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Reviews

Didier Malherbe & Loy Ehrlich — Hadouk
(Zebra Records ZA 44409-2, 1995/1999, CD)

by Jeff Melton, Published 2000-10-01

Hadouk Cover art

With Hadouk, veteran reedsman Didier Malherbe and percussionist Loy Ehrlich have created an exotic world music album which pushes the listener into newly found common ground. For those unfamiliar with Didier's work, his individual best with Gong can be found on Shamal where the group democratically grappled with a shift into jazz. Didier's main composition was the precious track, “Bambooji” which featured recorder atop an overt Far Eastern motif. Following along this similar thread, the melodic, fickle spirit of the disc easily crosses several intercontinental borders with the ten tracks. The quality of Didier's unique tone is a fluid blend of passion, using a subtle voice which both whispers and cajoles as on the title track. The album itself is composed of duets and trio sax sections with minimal but more than adequate accompaniment. Ehrlich is the compositional glue in the curious maze of the album. His use of African harp together with hajouj (a Moroccan bass) is both specialized and pristine. He also supplies foundation organ on many of the pieces, which also works by use of tabla (as on “Vol de Nuit”). Probably the most unique piece is “Loukoumotive” which carries a child-like whimsy with its use of a “zeff,” a plastic flute. The album's closing track is the chameleon-like “Caspienne Blues” named after the great sea; it's a mellow blues unburdened by the heavy handedness of a full combo rendition. Considering the cross-pollination of the myriad of styles on the disc, the album holds together surprising well. Recommended for fans of woodwinds and overt New Age holdovers.

Filed under: Reissues, Issue 20, 1999 releases, 1995 recordings

Related artist(s): Didier Malherbe

 

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