THE CACTUS OF KNOWLEDGE

Rabih Abou-Kahlil's twelfth album seems to encapsulate almost all the traits of the man and the characteristics of his music that so endear him to his fans. At this point in his career Abou-Kahlil is clearly comfortable with being the vehicle that takes complex jazz music and creates collaborations that result in really memorable performances.

For 'The Cactus of Knowledge' Rabih has assembled a dozen musicians, most of them heavyweights in the jazz world. I'm not familiar with all of his music, but a quick scan of liner notes from previous albums indicates this is one of the larger, if not the largest group he's every worked with in the studio. There's a lot of brass in this ensemble; in fact, except for the percussion, clarinetist Gabriele Mirabassi and cellist Vincent Courtois it's pretty much all brass.

That said, Mirabassi takes a central role on the album, acting at times as a complement to Abou-Kahlil's oud fingerings and at other times supplanting him in almost- solo fashion. She shines particularly brightly on "Fraises & Creme Fraiche", the one song on the album that ratchets down the tempo to a laconic, reflective pace.

Aside from that piece and "Ma muse M'amuse", where Courtois gets a chance to lead with his cello, the rest of the album is pretty hopping and energetic, and at times the artists seem almost frantic in their improvisation. I'm not any kind of expert on the technical aspects of jazz music, but I suspect part of this impression stems from the fact that the group is working with some incredibly complex components in the music, not the least of which are the very challenging and Eastern-inspired time signatures (6+5+5+3/16 on "Oum Saïd, for example). And yes, I had to look that up as I'd have no way of figuring it out myself.

There are little treats all over this album, from the extended sax solo on "Got to go Home" that crosses the line between jazz and rock so many times that the two styles blend; a gorgeous clarinet passage that's followed by a brass (mostly sax) interpretation of the same arrangement on the toe-tapping and lively "Maltese Chicken Farm"; and a brass/ percussion frenzy on "Pont Neuf" that somehow manages to sound all the world like a klezmer band despite the fact it was composed by an Arab.

There's plenty more to hear besides this; the entire album could probably be used as backing music in an aerobics class considering the energy it both exudes and inspires. In fact, there is a DVD version of these songs recorded with a live audience where Abou-Kahlil has the listeners actively participating in the music by getting out of their seats and swinging with the band. I've not see the thing except for one piece in an on-line video, but that was enough to convince me everyone went home feeling they got their money's worth as well as made some human connections at that concert.

I find it difficult to write about jazz music at times, owing mostly to my lack of technical knowledge of the genre, which I suppose is akin to a child trying to expound on particle string theory. But Abou-Kahlil's music is jazz for a world audience, an audience that includes those who don't live and breathe jazz but who are very interested in exploring their world and everything (and everyone) in it. Abou-Kahlil gets that, and I suspect this pretty much describes his attitude toward life as well.

This is a great album full of vibrant, complex music, and highly recommended to just about anyone. I'm tempted to give it a five star rating, but the bar is pretty high for this guy since I've heard what he's capable of on other albums, so four stars it is but on a scale that's frankly different than the one others are judged on.

peace

3.5 stars really!!!

Sometimes hailed by RA-K fans as his definitive statement, The Cactus of Knowledge is one of Rabih's livelier albums in his vast discography. Whether the title is a joke or not, we can see the main (and more numerous than usual) musicians taking turn sitting in a sofa next to a horrible toy cactus in a studio hall.

The album develops a Klezmer-Gypsy Jazz feel, a consequence of an 8-man brass section, not just in the opening two tracks, goes even further in the Got To Go Home piece. The opening Lewinsky March has some wild brass exchanges between the lead horns and the rest of the section. The Gypsy/Klezmer ambiances are generally very upbeat and happy, sometimes fairly complex, and approach Miriodor or Alamaailman Vasarat's works, but it doesn't develop their energy, partly because the latter two don't hesitate to go electric when needed. Probably the album's apex is Oum Said (probably a reference to the legendary Egyptian singer Oum Kalsoum) but I also find Malyese Chicken farm to my liking.

While this joyous Klezmer-circus-like music is rather dominant, it doesn't stop the other more Eastern "ethnic" music influences to permeate the album's soundscapes, most notably on Fraises & Crème Fraiche. Also worthy of notice is Ma Muse M'Amuse (my muse amuses me), where Courtois' cello is really on the forefront.

Cactus is a typical RA-K album, maybe a tad more than others due to the vast amount of wind instruments that have invaded his musical imagination. One of his better works, but not my favourite, despite some wild moments; but it should please most newcomers and confirmed fans.