Unique Sounds
The band included no bass - instead, cellist Rufus Cappadocia shifted between walking bass lines and creating rich tonal landscapes with drone-based double stops. The combination of cello, Zafer Tawil’s oud (Middle Eastern predecessor of the lute), Arturo Martinez’ guitar, and Amir ElSaffar’s santoor (Middle Eastern hammer dulcimer), created a rich and exotic timbral synergy. Brahim Fribgane carried the restrained and varied grooves on the cajón and doumbek. ElSaffar occasionally turned away from the santoor to play a Harmon-muted trumpet, the instrument for which he is better known.Influences Across Borders
Gaida grew up in Damascus, Syria and later studied classical vocal performance at Wayne State University in Detroit, Michigan. Her voice is pristine; clear and round, it resonates from within her nasal cavity – a convention that no doubt stems from Middle Eastern musical tradition, as it is not encouraged in European classical training. Her timbre is not unlike that of a string instrument, allowing her to attain expressive qualities normally out of reach for vocalists.She delivers melodies in an intimate recitative, using Arabic scales (maqams) ornamented heavily with mordents and appoggiaturas. Her singing is emphasized by subtle theatrics perhaps owing to her classical studies: her face contorts and relaxes, and her hand gestures either become tense or seem to float beside her head, depending on the mood of the piece.
A Captivating Performance
At Joe’s Pub she drew the audience in, spreading breathless silence throughout the club during her solo and two stunning duets with Cappadocia, and eliciting cheers and joyful clapping in the audience during her more spirited and climactic moments.Like a jazz singer, she alternated between being the star around which the music revolves, and just another band member. At times she interacted by trading improvised sections with Tawil and ElSaffar, and frequently stood aside for prolonged periods to allow the instrumentalists to enjoy the spotlight.
Aside from Gaida’s stirring vocals, Elsaffar’s trumpet solos were the highlight of the evening. Whether playing melodies based on maqams or bluesy bebop lines, his solos transcended mere trumpet playing, and took on a delicate vocal quality. The inconstant presence of the trumpet contributed to its brilliance. Each time ElSaffar parted from the santoor, his trumpet interjections were a bright surprise.
Gaida’s music represents a promising vein of post-jazz, injecting border-straddling styles with exciting improvisation.
