 | Orient and Arab Section - All Orient and Arabian CD here rapidshare |  |
| Posted: Thu Feb 28, 2008 10:31 pm |
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| mike323 |
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thank you sismis amina is a nice newness for me  |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Fri Feb 29, 2008 1:18 am |
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| sismis_bajro |
| Super User!! |
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| Joined: Nov 22, 2007 |
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Arabic Duets
Artist: Various Artists
CD title: Arabic Duets
Release date: 2007
Number of Discs: 1
Genre: Arabic pop
Type: MP3 format sound
Quality: 192-320 Kbit
Time: 01:47:50
Total size: 105
Tracks:
01 - Marawan Khoury & Carole Samaha - Ya Rab ... 4.40
02 - Fadel Shaker & Yara - Sho Batmana ... 3.07
03 - Hany Shaker & Sherine - Ana Alby Leek 3.09
04 - Karim & Aziza - Ala Haly ... 4.03
05 - Emmy & Ghasan El Mawla - El Donia Shahda ... 3.15
06 - Mohamed Mohey & Donia- -El Leaba Heya Heya ... 4.30
07 - Ramy Saba & Sherine - Eed el 3oshaa ... 5.51
08 - Yasmine & Mohamed Raheem - Ban Alaya Hawah ... 3.27
09 - Bahaa Sultan & [ This is SPAM please report ] - Elly Fe Einy ... 4.42
10 - Mohamed Ragy & Sherine - kol kelma ... 4.16
11 - Cheb Mami & Elissa - Kont Fe Sertak ... 3.48
12 - Ghada Adel & Ahmed Fahmy - Helwa Ya Balady ... 2.09
13 - Boshra & Sherif - Baad El Gharam ... 4.59
14 - Fadl Shaker & Yara - Akhedny Maak ... 5.13
15 - Diana Haddaa & Khaled - Mass We Louly ... 3.34
16 - Asala & Mouein Sherif - Sahret Hob ... 5.25
17 - Nancy Ajram & Khaled - El Damar El Arabi ...2.14
18 - Sherine & Saber El Roubaie - Wallahe Bahebak ... 5.00
19 - Hussain El Jasmi & Asalah -Bawdaaak ... 4.11
Part1:
| Code: | | http://rapidshare.com/files/94621725/Arabic_Duets.part1.rar |
Part2:
| Code: | | http://rapidshare.com/files/94625451/Arabic_Duets.part2.rar |
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Last edited by sismis_bajro on Mon Mar 31, 2008 9:41 am; edited 1 time in total
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Sun Mar 02, 2008 7:11 am |
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| sismis_bajro |
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Sanae Marahati
Al-Barakiya – La Musique de Melhoun
Album: Al-Barakiya – La Musique de Melhoune Vol.3
Artist: Sanae Marahati
Label: Fassiphone
Genre: Melhoune
Time: 01:06:00
Total size: 98,3 MB
Individual Track Details:
1.Lousaya
2.Ari Alique Ya Mohamed
3.Zawkna Vhamak
4.Damlij
@224-320 Kbit/s mp3
Malhun (or Milhûn, in Arabic الملحون) meaning the melodic poem is a Moroccan music that borrows its modes from the Andalusian music. It is a kind of urban, sung poetry that comes from the exclusively masculine working-class milieu of craftsmen's guilds.
Origins
The melhun, originally a pure literary creation, emerged as a poetic art today known in Morocco under the name of qassida (meaning poem) (in Arabic القصيدة) or zajal (in Arabic الزجل). Combined with music, it quickly spread across the country where it acquired fame particularly among artisans.
Music
The qassida (laqsida in Moroccan dialect) of the melhun is based on two essential elements: the overtures preceding it and the parts of which it is composed. aqsâm (in Arabic الاقسام) verses sung solo interrupted by the harba refrain (meaning launch) (in Arabic الحربة). Harba, the origin of which goes back to the 16th century, is a refrain taken up between the verses by the sheddâda (group of singers and instrumentalist-singers)(in Arabic الشداشة). Another refrain called dridka in Arabic الدريدكة) is a simplified form of the harba, taking off from an accelerated rhythm to announce the end of a qassida
The qassida however preserved the division of the text in stanzas as in the Andalusian song: the verse (ghson meaning branch) can include from eight to sixteen verses, a short refrain or harba offers an alternation which makes it possible to break the monotony of the musical discourse of the Melhoun song. This gave rise to the sûruf, subsidiary procedures employed by singers to produce an even greater effect on the audience and above all to correct the rythm. Al-Maghrawi (16th 17th centuries) created from dân, a word that has no meaning, verses which were used as the basis for versewriting by Moroccan folk poets.
This is my favorite Melhoun album. I adore Sanae Marahati's singing!
If anyone has more of her music, pls share it with us!
Part1:
http://rapidshare.com/files/94645218/Sanae_Marahati_-_La_Musique_de_Melhoune_Vol.3.part1.rar
Part2:
http://rapidshare.com/files/94648863/Sanae_Marahati_-_La_Musique_de_Melhoune_Vol.3.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Tue Mar 04, 2008 6:33 am |
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| sismis_bajro |
| Super User!! |
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Khamsa - Presented By Claude Challe
Le Grand Orchestre du Comptoir
Artist: Le Grand Orchestre du Comptoir
CD title: Khamsa
Release date: 2006
Number of Discs: 1
Genre: Lo-Fi
Type: MP3 format sound
Quality: 320 Kbit
Time: 01:12:29
Total size: 165 MB
Tracks:
1.Kissat Hob
2. Atlas Blues
3. Hobbi Lak
4. Lamsa
5. Yalili
6. Roucoucou
7. Ana a Dounia - Grand Orchestre du Comptoir de Marrakech
8. Soukrerie
9. Finek
10. Take Khamsa
11. Hollywood Gnawa - Grand Orchestre du Comptoir de Marrakech
12. One Other Dream
13. Symphonuit - Grand Orchestre du Comptoir de Marrakech
14. Besslam' Ah
15. In the Mood for Studio
16. Wallahy
Le Grand Orchestre du Comptoir de Marrakech:
Nicholas Yvan Mingot (acoustic guitar, electric guitar, piano); Pimol Arroyo (percussion); Jamal Slitine.
