In 1978, oud player Rabih Abou-Khalil, born 1957 in Beirut, fled to Germany from the civil war in Lebanon. He combined Arabic music with jazz, which was very unusual for most of his audiences at the time. Or at least Abou-Khalil’s mature and natural way of interpreting and merging with the different sources of his music was. “Modern tradition is yesterday’s revolution ,” he once said. It is also owed to him that the jazz idiom is as diversified as it is today. He draws connecting lines between East and West and in connection lies strength and sensitivity. For him, the Arabian lute is a filigree and rhythmic instrument with a broad range of vocabulary which can give all feelings and expression. This is important considering the spaces his multi-layered music enters. He has worked with the Kronos Quartet, the Ensemble Modern and the ARTE Quartet, with Kenny Wheeler, Joachim Kühn, Steve Swallow, Charlie Mariano, Glen Velez and Michel Godard. Unusual collaborations are a matter of course for him. He once said that there is no such thing like a pure culture, and that people have always moved from here to there —to speak of a pure culture is fascist, and we agree.
The concert is seated.