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)
The concert marked the debut of a suite of seven new compositions by the eponymous Lebanese-Swiss duo aka Raed Yassin and Paed Conca performed by them and an ensemble that included some of the more prolific experimental and improv musicians on the scene.Koch's solo followed the contours of the beat and Conca's clarinet soon added a third voice to the duet.Each passage of completely live performance alternated with another that forced the musicians to play with (or against) sampled beats. Each movement featured different clusters of musicians navigating Praed's compositions and ornamenting them with solo, duet and ensemble improvisation.Yassin said the origin of Praed's latest tunes is Egypt's beat-heavy shaabi music.The show had several highlights and standout performances Wassermann's opening solo, Shalabi's oud solo, Moumneh's hyperactive buzuq work in the third movement of the concert ... but it was Alan Bishop powering through the solo vocals of "The Nerves," the piece's final tune who stole the show.Experimental music is never more alive than during performance, and the suite performed last Saturday was strikingly digestible, at least to open-minded audiences.
Goliath’s head in an olive basket
Further echoes of Baalbeck in Beirut
Unpacking ideology in Syria, Lebanon
FOLLOW THIS ARTICLE