Le Grand Orchestre du Comptoir - Khamsa : the will to create music fed and inspired by popular tunes from all of the Arabic world, in total harmony with the Occident. This meeting gives birth to an astonishing music, where oriental melodies flirt with jazz, blues and classical to appeal to the Occidental audience. The Comptoir Darna is a unique and well known place in Marrakech, a meeting point wrapped by the energy and the conviviality of Oriental nights. DJ's and traditional musicians from the end of the street to the end of the world gather together there. The concept behind this album arose spontaneously, as Claude Challe sought to capture the nightly atmosphere of the club. Creating an organic "oriental cabaret", musicians, dancers and singers from all over Morocco revisit popular tunes together until the end of the night before a cosmopolitan audience who echoes in the chorus.
Part1:
| Code: | | http://rapidshare.com/files/96692818/Le_Grand_Orchestre_du_Comptoir_-_Khamsa.part1.rar |
Part2:
| Code: | | http://rapidshare.com/files/96695424/Le_Grand_Orchestre_du_Comptoir_-_Khamsa.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Mon Mar 10, 2008 8:07 am |
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| sismis_bajro |
| Super User!! |
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Gnawa
Album: Gnawa Vol.3
Label: Fassiphone
Genre: Gnawa
Time: 00:46:57
Total size: 75,4 MB
Individual Track Details:
1.Vunkri Vunkri
2.Lala Mera
3.Al-afou Ya Maulana
4.Salli Ala Nbina
5.Lbaneh
@224-320 Kbit/s mp3
Quote:
The oldest ancestors of Gnawa Spirituality are the Soudani, who have travelled the Sahara in camel caravans for thousands of years as traders. As a means of surviving the harsh desert conditions during their extensive journies, they developed a method of transcedence which includes dance, incense, food and music.
Gnawa are also the decendents of slaves trafficked from West Africa - specifically Guinea and Ghana (some people say the name "Gnawa" is a combination of these 2 countries names) to Muslim North Africa. These North African slaves found and fused the Soudani transcendentalism with Yoruba, Sufism, the Old Testament and Islamic spiritualities, resulting in a traditional healing spirituality, GNAUA or GNAWA, which is manifested through the healing Lila Ceremony.
The primary instrument of the Gnawa is the sintir (also called guimbre and hahjouj), a 3-stringed bass lute covered by a camel-skin head, which doubles as a drum. The Ma'alem, or master musician, will always play sintir and sing lead vocals. He is joined by several Qraqb (metal castanet) players who sing the chorus, and often put down their castanets to perform polyrhythmic handclaps, and dance. In a full Lila ceremony, a priestess will lead the dance. During the ceremony, people may go into trance and - as in Haitian Vodou - their bodies will be inhabited by the saint who is being called by the music. The Lila cycles through a series of colors - red, blue, light blue, yellow, white, black. Several saints are associated with each color. Incense is used throughout the ceremony, and in many cases an animal will be sacrificed before the ceremony begins.
Gnawi currently live and practice in Northern African countries, including Morocco, Tunis, and Algeria. There are different sects, each featuring their own Ma'alems and styles. Each June there is a very popular festval of Gnawa music in Essouiera, Morocco, which features Ma'alems from all over North Africa. The festival also features Gnawa fusion ensembles from other parts of the world.
For a more detailed exploration of the Gnawa, please visit Rodrigo Dorfman's site:
The Cyber Gnawas:
| Code: | | http://home.mindspring.com/~cybergnawas/ |
Download:
| Code: | | http://rapidshare.com/files/94861805/Gnawa_Vol.3.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Sat Mar 15, 2008 8:42 am |
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| sismis_bajro |
| Super User!! |
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Hamza El Din
Escalay (The Water Weel)
Album : Escalay (The Water Wheel)
Artist : Hamza El Din
Release date : 1971
Label : Nonesuch
Number of discs : 1
Total size : 95 MB
Total time : 00:38:06
Tracks:
01-The Water Weel
02-I Remember
03-Song with Tar
@ 320 Kbit/s mp3
Amazon.com
When this set--part of the Nonesuch Explorer Series--was first released, Hamza El Din had already headlined at the Newport Folk Festival and Woodstock and released an album on the Vanguard label. But this was the one that put him on the map, bringing his oud (Arab lute,) tar (an ancient frame drum), and plaintive vocals to a much wider audience. Born in 1929, El Din has dedicated his life to the music of his ancestral homeland of Nubia, much of which now lies underwater in the shadow of the Aswan Dam. The title track, a 21-minute meditation based on the creaking, rhythmic sounds of a wooden water wheel, later became his signature work. Despite the unadorned simplicity of his forces, El Din evokes centuries of laboring agrarian workers. He later re-recorded the piece several times, including a version with the Kronos Quartet, but he has never quite duplicated the tidal ebb-and-flow of the original performance. --Christina Roden
Music:
| Code: | | http://rapidshare.com/files/127319026/Wa_1971_HamzaWaterWheel__320.rar |
Scans:
| Code: | | http://rapidshare.com/files/127314887/Wa_1971_HamzaWaterWheelScans.rar |
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Last edited by sismis_bajro on Sat Jul 05, 2008 11:40 pm; edited 2 times in total
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Mon Mar 17, 2008 10:37 am |
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| sismis_bajro |
| Super User!! |
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| Joined: Nov 22, 2007 |
| Posts: 1334 |
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Karim Ziad & Ifrikia
Chabiba
Album: Chabiba
Artist: Karim Ziad & Ifrikia
Date of release: 2004
Label: Sauvage/Night and Day
Genre: World
Time: 00:45:35
Total size: 41,7 MB
Individual Track Details:
1. La ilaha illa allah
2. Chabiba
3. Merhba bik
4. Katibala
5. El mouima
6. Rijal Allah
7. Jamagaro
8. Yadouk
9. Ouine nsibek
10. Louanges
@128 Kbit/s mp3
Furieusement gnaoua, ce second album du batteur algérien est étroitement lié à son expérience de directeur artistique du festival d’Essaouira. Au contact des confréries marocaines et des pointures du jazz qui s’y rencontrent, Karim Ziad a trouvé des ressources culturelles et des clés musicales lui ouvrant un monde où la complexité rythmique prend un sens cosmique.
