 | 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.
| Code: | | http://rapidshare.com/files/61231842/GM.rar |
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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
| Code: | http://rapidshare.com/files/63475014/RA-WTSIS.MoI.part1.rar
http://rapidshare.com/files/63483815/RA-WTSIS.MoI.part2.rar |
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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
http://rapidshare.com/files/68807446/T-C_R.part2.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
http://rapidshare.com/files/70966302/GK_BT-C.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Thu Mar 27, 2008 8:15 am |
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Haroun Rachid
Musique classique Algerienne
united one 402 4569 2010 2, 1997
1. Fet Châa El Kamra - H'na Djinek - Rimoun Ramatni Chouriftou Biha
2. Haramtou Bik Nouâssi - Goulou L'chahlet Laâyani - M'Habti ghir Fiha Hia - Selli Houmoumek - Kahl Ayounek Nadhariat
3. Sbebi Adra Djazairia
4. Koum Tara - Had 'El Houb El Ghadar - Rimoun Ramatni Sihamouha - Emchi Ya Rassoul
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/72727591/HR-McA.part1.rar
http://rapidshare.com/files/72731293/HR-McA.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Fri Mar 28, 2008 10:01 am |
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Marwan Abado
Kabila
Iris Music 3001 895, 2005
01. Lam’ Ma L’hamamm
02. Samai Lammi
03. Kaan Ya Ma Kaan
04. Kabila
05. Sadiki
06. Hawa
07. Wada
08. A Love Story Between a Camel and a Cow
09. Hawilou
10. Taeru Le’ Raàdi
Marwan Abado – oud, vocals
Peter Rosmantih - percussion
Joanna Lewis – violine
Otto Lechner – accordion
| Quote: | Marwan Abado is a Palestinian singer, composer and oud player. (The oud is an oriental short-necked lute.) Abado's music has its roots in the classical Arabic musical tradition of the "TAQ'SIM," which is not restricted to particular rhythms, but which springs from the inner impulses of the musician. Contemporary Arab poetry and prose often provide the inspiration for Abado´s lyrics; thought-provoking commentary on the political realities of the Palestinians is interwoven through his texts.
These songs add a unique dimension to contemporary Arabic music by forging a new relationship between performer and audience, challenging the audience to listen carefully to the words of the songs and to experience the quiet melodies-- in contrast to a tradition of being transported by a rhythmic repetition of phrases which transcend meaning and sweep the audience away on a tide of feeling. Deliberately distancing himself from the genre of didactic protest songs which raise a scolding finger to the audience, Abado chooses a poetic register for his songs, whose themes fall somewhere between lamenting sorrow and courageous hope. His music is an improvisational mix of Oriental forms and Western elements.
Marwan Abado was born as a Palestinian refugee in Beirut, Lebanon in 1967. He moved to Vienna, Austria in 1985, to join his brothers and continue his studies. Concurrently, he is performing as a solo musician and member of several ensembles in Austria and worldwide. (Italy, Germany, Hungary, Czech Republic, Belgium, Switzerland, Sweden, France, Algeria, Lebanon, Jordan, Marocco, Tunis, Palestine and Cuba.)
Abado's commitment to social and cultural issues has led him to be involved in activities beyond the world of music, such as:
• Foreign Student Representative at the Austrian National Student Union, July 1993 - June 1997.
• Initiated and coordinated the project, "World Music in 3/4 Time," which brought together 17 music groups from all over the world, to perform a series of concerts and produce a CD to promote music from different cultures and help these performers to gain an audience in Austria. 1995.
• Holding workshops in schools and at youth centers to introduce young people to oriental music. 1996 to present.
• Organizing and implementing recreational programs to bring together Austrian and immigrant youth. Summer 1995, Summer 1996.
