Egyptian percussionist, DJ, and dancer Karim Nagi is a ubiquitous presence on the Chicago music scene. He performs solo concerts, which include dancing and storytelling; he leads Huzam, a quartet of Arab American musicians who play original compositions in traditional forms; and he plays in the Arab Blues project developed by Rami Gabriel, who’s not just a musician but also a professor of psychology at Columbia College. Gabriel switches between electric guitar, oud, and buzuq, while Nagi accompanies on riqq (a small tambourine-like frame drum), tabla (a goblet-shaped hand drum, often called a “darbuka” in the West), or an unconventional trap kit assembled mainly from traditional instruments (for a bass drum, he sometimes uses a box drum). Like the name says, the Arab Blues seek connections between the Middle Eastern compositional and improvisational canon—called the turath—and the Western traditions of blues and jazz. This isn’t an entirely new approach, and in the duo’s sets you can hear occasional echoes of earlier East-West hybrids, such as Dick Dale’s surf-rock workout on the Eastern Mediterranean folk song “Misirlou” or Rabih Abou-Khalil’s oud fusion classic “Blue Camel.” The Arab Blues’s synthesis is accessible, gritty, and exhilarating, and Nagi is a born performer—he always seems to be having the time of his life onstage. He and Gabriel create a sound that’s sometimes graceful, sometimes bracingly noisy, like a Middle Eastern garage band.