Autour de lui, une équipe de fameux groovers, dont les deux ONB Aziz Sahmaoui et Alain Debiossat, stimulés par un prestigieux panel d’invités, comme Nguyen Lê, Boyan Z, et l’apparition sublime d’Oumou Sangare, marquant la filiation bambara – gnaoua. Du très bon !
~François Bensignor
Download:
| Code: | | http://rapidshare.com/files/100102373/Karim_Ziad-Chabiba.rar |
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Last edited by sismis_bajro on Thu Jun 11, 2009 5:11 pm; edited 1 time in total
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Tue Mar 18, 2008 5:35 am |
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| sismis_bajro |
| Super User!! |
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| Joined: Nov 22, 2007 |
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Driss El Maloumi
The Dancing Soul
Artist: Driss El Maloumi
CD title: The Dancing Soul
Release date: 2005
Number of Discs: 1
Genre: world
Type: MP3 format sound
Quality: 256 Kbit
Time: 00:54:37
Total size: 85,2 MB
Tracks:
1. Calme
2. Nostalgie
3. La Lune
4. Badinage
5. Notes/Naqarate
6. L'Ame Dansee
7. Enfance
8. Resonance
9. L'Elevation Meme
10. La Marche
“The ‘oud magician” was born on May 25th, 1970. His nickname accurately reflects the remarkable dexterity that Driss el Maloumi possesses on his Oriental lute. The Moroccan Berber is considered one of the best composers, innovators and performers of this complex instrument. Maloumi also distinguishes himself by opening the instrument’s traditional repertory to encompass western genres like jazz and baroque music. His passion for books (he has a BA in Arabic literature) also infuses refined and poetic interpretations and instills a dreamy, philosophical quality to his recordings of Sufi music. This ability has enabled him to collaborate with established international musicians such as Jordi Savall, Keyvan Chemirani, Omar Bachir and Paolo Fresu. Maloumi's 2005 recording, “Morocco: the dancing soul” consecrated the 35-year-old as one of the instrument’s great Ambassadors
Download:
http://rapidshare.com/files/99838887/Driss_El_Maloumi-The_dancing_soul.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Sat Mar 22, 2008 11:40 pm |
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Moneim Adwan
Il était une fois en Palestine
Accords Croisés AC 111, 2005
1. Law Ani Moughani (Si j'étais chanteur) (If I Were a Singer) (5:17)
2. Seb'a Nejmat (Sept étoiles) (Seven Stars) (5:10)
3. Chat el Bahr (Le bord de mer) (By the Sea) (7:27)
4. Ana Darwiche (Je suis le derviche) (I Am a Dervish) (6:20)
5. Saher al Hawa (Amour ensorcelant) (Bewitching Love) (7:35)
6. Douzeni (Harmonie) (Harmony) (8:39)
7. Qalb (Coeur) (Heart) (5:48)
8. Waqfou Soufouf (Mise en rang) (Sequence) (5:55)
Moneim Adwan - vocals, 'ûd
Mahran Moreb - kânun
Safwan Kenani - violin
Youssef Hebeisch - percussion
Adel Shams Eddine - percussion
El Sayed Shaban - ney, kawalâ
| Quote: | C’est à Rafah, dans la bande de Gaza près de la frontière égyptienne, que vit Moneim Adwan, chanteur et joueur de oud (sorte de luth). Il est difficile de résister aux émotions diffusées par sa voix qui, pour aller vite, n’est pas sans rappeler celle de Cheb Mami. Tous deux ont en partage cette saisissante aisance à monter vers les aigus. Accompagné d’un ensemble constitué d’un kânun, d’un violon, d’une flûte ney et de percussions, Moneim Adwan emploie ses très sensibles cordes vocales à servir des textes de poètes palestiniens contemporains. Ils expriment l’amour, la beauté des choses, bref tout ce qui apaise et incite à espérer vivre des jours meilleurs. En lançant de tels vers, cet artiste atteint plus sûrement le cœur et l’âme de ses auditeurs que s’il usait des canons de la propagande. Moneim Adwan appartient à cette courageuse confrérie d’artistes qui tissent des liens au lieu de les couper. On l’a par exemple entendu aux côtés de Françoise Atlan dans un répertoire mêlant chants spirituels musulmans et juifs séfarades. Ce rapprochement n’est pas illogique. La musique palestinienne, constituée à la base d’airs inventés par des bergers et de petits agriculteurs, a en effet été soumise à de multiples influences venues de tout le monde méditerranéen. Les uns ont légué un mode, d’autres une ornementation ou une figure de style, tout cela se mélangeant aux traditions bédouines et aux répertoires savants des grandes villes arabes de l’intérieur des terres. C’est de ce creuset que surgit le lyrisme fervent de Moneim Adwan qui, avec ce premier album édité sous son nom, s’impose comme un artiste avec lequel il va falloir compter.
