Known as the “Smithsonian of country music” due to the size and unrivalled collection of music memorabilia. Followed by a tasting at the historic Barrelhouse 1 – 14, where you’ll sip a flight of five Jack products.Ī visit to the Country Music Hall of Fame & Museum The flight of Jack Daniel’s Tour includes a visit behind the scenes to understand the production process. No visit to Tennessee would be complete without tasting a bourbon. Recorded in 30 minute segments for radio, it’s a fabulous evening of entertainment including a variety of performers.Ī Honky Tonk is defined as an establishment that contains at least one stage, cold beverages, and a party that lasts all day, every day! Head to lower Broadway in downtown Nashville to experience live music every night of the week. This weekly country music show is the one that made country music famous, and dates back to a barn dance in 1925! Often you have to book tickets before the acts have been confirmed, or risk the event being sold out. We’d plan your trip to experience a Friday night at the Grand Ole Opry. Music themed attractions available include the Country Music Hall of Fame, The Gallery of Iconic Guitars (The GIG), Bluebird Cafe, Johnny Cash Museum, Musicians Hall of Fame & Museum, Patsy Cline Museum, Ryman Auditorium, and The Storytellers Museum & Hideaway Farm. Nashville grew from a foundation based on music. Nashville Music City neon sign in Nashville ![]() Adding on a cruise from New Orleans is a popular optional extra. Normally we recommend flying internally, however we can also arrange a road trip with car hire, or public transport with Amtrak & Greyhound bus, as well as small group guided tours. Our recommendation is to spend at least 3 nights in each city. We can build a tailor made package to experience Nashville, Memphis and New Orleans to suit your travel style and budget. Plus, it's just great listening.Country, blues & jazz music will be your soundtrack during a visit to these three iconic music cities in the USA. Blue Camel may not be a perfect album, but it demonstrates better than any other that a fusion between jazz and a musical form from another culture is possible and can work to the advantage of both. The track begins with a quiet oud solo and then builds to something more chaotic and striving. The album ends with "Beirut," named for the Lebanese city torn by civil war from which Abou-Khalil had to flee many years ago. The aptly named "A Night in the Mountains" is a slow, thoughtful walk, perfect for silent contemplation. Some of the other tracks are not as good as the ones mentioned above, but they are all listenable and very atmospheric. Even Steve Swallow gets a chance to feature his bass after which the ensemble brings it together and takes it home. ![]() Midway through the track, Mariano blisters the paint with a screeching sax workout that bridges the Arabic and the Latin, while remaining all the while pure jazz. As the percussion bubbles along, Milton Cardona's congos adding a Latin flavor to the proceedings, Abou-Khalil steps up with a very fast and rhythmic, if not very tuneful, solo. Seductive percussion ushers in Wheeler and Mariano playing in unison for a tune that is somewhere between Duke Ellington and the court of Baghdad. ![]() "Ziriab" opens with a trumpet solo in which Kenny Wheeler tests the compass of his instrument, backed up with some atmospheric sounds from the udu drum then Abou-Khalil enters with another great tune for everyone to build on. Then we get some stunning improvisations, especially from Abou-Khalil. After it is elaborated for a few bars, the oud comes back with another building block. ![]() "Tsarka" begins with a fast break on the oud that turns out to be one of the two motifs on which everything is built. The album opens with "Sahara," which contains both one of Abou-Khalil's tunes, a mesmerizing melody that could be either Arabic or jazz, and one of Abou-Khalil's best solos, a well-defined interlude that delightfully features the unique timbre of the oud. They form a tight ensemble and play comfortably with each other. Rounding out the roster is Steve Swallow on bass, Milton Cardona on congos, Nabil Khaiat on frame drums, and Ramesh Shotham on South Indian drums and percussion. Abou-Khalil brings back Charlie Mariano on alto sax and Kenny Wheeler on flügelhorn and trumpet, and they generally alternate solos with Abou-Khalil himself. Both tense and reflective, it is perfect for listening after midnight. In both mood and scope, it can almost be characterized as a new Kind of Blue. Blue Camel is the pinnacle to date of Lebanese oud player Rabih Abou-Khalil's achievement as a jazzman.
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