Marcel Khalife chose the name “Al Mayadine” for his touring ensemble because of the double meaning of the word, translating from Arabic as “village-square” and “battlefield.” Since the group’s founding in 1976 the 54-year old Lebanese native has seen both, becoming one of the Middle East’s most renowned musicians and having been persecuted for his 1995 song “Oh Father, I am Yusuf.” Throughout his tree-decade career the oud player has walked the thin line between Palestine and Israel, fostering peaceful relationships through music and an outspoken voice. His mastery of the Arabic lute is apparent on Caress/Moud’aba, his 20^th album since he began exploring folkloric music in 1972. Sheer moments of brilliance emerge, though one feels he leans a little closer to the village-square aspect; the clean production and scholarly precision make this a record of concert has and auditoriums, not the grit and ruggedness of battle. This does not stop the tenderness of “Chaza” (actually a violin solo by Omar Guey) from filling one with melancholy, nor quell his gorgeous yearning on the oud-driven “Samai Bayali.” Khalife is secure enough in his artistry to step aside and allow his two sons (pianist Rami and percussionist Bachar) and double bass player Peter Herbert free reign to explore with him. The relationship of this quartet is brilliant. In his attempts to reach broad audiences, similar to counterpart Simon Shaheen and his Qantara, Khalire does dilute the dirtiness of his name’s “other” meaning. This has nothing to do with guns and grenades, but merely the ability to strip bare all testament of one’s self and return to fire, something even a caress, if properly stroked, can accomplish.

-DB