De nos jours dans les bacs des disquaires de Palestine on trouve de nombreux enregistrements composés autour de l’actualité qui rythme la vie des Palestiniens depuis 50 ans.
Moneim Adwan a choisi de sortir de cette vision politique de la musique pour proposer une autre musique, un horizon plus élevé, dans un style oriental moderne.
« Il était une fois en Palestine » a été composé comme une série de petites chroniques musicales où l'artiste prend la place d'un conteur qui fait apparaître les souvenirs du passé, du présent et de l’avenir. Dans cette suite de petites fictions, les clichés réducteurs qui accompagnent la vision des « Palestiniens » sont mis en défaut car on y rencontre des gens comme les autres qui aiment l'amour, la paix et qui ne désirent que « retrouver le calme bonheur de l'odeur du pain fait à la maison ».
Moneim Adwan a proposé à des poètes de lui écrire des textes aussi riches et divers les uns que les autres, qu’il a arrangés et orchestrés avec des musiciens palestiniens, arabes israéliens et égyptiens. Les improvisations du ney et du oud soulignent que dans ce territoire à l’avenir et au présent incertain, la plus belle des musiques est celle que l’on crée dans l’instant pour vivre dans l’esprit de la musique… |
320kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/58010918/MA-IeufeP.part1.rar
http://rapidshare.com/files/58015176/MA-IeufeP.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Sat Mar 22, 2008 11:42 pm |
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Fawzi Sayeb
Improvisations Taqsims on the Lute 'Ud
Byblos BLCD 1005, 1997
1. Taqsim en maqam nahawand 6:50
2. Taqsim en maqam bayyat 4:10
3. Taqsim en maqam hijaz 6:35
4. Taqsim en maqam huzam 4:43
5. Taqsim en maqam rast 6:34
6. Taqsim en maqam nawa 'athar 5:15
7. Taqsim en maqam jaharkah 6:44
8. Taqsim en maqam saba
9. Taqsim en maqam sekah baladi 5:25
| Quote: | Fawzi Sayeb is of Tunisian origin. He began his career as an agricultural engineer, before devoting himself to the oud full time. He is entirely self-taught.
Fawzi Sayeb presents taqasim on a number of maqamat in an excellent showcase of classical Arab oud. Sayeb's background is evident from the style of the taqasim. The CD notes give good biographical details and information about the structure of each maqam. |
320kbps mp3 - I burned it on CD from files downloaded sometime back. Those might well have been 128kbps only, so the quality might be less than expected. No booklet, sorry!
| Code: | http://rapidshare.com/files/60728517/FS-ITotLU.part1.rar
http://rapidshare.com/files/60729236/FS-ITotLU.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Sat Mar 22, 2008 11:43 pm |
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Aïcha Redouane et l'ensemble al-Adwar
Nahda du Proche-Orient
Le Chant du Monde 274 1154, 2002
Wasla en maqâm bayyâtî
01. Hâta ayyuha s-sâqî
02. Lî habîbun
03. Lâ tukhfî
Wasla en maqâm sigâ
04. Bashraf-tahmîla Karabatâk (instrumental)
05. Jalla man
06. Taqsîm qânûn (instrumental)
07. Ghayri 'alâ s-silwân
Wasla en maqâm bayyâtî
08. Solo riqq
09. Samâ'î Muhayyar (instrumental)
10. An'im bi-waslika
11. Gaddidî yâ nafsî
Aïcha Redouane - voice, musical direction
Habib Yammine - riqq
Salah el-Din Mohammad - qânûn
Oussama Hantira - kamân
Recording date: February 1999 (live, Périgueux)
| Quote: | | The art of the maqam was popular in Cairo about 100 years ago, and helped give rise to some of the great Arabic singers of the 20th century. Its roots are in both classical and scholarly culture, with a strong emphasis on improvisation, both vocal and instrumental. Aicha Redouane and her ensemble, led by frame drum master Habib Yammine, revive the art of the maqam with great splendor and panache, not to mention a huge amount of ability -- just listen to the riqq (frame drum) solo in "Wasla En Maqam Bayyati" to understand what the touch of genius can do. This is complex music; its lyrical subject is mostly love, both sacred and profane, and it demands a lot of the listener. However, it's more than worthwhile. Redouane herself has a wonderful touch in her phrasing; on "Gaddidi Ya Nafsi" she's nothing short of magnificent, while the entire backing is splendid and sympathetic -- kudos to both the violin and qanun (hammered dulcimer) players. It might not be for the casual listener, but anyone who has a taste for Middle Eastern music will eat this up. ~ Chris Nickson |
| Quote: | | From the Tamazight (Berber) tradition of the Moroccan Middle-Atlas to the vocal art of the Arab maqam from the Middle East, Aïcha Redouane’s vocal talent covers a wide variety of styles and genres (Berber, jazz-blues, Western singing...). All these have been a natural part of her atypical itinerary ever since her early years. She gave up architectural studies in order to devote all her time and energy to the tradition of the maqam, and as self-taught artist specialising in this genre, she carved out her own education as a singer and a qanun player (board zither). In 1990, she was awarded a grant by the French Ministry of Culture to continue her musical research. 1993 was the turning point in her career with her first triumphant performance at the Théâtre de la Ville in Paris, and the release of her first CD produced by Ocora Radio France. It was awarded a Choc de la Musique by the magazine Le Monde de la Musique and a Diapason D’Or by Diapason. Her second CD was produced by the Institute of the Arab World (IMA) in Paris and is recommended by Classica magazine. For her concerts, she is accompanied by the al-Adwar ensemble that she co-founded with the Lebanese percussionist and ethnomusicologist Habib Yammine. These concerts are like real journeys in to the world of tarab or musical ecstasy. |
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/61175983/AReleaA-NdPO.part1.rar
http://rapidshare.com/files/61187556/AReleaA-NdPO.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Sun Mar 23, 2008 11:09 pm |
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George Michel
Melodies of the Oud
Global Village CD829
01. El Mawkeb 3:41
02. Taksim Rast 4:21
03. Taksim Ajam 1:32
04. Taksim Hijaz Kar 3:24
05. Taksim Nahawand 2:50
06. Taksim Seygah 1:39
07. 'Ataba on the Oud' 9:06
08. Longa Hijaz Kar Kurdi 2:48
09. Taksim Hijaz Kar Kurdi 3:10
10. Taksim Rast 2:23
Recorded Cairo, 1970.
