Amall

Description

Since the beginning of the 60's, François Rabbath's double bass resonates in enough references to fill several shelves of a record collection. Arranger, composer, musician, the imprint left in music goes well beyond his collaborations with Barbara, Paco Ibanez, Charles Aznavour, or Edith Piaf. It is to him that aspiring double bassists owe an innovative method for learning the instrument. Born into a lush musical universe that quickly became his own, it was first in his travels that his son Sylvain accompanied him, before settling at the piano and touring the stages of the world by his side. Those years where continents, countries, and cities succeeded one another became a source for composing Amall, the album of the Rabbath Electric Orchestra. Born from these wanderings, the tracks took their definitive colors once brought back to the studio, refined, and finally, designed to invite the guitars of Keziah Jones and Matthieu Chedid, the piano of Laurent de Wilde, the bass of Victor Wooten, the saxophone of Raphaël Imbert, the percussion of Minino Garay. Sublimed by the dimension of jazz-soul orchestrations, by the richness of arrangements bursting from strings, brass, rhythms, or keyboards, the epic breath has been imprinted. The urban nervousness of funk has found its place. Melancholic and melodic, expressive and nervous, the double bass played with the bow, in the high notes of the neck where few venture, has risen as a musical guide. The one who traces the path between Seville and Minneapolis connects François Rabbath's native Syria to France, reducing the distance between South America and Europe. Gives the note to follow, the emotion that will run through the piece. It is side by side that father and son have extended their bond beyond mere family and artistic limits. And their hands have never clasped so tightly.