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Болтолог - блог Артёма Шкондина aka AiK

Благотворительный фонд Чулпан Хаматовой

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WeLove-music
Music of the World speaks of peoples with their unique originality and of Mankind in all its precious diversity. Are you interested in World Music? If so - let's keep in touch!
http://www.welove-music.net/
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Fairuz - Raji'oun (We Shall Return)
Raji'oun
Originally released in 1957 as a response to the Palestinian catastrophe 'AlNakba', this album placed flames in the hearts of the Arabs at that time and earned the Rahbani Brothers the title 'Abbaa El3amal Alfedaii' (Fathers of the Sacrificial Resistance).

The emotions filled in Fairuz 's voice, and the great poetic/musical pieces are what make this album a 'prodigy' as Nagat Kassab, a critic, calls it in the article 'Art and Land', written in 1957 and found in the booklet of the album.

Raji'oun means "we shall return" The music is opera-style. Re-released in 1992.

Track List
1. Raji'oun
2. Ahtarif El-Houzn Wal Intizar
3. Raji'aat Fil Masa'
4. Ya Jisran Khashabiyan
5. Jisr el-Awda
6. Ya Sahir Al-Aineyn
7. Inda Himaha
8. Ba'dana Man Yaqsud Al-Koroum
9. Baldati Ghabatun Jameela
10. Marraytou Bishawareh'

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Ahmad Gibaly - Light Music 1

Track List
01.Iyak Min Hobi
02.Ana lak A'la Toul
03.Ya Msafer winasi Hawak
04.Ahadeer El-Bosta
05.Manhermesh Elomr Minak
06.Habetak
07.Kol Shea' Rah
08.Laiali Elomr Ma'doda

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Piano Nights By Amr Selim

Track List
01. Elyali
02. La Mesh Ana Ally Abky
03. Safiny Mara
04. Ateny Elnay
05. Resala Mn That Almaa
06. Tool Aomry Ahbak
07. Tkhonoh
08. Elnhar Elkhaled

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Guitar Fingerstyle

Track List
01 - Tim Farrell - Little Martha
02 - Edward Gerhard - Crow
03 - Billy McLaughlin - South by Winterwest
04 - Pat Kirtley - Daisy Goes A Dancing
05 - Don Ross - That'll Be the Phone
06 - Benjamin Woolman - Soul Discovery
07 - Laurence Juber - Lunar Eclipse
08 - Muriel Anderson - To B or Not To B
09 - Stephen Bennett - Perestroika
10 - D. R. Auten - If Only I Had Wings
11 - Don Ross - The First Ride
12 - Muriel Anderson - It Never Gets Easier
13 - Billy McLaughlin - Helms Place
14 - Tommy Jones - Only My Heart
15 - D. R. Auten - Angela
16 - Pat Kirtley - Grandpa's Lullaby

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Guy Kark & Between Times - Canaan
Guy Kark & Between Times
Canaan, 1999

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.

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

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L. Subramaniam - Kalyani
L. Subramaniam
Kalyani, 1992

1. Varnam. Ragam Kalyani, Talam Adi 21.45
2. Kriti (Tyagaraja). Ragam Bilahari, Talam Khanda Capu 24.08

L. Subramaniam - violin
Poovalur V. Srinivasan - mridangam
T.H. Subashchandran - ghatam

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Nass Marrakech - Bouderbala
Nass Marrakech
Bouderbala, 2001

The ritual trance music of the Gnawa (a mystical Sufi sect descended from black Africans enslaved by Arabs centuries ago) has been an increasing presence on the global wavelength of late, both in undiluted form and through fusionists like Hassan Hakmoun and Nass Marrakech. The latter will certainly be the subject of a few critical jabs for their latest release, on which familiar Gnawa instruments like the sentir (bass lute) and karkaba (metal castanets) are combined with piano, violin, reeds and other outside flavors.
Does it work? Well, it doesn't hurt that the piano is manned by Cuba's Omar Sosa, who included Gnawa sounds on his own recent discs, or that the characteristic Gnawa time signatures are kept very much at the center of things while the guest players make their mark in a respectfully secondary yet highly attuned and skillful manner. Still, there is compromise to set the purists bristling. Some of the stark, minimalist spirituality of unadorned Gnawa music is lost, leaving you in less of a mind-altered state than you may have been expecting. What is showcased to good effect is the genre's adaptability, recalling to some degree Ray Lema's recent collaboration with the group Tyour Gnaoua, on which such styles as reggae and sparse funk were part of the blend. On Bouderbala, it's mostly a jazz feel below the surface, complete with hushed passages, instruments sparsely soloing in and out and a casualness that stops well short of seeming slack. In the final analysis, this is a good piece of work, likely to convince even the stern traditionalist that such ingredients as Brazilian percussion and soprano saxophone can find a place in the Gnawa groove. - Tom Orr

