As would be expected, ‘The Trumpets of Michel-Ange Volume 2’ is a natural continuation and development of the first instalment released in 2024. Central to the album is the quarter-tone trumpet developed by Ibrahim Maalouf’s father which allows him to move between Western and Arabic tonal systems and gives the music a distinctive quality. The significant development is the creation of an ensemble of trained players with access to the quarter-tone trumpet that Maalouf uses. This gives additional vibrancy to a record that draws together Afro-Cuban, Brazilian, West African and Middle Eastern influences. It is a manifesto record but one whose message revolves around a sharing of joy.
While the album’s nine tracks do cover a variety of moods and tempos, the primary ones are upbeat and energetic. Jazz is the dominant style but with a highly dynamic take on the genre. Rather than extended workouts, the songs remain concise and focused never extending much beyond the five-minute mark. That outlook is apparent from the opening exhilarating, spiritual track ‘Bring The Light’ which features Anthony Evans and his gospel choir, laughter, whoops, funky guitar and some full-out horn blowing, as well as featuring guest appearances from Jon Batiste and Trombone Shorty. The song is a ray of sunshine and uplift. One of the best examples of the quarter-tone trumpet in action comes from ‘Las Trompetas De Nael’. Propelled by the ensemble in unison, it feels like a party across the Middle East, while allowing space for some brief solos, sometimes frenetic, others mournful. The interplay and tempo shifts are magnificent with the song gathering unstoppable momentum as it heads towards its climax.
In common with the earlier release, there is a recurring theme of celebratory gatherings as illustrated with ‘Layla’s Wedding’ which has an irresistible swing fluctuating between soloing and percussion that captures the feel of a buoyant crowd participating in the festivities. The call and response of the horns help ‘Zaatar & Zeit’ maintain the bustling mood. In a more restrained mode, ‘Oui, Je Le Veux’ features Cuban jazz pianist Gonzalo Rubalcaba whose playing is often understated but has some virtuoso flourishes, while the trumpets have a distinct Middle Eastern flavour, the piece encapsulating a meeting point between regret and celebration.
The use of guest artists takes the record in exciting new directions. On ‘Two To One’, Nai Barghouti mixes Palestinian and Arabic styles in her powerful vocals while Brazilian bandolinist Hamilton De Holanda provides virtuoso choro and contemporary jazz flourishes. Maalouf’s playing switches between fluttering and howling. Flamenco fusion artists Las Migas cross-pollinate with accordionist Richard Galliano to give ‘Chasing The Sun’ an impressive range of sounds with impassioned singing occasionally bubbling out of the mix. Rasika Shekar’s Carnatic flute offers up beguiling patterns and Maalouf shows further dexterity in his playing. There are moments where the song conjures images of an Indian spaghetti western soundtrack. Dialling down the tempo, the album ends more contemplatively with ‘Hold Your Peace’. Galliano appears again, this time providing a Parisian taste accompanying Maalouf’s sublime playing.
There is a tremendously cosmopolitan quality to ‘The Trumpets of Michel-Ange Volume 2’. A great variety of instrumentation and styles meet with and enhance the quarter-tone trumpet which is the star of the show. It makes for a buoyant and refreshing concoction.
Ibrahim Maalouf: The Trumpets of Michel-Ange Volume 2 – Out 12 June 2026
I was editor of the long-running fanzine, Plane Truth, and have subsequently written for a number of publications. While the zine was known for championing the most angular independent sounds, performing in recent years with a community samba percussion band helped to broaden my tastes so that in 2021 I am far more likely to be celebrating an eclectic mix of sounds and enthusing about Made Kuti, Anthony Joseph, Little Simz and the Soul Jazz Cuban compilations as well as Pom Poko and Richard Dawson.
