The MirrorARCHIVES: Oct 28-Nov 3.2004 Vol. 20 No. 19  
Mirror Music

>> Festival du Monde Arabe : Music : Film

The oud couple

>> Ismaïl Fencioglu and Jason Rosenblatt find common ground between Turkish and Jewish music

 

by MARK SLUTSKY

It's your traditional Canadian klezmer harmonica meets Spanish-influenced Turkish oud story. Jason Rosenblatt, an ex-Montrealer now living in Philadelphia, he of harmoniklezmer outfit Shtreiml, hooked up this year with Ismaïl Fencioglu, a recent immigrant (of three years) from Istanbul. Both were amazed at the similarities between Jewish and Turkish music - "The modes that klezmer musicians and Turkish musicians employ are almost identical," says Rosenblatt. Klezmer harmonica might be unconventional, but so is Fencioglu's playing style. "I have my own way," the conservatory-educated musician says, "which is sort of a flamenco style. Most of my teachers weren't crazy about that."

After meeting and playing several times in Fencioglu's LaSalle apartment, the two made their debut at Oscar Peterson Hall in June. "Believe it or not, it was a concert called Kleztic, which was klezmer and Celtic music," Rosenblatt says. "But our set could've been called Otto-Klez - Ottoman klezmer music." And thus would begin the two's friendship and collaboration - later in the year, Fencioglu would even play a solo set at Rosenblatt's wedding.

The two aim to highlight Jewish and Muslim music's close relationship in Exode, a concert for the Festival du Monde Arabe. Mixing the two styles makes for an interesting alchemy. "It ends up sounding Middle Eastern because of the fact that it's got an oud, and that's such a powerful sound," Rosenblatt says. "I'm playing harmonica, which has nothing to do with either styles of music, but for some reason it fits really nice with the oud." Joining the two will be percussionist Pelin Fencioglu and trombone player Rachel Lemisch (Fencioglu and Rosenblatt's spouses, respectively), as well as Bulgarian bass player Georgy Stankou, drummer Thierry Arsenault, and members of the Turkish choir Fencioglu moved here to conduct.

The cultural collaboration has resonance beyond the musical: "It's a good message," Fencioglu says. "When people are fighting, as musicians, as artists, of course we cannot accept it. It's a message to the people - we're sharing our culture. Even though I'm Muslim and he's Jewish, we share the same oxygen, same atmosphere, so why are we fighting? That should be the message."

At la Cinquième Salle of Place des Arts
on Thursday, Nov. 4, 8 p.m., $25

Arabian nights
on the town

>> Other highlights of the fifth
Festival du Monde Arabe

by RUPERT BOTTENBERG

The theme of this year's Festival du Monde Arabe de Montréal (Oct. 29 to Nov. 14) is razzias, the Arabic word meaning "raids", which once struck fear in the hearts of merchants driving caravans across the desert. For the film and theatre components of the festival, the term invites unflinching reflection on the history of violence which has permeated the world of the Arabs and their neighbours for so long.

On the musical side, however, the idea of the razzia is flipped on its head. Historically speaking, military conquest is so often followed by musical cross-pollination, and the FMA this year has done its best to highlight this plunder and pillage of a positive type.

Rosenblatt and Fencioglu's Exode is but one of many shows that promise amazing cross-cultural alchemy. Le Cercle de l'Extase, the festival's celebrated centrepiece last year, returns (Place des Arts, Nov. 1–2, 8 p.m., $29$68) - Syrian Sufi dervishes whirl to the Gregorian chants of Montreal monks.

The Mosaïques concert (Théâtre Corona, Nov. 11, 8 p.m., $25) is a meeting of two fretless guitar players, Erkan Ogur from Turkey and Lubo Alexandrov from Bulgaria, and true to its name, the show reflects fragments of Balkan, Gypsy, Arab, Turkish and even Indian music.

Two shows have the Quebec jazz scene colliding with Middle Eastern music. Gnawa El Jazz (Théâtre Corona, Nov. 12, 8 p.m., $25) brings together an octet of Moroccan masters of the mystical gnawa chant and noted local jazz talents like Michel Donato, Thom Gossage and Thüryn von Pranke. Espaces Sonores (Théâtre Corona, Nov. 10, 8 p.m., $25) has Iranian percussionist Madjid Khaladj playing off Quebec saxophonist Pascal Boudreault.

Oh, and keep an eye out for Morocco's venerable and tremendously influential Nass El Ghiwane (Place des Arts, Nov. 14, 8 p.m., $20–$50). Namechecked by Robert Plant, Bob Marley, Peter Gabriel and Martin Scorcese (who called them "the Rolling Stones of Africa"), these cats have been breaking the rules of Arabic music - and the chains of injustice - for a third of century now.

>> Music Listings

MIRROR ARCHIVES » Oct 28-Nov 3.2004: INSIDE - COVER | ARCHIVES INDEX | CURRENT ISSUE
SITEMAP | STAFF
© Communications Gratte-Ciel Ltée 2004