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The new Flemish masters (En)

The 15th century Franco-Flemish polyphonists are also known as the 'Flemish Masters'. Their music inspired composer Osama Abdulrasol to look for similarities between the Western and Arab traditions from his own Arab background. Can he make connections and merge different currents into a new 'sound'? Can we shape the future from the past? The various Flemish implementers in this project symbolize the multiple Flemish identity. What is the Flemish (artistic) tradition today, and how do we deal with it? With this quest, the musicians continue the long line of Flemish artistic mastery, in their own (sensible) way. We are happy to present you the first sketches of this quest.
With:
Osama Abdulrasol, qanun & compositions
Tomash Noël, hammond & keyboards, vocals & Electronics
Philippe Malfeyt, lutes & vocals
Helena Schoeters, vocals
Khalid Elhafiz, Vocals
DJ Grazzhoppa: beates and polyphony

The new Flemish masters (NL)

De 15e-Eeuwse Franco-Vlaamse polyfonisten staan ook bekend als de 'Vlaamse Meesters'. Hun muziek inspireerde componist Osama Abdulrasol om vanuit zijn eigen Arabische achtergrond op zoek te gaan naar overeenkomsten tussen die Westerse en Arabische traditie. Kan hij verbanden leggen en verschillende stromingen laten opgaan in een nieuwe 'sound'? Kunnen we vorm geven aan de toekomst vanuit het verleden? De diverse Vlaamse uitvoerders in dit project staan symbool voor de meervoudige Vlaamse identiteit. Wat is de Vlaamse (artistieke) traditie vandaag, en hoe gaan we daarmee om? Met deze zoektocht zetten de muzikanten de lange lijn van Vlaams artistiek meesterschap voort, op geheel eigen(zinnige) wijze. We presenteren jullie graag de eerste sketches van deze zoektocht.
Met:
Osama Abdulrasol, qanun & composities
Tomash Noël, hammond & keyboard
Philippe Malfeyt, luit
Helena Schoeters, stem
Khalid Elhafiz, Vocals
DJ Grazzhoppa

met de steun van de Vlaamse overheid

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Livestream - covid time
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Jedid, the title of the latest project by Iraqi musician Osama Abdulrasol and his quintet, might refer to an Arabic/Urdu word meaning “modern” or “new,” an apt label for a body of composition that seeks to bridge languages and musical styles with common themes in fairly refreshing ways. Abdulrasol, a master of the 'ud and the qanun (Arabic lap harp), extemporizes on romantic and spiritual love: the vocals, by Belgian singer Helena Schoeters, draw on the work of famous poets and original lyrics. The others in the quintet (Philippe Thuriot, accordion; Lode Vercampt, cello; François Taillefer, percussion) alternately support and embrace the melodies of each track.

A key point of interest for this project is that though the lineup is clearly international, the languages of the lyrics extend well beyond the band members' individual cultural backgrounds. Despite their variety, the linguistic and purely musical elements commingle effectively due to common expressive goals. For example, “Ghazal” overlaps Schoeters' vocal ornaments and Abdulrasol's qanun tremolos characteristic of Arabic love-song styles with seductive lyrics in French and Arabic (“I love the taste of this forbidden fruit”). In the second half of the tune, Thuriot takes over melodic duties with some dazzling accordion work evocative of the iconic Parisian street sounds that have made listeners fall in love from afar for decades.

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