Essia

Tunisian-born, Brussels-based pianist Wajdi Riahi is undoubtedly adept at composing and performing melodically and rhythmically complex contemporary jazz. Aided ably by bassist Basile Rahola and drummer Pierre Hurty, he creates the kind of richly emotional piano trio journeys popularised by the likes of Esbjörn Svensson. If this runs the risk of being somewhat unremarkable, Riahi’s engagement with his Arab roots boosts his music onto another level, lending it a uniquely fascinating twist.

On the trio’s second album, follow-up to 2022’s Mhamdeya, the North African influences are even more pronounced – particularly in the incorporation of elements of Moroccan Gnawa and its Tunisian cousin, stambeli. On ‘Hymn To Stambeli’, Rahola’s double bass intro imitates a gimbri warming up, before piano and bass roll out a burbling approximation of a healing trance vibe accompanied by boisterous drums and chattering qaraqab castanets. It’s enough to propel Riahi’s solo into joyous realms of transported energy.

Elsewhere, it’s Riahi’s vocals that send the music in unexpected directions. ‘Yala Quawmi’ is a limpid ballad held together by delicate tendrils of piano and sparse percussion, providing a fertile bed for Riahi’s gorgeously drowsy Arabic song. Who knew that microtonal vocal technique should sit so comfortably next to aching, blue piano notes?