“Ҫobani’s Kaba” is in two parts: kaba and dance.

Kaba is in labiko form based on a mourning lab motif according to the model of labiko kaba created by master Bilbil Vlora which is further transformed into a tosk lament with many ornaments and melodic enrichments realized naturally by Ҫobani

The Kaba’s dance belongs to the Përmet area, which is typical for mild dances performed by girls and women.

In the Kaba-s interpreted by Remzi Lela-Ҫobani, it is very difficult to share the contribution as creator or performer. Thanks to Ҫobani’s talent and attributes, it was impossible for him to interpret a Kaba of the great tradition’s fund without recreating it. He constantly sought in this tradition by extracting from it unrecorded motives and values illuminating them with a new light flowing from his unrepeatable talent. He resembles his father, Mane Lela, in many aspects and in some others he is similar to the great talents of world traditional music, such as those of American jazz: Duke Ellington, Lester Yang or Charlie Parker, thanks to his extraordinary abilities to interpret and to practice the technical possibilities of the musical instrument. Listening to Çobani’s music, we may find the gërnet of Southern Albania (in his favorite parts like “General Gramophone Kabaja”, “Myzeqare Kabana” or “Çamçe-beratçe”, “Pogonishte”), as well as that of the Central Albania. Moreover, Çobani is considered one of the founders of Tirana gërnet’s tradition.

The members of his Saze were: Çobani on clarinet and singer, Myslymi second clarinet and singer, Ahmeti on accordion and singer, Fatmiri on lute and singer, Bilali on tambourine and singer, and Çeçoja on violin.