Falak by Rima Khcheich

Rima Khcheich

Falak

Price: € 14.95
Format: CD
Label: Jazz in Motion
UPC: 0608917542127
Catnr: JIM 75421
Release date: 27 June 2008
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Label
Jazz in Motion

UPC
0608917542127

Catalogue number
JIM 75421

Release date
27 June 2008

Album

Artist(s)

Composer(s)

About the album

Rima Khcheich: vocals | Yuri Honing: tenor and soprano saxophone | Maarten van der Grinten: guitar | Tony Overwater: double bass | Joost Lijbaart: drums |
Ali El Khatib: riq and mazharThis January 2008 recording from the Wisseloord Studios in Hilversum (NL) is not the first time that the famous Lebanese singer Rima Khcheich records with Dutch jazz musicians Yuri Honing and Tony Overwater and will certainly not be the last. The jazz musicians feel very comfortable with the Arab idiom and though the music – as all lyrics and music are written by Arab poets and composers - sounds much more Arab than jazz, there is certainly a fruitful interaction between the two.

Rima Khcheich wurde 1974 im Libanon geboren und hat in Beirut am Musikkonservatorium klassischen arabischen Gesang studiert. Darüber hinaus pflegt sie die Freundschaft mit Yuri Honings Ensemble 'Orient Express', mit dem sie bereits 2002 ein Album aufgenommen hat. Ihr neues Werk ist im Gegensatz zu letzterem aber ein Album, zu dem Rima die Band eingeladen hat. Sie singt hier klassische arabische Texte und Kompositionen, die von Yuri Honing's Band sehr einfühlsam begleitet werden. Bei zahlreichen Touren im Nahen Osten hat die Band sich der musikalischen Tradition sich so stark genähert, dass sie sie verstehen kann - Voraussetzung für die Begleitung der Sängerin.

Artist(s)

Tony Overwater

Tony Overwater is an award winning bass player whose sound and unique way of playing have established him as a key player in the European music world. He is a remarkable solo performer and leader of his own projects but also a collaborative and attentive sideman. He is well known for his pioneering work in Arab music.
In 1995 Tony Overwater went on tour with the Yuri Honing Trio through the Middle East, notably Lebanon and Syria, and fell in love with Arab music culture. He met musicians from lebanon, Syria and Iraq and started a long time collaboration with the Lebanese singer Rima Khcheich.
He has been involved in Arab music ever since and developed a unique new playing style on the acoustic bass which allows him to play the microtonality of the Arab scales. He has been studying the maqams (scales), rhythms and songs of classical Arab music. He recorded several albums with Rima Khcheich and eventually became the musical director of her ensemble. Regularly Rima Khcheich and Tony Overwater play duo concerts in which they perform classical Arab music in muwashah style in which the acoustic bass replaces the Oud. This has never been done before and is highly successful at festivals around the world.
Tony Overwater played concerts with many arab musicians among which Moroccan ud player Said Chraibi, Syrian clarinetist Kinan Azmeh and Algerian violinist Kheiredinne M’Kachiche.
He started a salon of Arab music in the Netherlands, Salon Joussour, creating a bridge between musicians from the Middle East and Europe.
in 2009, together with pianist Rembrandt Frerichs and percussionist/drummer Vinsent Planjer, Tony Overwater formed the Rembrandt Frerichs Trio. Three musicians with strong interest and highly developed skills in Arab music and with roots in Western classical music and jazz united in the trio to play with different guest musicians from the Middle East.
Tony Overwater has created the music for many documentaries, among which the Berlin Award winning documentary Justice For Sergei and Om de Oude Wereldzee about Dutch politician Abraham Kuyper.

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Rima Khcheich

Rima Khcheich’s career has been marked by a multitude of encounters and chance meetings that have all shaped her journey through the world of song and music. Having got on stage for the first time at the age of eight, she spent the first fifteen years of her career mastering and presenting some of the most complex Classical Arabic vocal Forms. Twenty years later, her meeting with Jazz musicians from the Netherlands with whom she still collaborates opened up a whole new field of possibilities. The stage became a haven from which she could experiment as much as she pleased allowing herself all the possible liberties. From entire concerts in duet with Double Bass player Tony Overwater or clarinetist Maarten Ornstein, to...

Rima Khcheich’s career has been marked by a multitude of encounters and chance meetings that have all shaped her journey through the world of song and music.

Having got on stage for the first time at the age of eight, she spent the first fifteen years of her career mastering and presenting some of the most complex Classical Arabic vocal Forms.

Twenty years later, her meeting with Jazz musicians from the Netherlands with whom she still collaborates opened up a whole new field of possibilities. The stage became a haven from which she could experiment as much as she pleased allowing herself all the possible liberties. From entire concerts in duet with Double Bass player Tony Overwater or clarinetist Maarten Ornstein, to the composition of a text in prose by Abbass Baydoun with her closest collaborator, multidisciplinary artist Rabih Mroué. Music and words were liberated, all the while staying deeply rooted in Arab tarab. That is how, with every album, and every concert, Rima has inched closed towards a sound purified of all artifice.

Even when singing the incredibly popular Sabah, or the mythical Sayyed Darwish, with a full-fledged classical takht, or just percussions, or when readapting standards of Jazz or Baroque music, she brings it all back into her own world.

Every album, every musical experiment, is a voyage. And Rima Khcheich has undertaken many. From the most classical to the most adventurous.

Rima has released seven albums so far: “Orient Express” in 2001, “Yalalalli” in 2006, “Falak” in 2008, “Min Sihr Ouyounak” in 2012, “Hawa” in 2013, “Washwishni” in 2016, and “Ombre de mon amant” in 2018. In each and every work, her voice is not an independent state of mind, rather an essential element in a whole musical concept.

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