Yakir Arbib & Conti Bilong: Afro Baroque

The fusion of jazz, baroque piano, vocals and traditional Central African and Middle Eastern rhythms might sound like an ambitious overreach, with too many influences competing for space. Yet Afro Baroque proves that what could have been a chaotic collision of styles instead shows how rhythm, melody and cultural expression can complement each other to produce an album of dynamic interplay that entertains throughout.

The driving force behind this cross-genre synthesis is the combination of Israeli-Italian pianist Yakir Arbib and Cameroonian drummer and vocalist Conti Bilong. Arbib has been blind since birth and suffers from synesthesia, which blends senses so that musical tones are seen as different colors. A Berklee graduate, he is equally conversant in jazz and classical music and has collaborated with artists as diverse as Kurt Rosenwinkel, Al Jarreau, Nils Petter Molvaer and the Jerusalem Symphony Orchestra.

Bilong's journey is just as inspirational, starting from a small town in Cameroon as a self-taught drummer with an innate understanding of rhythm, to becoming a world-class drummer. His experiences with the Soul Makossa Band, led by Manu Dibango, and collaborations with Oumou Sangaré have helped form his blend of traditional African rhythms with contemporary influences.

There are four compositions from Bilong including the opening track, "Ngola and Ekang." This includes vibrant African rhythms, vocal chants, synthesizers and classically influenced piano improvisations interspersed through the track, encapsulating the album's Baroque-meets-Africa aesthetic. Arbib's driving piano style may find listeners recalling the way Shai Maestro worked with Avishai Cohen's rhythmic bass lines.

Bilong's other compositions also showcase his range and sophistication. Kwanae Johnson opens with a delicate harpsichord-like introduction before erupting into driving percussion and Arbib's fleet-fingered piano work. "Muna WonDJa" takes a different approach entirely with its buoyant reggae rhythms bringing a sense of lightness. The collection's crown jewel, however, is "Mout Binam Nou." Arbib's subtle piano accompaniment provides space for Bilong's moving and meditative vocals; though sung in the Basa language, they carry an emotional weight that needs no translation.

Arbib's compositional credits include the title track with its triumphal opening. His improv moves from classical to Baroque to jazz over driving drums. "Stuck in Dagestan" concerns the conflict in that region with angry, fast-paced piano and bustling rhythms. The album concludes with "Barbès-Rochechouart" (presumably referring to the Paris Métro station). The music-box melody is Erik Satie-like, full of romance and regret. Bilong adds quiet, subtle touches, letting the haunting song flow.

This unlikely partnership also makes the bold choice of tackling Miles Davis' "All Blues," transforming the jazz standard into something individual. The album continually surprises; mixing diverse traditional rhythms with piano counterpoint, often in a Baroque style, has produced a singular album of dynamic and colorful interplay. Their synergy proves that many rewarding musical journeys often begin at the junction of the familiar and the unexpected.