martedì 31 luglio 2012

Jahida Wehbé – Katabtany جاهدة وهبة – كتبتني



Jahida Wehbe is a true all-rounder of a performer. Poet, comedian in the theatre, on television and in film, orator of poetry, she is also a singer/songwriter. Her voice gets into our very souls, A silken voice, the top tarab performer, says the Arab press about Jahida Wehbe.
Jahida Wehbe studied at the Lebanese University; she receives a BA in Psychology from the Lebanese University and at the Lebanese National Conservatory of Music where she learned oriental song, Syriac chant, Qura'nic recitals, and to play the 'ud (Middle Eastern lute).
She also holds a Master’s Degree (MA) in Acting and Directing from the Lebanese University – School of Fine Arts. Jahida is a member and the President of the Culture and Programs Committee at the Professional Musicians Syndicate in Lebanon, she is also a member at SASEM.
Working with the great Lebanese theatre producers soon made her famous in Lebanon. At home she is not only known for the exceptional quality of her voice but also for the strictness with which she chooses her repertoire. She only sings songs that were either composed for her, or were composed by writers of the inimitable 20s, such as Zakaria Ahmad, Sayed Darwish and Mohamed Kassabji. The words are always those of great poets.
Jahida Wehbe is known for her brilliant technique, scintillating performances and impeccable skills. Her musical sensitivity and ability to improvise and embellish the basic rhythmic patterns familiar to Arabic Music, as well as her extensive knowledge of ethnic musical history have made her unique.
Her music and melodies are inspired by the solidity of the lyric and from a profound feeling of the rhythm of the word. The intermarriage between word and tune takes us into the whole world.
Throughout her extensive career, Jahida Wehbe has been performing various styles of music ranging from Classical music, Sufi, patriotic and traditional Arab music, as well as Arab fusion music. Considered one of the most outstanding singers, she has toured throughout the Middle East, Europe, Canada, America, and Australia, and made a significant difference in bringing the beauty and rich cultural history of Middle East through music to occidental Audiences.
Jahida Wehbe has been performing live, touring several countries, venues, and festivals, carrying the torch of excellence and quality music wherever she performs
Jahida Wehbe is acknowledged not only for her musical talent and contribution, but also as a cultural icon acclaimed by millions worldwide.
Wehbe has headlined at the most prestigious venues in the world; her music lies at the crossroads of East and West, combining old and new, blending classical Middle Eastern instruments with modern sound technology.
Setting poetry to music, Jahida’s vocals honor the words of Arab poets, combining the language of life and love with today's endless musical possibilities.
Jahida has played several main acting and singing roles in many avant-garde Lebanese and Arab Directors plays such as “Ayyam Ruba’iyat Al Khayyam” produced by Baalbek International Festival, “Ounshoudat al Matar” directed by the Iraqi Jawad Al Assadi and “Sakhrat Tanios” directed by Gerard Avedissian, "Nisa' el saxophone by the Iraqi director Jawad al-Assadi," and the film, "Shula Cohen, the Pearl – directed by Fouad Khoury. Moreover, she has participated in several television series and films. Jahida was awarded the first prize at the Lebanese University for her film “Rassasa Farigha” or void bullet.
She has worked with prominent Arab Artists such as Wadih El Safi, Elie Shwayri, Zad Multaka, Ziad Boutros, and others…
On the other hand, Jahida has paid tribute to many of the most famous Arab singers such as Oum Koulthoum, Wadih El Safi, Mohammed Abdel Wahab, Asmahan, Sayyed Darwish, Mohammed Abdel Muttalib, Feyrouz…
She has performed in many poetry reading events where she has composed music for lyrics by many Lebanese, Arab and International poets such as: Ibn Arabi, Rabi’aa Al’adawiya, Jalal Eddine El Roumy, Mahmood Darweesh, Ounsi El Hajj, Talal Haidar, Jibran Khalil Jibran, Badr Shaker Assayyab, Nazek Al Mala’ika, Gibran, Goethe, Adonis, Taghor…
She officially represented Lebanon in several seminars and events such as: The Cultural Arabic Festival in Europe / Alrouwwad Al’ Arab Festival sponsored by the Arab League / The Arab Music Festival in Cairo Opera House/ Jarash Festival in Jordan/ Santa Cecelia Festival in Rome (she was the first Arab singer to sing at this festival)/ Frankfurt’s Book Festival in Germany….
She performed in many concerts in Lebanon and abroad in collaboration with several cultural organizations and artistic institutions on both the regional and international levels. Moreover, several Arabic and international festivals and events have awarded and honored her.
Jahida represented Lebanon and the Middle East in the “Arab Women's Excellence Forum” in Istanbul as well as in one of the world's most important festivals entitled 'Fez Sufi Hymnals' held in Morocco in June 2007.
Katabtany, her record-breaking album made headlines worldwide. It comprises musical compositions of her own and lyrics by Gunther Grass (Nobel Prize in Litterature 1999), Ahlam Mustaghanmi, Unsi El Hajj, Talal Haidar, Amal Al Jiboury, Lamee'ah Amara, Al Hallaj, and Abu Firas Al Hamadani.
Within a year, that album was breaking record sales throughout the Middle East and gave Jahida additional taste of success. Since then, Jahida’s voice has brought her fame throughout the Arab world and beyond. She hasn’t rested on his laurels but released "Ayyouha el nesyan habni koublatak" album, as a part of Ahlam Mostaganemi’s book Nesyan.com, an album that has brought something new and different. Jahida continues to push the envelope.