This is a good quality recording of one of the great masters of Egyptian-style oud. Some beautiful taqasim and duets with percussion make this an essential CD to add to the collection.
128 kbps - sorry for the low bitrate.
Plus some more of his music from unknown sources (some in even lower bitrates, but the music makes up for that, I promise!):
11. Afrah Al Sharq
12. Kurdili Hijazkar
13. Takassim 1
14. Takassim 2
15. Taqasim Nahawand
16. Taqsim live
George Michel was born in Cairo, Egypt. He studied Arab music at the Cairo Music Conservatory, where he later became a professor.
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Mon Mar 24, 2008 8:29 pm |
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Rahim Alhaj
When The Soul Is Settled. Music of Iraq
Smithsonian Folkways Recordings SFW CD 40533, 2006
1. Taqasim Maqam Ajam
2. Taqasim Maqam Mukhalif
3. Taqasim Maqam Segah
4. Taqasim Maqam Kurd
5. Taqasim Maqam Bayyat-Hussaini
6. Taqasim Maqam Hijaz
7. Taqasim Maqam Lami
8. Taqasim Maqam Sharqi Rast
9. Taqasim Maqam Saba
Rahim Alhaj - oud
Souhail Kaspar - percussion
| Quote: | The last century has visited more than its share of tragedy and suffering upon Armenia, Iraq and Iran, and it would be easy to romanticize the musical heritage of the region. The world-music panel at the January 2007 Association of Performing Arts Presenters (APAP) conference in New York attracted a striking mix of people, among them a young Iraqi exile who related the difficulties he confronts in seeking to study Iraqi classical music with elderly tradition bearers, and spoke passionately to the audience about the music's tenuous future in his homeland and abroad. His concerns are certainly borne out by recent history in Iraq, although the future of Iraqi music may not be quite as bleak as he seemed to suggest.
Consider the work of another Iraqi exile, Rahim Alhaj, who studied oud in Baghdad with Salim Abdul Kareem and Munir Bashir (1930-1997), the latter widely regarded as the most important oud player of the contemporary era, as a master of Iraqi maqam (roughly, "mode"). In Iraq, "maqam" refers to a sense of melodic movement and structure; to a specifically Iraqi vocal tradition; and to the concept of a spiritual station.
Shortly after graduating with honors from the Baghdad Conservatory of Fine Arts (1990), Alhaj fled Iraq, dogged by the Hussein regime. He lived for a decade in Syria and Jordan before gaining asylum in the United States in 2000; Alhaj now resides in Albuquerque. On the strength of When the Soul Is Settled, Rahim Alhaj is a worthy successor to Bashir. The repertoire consists of nine extended taqsim ("improvised") maqamat in pan-Iraqi style. The music represents a continuum that extends from North Africa into the Levant and eastward into Central Asia. Alhaj is ably accompanied by Lebanese master percussionist Souhail Kaspar, trained at the Conservatory of Traditional Arabic Music, Aleppo, Syria, and now resident in Los Angeles. The extensive notes (with musical transcriptions, bibliography and discography) are in English and Arabic. |
| Quote: | Rahim Alhaj is a master of the oud (Arabic lute). All but one of the nine tracks span between 7-11 minutes. Alhaj's original taqsim (instrumental improvisations) provide a contemporary interpretation of maqams (the unique pitches on the Arabic musical scale along with their melodic movement). Alhaj's material is also rooted in and derived from this Iraqi musical tradition. For example, "Taqsim Maqam Hijaz" includes a rendition of the famous Iraqi song "Atop the Palm Tree." In fact, each piece includes improvisation followed by a famous song. While it might have been more interesting for some of the pieces to be arranged with a fuller maqam ensemble sound of spike fiddle (joza) and dulcimer (santur) too, some of the cuts do feature percussionist Souhail Kaspar plays goblet drums (tablah, dumbak) and small tambourine (riqq). Apparently, he didn't use a frame drum (daf) that maqam ensembles sometimes include. In "Taqsim Maqam Sika" and "Taqsim Maqam Hijaz," the riqq (or daff) makes its most prominent appearance and provides for a colorful expression in that piece. Born in Lebanon, Kaspar studied music in Syria but now makes his home in Los Angeles. While the 32-page CD booklet could have said more about Kaspar's instruments, the bilingual musical explanations for each track are educational.
