COLIN MAY talks to IBRAHIM MAALOUF

French Lebanese trumpeter and composer Ibrahim Maalouf is bringing bringing his unique sound to the Proms for the first time in a concert with the BBC Singers and the BBC Symphony Orchestra conducted by Jules Buckley. He talks with Colin May about this it means to him.

Originally classically trained, Maalouf is known for playing a trumpet with a forth valve enabling him to play quarter tones and so mix Middle Eastern maqam scales and western scales and genres. The most popular instrumentalist in France for many years, able to sell out the largest venues, his international profile increased when in 2017 he came to the notice of Quincy Jones and was admitted into Quincy Jones’ inner circle of musicians. He has been nominated twice for Grammy awards.

We met in his dressing room at Jazz A Juan, the long-running jazz festival in Juan-Les- Pins, just before his performance there.

CM:
When I saw that you were playing at the Proms, I was surprised and fascinated. What do you think or feel about playing in the Albert Hall at the Proms?

IM;
The last time I played at this wonderful venue was with Angélique Kidjo, when she invited me to join her for her amazing show. It’s overwhelming to be in a place like this, surrounded by so many incredible artists. It remains one of my most beautiful memories. So coming back and playing my own music there is really meaningful for me. Even though I tour a lot around the world, I know that in the UK people don’t know me very well yet. And I say “yet” on purpose because I would really love to have an audience there. I know it’s a challenge, but it’s exciting to try to connect with the British audience and see how they respond. I hope it resonates.
Even though I’ve played in much bigger venues, with larger audiences — 6,000 is still a nice size — It’s not about the numbers though. It’s about playing in front of people who don’t know me yet, and trying to communicate something meaningful. I just want the message of my music to be understood. They don’t need to like me or love me, I just want the message to come across. That’s my goal.

CM;
Are you bringing some of your ‘core family’ with you to play?

IM;
Yes. When I was invited to be part of the BBC Proms, I already knew I’d be collaborating with one of my favourite musicians, Jules Buckley. We’ve played together many times — since I was managed by Quincy Jones. Whether at the Hollywood Bowl for Quincy’s 90th birthday, Montreux, or Paris — we’ve had many collaborations. I know how amazing he is, so I felt safe working with him.
I also suggested including the BBC Singers. I’ve worked for years with their conductor, Sofi Jeannin, who is a great friend of mine. We’ve collaborated for about 15 years. I proposed the idea to her, she loved it, Jules loved it, and the BBC liked it too. So, it felt really solid for me — collaborating with two people I love and trust. For a programme like this, I wanted to bring something new, something that reflects my identity.

CM;
Until very recently Maalouf was the only performer using the quarter tone trumpet but now he is on a mission to make this trumpet more accessible and widely used. He’s gone into partnership with instrument makers to manufacture it, set up a school for trumpet students to learn how to play it, and formed a professional ensemble playing quarter tone trumpets, with whom he’s currently he’s touring and for which he’s composed new music.

IM;
You’ll see tonight that (among) the incredible team playing with me are five or six trumpet players I call the “Trumpets of Michel-Ange.” I wanted them with me at the BBC Proms to show that I’m not the only one playing this unusual trumpet — an invention of my father. I want as many people as possible to play this trumpet. It’s my father’s dream. He’s now 85 and lives in his village in Lebanon. He doesn’t play much any more, but I want to show him that I’m working on his legacy and hope his dream will come true one day. I’m not just focused on my own career — I’m also dedicated to carrying his legacy forward.
These trumpet players represent a new step in that creative journey — bringing my father’s invention to a broader audience. It’s not just about the music; it’s a message. I hope people find me interesting, but more importantly, I want them to discover this invention and understand its value. When I play, there’s a call-and-response dynamic, like in New Orleans or Arabic music. Having these players with me is perfect for that.

CM:
You now have a school for trumpeters to learn play the quarter tone trumpet, and at Trumpets of Michel-Ange concerts you bring some of these students on stage to join you and the (professional) Trumpets of Michel-Ange to perform your music. Might this happen at the Proms?