(Source : http://www.jahidawehbe.com)



Jahida Wehbé – Katabtany جاهدة وهبة – كتبتني





















1 – My Empty Shoes (Gunter Grass)
1 – أحذيتي الفارغة (كلمات غونتر غراس)
2 – Don’t Look Back (Gunter Grass)
2 – لا تلتفت إلى الوراء(كلمات غونتر غراس)
3 – Words (Ahlam Mosteghanemi)
3 – كتبتني (كلمات أحلام مستغانمي)
4 – Towards Each Other (Onsi El Hajj)
4 – لندع تلاقينا (كلمات أنسي الحاج)
5 – Wishing (Talal Haidar)
5 – ياريت فيي إنهدى(كلمات طلال حيدر)
6 – Reborne (one take) (Ahlam Mosteghanemi)
6 – أنجبني (كلمات أحلام مستغانمي)
7 – If Only (Abu Firas Al Hamadani)
7 – فليتك تحلو(كلمات أبوفراس الحمداني)
8 – If You Leave (Al Hallaj)
8 – إذا هجرت (كلمات الحلاج)
9 – Oh! Tigris (Amal Al Juboury)
9 – يا دجلة الذكريات (كلمات أمل الجبوري)
10 – Bewildered (Ahlam Mosteghanemi)
10 – مذهول به التراب (كلمات أحلام مستغانمي)
11 – Beirut (Lamiaa Abbas Amara)
11 – (بيروت (كلمات لميعة عباس عمارة)


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lunedì 30 luglio 2012

Anthology مختارات - Sayed Darwish سيد درويش







Sayed Darwish was an Egyptian singer and composer who was considered the father of Egyptian popular music and one of their greatest musicians and their single greatest composer. He was born in Alexandria on March 17, 1892. Darwish died of a heart attack in Alexandria on September 15, 1923 (aged 31). The cause of his death is still unknown. Some say he was poisoned, others say he died from a cocaine overdose.Sayed Darwish put music to the Egyptian national anthem, Bilady, Bilady, Bilady, the words of which were adapted from a famous speech by Mustafa Kamil.
Coincidentally, on the day of his death, the national Egyptian leader Saad Zaghloul returned from exile; the Egyptians sang Darwish's new song "Mesrona watanna Saaduha Amalna", another national song by Sayed Darwish that was attributed to "Saad" and made especially to celebrate his return, the celebration that Sayed could not attend.




Sayed Darwīsh ( Alessandria d'Egitto, 17 marzo 1892 – Alessandria d'Egitto, 15 settembre 1923) è stato un cantante e compositore egiziano, considerato uno dei padri della musica popolare egiziana e vicino-orientale in genere.

