Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
Byron Wallen then drops into a muted-trumpet solo, one so lyrical you might be hearing a ghost of Miles Davis among the old town's rearranged ruins.Working in a sort of free-wheeling counterpoint to the percussion, the horns amplify the melodic side of Astatke's tunes, making this modal music swing.These tunes want to dance and, late in the set, Astatke lets them. After a few discordant horn blarts from Arben and Wallen, the bandleader, now ensconced behind his banks of percussion, veers into a solo while the rest of his players down tools and cajole Byblos' crowd to clap along.The solo recombines into duet, then a trio as – in the only trace of song in this instrumental set – Skinner and Astatke accompany Olatunde Baker's (African-inflected) vocals.Jazz fans would be hard pressed to name a more-gifted horn-player from this part of the world than Maalouf.The only obvious personnel change at Byblos were his three additional trumpet players.It began with guitarist Francois Delporte's dramatically spot-lit solo-cum-duet with keyboardist Frank Woeste. Percussion, electric bass and four brass-players, silhouetted against at the back of the stage, then leapt into the fray.
Metropolis Cinema appeals for help
Film, environment mingle in Akkar
On the ins and outs of publishing
FOLLOW THIS ARTICLE