A prodigy who began playing oud at age nine, Rahim Alhaj subsequently graduated from Baghdad Conservatory in 1990. He also holds a degree in Arabic Literature. In 1991, after the first Gulf War, Alhaj's activism against the Saddam Hussein regime led to is forced move to Jordan and Syria. The political refugee relocated to the U.S. in 2000 and now lives in Albuquerque, N.M. There, he won the 2003 Albuquerque Arts Alliance Bravo Award for Excellence in Music.
On this album (his fourth overall), the accomplished and proficient musician says that the intent of each piece is to reflect the maqam tradition and, in doing so, to settle the soul. He does a fine job of introducing us to the musical and aesthetic of the Iraqi style. Rahim's music has both delicate and forceful moments. Its full-bodied essence speaks forcefully as he combines traditional Iraqi maqams with more contemporary inspiration and insight. While this kind of improvisational global sound may be novel to many westerners' ears, its strength is its creativity and imagination that take us on an impressive 73-minute atmospheric journey. His closing number, "Taqsim Maqam Saba" is an emotional expression of sorrow and grief. There also seems to be a prevalent thread in his compositions for peace, hope, optimism and compassion in the future. Undoubtedly, Rahim misses his homeland, but he also makes soul-settling and cathartic musical statements about his musical rejuvenation and personal renewal in the United States. - Joe Ross |
| Quote: | Oud soloist and composer Rahim Alhaj has carried his (roughly) five-thousand-year-old music tradition more than seven thousand miles, from his birthplace in Baghdad to his current home in Albuquerque, New Mexico.
The political map of Iraq’s boundaries today include the regions where ancient Ur, Sumer, and Babylon arose, flourished, and finally fell. Indeed, Baghdad occupies one of the oldest continually inhabited spots on Earth, near the confluence of the Tigris and Euphrates rivers. Scholars believe that the instrument Alhaj plays, a short-necked Arabian lute called the oud (Arabic: al 'ud), originated in that region along with cities, the cultivation of food crops, and one of the very earliest written languages.
Alhaj was born in Baghdad, and he began playing oud at age nine. He performed his first solo concerts when he was fourteen, by which time his passion and talent for music already were obvious.
Alhaj attended the Baghdad Conservatory of Fine Arts’ six-year program beginning in 1984, studying under Munir Bashir, a master teacher and among the best-known oud players of the 20th century. Alhaj also studied with the influential composer and oud player Salim Abdul Kareem and composer Jamil Bashir, Munir's brother. He graduated with honors and a degree in music composition, and picked up another degree in Arabic literature from Al Mustansiriyah University in Baghdad.
But life under Saddam Hussein’s rule was oppressive. Young Alhaj not only resolutely refused to join the ruler's Baath party, even though this severely limited his professional opportunities, and instead was active in the artistic resistance, opposing the regime and writing protest songs. For that he twice landed in prison in the latter half of the 1980s, once for a year and a half, where he suffered painful and regular beatings by his jailors. Fearing for her son’s life, his mother raised tens of thousands of dollars shortly after the first Gulf War (1991) to obtain false identity papers and help him leave his native land. Alhaj recounts that she sold virtually everything she had to pay his way to freedom. He saw her alive only once more, when he visited his homeland in 2004 for the first time in thirteen years.
Interviewed on USA’s National Public Radio late in 2006, he recalled:
"I had never been away [from home] until I left Iraq, actually. When I crossed the border between Iraq and Jordan, they took my instrument from me. And this is the saddest moment in my entire life.... [At that moment] I had a choice between: leave my instrument or have life. I had to leave. And so I left Iraq and left my instrument. And now I have a beautiful, beautiful oud from Iraq." According to an article in Smithsonian magazine in November 2006, the oud he plays today was made by a childhood friend, Farhan Hassn, who still lives in Iraq. The face of the instrument is inlaid with images of two homing pigeons, such as Alhaj and Hassn raised in Baghdad when they were boys. Today, Alhaj raises homing pigeons in his backyard.
Alhaj lived in Jordan for three years, then moved to Syria, where he met and married Nada Kherbik. They came to the United States under a UN refugee resettlement program in 2000 and made a home for themselves in Albuquerque. Along with the general devastation he witnessed during his 2004 visit were personal losses. His father had passed away in the intervening years and the music conservatory— his alma mater— was empty, burned and silent.
Alhaj is both composer and instrumentalist, performing concerts solo concerts throughout North America, in the Near East and Western Europe. Recently he has performed his own compositions with several string quartets and a symphony orchestra, with extensive tours planned in 2008 and beyond. Rahim Alhaj is one of a very few professional oudists actively re-vitalizing and thereby preserving the Iraqi art music tradition in our time.