Prolifico autore di canzoni in lingua araba egiziana, ancor oggi di grande popolarità, e di operette quali Shehrazad (Shehrazade), al-Bārūka (La parrucca) e al-ʿIshra al-ṭayyiba (La [bella] compagnia), Darwīsh è noto anche fuori dalla sua patria per aver composto la musica dell'inno nazionale egiziano, Bilādī, Bilādī, Bilādī, le cui parole erano state adattate da un famoso discorso pubblico di Muṣṭafā Kāmil.
Nato nel quartiere alessandrino di Kom al-Dekka, Sayyid Darwīsh studiò da bambino in una scuola coranica (kuttāb) appassionandosi alla musica popolare. Fu notato Selim Atallah, capo di una troupe musicale e integrato subito nella sua formazione.
Nel 1909 partecipa a numerose tournée in diversi Paesi arabi, senza però riscuotere un successo particolare. Nel 1913 effettua nuovi viaggi e in Siria incontra ʿOthmān al-Musallī, una grande personalità della musica araba dell'epoca. Nel 1916 si unisce alla compagnia di Georges Abyad e di Salama Hegazi, riscuotendo un crescente consenso di pubblico, che ascoltava e cantava sempre più frequentemente le sue arie e le sue canzoni.
Darwīsh morì per un attacco di cuore, dovuto probabilmente da una overdose di cocaina ad Alessandria di Egitto il 15 settembre 1923 all'età di 31 anni. Per pura casualità, il giorno della sua morte, tornava dall'esilio il popolare leader nazionalista egiziano Sa'd Zaghlul e gli egiziani lo accolsero con la nuova canzone composta da Darwīsh, Bilādī, Bilādī, Bilādī, che è diventata nel 1979 il nuovo inno nazionale egiziano.
La stessa musica è stata utilizzata come inno per alcuni anni dal movimento nazionale palestinese.
Tra le sue canzoni più famose al-Ḥilwa dī ([Quel]la bella ragazza), Zūrūnī kullu sanat marra (Vienimi a trovare una volta l'anno), Shad al-ḥizām (Tira la cinghia), Anā hawayt (Sono innamorato),[Q]um yā Maṣri (In piedi, o Egiziano), Anā raʾaytu rūḥī fī bustān (T'ho visto anima mia in un giardino) e Sālma ya Salāma, espressiva della malinconia degli emigrati. Quest'ultima ispirata dai versi del poeta Badīʿ Khayrī, ebbe grande successo in Europa. Nel 1977 ne cantò una versione francese Dalida (anch'ella, in qualche modo, un'emigrata) e in Italia fu riadattata da Umberto Tozzi (Uomo di sabbia). Fu inoltre inserita nel 1996 nella colonna sonora del film francese Pédale douce, diretto da Gabriel Aghion.

(Source : Wikipedia)





Sayed Darwish سيد درويش - Anthology مختارات






















01 قوم يامصري
02 شد الحزام
03 يادنجي دنجي
04 سالمه ياسلامه
05 هزالهلال ياسيد
06 ماقلت لك
07 حرج عليا بابا
08 ضيعت مستقبل حياتي
09 اوعي يمينك
10 ضيعت مستقبل حياتي
البحر بيضحك11
12 الحلوة دي
13 أنا هويت و إنتهيت



Waddaato Baghdad ودعت بغداد Sahar Taha سهر طه



Sahar Taha is an Iraqi musician and journalist living in Lebanon who co-hosts the Lebanese programme Banat Hawa onLBC. She is best known for playing the oud in both eastern and western music.
In 1984 Taha received a MA in Business Administration in Baghdad, followed by a degree in Oud and Singing from the National Conservatory of Lebanon in 1989. In addition to her career in music, Taha is a writer for various Arabic and Lebanese newspapers and has been writing for Beirut's daily Al-Mustaqbal since 1999. She has also presented numerous musical programmes in the Arab media and worked for Future TV and ART television stations in the mid-90s.
Staying present in the musical scene, Taha served as a judge in musical festivals and programmes across Lebanon and Egypt in 1995, 2001 and 2002.
Since 1997, she has been a member of The Professional Artists Syndicate, as well as a member of honor in the Munir Bashir Oud and Traditional Musical Art International Foundation, in remembrance of internationally famous Iraqi oudist Munir Bashir.
Since 1986 Taha has performed in many concerts throughout the Middle East and Europe; in Lebanon, Jordan, Egypt, Tunisia, Syria, Qatar, Germany, Austria and her native homeland Iraq.
Taha married a Lebanese and is now a naturalized Lebanese national. She still has family in Baghdad.
 (Source : Wikipedia)


http://www.sahartaha.com




Baghdadiyat بــغــداديــات - Omar Bashir Featuring Sahar Taha عــمـــر بــشــيـــر فـي عــرض لــ ســحــــر طــــــــه


