The way I imagine my sound is something much closer to the human voice. When I grew up and started to have my own way to play, I tried to escape from this style. Also, when I was young, and my father used to play at home, I did not like the trumpet because it sounded so loud and so strong and so high. In the Kalthoum project, yes, because I really took Oum Kalthoum’s voice, all the melodies she was singing, and I precisely played what she was singing. When you play, do you often think of yourself as emulating a singer? So I grew up learning two musical cultures at the same time.
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He taught me how to play Baroque music and classical music, and simultaneously, he was teaching me to play Arabic music in the old, traditional way, with what we call Tarab. Right from the beginning, he gave me a trumpet that had this fourth valve, for the quarter tones. When I was young, approximately 7 years old, I asked my father to give me some lessons on trumpet. Your father, Nassim, is an innovator on trumpet, someone who adapted the instrument to Arabic music.
Maalouf in the wake of some recent anti-immigrant statements in France, which he observed with growing alarm. The newer album includes a simmering cover of the 2011 Beyoncé hit “Run the World (Girls),” with a video set in a dystopian near-future in which women lead an underground resistance against oppressive forces of exclusion. Maalouf sees both “Kalthoum” and “Red & Black Light” as tributes to strong women. 1 at the Appel Room, as part of Jazz at Lincoln Center’s fall season. The tour begins on Friday in San Francisco and continues on Saturday at the Monterey Jazz Festival it is scheduled to reach New York on Sept. Maalouf will be paying homage to the Egyptian singer Oum Kalthoum, an incandescent voice of the Arabic world. As he did on his 2015 album “Kalthoum,” Mr. This month he will be in the United States with a different project, featuring jazz musicians like the saxophonist Rick Margitza and the drummer Clarence Penn. Maalouf’s latest album, “Red & Black Light,” has the sheen and muscularity of contemporary fusion, highlighting the strengths of his longtime band. (The pioneer of this instrument is his father, the revered Lebanese classical trumpeter Nassim Maalouf.) Mr. Maalouf plays a trumpet with four valves instead of three, which helps him articulate the quarter tones essential to a range of non-Western music. Throughout the Francophone world, and in parts of the Middle East, he operates on the scale of a global pop star. Born in Beirut and reared in Paris, he has earned wide acclaim for his work in the Western classical tradition, as well as in Arabic music, film music, jazz and rock. The recording of 'In the Name of Lucifer' is now complete, and is out now on Korvus Productions.Bridging musical cultures comes naturally to the trumpeter and composer Ibrahim Maalouf. Korvus then began recording the debut album 'In the Name of Lucifer', while playing various gigs with bands such as Akercocke, Hecate Enthroned, Abgott, Artisian and many more. In Autumn 2006 it was decided that Korvus would continue as a solo project as originally intended, but with session members for live performances.
This was followed by playing various gigs and heavily promoting Korvus in preparation for a debut album, appearing in magazines such as 'Terrorizer' and 'Devolution Magazine'. In summer 2005 Korvus started working with SixSixSix Records, appearing in the November issue of Metal Hammer, and supporting Theatres des Vampires and Draconian Order on their UK tour in October and November, including their gig at The Underworld which is regularly shown on 'Redemption TV'. After a few months of writing and rehearsing, a second demo CD was recorded in February 2005 called 'The Kingdom Of The Raven', and the following few months were spent playing in local venues. Oum Kalthoum CD music Korvus was founded in early 2004 by Sam Korvus as a solo project, and was later joined by Adam Pravus (bass) and Sam Curtis (drums) in Autumn 2004, to record an extremely raw and satanic demo tape called 'Dark Desires' using a 4-track portastudio, which was distributed locally to build up a small fanbase.