Dubai’s Burj Khalifa to mark Chinese New Year with laser show

A photo taken on December 31, 2017, shows a laser show at Burj Khalifa, the tallest tower in the world, to mark the New Year’s eve celebrations in Dubai. (AFP)
Updated 14 February 2018
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Dubai’s Burj Khalifa to mark Chinese New Year with laser show

DUBAI: Dubai’s iconic Burj Khalifa will mark the Chinese New Year with a spectacular dragon-themed light and sound show in Downtown Dubai.
The ‘Light Up’ show will take place twice a day from February 16 to 24 at 8pm and 10pm, paying tribute to thousands of Chinese residents in the UAE.
The 9-day laser and light show will resemble Dubai’s stunning performance during the 2018 New Year’s celebrations.
The show will begin with a flying dragon “taking flight from the Great Wall of China” and touring over Dubai’s landmarks, a statement released by Emaar said.
“The show starts with a flying dragon taking flight from the Great Wall of China, soaring high in the sky, and touring over Dubai’s landmarks including the upcoming Dubai Creek Tower before marking a splash at The Dubai Fountain,” said Emaar.


Chip Wickham ushers in winds of change on the jazz scene

Updated 37 min 50 sec ago
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Chip Wickham ushers in winds of change on the jazz scene

PARIS: The hotly hyped “British jazz invasion” has been the toast of international scenesters for some months now, with breathy adjective-heavy sprawls penned on both sides of the Atlantic paying tribute to a fresh generation of musos who grew up not in the conservatoires but the clubs, channelling the grit and groove of grime into a distinctly hip, 21st century strain of freewheeling, DIY improvised music.

Now the Arab world has its own outpost in the form of Chip Wickham, a UK-born flautist, saxophonist and producer whose second album grew out of extended stints teaching in the GCC. “Shamal Wind” takes its name from the Gulf’s primal weather patterns, and there’s a distinctly meditative, Middle Eastern vibe to the title track, a slow-burning, moody vamp, peppered with percussive trills, with hints of Yusef Lateef to be found in Wickham’s wandering woodwind musings.

There’s rather less goatee-stroking to be found across the four further up-tempo cuts, which swap soul-searching for soul-jazz, soaked in the breezy bop of a vintage Blue Note release. Recorded over a hot summer in Madrid, a heady Latin pulse drives first single, “Barrio 71” — championed by the likes of Craig Charles — with Spanish multi-percussionist David el Indio steaming up a block party beat framing Wickham’s gutsy workout on baritone sax.

Having previously worked with electronic acts, including Nightmares on Wax and Jimpster, one imagines the dancefloor was a key stimulus behind Wickham’s rhythmically dense, but harmonically spare compositional approach. Phil Wilkinson’s sheer, thumped piano chords drive the relentless nod of second single “Snake Eyes,” Wickham’s raspy flute floating somewhere overhead, readymade to be skimmed off for the anticipated remix market.

In truth, Manchester-raised Wickham is both too thoughtful, and too thoughtless, to truly belong to the London-brewed jazz invasion — Shamal Wind yo-yos between meditative meandering and soulful strutting with a wilful disrespect for trend.