Chaouki Smahi

Chaouki Smahi was born 1963 in Morocco and brought up in Algeria. He now lives in Switzerland. He is an accomplished oud player and violinist and percussionist. He has a few recordings, most of which involve jazz musicians.
Sadaka is my favorite of his recordings. Straightforward arrangements and recording, with the focus on oud, saxophone and percussion. Smahi plays in a fairly traditional Arabic style, but Mariano tastefully incorporates jazz ideas on the saxophone.

Chaouki Smahi: oud, violin, vocals, darbouka Charlie Mariano: alto saxophone

He is on another Charlie Mariano record called Nassim which is somewhat less succesful but still has some nice moments. It's definitely more of a deliberate "Arabic-Jazz" fusion, but overreaches at times.

It doesn't seem to be available in the U.S., but you might be able to find a download somewhere . . .

Rabih Abou-Khalil, part 2

A couple of other nice recordings by Abou-Khalil:

Yara (1998):
very nice recording with strings.
Originally came about as music for a film of the same title.

Dominique Pifarely (violin), Vincent Courtois (cello), Nabil Khaiat (percussion)





Journey to the Centre of an Egg (2005):
One of Abou-Khalil's most modern-sounding records. Joachim Kühn's piano playing is inventive and dynamic, and challenges Abou-Khalil to stray a little farther from Arabic sounds into jazz territory.

Joachim Kühn (piano, alto saxophone), Jarrod Cagwin (drums, percussion),
Wolfgang Reisinger (additional percussion)

Amir ElSaffar

Iraqi-American trumpeter, santour player, vocalist, and composer Amir ElSaffar grew up in River Forest, IL, a suburb west of Chicago; he was first exposed to jazz recordings by his father, and his mother taught him to sing and play American folk songs on ukulele and guitar when he was nine. He eventually found his calling with the trumpet
After moving to New York in 2000, he became more involved with studying the Arab and specifically Iraqi maqam. In 2002, ElSaffar immersed himself in the music of his father's ancestral past, the Iraqi maqam. He traveled to Iraq, throughout the Middle East and to Europe pursuing masters who could impart to him this centuries-old oral tradition. He learned to play the santour (Iraqi hammered dulcimer) and to sing, and now leads Safaafir, the only ensemble in the US performing Iraqi Maqam in its traditional format. He has also uses techniques for the trumpet that enable microtones and ornaments that are characteristic to Arabic music but are not typically heard on a trumpet.

The record Two Rivers is ElSaffar's clearest mixing of jazz and Arabic music.

Amir ElSaffar: trumpet, voice, santoor Rudresh Mahanthappa: alto sax Zafer Tawil: violin, oud, dumbek Tareq Abboushi: buzuq, frame drums Carlo Rosa: bass Nasheet Waits: drums.

Simon Shaheen

A Palestinian, born in the village of Tarshiha in the Galilee, Shaheen's childhood was steeped in music. His father, Hikmat Shaheen, was a professor of music and a master 'oud player. Simon began playing the oud at the age of five and the violin shortly thereafter.

Most of Shaheen's recorded output is on the more traditional side. His jazziest disc, Blue Flame is somewhat reminiscent of the music of John McLaughlin or Paco DeLucia. Shaheen regularly makes extensive use of microtonal maqamat such as Rast, Sikah and Bayati.

All of his recordings are very highly recommended.

Shameless plug: I'm playing guitar on this one in Ramallah!

Anouar Brahem

All of Brahem's available releases are on ECM. He has a simpler, more contemplative style than most oud players, and has on occasion shown his more traditional side. He rarely plays microtonal maqamat.

Selected discography:

	Barzakh - 1991 With spare instumentation, much of the album is quite understated, though not without flights of virtuosity. Anouar Brahem : oud Béchir Selmi : violin Lassad Hosni : percussion
	Conte de l'incroyable amour - 1992 One of Brahem's more traditional-sounding records, there is a lot of nice playing here by everyone, though the compositions do not stand out as Brahem's best. Anouar Brahem : oud Barbaros Erköse : clarinet Kudsi Erguner : nai Lassad Hosni : bendir,darbouka
	Khomsa - 1995 Featuring a larger ensemble and more jazz-influenced writing, Khomsa was rated 4 stars by Downbeat Anouar Brahem : oud Richard Gálliano : accordion François Couturier : piano, synthesizer Jean Marc Larché : soprano saxophone Béchir Selmi : violin Palle Danielsson : double-bass Jon Christensen : drums
	Thimar - 1998 This is one of my favorite albums. Haunting sounds, excellent compositions and beautiful playing by all. 4 stars from DownBeat. Anouar Brahem : oud John Surman : bass clarinet and soprano saxophone Dave Holland : double-bass

Ahmed Abdul Malik

Jazz Sahara (1958) Ahmed Abdul-Malik (oud, bass); Jack Ghanaim (qanun); Naim Karacand (violin); Johnny Griffin (tenor saxophone); Al Harewood (drums), Mike Hamway, percussion

East Meets West (1958) Ahmed Abdul-Malik (bass, oud); Lee Morgan (trumpet), Curtis Fuller (trombone), Benny Golson and Johnny Griffin (tenor saxophones); Ahmed Yetman (qanun); Naim Karacand (violin); Bilal Abdurrahman, Mike Hamway (Darabeka, daf).

The earliest attempt at jazz fusion with middle eastern music. Basically they play some dawalib (sing., doulab: short instrumental piece often used as an introduction) and improvise. Abdul Malik was a well-known jazz bass player of Sudanese descent, best known for his work with Thelonious Monk and John Coltrane. Both albums feature his Monk bandmate Johnny Griffin on saxophone along with various middle-eastern nightclub musicians and jazz musicians such as Benny Golson, and Lee Morgan.
Jazz Sahara is a strong album, while East Meets West is a little uneven (though with some excellent performances). In the liner notes to Jazz Sahara, Abdul-Malik pointedly avoids referring to the music as "Arabic", and suggest "Mid-Eastern" is more accurate because of the varied traditions involved. The oud playing is somewhat rudimentary, but the overall effect is compelling.