Jarak Qaribak

Tamir Greenwood | October 2025

Jarak Qaribak is a project that unites musicians from all over the Middle East to record classic Arab love songs – from the 1930’s onwards – in s style that is more contemporary, while still showing respect for the original songs. 

It represents a lost era, not just of collaboration, but also a cultural zenith that saw Jews, Christians and Muslims working together across the Arab world to enrich culture and entertainment.

It might be hard to imagine now, but there was a time when Jewish musicians were once household names across both the newly independent Arab nations and European colonies in the Middle East – from the legendary Layla Moraud, whose voice and face dominated Egyptian cinema for decades in the mid to late 20^th century, to Zohra Al Fassiya of Morocco, whose poetic mastery and skilled classical singing earned her the title the queen of both the Malhun and Gharnati genres of music respectively.

Jewish musicians, conductors, performers and poets were once celebrated with pride, helping to revitalise traditional and new national cultures once suppressed by Europeans.

Jarak Qaribak, or ‘your neighbour is your friend’ in Arabic, is a 2023 album based on the musical collaboration of Dudu Tassa and Jonny Greenwood, featuring 9 songs and 14 different composers. What makes this project truly unique and important in our times is the diversity of its creators, with singers from Lebanon, Iraq, Syria, the West Bank, Israel, Kuwait, Morocco and Oman all working together.

I spoke to it’s principle participants, Dudu Tassa, and Jonny Greenwood, to ask them about the project. 

Jarak Qaribak, at its heart, is a collaboration, and in collaborations such as these, there are usually unexpected developments that stall and threaten the overall project. Could you speak to what problems you faced in your collaboration and how you overcame them?

Jonny Greenwood – Dudu and his manager did the wrangling of the singers from across the Middle East. The main problems were geographical: nearly all of it had to be recorded remotely because of the difficulties of travelling to / arriving from Arab countries: I remember when the Iraqi singer (Kiri) came to Tel Aviv he was told in the airport that his Iraqi passport was the only one in Israel at that time – and his interrogation by security was (needlessly) intense. Then, when it came to trying to tour, we received a lot of attention from BDS and similar groups keen to stop the shows from happening. Indeed, the Bristol and London concerts in the UK had to be cancelled because of the pressure they put on the venues and promoters. 

Dudu Tassa –  First of all, I think that when the idea developed into an album, there was a widespread belief that there would soon be a change in relations in the Middle East. My attraction to Arabic music has existed for years, if not from birth. It was the music of my family for as long as anyone remembers, and my Grandfather and his brother were famous throughout the Middle East for their songs. They were the Al Kuwait brothers. Both Jonny and I have an appreciation and a lot of respect for creators from the Middle East. The difference between Western and Arabic music is the beauty, and on the other hand, the ability to take and give interpretations. That is first and foremost. Regarding the developments that have affected the entire project, I personally cannot think of such a tough timing for the statement that came with the release of the album. The Middle East simply crashed on 7/10. It couldn’t have been worse, or dissonance more violent than that. We came to make music with love, and the world replied to that fantasy, and us as creators, with a kick in the head. And I think that power is exactly the reason to continue. I think the project will be remembered for its innocence. There were a lot of political debates, and a lot of singers who were scared to take part. Other singers we approached also denied what happened on October 7. And at the same time, there was great anger at us as Israelis. The festival that we cancelled, we cancelled out of fear. And physical and mental states are affected because of this. At the same time, it can be said that musicians from the project are in continuous contact and are very much looking forward to the continuation of the project that is being developed these days.

Projects that unite Jews and Arabs like this, especially from warring nations, are sparse; what made you think that such a project like this was feasible? And now that Jarak Qaribak has proven that such a collaboration is feasible, is there an appetite to continue?

Jonny Greenwood –  Dudu’s grandfather’s songs are still widely known in the Middle East, and among the Arab diaspora  – so his motivation was seen, rightly, as being artistic first and foremost. There is still a shared heritage of Arabic song – and this heritage is much older and most of the states in the region. And thus feels more established. And yes, we are currently making a second record: the latest singer we are working with is Iranian, so, there is still hope that we can create music outside of how our respective states regard and treat one another.

Dudu Tassa – It didn’t take long for me to get to know several musicians (from supposedly ‘enemy’ countries.) They soon became friends, people I never thought we would sit and laugh and drink together, and believe that it was possible to collaborate. That in itself is a miracle. It’s true that meaningful change won’t happen tomorrow, but music has always been a unifying and intriguing thing. We started something pretty crazy, and an idea whose essence is problematic. It’s not easy, but it’s also fun to break boundaries, and it’s intriguing. I am the son of a mother from Iraq and a father from Yemen, two places that are currently not possible to reach, but I’m sure that in the coming years it will be possible. Innocent? Naive? Stupid? Maybe, but hatred is often the result of poople not knowing each other. But we are all similar, and music proves it.

When reaching out to Jews and Arabs to work together as fellow musicians, how did you approach them into potentially risking their reputation and even safety in certain circumstances to work together? 

Jonny Greenwood –  I think it was easier in some countries than others, although only one musician wanted to be semi-anonymous on the record (we just use her first name). The others were all happy to feature on the recordings. 

Dudu Tassa – The project was presented to musicians as a tribute to love songs in the Middle East and cross-border cooperation between countries, people and music. Since October 7, of course, it has been more difficult to search for and find singers who will continue the project for a second album. Some were afraid, some, even though they no longer live where they were born and raised, are afraid for their family members if it becomes known that they are playing with Israelis and Jews. And some, of course, remained supportive. The situation is very complex, and things are not simple. Even in Israel, there are those who raise an eyebrow at this type of collaboration. It is natural for me to play and sing in Arabic and collaborate. My grandfather and his brothers were very active and respected in the Arab world. Many musicians worship and appreciate their work. It is natural that I will also act in their way.

Jarak Qaribak embodies an era of historic cultural coexistence between Jews and Arabs, something that is now largely forgotten or, in some circles, is something so highly politicised that it is nearly impossible to have a constructive dialogue over. With that as a backdrop, how would you like Jarak Qaribak to be remembered?

Jonny Greenwood –  It’s best thought of as a reminder that this region’s culture is older than its borders. And that Israel’s large Sephardic and Mizrahi population have musical roots deep in neighbouring Arab countries, which should be kept alive. For a long time, so-called ‘Eastern’ music in Israel has been suppressed/derided, and this neglects so much of its cultural past. One of the songs on the first record – Ahibak – was written in Israel in the 1950s by a new immigrant to the country. Dudu Tassa – There is no pretence of making overnight peace in the Middle East or changing anything quickly. There is only love for music and people, and surprising connections. Whatever happens from this will happen…. There is no control over music after it goes out into the world.