[.01.] Haleila Hilwa هالليلة حلوة
[.02.] Salam A'alaya سلّم علي
[.03.] Che Mali Wali جي مالي والي
[.04.] A'ami Ya Baya'a El Warid عمي يا بياعم الورد
[.05.] Yalli Nesetouna يلّي نسيتونا
[.06.] Marena Beikum Hamad مرينا بيكم حمد
[.07.] Ya Um El Oyoun El Soud يا ام العيون السود
[.08.] Qul Le Ya Hilou قل لي يا حلو
[.09.] Mayhana Mayhana ميجانة ميجانة
[.10.] Mini Shbitha Wu Tathini مني شبدا وتاذيني




Waddaato Baghdad ودعت بغداد 




















1 . Wadaato Baghdad - Poetry: Hadi Al Khafaji
2 . Maqam Lami (Auhaddithuho)
3 . Ya Tayr - Fouad Salem
4 . Shlonak - Salah Abdel Ghafour
5 . E lahy - Poetry: Abdel Wahhab Al Bayati
6 . Marro Alay - Nathem Al Ghazali
7 . Tamer Blady - Poetry: Saheb jawab
8 . Law Lilgharam Hakem - Zuhour Hussein
9 . Shukran Mahbobi - Poetry: Ibrahim Shaaban
10 . Ashgar Bishamah - Fadel Awwad
11 . Fog el Nakhel - Nathem Al Ghazali
12 . Majina - Lyics: Karim


sabato 28 luglio 2012

Karloma - Music From Palestine (2001)



Karloma is a trial of musical outlooks. Its members belong to different musical cultures, but meet spiritually in Palestine , the place of our beginning and a country of such magnetism that we all find ourselves inextricably tied to it, no matter where we are in the world. The first CD, Karloma, was a combination of original compositions by Ahmad Al-Khatib, and pieces taken from the repertoire of classical Arabic music, but with the ethos of Karloma running like a thread throughout. Twisting and turning, delicate calligraphic ornamentation and improvised moments of truth arise from solid musical ideas and forms. These days they continue to find voice and inspiration in the older repertoire, but they are focusing more and more on playing original pieces by members of the group.

(Source : http://oudmusic.wordpress.com)

www.karloma.com




Karloma - Music From Palestine (2001)


Each piece in this CD is a well-furnished musical experience based on a simple melody. Around this basic line is a plethora of images, intertwining sounds and playful ornamentations, which can be interpreted by the listener in many ways.

01. Sama'i Shat araban : Tanbouri
02. Longa HijazKar : Saboukh Efendi
03. Zawalif : Ahmad Al Khatib
04. Silk Road : Ahmad Al Khatib
05. Sama'i Muhhayer Kurdi : Sai’di Ishillay
06. Zeina : Mohammad Abdul Wahhab
07. Once upon a time : Jamil Bashir
08. Zar : Ahmad Al Khatib
09. Kelmet Atab : Ahmad Al Khatib
10. The Flying Bird : Mounir Bashir

HERE

Rum / Tareq Al-Naser - Urdon

Rum Tareq Al Nasser Musical Group (The Official Group) 

Tareq Al Nasser is one of the most influential pioneers in the movement to revive Arabic music. A leading Jordanian musician, composer and arranger, Al Nasser left his print on the soundtracks of Arabic TV series since his beginnings in 1993. He later took his music to broader horizons.
His fame started with his soundtrack for "Nihayat Rajul Shujaa" (End of a Brave Man,) a drama series based on a novel with the same name by Hanna Mina, directed by Najdat Anzur. It was followed by Al Jawareh (Birds of Prey). In both works, his unconventional approach was clear, breaking away from inflexible patterns of Arabic music, which were associated with sung poetry according to unchangeable molds. Al Nasser created his personal style in music composition and arrangement..

Rum Group was established in 1998 by Tareq Al Nasser and was since then run by Russol Al Nasser, who majored in Fine Arts, as an independent band with a distinctive musical vision.
Rum performs Al Nasser's compositions, which are characterized with musical structure that can be described as novel and daring in oriental music, part from the innovative approach and the new spirit he added to the soundtracks he contributed to TV series, where the arrangements skillfully combined between oriental, western and international instruments.
The group also performs songs with a pure humanist approach, apart from its special interest in folklore music and songs, which is presented in a modern manner.
The group comprises more than 25 musicians whose different backgrounds complete each other's and, as a group, are emblematic of harmony.







