Chameleons of the White Shadow

He might be still in his 20s, but Joseph Tawadros matches precociousness with prolificacy. Chameleons of the White Shadow is already the tenth album from the oud player who, although born in Egypt, has called Australia home since he was a young boy. All too often with musical virtuosity, technique hogs the limelight and the material is cast into shade. Tawadros doesn’t allow this to happen; his fingers might fly with admirable dexterity, but tunes don’t go wanting. There’s plenty of substance accompanying the style. And there are plenty of very fine musicians accompanying him, too. Bela Fleck brings his banjo to the party, a fruity and effective sparring partner for the oud’s drier tones. The oft-admired Richard Bona supplies bass, while Tawadros’s percussionist brother James plays the small drums req and bendir. This quartet are variously augmented by Hammond organ, tuba, accordion and, on ‘Freo’, the vibraphone of jazz-funk legend Roy Ayers.

With players like Bona and Ayers on board, the tone frequently tilts towards jazz, but the oud and the banjo can be relied upon to provide those earthier moments. All the while, the versatility and flexibility of Tawadros’s playing is the main driver, whether on Hammond-enhanced breakneck jams (‘Gypo Blues’) or the slower, mournful moments you might more readily expect (such as ‘Rose in the Sky’). This record’s title is apt. Joseph Tawadros is a musical chameleon, shifting shades to match those around him. It makes him one of the most ambitious, open-eared oud players around.