Tarek Yamani—a pianist who appears to have made it his life’s work to figure out just how far Arabic musical traditions can be thrust into the American jazz idiom—has unleashed perhaps his most audacious project yet. Typically an acoustic player most often fronting a trio, Yamani makes a brave about face with “King Matar,” a quarter-tonal jazz/electro tribute to the virtuoso Lebanese/Syrian buzuq player Matar Muhammad (1939-1995), who lived most of his life in the pianist’s homeland, Lebanon…

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