128. Rabih Abou-Khalil / Blue Camel (1992)

Like Bukra, 1992's Blue Camel is a stimulating set of jazz fusion with roots in traditional Turkish and Middle Eastern music. Rabih Abou-Khalil's catalog is like a treasure box filled with gems but I think this collection ranks among his best efforts. Instrumentation (alto sax, oud, frame drums, percussion, trumpets, and bass) is similar to the aforementioned Bukra and has similar personnel in Ramesh Shotham. Certainly Charlie Mariano is capable of fusing these disparate musical worlds, and his improvisations with the alto are notable. The album begins with Mariano's tacit, contemplative solo introduction to "Sahara." It sounds like a gently intoned prayer, wafting melodiously through the speakers until Abou-Khalil and the group's other voices join him one by one. Kenny Wheeler on trumpet and flugelhorn is a good choice and his sound adds additional depth to the band. His technique treats the music nicely, like the nimble fingered flair in "Tsarka" and elsewhere. The arrangements develop the compositions with patience, and there is much interplay with the percussionists, which is integral.

05. Rabih Abou-Khalil / Bukra (1988)

Rabih Abou-Khalil's contributions to the vast world music palette are all so consistently good, yet at the same time, the sound and presiding mood of each one is distinct from the next. I'm always excited to hear one that is new to me. With Bukra, American jazz instrumentation and improvisational technique from Sonny Fortune (alto) melds together with Abou-Khalil's oud in Arabic flavored rhythms and melodies. They are supported by bassist Glen Moore and percussionists Glen Velez and Ramesh Shotham, who chase and tumble like skylarks in pursuit of the rhythm. Moore, a founding member in the Oregon ensemble, is certainly comfortable within this context. But everyone's talents are capitalized: Shotham's interest in jazz and rock, Velez's career proficiency with diverse world musics, and Fortune's jazz background are all harnessed to their full potential. Look out for Fortune's impassioned solo in "Nayla," or his alarming intro to "Kibbeh." Due to the oud's fast decay, in longer passages, Abou-Khalil employs juicy slides and bouts of tremolo picking that produce different textures and affect his choice of phrasing. His pensive and aptly titled "Reflections" closes the album, which always causes me to sit in silence for a few minutes, as if watching the musical caravan vanish in the dark distance.