Rum / Tareq Al-Naser- Urdon / طارق الناصر - اردن


01 Urdon
02 Rohy Ya Rouh روحي يا روح
03 Lamma Teshti لما تشتي
04 Me’aniyej – Jattna Resala (Jordanian Folklore) معانية - جَّتنا رسالة تراث أردني
05 Iram إيرم
06 Ya Yumma يا يُمَّه
07 Hob حب
08 Eshna عشنا ... على راس العين
09 Dagg Galby (Music) دق قلبي (موسيقى)
11 Men Nos Sa’a من نص ساعة
12 Mosaic موزاييك


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Bayna Bayn بين بين - Sharq شرق


A group that was formed back in the beginnings of 2006 in Amman, in an attempt to modernize and develop oriental music in a way that would preserve the music’s authenticity, yet, give it a fresh and new sound. With some of the best musicians in the region, and two vocalists (Male & Female) who beautifully sing Arabic pieces of lyrics and poems by some of the world’s prominent writers. The album includes pieces that are considered excellent examples of the fusion of the past and future, such as the Arabic classic Ajibtu “I Wondered,” a Sufi poem by Mansour Al Hallaj (AD857-AD922), and original compositions such as “Bayna Bayn” by Tareq El-Jundi

Tareq Al Jundi
Born in Amman in 1983. He started to learn and play Oud at the early age of 11. When he joined the Jordanian Academy of music.
He got his first B.A. in chemical engineering in 2007 and he is getting his second B.A in cello performance as a student in National Music Conservatory of Amman.
Tareq didn't wasted any moment from his life for the sake of oud so he attended many workshops and private lessons with all the oud teachers in Jordan and some other countries like Syria and Lebanon and Egypt
He performed many concerts as a solo player or in a band in Jordan, Syria, Lebanon, turkey and Italy, As a member of Sharq, this gave him the chance to compose, re-arrange and conduct a lot of his own compositions or other musical pieces and song of many Arab musicians.

Ala’a Takrouri
Ala’a was born on February,1982. At the age of 12, she put her hands on the flute for the first time in school. Then after that,. In the year 2000 she was accepted in the music department at Yarmouk University to achieve her BA degree in Music/Flute. She completed her studies in the year 2004 as a top graduate and she started to achieve her MA in music performance at Kingston University/London in the year 2005/2006. At the present time, she is teaching at Yarmouk University. Mean while, she's a part of the Palestinian Youth Orchestra, and has been for the past 5 years and she is also a part of the Amman Symphony Orchestra.

Nasser Salameh
Nasser is a Palestinian who was born in Jordan in 1977. He is a self-taught musician, specializing in Middle Eastern percussion and all kinds of hand drumming. His talent has led him to participate in many festivals all over the world. He has performed with many groups and musicians, and joined sharq in 2007, he was teaching percussion at the National Conservatory of Music in Palestine and teaches percussion at the Music Academy in Amman. played and participated in many solo and as a member of group concerts in Jordan and abroad .

Lara Elayan
Lara was born in 1983, Amman/Jordan. She started her musical/singing talent since she was a young girl.
She graduated from Jordan University in the year 2005 with a BA in Sociology.
She started to learn the Oud in the year 2002 in the Jordan Music Academy. Lately, in the year 2008, she joined the National Music Conservatory to study vocalism and oud.
Lara has participated in many solo singing concerts with different musicians and music groups all over Jordan.

Khaled Bal’awi
Khaled was born in 1981. he started learning music at an early age,
Until he started learning the cello in 1999 when he entered collage. There he was instructed by various teachers who helped him establish a good base for a professional cellist., In 2005 Khaled continue his higher education, accordingly he joined Kingston University in London where he graduated with a master degree in music performance.
Khaled is now working at Yarmouk University, where he teaches the cello. Khaled plays now with different orchestras and music groups such as Amman symphony orchestra, Palestine youth orchestra, "Amman Arabic music band" and many other smaller groups.

