In this post 9/11 world, with its centrifugal drift to extremism, a new breed of North African and Middle Eastern musician has been in the vanguard of attempts to promote cultural tolerance and an alternative vision of Arabic and Islamic culture. The Tunisian oud player Dhafer Youssef is living proof that, despite the bleetings of Salafist and Wahabi imams, music still holds pride of place in the Arab and North African heart.
It has always been emblematic of that culture's willingness to tolerate and interact with other cultures. Youssef doesn't need to ride a camel or wear a djellaba in order to prove his point. He only needs to be what he is: a vocalist and oud virtuoso of rare ability, a defiant cosmopolitan and a declared modernist who reserves the right to go where his muse takes him, and collaborate with anyone he might meet there. Growing up in the Tunisian port town of Teboulba , where he was born in 1967, Youssef absorbed the sounds he heard clandestinely on the radio, 'without a filter' as he himself recalls. He had a special penchant for jazz and he soon realised that Tunisia would never give him the freedom to explore that particular path. So he left for Vienna, without a dinar to his name. His peripatetic life then took him to Barcelona, Berlin, New York, Dakar and back again to Vienna, meeting, playing and collaborating. A debut release 'Malak' on the Enja label in 1999 sowed the seeds of an international reputation and Youssef moved to the Barbès district of Paris.
He developed some perennial musical partnerships, notably with the Sardinian trumpeter Paolo Fresu and the Norwegian guitarist Eivind Aarset. Youssef feels a special bond with Scandinavian musicians, which is fortunate, since Norway and Sweden are now widely regarded to have the most fascinating and dynamic avant-garde jazz scenes in the world. Youssef has also performed with Uri Caine, Jon Hassell, Markus Stockhausen, Nguyên Lê and the cuban pianist Omar Sosa, to name but a few. In 2001 recorded the 'Electric Sufi' CD with the ex-Sugar Hill Gang and Tackhead rhythm section of Will Calhoun and Doug Wimbush and followed it up recently with 'Digital Prophecy', another multi-layered, multi-faceted marvel. With walls, boundaries, barriers, labels and frontiers becoming ever more rigid and impregnable, Dhafer Youssef reminds us that any composer or musician of worth must be free to roam, with his body, his mind and his spirit, or music itself might end up being the biggest casualty. - Ivan Chrysler / BBC
Tracks
1. Tarannoun (García-Fons/Youssef))
2. Iman (Héral/Lê/Stockhausen/Tang/Youssef)
3. Eklil (Thakur/Youssef)
4. A Kind Of Love (Stockhausen/Youssef)
5. Jito & Tato (Héral/Lantos/Ram/Tang/Thakur/Youssef)
6. Derballah (Lê/Stockhausen/Youssef)
7. Frag-Habibe (Lê/Stockhausen/Tang/Youssef)
8. L'enfant Du Sable (García-Fons/Rizzo/Stockhausen/Thakur/Youssef)
9. L'ange Aveugle (Héral/Lantos/Ram/Tang/Thakur/Youssef)
DHAFER YOUSSEF oud, vocal
RENAUD GARCIA-FONS bass
ACHIM TANG bass
NGUYÊN LÊ guitar, guitar synthesizer
MARKUS STOCKHAUSEN trumpet, flugelhorn
ZOLTÁN LANTOS violin
DEEPAK RAM bansuri
PATRICE HÉRAL drums, percussion
JATINDER THAKUR tabla, dolak
CARLO RIZZO tambourine
Recorded March 23 and May 16, 1998 at Feedback Studio, Vienna, Austria
Enja Records - ENJ-9367-2 (Germany)