His Smithsonian CD was released in October 2006 and is entitled When the Soul Is Settled: Music of Iraq. He is accompanied on the disc by Souhail Kaspar, a Lebanese-born master percussionist now based in California, Mr. Alhaj's first CD, The Second Baghdad ( 2002) and the next, Iraqi Music in a Time of War ( 2003), are both available on VoxLox Records. The 3rd release was a collaboration with the Saddaqa String quartet, entitled Friendship: Oud/String Quartet Ensemble ( 2005), Fast Horse Recordings. |
| Quote: | Touching Hearts with Ancient Music, Newly Formed
Bill Nevins talks with Iraqi composer and musician Rahim Al Haj
"Music is like a clock, it moves around in a circle," declares oud master Rahim Al Haj, sipping tea on the patio of an Albuquerque coffee shop. Al Haj is an innovative musician, and his own life has been formed by cycles of music, indeed. He has travelled in his person and in his music from his homeland into exile and then back home again as a true messenger of hope.
A Baghdad native and a serious student of the classical and folk music of his native Iraq, he was imprisoned twice by the regime of Saddam Hussein, in part for refusing to compose musical tributes to that regime's military adventures during the 1980s. His life came under threat by the Saddam regime at the time of the First Gulf War. With great difficulty, Al Haj escaped in 1991, eventually making his way as a political refugee via Syria and Lebanon to New Mexico in 2000. Here, in relative poverty, he began the long process of learning English, adjusting to a very different culture, and re-establishing himself as a musical authority, performer and composer.
His work has been marked by a thematic dedication to principles of peace and reconciliation in the form of wordless musical "poems" and by formal innovation on the ancient styles of the Iraqi maqam. Now he lectures at the University of New Mexico and he is in demand for performances nationally and internationally, with several acclaimed albums to his credit. Rahim Al Haj performed in June, 2006 at the Kennedy Center in Washington, D. C. for the release of his latest CD, When the Soul Is Settled:Music of Iraq, which features the percussion playing of Souhail Kaspar (Smithsonian Folkways Recordings). His earlier CDs are: Friendship: Oud/String Quartet Ensemble (2005), Iraqi Music in a Time of War (2003) and The Second Baghdad (2002).
During the past three years, Rahim Al Haj has performed concerts across the USA, in Europe and throughout the Arab nations of Africa and the Middle East. This ongoing musical tour has included a bittersweet return to his homeland, where Al Haj played his music for long-missed relatives and friends and brought charitable assistance to children hurt by the continuing war. While he notes that the fall of Saddam has been a good thing for Iraq, he is an outspoken opponent of the current war, calling for peace and healing.
The musical circle has turned for Rahim Al Haj, and turned well. He has had to work to make that happen, and it has not been easy. Rahim recently talked with this reporter about music, culture and his own experiences.
Rahim objects to the common use of the term "world music", declaring, "There is nothing that is really Western or Eastern music--we made that all up. What is so-called "world music"? That completely depends on your perspective, where you are located yourself. What is exotic in one place is commonplace or traditional in another. There is only the world, and there is only music."
A proponent and defender of musical traditions, at the same time that he is an innovator, Rahim is not a fan of all popular music. He explains, "Sometimes it seems that bad music dominates worldwide. Computer music, for instance, is about nothing--it is nothing! This is because people are not educated about their own musical traditions. But really, all music is linked, and can be the thing that brings us together. I've heard Lebanese singers, for example, borrow rhythms from Europe and translate them to Arabic song, and I have seen African rhythms brought into Iraqi music. "
Rahim opposes the use of music to build war enthusiasm, yet he recounts how music itself has sometimes transcended propagandistic expropriation, as happened in Iraq, "Sometimes good music can even emerge from a very bad situation. In the 1980s, during the Iran-Iraq War, we listened in Iraq only to war music. I once counted 669 songs about Sadam Hussein. A song writer whom I greatly admired, Kazem Al Sahar, a very skilled classical composer, recorded one himself in order to stay out of jail, but he did a marvelous job with the melody. People sang and loved it for its musical beauty. The music reached past the official subject, to people's hearts. " Kazem Al Sahar now lives in Canada and is one of the more famous Arabic singers in the world.
His own music is an example of beauty which comes, ironically, out of extreme adversity. Rahim replies, "Well, the way to reach people is through stories, from the heart. I don't use lyrics in my compositions--which in itself is a radical change from the Iraqi tradition of the oud accompanying lyrics--but I do talk before performing. I tell stories to help people put the music into words. For example, when my songs are about horses running, or trees, I tell the audiences about those images from Iraq which I have seen and loved. I am giving them an invitation to think about a part of the world that they may hear about, but that they don't know about. "
Rahim's instrument, the oud, has a 5,000 year history, though it is still often seen as exotic in America. Rahim comments, "People are not familiar with the oud in America, though it is the ancestor of guitars and other stringed instruments. The oud would be the central instrument in an Arabic orchestra traditionally, like the piano. Perhaps the exotic perception here derives from the fact that the quartertone, or microtone, used in our music does not exist in Western music."
Rahim strives to bridge the gap between western audiences and Arab musical tradition, working with a string quartet and composing works for oud and orchestra. "I think of it as a conversation between East and West, a dialogue," he says.
Along with his political activity, Rahim's music got him deep trouble with the Saddam Hussein government. With a pained expression, he recalls the experience."I composed a piece, titled 'Why?', which was based on a poem by a longtime friend who lost his legs in the Iran-Iraq War. The song talked about the tense, anxious time of that long war, especially for young people subject to the draft. It asked questions such as about 'Why the poor and the rich?' and 'Why the healthy and the wounded and sick?' The song used the name of Ali, the cousin of Mohammed, but it really criticized Saddam and the situation of injustice in Iraq at that time. 'Why?' became very famous in Iraq. It touched people's sensibilities and it gave them comfort. It was a curse on Saddam, but not by direct name. The song became so widely known and sung that most people did not know who wrote it. It became very effective."