Yes, this is an authentic Gnawan band, an outfit from the deserts of Northwest Africa, playing centuries-old traditional trance music originally used in indiginous healing ceremonies. Here, the band is broadened out to include flute, mandolin, marimba, sax, violin, Bulgarian gaduka, Brazilian percussion, and piano. It's the latter instrument, played by that inimitable, iconoclastic Cuban pianist Omar Sosa, that makes this far more than just another offering of some relatively obscure example of world-folk music.
Sosa has this uncanny ability to absorb, assimilate, and almost magically transform just about any music he encounters, amply demonstrated on his own amazing recordings such as Pictures of Soul and Sentir. An example here is his astounding playing on "Hamdushi II" where his dancing, lyrical presence provides perfect counterpart to the simple chantlike basic musical materials, all the while highlighting and framing the specific toanl qualities of this music in new and adventurous ways. Indeed, his playing here is some of the very best I've heard from him on record. And though he plays on only four of the nine tunes, he's still on board for more than three-fifths of the total time because he plays on the longer numbers.
I'm sure listening to literally hundreds of hours of Sosa's marvelous playing on his own discs greased the skids for my encounter with this admittedly (to North American ears, at least) alien music. Still, it took me quite a while to totally track with their vocal approach--and I believe the very best tune on the disc is the sans-vocal song "Beyna l'Ejwan," bringing up the fascinating proposition of an entire disc of wordless tunes by this Gnawan band, with one would hope, the continued participation of Omar Sosa. Be that as it may, by means of the Sosa entree I was able to find access to what has now become one of my favorite discs. Anyone interested in world jazz will want to give it a listen.

Nass Marrakech's U.S. debut album, Sabil a Salaam (Alula), was released in 2000. At that time, the group's sound was primarily a Gnawa-fusion groove. With the release of Bouderbala, Nass Marrakech has considerably expanded its collective musical boundaries.
The Gnawa-fusion vibe is still apparent in much of what the band members do, but they've opened their minds to the greater musical influences of the Maghreb and beyond. Guest artist Omar Sosa one of the truly magnificent contemporary world-jazz artists sits in on "Beyna L'Ejwan" and takes Nass on a wondrous jazz excursion; it's one of the highlights of the album. Spanish flutist Jorge Pardo joins Nass for a couple numbers, working a particularly effective soprano sax on "Zid el Maal." Bouderbala is an intriguing project, suggesting on more than one track a fusion of Gnawa trance music and jazz that's positively brilliant.

Nass Marakech wurde 1991 gegründet und verbreitet seit damals die musikalische Tradition der Gnawa. Gnawa heißen die Imigranten und die ehemaligen Sklaven, die während des Mittelalters aus Afrika in den Maghreb kamen. Natürlich erinnert die Musik Nass Marakechs an die der Gnawa, aber, und das ist noch natürlicher, wird sie auf "Bouderbala" um einige Einflüsse erweitert. So ist z.B. der Pianist Omar Sosa auf einigen Tracks zu hören, als auch der Saxophonist und Flötist Jorge Pardo. Diese zusätzlichen Klangfarben fügen sich ganz natürlich in das musikalische Bild Maroccos, das lebendig wie eh und jeh vor unseren Augen entsteht. Für uns Europäer ist "Bouderballa" aufregend fremd und interessant, und wir sind Privilegierte die hinter den touristischen Trubel schauen und ein wenig von den geheimen Bräuchen der Gnawa sehen (geistig) und hören dürfen. - Christian Bakonyi

1. Zeye Meyel 6:03
2. L'Ham 5:22
3. Beyna L'Ejwan 5:43
4. Aisha 3:53
5. Zid El Maal 4:56
6. Hamdushi II 11:07
7. Sandia 5:58
8. Galou 5:13
9. Mash Q'Mani 3:10

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