11 July 2010
Royal Palm Stage
//
16:25
Hijaz & Vardan Hovanissian & Guests
(Belgium/Marocco/Tunesia/Armenia)
Moufadhel Adhoum (oud), Niko Deman (piano), Vincent Noiret (double bass), Chryster Aerts (drums), Azzedine Jazouli (percussion) and Vardan Hovanissian (duduk)
Guests: Houssem Bel Khadi (nay) and Tcha Limberger (viool).
Guests: Houssem Bel Khadi (nay) and Tcha Limberger (viool).
Hijaz started in 2006 as a result of the cooperation between Moufadhel Adhoum and Niko Deman. Moufadhel Adhoum, Tunisian oud player brings in the Nord-African melodic themes while Niko Deman, from Greek origin, adds his traditional influences to the music, together with the Moroccan percussionist Azzedine Jazzouli. Hijaz creates a European-Mediterranean jazzy sound and are suggesting what jazz could mean in the twenty first century. The band released in 2008 their debut album “Dunes” with own work. They invited the Armenian duduk player Vardan Hovanissian on a couple of tracks. The album scored outstanding reviews abroad and in the meantime Vardan became a full time member (but keeps on performing with Yasmin Levy and Arax a.o.).
www.hijaz.be
Tcha Limberger was born into a musical family, with each member playing musical instruments (his grandfather was the legendary Piotto Limberger). His Manouch tzigane father, Vivi Limberger, and his Flemish-born mother Lut Bruyneel each inducted him into their own culture. As a young boy, Tcha was bent on becoming a flamenco singer. Aged twelve, he started out on the clarinet, joining the family orchestra, the Piottos. In due course, he swapped the flamenco guitar for a Django guitar, learning how to play with the likes of Koen De Cauter and Fapy Lafertin as he went along. At the instigation of Dick Vanderharst and Herman Schamp to name just two, he learned how to analyse music, considerably widening his horizons in the process. When Tcha turned seventeen, he took up the violin and by the time he was twenty-one, he left for Budapest where he took classical and zigane musical classes from Horvat Bela. Following his return, he went on to play in or set up a number of orchestras, making quite a few recordings as a freelance instrumentalist (Lolo Meier Quartet, Waso jazzquartet, Romani, the Piotto's, Robin Nolan, Stochelo Rosenberg, Birelli Lagrene, Fapy Lafertin, Boros Lajos, Puka Karoly, Berki Viktor, Toni Rudi… )
www.myspace.com/limbergertcha
www.hijaz.be
Tcha Limberger was born into a musical family, with each member playing musical instruments (his grandfather was the legendary Piotto Limberger). His Manouch tzigane father, Vivi Limberger, and his Flemish-born mother Lut Bruyneel each inducted him into their own culture. As a young boy, Tcha was bent on becoming a flamenco singer. Aged twelve, he started out on the clarinet, joining the family orchestra, the Piottos. In due course, he swapped the flamenco guitar for a Django guitar, learning how to play with the likes of Koen De Cauter and Fapy Lafertin as he went along. At the instigation of Dick Vanderharst and Herman Schamp to name just two, he learned how to analyse music, considerably widening his horizons in the process. When Tcha turned seventeen, he took up the violin and by the time he was twenty-one, he left for Budapest where he took classical and zigane musical classes from Horvat Bela. Following his return, he went on to play in or set up a number of orchestras, making quite a few recordings as a freelance instrumentalist (Lolo Meier Quartet, Waso jazzquartet, Romani, the Piotto's, Robin Nolan, Stochelo Rosenberg, Birelli Lagrene, Fapy Lafertin, Boros Lajos, Puka Karoly, Berki Viktor, Toni Rudi… )
www.myspace.com/limbergertcha
Press Quotes:
Moorsmagazine: ”Clear, punchy jazz with heavy Mediterranean and Middle Eastern flavours makes for a deeply rewarding album.”
Tropicalidad: “The band may have met in Belgium but their music instantly transports you to the calm inner courtyard of some shady house a stone's throw from the bustle of the market in some North-African town.”
Mazzmusikas: “hats off: All hits, no misses!!!”
Global Music Culture: ”...The band may have met in Belgium but these tracks instantly transport you to the calm inner courtyard of some shady house a stone’s throw from the bustle of the market in some North African town. Beatifully recorded, the interplay between oud and percussion is filled out with sparse jazz sounds from the rest of the band... This album is well paced with a variety of influences taking centre stage and great solos. Well worth tracking down for those calmer moments this summer. Clear, punchy jazz with heavy Mediterranean and Middle Eastern flavours makes for a deeply rewarding album.”
Songlines: “Tcha Limberger... The music envelopes you with the widescreen, cinematic sweep and sweetness of old movies and vanished empires, the aural equivalent of a grand old perfume unstoppered for the first time in a century, and filling the room with the musky redolence of a vanished order...”
Jazzman.com: “...Limberger blends traditional methods with a more contemporary approach. The resultant music is a sound unfamiliar to Western European ears but repeated listening brings out the hidden complexities and beauties of the music...”
Tropicalidad: “The band may have met in Belgium but their music instantly transports you to the calm inner courtyard of some shady house a stone's throw from the bustle of the market in some North-African town.”
Mazzmusikas: “hats off: All hits, no misses!!!”
Global Music Culture: ”...The band may have met in Belgium but these tracks instantly transport you to the calm inner courtyard of some shady house a stone’s throw from the bustle of the market in some North African town. Beatifully recorded, the interplay between oud and percussion is filled out with sparse jazz sounds from the rest of the band... This album is well paced with a variety of influences taking centre stage and great solos. Well worth tracking down for those calmer moments this summer. Clear, punchy jazz with heavy Mediterranean and Middle Eastern flavours makes for a deeply rewarding album.”
Songlines: “Tcha Limberger... The music envelopes you with the widescreen, cinematic sweep and sweetness of old movies and vanished empires, the aural equivalent of a grand old perfume unstoppered for the first time in a century, and filling the room with the musky redolence of a vanished order...”
Jazzman.com: “...Limberger blends traditional methods with a more contemporary approach. The resultant music is a sound unfamiliar to Western European ears but repeated listening brings out the hidden complexities and beauties of the music...”
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