 by Tariq Shadid
Reem Kelani’s debut CD, “Sprinting Gazelle”, presents to the world a work of art that seems to travel beyond the regular definitions of musical genres. While it undeniably possesses the necessary entertainment value that is needed in music, keeping its listener spellbound as the songs treat his or her ears to a rich variety of sounds and melodies, it also seems to take him or her on an educational journey through the cosmopolitan richness of Palestinian culture.
At times, you imagine yourself present at a traditional Palestinian wedding or other festivity, while at other times the choice of instruments and melodic lines involved reminds you, that this music encompasses more than only its Palestinian folkloric heritage. However, since historically, Palestine has always hosted a variety of cultures, this mixture is far from estranging, but feels balanced and in tune with historical reality.
Reem’s voice, deservedly, plays the leading role in this masterpiece of musical art. Whoever listens to it, will acknowledge beyond the shadow of a doubt that this lady is a true vocalist, in possession of the qualities that are needed to rank her among the top professionals in her field. The unique colour of her voice enables listeners to easily identify with the emotions that she is attempting to convey, in such a harmonious fashion that it feels completely natural. At the same time, her vocal technique has a unique and personal touch that defies comparison to other well-known singers in the Arabic genre.
It is obvious, that the music was recorded and mixed with dedication, and attention to detail, while retaining its directness, and its purity. The piano, enchantingly played by Zoe Rahman, sometimes is reminiscent of the work of Aziza Mustafa Zadeh, at other times touching upon the style of Ziad el Rahbani. Percussion has been applied with the utmost subtlety, avoiding to allow it to override the details of the melodic workmanship of the other artists in the recording. The acoustic bass is clearly present, yet equally subtle, serving as a solid foundation for the rest of the music.
Surprisingly, the Ud (Arabic lute) is absent, which could be considered a downside, but is rarely missed. Had it been present, it might have caused unnecessary competition with the piano, and undermined the “jazzy” transparency of the music. The saxophone, which is played quite skilfully by Idris Rahman, seems at times to act as the second voice in the songs, as if answering questions raised by Reem’s vocals, and providing a lovely counterbalance for them. This role is also assumed by Samy Bishai’s violin in the song “Yearning”, who does a beautiful, sometimes daring job at challenging and pulling at Reem’s melodic line, adding to the tension and variation of the track.
This CD, “Sprinting Gazelle”, which in my view is to be considered a landmark musical work of art in the history of Palestinian music, is clearly not aimed at the mainstream ear. One should not expect it to draw people to the dance floor, or to cause them to clap their hands to the rhythm. However, for those who appreciate the finer and more subtle types of Arabic, classical, jazz or world music, this CD is a veritable treat, and a beautiful invitation to Palestinian culture. By releasing this unique collection of songs, Reem has certainly earned the praise of her people, for representing them in such a stylish and dignified fashion.
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