old ottoman music, create what could be called, the perfection of the imperfect. The easy going, but at times fast music, is not only relaxing for one's body and mind, but it's like a journey through all the suferrings (which reminds me of a turkish film called "Yol" or "The Road" bu Yilmaz Guney - Palme d'Or - 1982), to reach the final destination - but only to realize that through the journey, many "wounds of the soul" have been taken...

Abou-Khalil returns to his Arabic roots without compromising his role as an innovator. The instrumentation is one of the main reasons for this full-out artistic success of this album. (Arabic musicians adopted the violin, viola, cello and double bass many decades ago -- they're a staple in North African Arabic classical music as well as the popular music of Egypt and the Levant.) Not only does this album show Abou-Khalil's deep-rooted understanding of Arabic classical and folkloric traditions, there's more than a touch of Ottoman Turkish music on the opening track -- very appropriate, as the music on this disc is adapted from Abou-Khalil's score for a Turkish movie, also titled "Yara." But the dark luster of the sound, along with Abou-Khalil's effective use of space and silence, is the real draw here.

Combination of middle eastern instruments and Jazz.. Lots of people tried to do it but was never that good. Should listen to how he made Caravan too.