• Holding lectures at the Orient Acadamy, Hammerpurgstall, to introduce Arab-Oriental music theory to a Western audience. Winter Semester 1996 and Summer Semester 1997. |
320 kbps mp3, including full booklet scans
| Code: | http://rapidshare.com/files/73113451/MA-K.part1.rar
http://rapidshare.com/files/73112261/MA-K.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Sat Mar 29, 2008 10:20 am |
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An absolutely brilliant album - one of my No.1 favourites:
Mohamed Bajeddoub & Abderrahim Souiri
L'Art du mawwâl / The Art of Mawwâl
Institut du Monde Arabe 321 072, 2007
01. Ataytu li-qâdi l-hubbi
02. Amurru 'alâ d-diyâri
03. Dumû'u l-'ayni tajrî
04. 'Îdû ilayya l-wisâl
05. 'Aynî li-ghayri jamâlikum lâ tandhuru
06. Arâdû l-bi'âda
07. Amurru 'alâ diyâri Laylâ
08. Qultu li-Laylâ
09. Badat - Yâ ghazâlan
10. Zâranî tayfu
11. Zor man tuhibb
12. Jarhu qalbî
13. Lil-jamâli mulkun
14. Alhaju bi-l-ahbâb - Lâ tahsubû
15. Mâ l-farq
16. Lî habîbun
17. Yâ shams l'ashiya - Qudûmu l-habîb
320 kbps; including full booklet scans
| Code: | http://rapidshare.com/files/76844031/MB_AS-LAdM.part1.rar
http://rapidshare.com/files/76854124/MB_AS-LAdM.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Sun Mar 30, 2008 6:19 am |
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Sélim s'évade
Deli Boys
Al Sur ALCD 203, 1997
01. Deli Boys
02. Planan
03. Davul Nihavend Taksim
04. Davul Nihavend
05. Jardin
06. Street Layf
07. A perte de vue
08. Néo Géo
09. Muhayyer
10. Zeybek de l'Acacia
11. La lumière noire
12. Le 13
Gilles Andrieux - saz, tanbur, yaili tanbur
Grégoire Baboukhian - saz, darbouka
Dominique Collignon-Maurin - ney
Jeff Sicard - bass clarinet (06)
Arach Khalatbari - tombak (07)
Patrick Chesnai - drums (09)
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/95762063/SS_DB.part1.rar
http://rapidshare.com/files/95762239/SS_DB.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Mon Mar 31, 2008 7:09 am |
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Salim Fergani
Elegía a la muerte de Salah Bey, Constantina 1792. Música Clásica de Constantina, Argelia
Pneuma PN-870, 2006
1. Istikhbar
2. Kamit sari gjahda
3. Anti tetghala
4. Salah Bey "Gálu la arab gálu'"
5. Khlas, Khaoua ya el khaoua
6. Suite H'sine
Salim Fergani - vocals, 'ud
Youcef Bounas - zurna, djuwáq o fhal
Nabil Taleb - kemandja
Bachir Ghouli - tar
Khaled Smair - darbuka
| Quote: | His true name Regani, Salim Fergani was born in 1953 in Constantine, in a family of musicians and artisans “Embroiderers” since the “Beys”(1) period. He is the eldest of hadj Mohamed Tahar Fergani’s sons, the leader of Music in Constantine and the grand-son of cheikh Hamou Fergani (1884-1912) The famous singer of the type hawzi and figure of Aissaoua group sufi.
From this strong musical familiar surroundings, he had a gift for music, since he was young, it is so naturally that his father how has taken care of him as far as the Andalouse Music is concerned. Mohamed Seddik Fergani, named Zouaoui, his uncle (1913-1995) discovered him the techniques and the Art of Arabic “oud” this particular instrument in Constantine. Since 1968, he started his professional carrier with his father Hadj Mohamed Tahar Fergani in recordings. At the same time despite of his father’s presence become near to the other cheikhs of constantine who permit him to know more about ‘’Malouf, Mahdjouz, Hawzi, Aroubi, quadriates, Zadjel ‘’. He has a gift too for excellent memory assimilate capacities, he devoted exclusively the music to improve his knowledge like his father from cheikh Abdelkader Toumi (1906-2005) a remarquable encyclopædia. After long years, this relationship has played great salim fergani’s life in the music of constantine.
Salim Fergani improved himself close his father as a member in the familiar orchestra being musician and a singer with his own formation that manages till now. He made concerts, recordings and transmissions in television letting the public discovering an artist with talent and knowledge of the music of constantine during 1970’s.
Since the 1980’s, he had brilliant career international that leads him to europe, asia, africa and USA. His control on the musical repertory and the instrument of ‘’Oud’’, his understanding of communication, his rigour and human qualities made him an artist particularly demanded by the international cultural institutions that thumbed him in different festivals and meetings. As a complete musician and artist, Salim Fergani, today is follower of the instrument tradition in onstantine and the town music. He continued his messages of love, peace and dialogue’s cultures. - Benderbal Hichem
(from:
http://www.myspace.com/salimfergani) |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/96851514/SF-EalmdSB.part1.rar
http://rapidshare.com/files/96852660/SF-EalmdSB.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Tue Apr 01, 2008 8:24 am |
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Salim Fergani
La noria de los modos. Musica Andalusi, Maluf de Constantine, Argelia
Pneuma PN-890, 2007
01. Bashraf Zidane-H'sine
02. Rahaoui: Buenas gentes de Andalucía
03. Deil: Enamoradas
04. Asbihan: Sobre ardientes brasas
05. Sika: El recuerdo de Andalucía
06. M'hair: Desde que te has ido
07. Mezmoum: Mi corazón ha sufrido
08. Rasd: Llegada la noche
09. Maya: La bella ha venido
10. Asbian: Me quejo de esta pasión
11. Irak: Apareciste como un relámpago
12. H'sine: Corazón mío
13. Nawa: Tú que buscas el amor
14. Sika H'sine: Lejos de Andalucía
Salim Fergani - vocals, 'ud
Youcef Bounas - zurna, djuwáq o fhal
Nabil Taleb - kemandja
Bachir Ghouli - tar
Khaled Smair - darbuka
320 kbps mp3; including full booklet scans
| Quote: | Salím Ferganí is an Algerian singer and lute player who carries on with a secular tradition handed down by his ancestors. He performs with an instrumental quartet (violin, which takes the place of the old rabel, flute and two percussionists). The quality and conviction of his singing are vastly superior to those of “recycled” performers who offer as “early” something that is simply folklore. Ferganí’s voice is wonderfully expressive and natural, although it is impossible to understand what he is saying (a translation of the lyrics is provided and it helps, but in a case like this it is not enough).
