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Yitzhak Yedid - Oud Bass Piano Trio (2008)

Posted By: cat8lives

Date: 28 Mar 2011 01:56:00

Yitzhak Yedid - Oud Bass Piano Trio (2008)

The oud, a Middle Eastern lute, has never been a prominent instrument in jazz; in fact, it is safe to say that there are quite a few jazz musicians who have never heard of the oud and have no idea what it sounds like. But the oud is ultra-famous in traditional Arabic, Middle Eastern, and North African music, and it works pleasingly well as an avant-garde jazz instrument on Israeli pianist Yitzhak Yedid's Suite in Five Movements. Recorded in Tel Aviv, Israel, in 2006, this release finds Yedid forming a cohesive acoustic trio with oud player Mikhail Maroun and bassist Ora Boasson Horev – and Yedid doesn't treat Maroun like a mere afterthought. Not at all. In fact, Yedid features Maroun extensively on this 72-minute CD, which is devoted to a five-movement suite that combines avant-garde jazz with Middle Eastern music and incorporates Euro-classical elements as well. The performances are not radically avant-garde, but they are mildly avant-garde – and although Yedid has some Cecil Taylor-ish moments as a pianist, Suite in Five Movements is far from an exercise in atonal chaos. An inside/outside approach prevails that, for all its abstraction, is still decidedly musical. Suite in Five Movements is not an easy recording to absorb on the first listen, but the more one listens to Yedid, Maroun, and Horev's performances, the more he/she appreciates all of the intriguing twists and turns that go into them. Thoughtfulness and a healthy sense of adventure are both major assets on this excellent disc. ~Alex Henderson, All Music

Who?
Mikhail Moroun: oud
Ora Boasson Horev: double bass
Yitzhak Yedid: piano

What?

01 - First Movement 11'36
The first movement begins with a short, masterful bass line that quotes from the Jewish morning benedictions, followed by a meditative duet between the oud and piano. When the bass rejoins the oud and the piano, Yedid uses the piano strings to echo the oud and bass strings and achieves a mysterious timbral quality. The conclusion of this movement borrows a theme from Yedid's earlier composition, Myth Of The Cave (Between The Lines, 2003) and ends with a short blessing from the benediction of the priests, that suggests a similar image to the opening one. All these complex textures of colors and sounds are performed beautifully by the trio.

02 - Second Movement 12'38
The second movement is tempestuous and seemingly chaotic. It is inspired by the Christian myth of the rebellion of the Angel Hillel Ben Shahar against god, and its inevitable casting from heaven to hell.

03 - Third Movement 18'08
The third movement imagines a walk in the Old City of Jerusalem through different eras, where the sounds of the Sabbath prayers mingle with the sounds of Palestinian celebrations and the bells of the churches. It even offers a heartfelt tribute to the legendary Egyptian singer Om Koulthoum, where Maroun's ornamental playing takes the lead.

04 - Fourth Movement 17'12
The fourth movement is a minimalist piece, with a gentle and subtle interplay between the players, and moves between such diverse images as a mystical Kabbalist prayer and ritual belly dances. One of the climaxes is when Yedid and Boasson Horev comment on Maroun's solo improvisation on a scale of a Middle-Eastern song, where both enrich Moaroun's theme with a myriad of nuances, transforming the simple and light theme into dissonant and dark heights.

05 - Fifth Movement 13'14
The fifth movement is an intense and fast piece that aims to portray "the fusing of opposites and different streams in the Israeli cultural melting pot," through quotes from the benedictions of the priests, blessing from a traditional Jewish wedding and an Israeli folk song.

How?

FileSonic.com
| Part 1 | Part 2 | Part 3 |

Hotfile
| Part 1 | Part 2 | Part 3 |

Fileserve
| Part 1 | Part 2 | Part 3 |

EAC rip log

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 24. March 2011, 16:49

Yitzhak Yedid / Oud Bass Piano Trio

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Overread into Lead-In and Lead-Out : No
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Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo

TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 11:36.18 | 0 | 52217
2 | 11:36.18 | 12:38.00 | 52218 | 109067
3 | 24:14.18 | 18:09.02 | 109068 | 190744
4 | 42:23.20 | 17:12.62 | 190745 | 268206
5 | 59:36.07 | 13:14.45 | 268207 | 327801

Track 1

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Track 5

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End of status report

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