IM:
Not really. I’m not allowed to bring people, and it’s not the Trumpets of Michelangelo tour. But if we have the opportunity to return to London with that tour, I’d definitely love to have some (student) trumpet players join us on stage.

CM;
The twice Grammy nominated Maalouf is a prolific composer. He’s released nineteen albums, written at least fifteen film scores and in 2024 he chaired the jury at the Cannes Film Festival for the Best Sound award. He’s composed a symphony, and the music for an oratorio, ‘The Queen of Sheba,’ with words by Angélique Kidjo who herself performed at The Proms in 2019 and is performing her ‘African Symphony ’ at this year’s Prom in Bradford in September.

CM Question:
I’ve seen you work with classically trained musicians before. I saw you rehearsing the orchestra for the performance here in Juan-Les-Pins of the ’ Queen of Sheba’, and I remember you were very focused.

IM:
Was I too strict? No, not too strict. But that’s what I mean when I say I feel safe with Jules — he’s even more strict than I am. He understands the kind of Arabic modes and nuances I’m working with.

CM;
You were demanding, but I think it’s because you’re demanding with yourself?

IM:
Yes, exactly. When I was young, I used to play with my father. Between ages 8 and 14, we did four or five hundred concerts together. It was a huge experience — playing professionally and watching him.
My father left Lebanon as a poor farmer. He was uneducated, didn’t go to school, couldn’t read or write in Arabic or French. But he built his life through the discipline he developed while studying trumpet at the Paris Conservatoire. For him, music was a matter of life or death.
Every time we performed, he was trembling — incredibly serious. I was a kid and wanted to joke around, but he’d remind me that playing in front of people was a responsibility. We had to respect the audience. If we didn’t reach a certain level of performance, then we weren’t doing our job properly. For him, music was never just play. After playing all those concerts with my father, I was thinking, where is the fun? Where is playing music?
When I decided to become a professional musician, I really wanted to play music joyfully on stage and enjoy my time—not being too serious, even though it was a serious endeavour. To compensate for that, I’m very demanding about the quality of the music I make. That way, I can truly have fun on stage. My experiences led me to think this way, I guess.

CM;
You’re performing with the BBC Symphony Orchestra—the top classical BBC orchestra. How do you intend to prepare them to play Arabic and Maqam scales?

IM:
The arrangements we did with Jules don’t require the orchestra to switch to Middle Eastern modes. What I’m doing is a mix of jazz, Middle Eastern influences, and sometimes even classical. But the arrangements are based on standard harmonies. We didn’t ask the orchestra to play quarter tones or anything like that—it would require much more preparation. It’s going to be a bit different, but still within their comfort zone, unlike working with me on the ‘Queen of Sheba.’ That was very demanding—we were asking for rhythms and intervals that I had never even played before.

CM:
You’re not going to play Hummel or anything traditionally classical?

IM;
I could. I mean, I would love to do that. I’ve done that before, like in Cannes where I played Hummel in January. But I think this is a great opportunity for me to present my compositions. I love classical music—it’s been a big part of my life. I grew up with it. There’s some frustration because it’s the BBC Proms, and I feel like I should be playing classical repertoire. But at the same time, I’ve been given the opportunity to share my own music. So I’m giving it a chance.

CM:
I just had this idea of Hummel played in quarter tones?

IM;
That would be very sweet. I see it as a great opportunity. People are telling me: “This is your home for some time. Show us your music so we can understand you.” If the British audience likes it, we have so much more to share. I’ve released 19 albums, just finished recording my 20th. In a year and a half, I’ll be celebrating 20 years of my career—if we can call it that. There are so many journeys I’d like to share with people who don’t know me yet. So I hope this is the beginning., a great start, and I hope it leads people to discover more of my work.

Ibrahim Maalouf plays at the BBC Proms on a double bill with Pakistani-American singer, composer and producer Arooj Aftab, the BBC Singers and the BBC Symphony Orchestra conducted by Jules Buckley on 29 July 2025.
https://www.royalalberthall.com/tickets/proms/bbc-proms-2025/arooj-aftab-and-friends

The concert will also be broadcast on BBC Radio 3 at 7.30 pm

Copyright Colin May

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