Ibrahim Maalouf Concert Review: ‘Sounds of Jazz’ Took Over Mumbai

The Sounds of Jazz concert at the NMACC Grand Theatre on November 29 had a dramatic start; two groups were billed to perform over the evening. However, one of them, Richard Bona, was unable to make the trip to Mumbai and the second band, that of Ibrahim Maalouf, played the entire performance to a fairly sizeable audience.

The band was a tentet, comprising five trumpets, including the leader, one saxophone, guitar, bass and drums. The tenth member was a dancer who appeared with her high-energy moves for a few numbers, adding to the vigor of the musical performance quite aesthetically. For a brief while, an audience member, local saxophone talent Harsh Bhavsar (who had come to the concert with his saxophone!) was invited to join and play with the ensemble and played an impressive solo.

Jazz is a very generous, accommodating and broadminded host. It allows and shelters a vast range of music within it because of its nebulous definition.

Whether Maalouf’s music fell within the purview of this definition or not, the band scored heavily on two important counts.

One, they were entertaining for the cross-section of the audience and two, Maalouf was able to involve those present in what he was performing.

A number of Mumbai-based musicians from both the film industry and the jazz community were present for the concert, a phenomenon not often witnessed at performances of international artists.

Ibrahim Maalouf’s trumpet playing style is unique, as are his compositions. His Lebanese background and his present influence from Europe — he now lives in France — have obviously shaped his music. It sounded as if he was seeking his jazz inspiration looking Eastwards, unlike a majority who are seeking musical light, perhaps, from New Orleans or thereabouts. The music played had a heavy stamp of Middle Eastern sounds.

The other remarkable quality of Maalouf’s trumpet playing is the instrument itself. He plays a trumpet designed by his father (also a trumpet player) and has an additional, fourth valve on the instrument. Maalouf said it was to play quarter tones, common in music “of the East.” The conventional trumpet played by musicians from the West is designed for classical music or jazz. All five trumpets in the band were of the type used by Ibrahim Maalouf.

The band opened with a piece called “Proposal” and the leader went on to explain that he wanted his band and the audience to combine, metaphorically in a ‘marriage’ for the evening! He involved the audience in singing choruses of his compositions, clapping to the beat and even dance, if they so desired. A lot many present did so!

Towards the end of the evening, Maalouf called for the theatre lights to be put off and asked that audience cell phone flashlights should be put on and waved to the music. It was all very popular with those in attendance who were clearly thrilled to be so involved.

At one point he said that he loved ghazals, particularly of the artist Ghulam Ali and proceeded to sing “Awargi,” a ghazal made famous by the maestro. His singing in Urdu was impressive as was the orchestral accompaniment. It reminded this writer of Russian musicians coming to India attempting to play and sing “Mera Joota Hai Japani,” a Raj Kapoor song hugely popular in that country!

By the time the show was nearing its conclusion the “marriage” between the band and the audience was pretty much settled. Maalouf clinched the deal by playing an extended encore with his well-known ballad “True Sorry,” familiar to some present and by now to most of the audience!

We believe it was a blessing in disguise that Ibrahim Maalouf had the expanse of the entire evening to perform; a shared event would have curbed his style. The “marriage” would have been incomplete!