Rahim's life was threatened and to survive he had to leave Iraq clandestinely, as a political refugee. Over several years he made his way through Syria and Jordan and eventually settled in New Mexico. He details that odyssey: "Catholic Charities sponsored my coming here as a political refugee, following my appeal to the UN in Jordan. Albuquerque was chosen by the UN as my destination because of the similarity of climate,a desert, to Iraq, and because New Mexico was thought of as a center of art and culture. When I left Iraq in 1991, I had to use false documents to get out. My mom sold everything to buy them and to bribe somebody to get me out. I had been imprisoned twice and tortured because I was involved in the democratic resistance to the regime. "
"They took away my oud at the border. That was the saddest moment of my life. I had had that instrument since I was nine, and I literally slept with it. That was very painful. I am happy to say that I have four or five ouds now."
Rahim's initial adjustment to life in America was not easy, as he recounts: "I knew no English. I learned from reading Nietzsche because I heard from a friend that the best way to learn a language is to choose a book that you love in your own language. So I started speaking English in Albuquerque by quoting Nietsche in English translation. Then I went to the local community college to try to learn more English. Catholic Charities found me a job, at MCDonald's. I did not at first understand and I thought they wanted me to play background music for diners in a restaurant. So, I tried to politely explain that my music is really not suitable for dining. When the caseworker told me that I would be a dishwasher, I lost it. I threw every bad English word I knew at him."
"Instead of that, I worked as a security guard for $6 an hour, but that was not going to pay back the money that I owed Catholic Charities for my passage here. So, I rented a hall at the University of New Mexico myself, and a friend helped me put up hand drawn flyers announcing an oud concert, my first in America."
"The local newspaper gave advance notices. The concert was sold out! In the following few months, I was invited to give concerts at The Outpost and other New Mexico music venues, and not long after I found myself touring the country with concerts."
Rahim explains how, in 2004, he finally managed to return to visit his family and even to perform his music in Iraq: "The actress Ali McGraw came up to me at a concert in Santa Fe and introduced herself. I had seen her in Love Story--it was the first movie I cried at. We became good friends, and she helped make arrangements for me to go back and forth to Iraq. My mother and Ali have exchanged gifts. She is a very good person. In Baghdad, I played for my family by kerosene lamps; there was no electricity. It had been thirteen years since I had seen them."
Asked what is the primary message of his music, Rahim responds thoughtfully, "Peace and compassion and love. Those three concepts are in the music, and the drive is to learn, to understand, though not to know."
Rahim Al Haj has spoken out publicly against the present war in Iraq. Asked about how his music relates to the present world political situation, Rahim smiles slightly and answers, "The music energizes people. It may influence them, and they may take action. The music contains the drive for the message of peace and compassion and love. The music should be involved with real life, we should talk about important matters. In Iraq right now, as in most of the world,what is vital is what we can find in that brings us together, not so much that tears us apart. I try to talk about these things, about the common links between us all, at my concerts, not just provide entertainment." |
320 kbps, including full booklet scan
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Tue Mar 25, 2008 9:14 am |
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Tunisie - Chants & Rythmes
Club du Disque Arabe AAA 001, 1988
01. Sidi Mansour - Jerrari
02. Zarzis - Na’ama (Danses des veillèes de garçons, groupe de Zlass)
03. Salah ya bou hella
04. Khalkhal Aïcha
05. Ya zitouna
06. Jani el mersoul
07. Allomo - Hedi Habbouba
08. Elaïn zarga - Salim Hallali
09. Aïssaoua (Musique thérapeutique)
10. Mrid fani - Saliha essaghira (Final de Nouba Malouf sur un poème alphabétique)
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/68802362/T-C_R.part1.rar
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Wed Mar 26, 2008 6:48 am |
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Guy Kark & Between Times
Canaan
Sufa Personal World Music S1369, 1999
01. Camel song
02. From Canaan
03. Between times II
04. Olivier
05. La La La
06. Coda
07. Lucia
08. Esperanto
09. Banias
10. Atmosphere
11. Between 7 and 9
12. For Iris
13. Standing still
Guy Kark - guitars, vocals, oud, saz
Iris Eyal - harp, melodica, vocals
Menashe Sasson - santoor
Erez Mounk - percussion
Sania Kroitor - violin
Nizar Rohana - oud
Shlomo Moyall - bass, vocals
Guests:
David D'eor - countertenor
Ruth Ron - flute
Shmulik Kovalski - midiwind
| Quote: | Guy Kark & Between Times form a unique ensemble that reflects in its music the special texture and color of Canaan. Kark's personal world music travels constantly between eras, and has inevitably been inspired by the local unusual musical diversity, as well as the huge variety of sounds, songs, and echoes that fill the Mediterranean air. The ensemble comprises accomplished musicians with roots in both Eastern and Western musical heritage
The group, formed in 1992, has performed successfully in concerts and festivals around the globe: Los Angeles, Geneva, Prague, Belgrade, Spain, Belgium, Holland, Norway, Denmark, Portugal,Turkey, Zimbabwe, Uzbekistan, The Israel Festival,'Hearing the World' festival-Tel-Aviv opera house, as well as broadcasts and special recordings for local and international T.V and radio. One of Kark's European tours (with Duo Esperanto), included a special performance for the Queen of the Netherlands in Amsterdam's Biblical Museum 150th anniversary.
'Canaan' was chosen by 'Global Village' in Los Angeles and The Planet-Radio National Australia as one of the best 'world music' CD's for 1999. |
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/70906272/GK_BT-C.part1.rar
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