Omar Jarbo, Music Man

By Weam Namou

At the young age of four, Omar Jarbo began playing the zurna, following in his father’s footsteps. It’s a woodwind instrument with a double reed, just like an oboe. Different versions of it are widely played in the Middle East, Central Asia, and the Balkans.

When Jarbo was only eleven years old, he entertained audiences in Tel Keppe during events, even at weddings that went on for two to three days. “We would travel from store to store, home to home, playing music,” he explained with emotion. “Life there was absolutely beautiful.”

The zurna and tubel (davul) are often played in unison, with the tubel acting as a prominent bass drum. The traditional ensemble of zurna and tubel is commonly seen in celebrations, festivals, and folk performances in these regions. The zurna player brings lively melodies and ornamentations, while the tubel player provides rhythmic accompaniment with the drum.

Jarbo’s family made the decision to leave Iraq due to the political and religious environment, but he couldn’t accompany them initially. His enrollment in the army made any attempt to leave raise suspicion of fleeing to America. By a stroke of luck, he narrowly avoided being part of the Iraq-Iraq war due to his birth year, 1955. It took years, but he finally made it to America on December 24, 1981.

“Since the day I set foot in America with three zurnas from Iraq,” he said, “I have never taken a break from playing the zurna, not even for a single day.”

Jabro loved playing the zurna despite his mother’s disapproval. Concerned about his health, she believed that playing the zurna could be detrimental to his lungs, particularly when she observed him holding his breath for extended periods.

“I can play for two hours,” he said. “It’s my passion.”

Omar playing the zurna.

It is a passion that Jarbo turned into a career. He has received invitations to perform at various celebrations worldwide. He wanted to learn how to read music in college, but he never had the chance. Hussam Al Rassam, the renowned Iraqi singer, expressed admiration for his talent and commented, “You could have achieved greater success if you had learned to read notes.”

“I didn’t read notes or get lessons or anything like that,” said Jabro. “I just picked up the zurna and played. I’m self-taught.”

He had simply picked up the instrument and played to his heart’s delight. Through practice, he became a master of the instrument.

“In the U.S., singers depend more on written music, while in Iraq, musicians develop their skills through practice and an oral tradition,” he explained.

The zurna has a long-standing connection with folk music, specifically during festive occasions like weddings, religious ceremonies, and community gatherings. Its loud and vibrant sound can easily be heard in outdoor settings, making it perfect for such occasions.

When they appear at the bride’s house, they play a crucial role in weddings, escorting her and her entourage. In previous times, in towns of northern Iraq, she would be ceremoniously paraded around, though this tradition is less common now. In the U.S., she heads towards the vehicle that will drive her to the church. In some cases, the groom wants to walk about to the beat of the zurna as well. Apart from that, they are primarily recognized for their grand entrances and the chobia dances.  

Even after getting married and having four boys, Jarbo kept playing the zurna. He’s saddened that he lost his wife seven years ago and finds it challenging to take care of their beautiful spacious home in Birmingham. But he keeps his spirits up through music, cooking elaborate Middle Eastern foods and spending time with family and friends. He is thrilled that his eldest son is a DJ. They have played together at parties and are now set to perform at a wedding in Cancun. Already, his baby grandson can play this instrument.

“The ones made from apricot bark are considered the best zurnas,” Jarbo stated.  

Ancient Mesopotamia is believed to be the birthplace of zurnas, which eventually spread to surrounding areas. Depictions of the instrument can be found in Sumerian art, and it is also mentioned in ancient texts. Through the years, the zurna went through transformations and acquired various names in different cultures. In Turkey, for example, it is known as the zurna, while in Armenia it is called the duduk. In Azerbaijan, it is known as the balaban, and in the Balkans, it is called the zurla or zurlashka. Each location has its individual playing style and collection of songs.

The zurna holds a significant place in Chaldean folk music, serving as an integral part of the musical traditions and cultural heritage. The zurna and tubel combination create a lively and vibrant musical tradition, and their collaboration adds a distinctive and energetic element to the folk music of Chaldean communities.