What he performs is an original poem by a mystic named al-Darif al tunisi, who died in the year 1385 of the Christian era. Composed of recollections of the death of a child, it is divided into stanzas that correspond to different modes that succeed each other as the music and lyrics change. Hence, its title alludes to something in movement: La noria de los modos. Noria is the Spanish word for water wheel. Without knowing these modes, it is hard if not impossible to appreciate them, even if one does discern differences among them. It would have been useful to include a brief explanation in the libretto. This would have helped the CD win over not just fans of this genre but also people who might be tempted to explore it. - Maricarmen Gómez |
| Code: | http://rapidshare.com/files/97088275/SF-Lndlm.part1.rar
http://rapidshare.com/files/97091274/SF-Lndlm.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Wed Apr 02, 2008 9:01 am |
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That's my favourite album these days:
Eduardo Paniagua
Cantos Místicos Devocionales
Pneuma PN-970, 2007
01. Devoción. Taqsim qanun
02. Muwal Al Burda
03. Fiyashiyya
04. Introspeción. Irak Ajam. Taqsim laúd
05. Fatiha, sura del Corán
06. Hamziyya
07. Extroversión. Mazmun. Taqsim laúd
08. Ebriedad
09. Las maravillas de la creación
10. Pregunta en la oscuridad
11. Plegaria Nasirí. La espada de ign Nasir
12. Oh aquel que se ha engrandecido
Azzedine al Badri - vocals (2,3,6)
Mohammed El Arabi Serghini - vocals (5,11), pandero (11)
Eduardo Paniagua - qanun (1,2,3), darbuga (8), daff (11)
Mohammed Berraq - vocals (9,12)
Omar Metioui - laúd (4,7,8,10,12)
Abdeslam El Amrani Boukhobza - vocals (8)
Said Belcadi - vocals (10)
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/97304680/EP-CMD.part1.rar
http://rapidshare.com/files/97307453/EP-CMD.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Thu Apr 03, 2008 7:11 am |
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Cheikh Salah
Maroc: Musique Arabo-Andalouse
Buda Musique 82509-2, 1991
1. Raml Al Maya
2. Chams Al Achi
3. Had El Achq Aliya
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/97332564/CS-MMAA.part1.rar
http://rapidshare.com/files/97333079/CS-MMAA.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Fri Apr 04, 2008 7:41 am |
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Omar Metioui
Masterpieces of Andalusí Chant. Ibn Sahl of Sevilla 1212-1251
Sony Classical SK 60076, 1998
I. Tab' r-Rasd
01. Inshad
02. Tajlil Basit
II. Tab' s-Sika
03. Inshad
04. Tajlil Basit
05. Muwwal
III. Tab' Rasd d-Dayl
06. Inshad
07. Tajlil Basit
08. Muwwal
IV. Tab' al-Hiyaz al-Kabir
09. Inshad
10. Tajlil Basit
11. Muwwal
V. Tab' 'Iraq al-'Ayam
12. San'a
Saad Temsamani - vocals (1-5,12)
Hasan Ajyar - vocals (1,2,6-8,12)
Abdeslam Sefiam - vocals (1,2,9-12)
Omar Metioui - 'ud
Ahmed Al Gazi - darbuga (4,7,10), rabab (12)
Eduardo Paniagua - darbuga (12)
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/97344877/OM-MoACISoS.part1.rar
http://rapidshare.com/files/97339872/OM-MoACISoS.part2.rar |
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| Orient and Arab Section - All Orient and Arabian CD here rapidshare | |
| Posted: Sat Apr 05, 2008 7:49 am |
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Mohammad Rammal
L'Epopée de l'Achoura / The Ashura Epic
Institut du Monde Arabe 321.049, 2007
1. Cycle of Sadness
2. Chest Pounding
3. Praise of the Prophet
4. Poems for Fatima, Daughter of the Prophet
5. Eschatological Evocation of the Expected Mahdi
6. A Lebanese Poetic-Melodic Form
7. Poems in the Honour of Ali
8. A Poem in the Honour of the Prophet's Descendants
9. A Poem in Honour of the Prophet's Family
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/98738183/MR-LEdlA.part1.rar
http://rapidshare.com/files/98741695/MR-LEdlA.part2.rar |
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