Ma’en “Al-Sayed Ahmed”
Born in 1987. A percussion player who's specialized in oriental instruments and rhythms, with a good background in Latin, African, and Jazz music too. In spite of his young age, Maen have been working in the field of music and arts for 12 years now, he started as a cultural dancer then a cultural dancing teacher and designer, which made him have the patience of teachers and the learning skills of a student.
he started the journey of playing percussions 8 years ago by taking private lessons with Jordan’s best percussion player “Nasser Salameh”.
Although he is studying Electrical Engineering, he had the chance to play and participate in many concerts and workshops in and outside Jordan. He also took advantage of touring in Middle-eastern and North African countries such as Lebanon, Syria, Iraq, Bahrain, Egypt and Tunis to learn more about music in these countries. Which created this promising, young, professional percussionist.

Yarob Smirat
Born in August 1988,
His talent become apparent in the first decade of his childhood .He began his violin lessons at age of four,.
Joined the NMC Orchestra at the age of eleven. And he was recognized as a talented violin player.
In the recent auditions organized by the National Music Conservatory.
The jury recommended Yarob Smirat for the position of concert master assistant of Amman Symphony Orchestra.
In addition of playing with many different orchestras.
He took a part in many concert and music festivals.

Mohannad Attallah
Born in 1981.. at age of 10 Mohannad chose to be a saxophone player and he became a professional tenor and alto sax player.
Mohannad decided to study medicine and got graduated in 2007 with a MD in medicine
And now he is a student in the national music conservatory doing another BA in music therapy .
He performed in many concerts in and outside Jordan.



Bayna Bayn بين بين  -  Sharq شرق


[.01.] Tango Dance
[.02.] Ala Tareeq Aitat
[.03.] Al Ouf Mash'al
[.04.] 220 Volt
[.05.] Ka Makaber Al Shuhada'
[.06.] Sama'i Hijaz Kar Kurd
[.07.] Yassar
[.08.] A'jibto...!!
[.09.] Yamo
[.10.] Bayna Bayn


Hewar – 9 Days of Solitude, The Damascus Session حوار – 9 أيام من العزلة ,جلسة دمشق

 

The members of the ensemble are clarinetist Kinan Azmeh, oud soloist Issam Rafea, classically-trained soprano Dima Orsho, Khaled Omran (bass), Simon Mreach (drums), Badi Rafea ( percussion) all of whom are alumni of Solhi Al-Wadi's Syrian National Symphony Orchestra. All members are Syrians, though some live outside the country.

Hewar was unveiled with a concert that took place in the historical setting of al-Zaytuna Church in Damascus' old city in September 2003. The venue was packed to maximum capacity with 1,500 people, all of whom came through word-of-mouth to witness this event. The concert was such an immense success, and created a positive buzz for the band, leading to a follow-up and equally successful concert at the American University of Beirut (AUB) in January 2004, under the auspices of the Syrian Club.

In February and March 2004, Hewar, sponsored by the Syrian Embassy in Washington, and several NGOs promoting cultural understanding, such as the Middle East Institute, toured 10 US states, performing in packed venues as prestigious as MIT and the Kennedy Center to standing ovations. They later played one concert in Cologne, Germany in late March 2004 to a receptive and eminent audience, and in London. They also performed in Opéra Bastille in Paris, and in Tokyo jazz venue, the Shinjuku Pit Inn.

Hewar released their first album in December 2005 in Beirut and in January 2006 in Damascus, the launch of the album was very successful, and the album produced by La CD-Theque .

In collaboration with the three members of the German Manfred Leuchter jazz quarter: accordeonist Manfred Leuchter, Steffen Thormählen (percussion) and Antoine Pütz (electric bass, guembri) Hewar performed two concerts in Damascus in July 2006 and one concert in Marseilles in Oct 2006. This collaboration resulted in Hewar's second album 9 Days of Solitude in July 2007.Hewar's music brings together a diverse musical influences, and draws from many musical traditions—namely Arabic, jazz, scat singing, opera and classical music; which makes it a unique venture. The band, building on the individual talents of each of its members, juxtaposes and meshes these musical styles seeks to create genre-breaking music.

Hewar's members claim that musical personality, rather than an instrument driven approach, justifies the eclectic line-up of oud, clarinet, and soprano, emphasizes the ability of music to express a wide scope of human emotions and makes for a distinctively unique sound, a sound that allows for an open-ended "dialogue" (hence the name Hewar) between Arabic music, jazz and western classical melodies.Accourding to the band's website they seek to transcend the barriers of cultural disparities and misconceptions, and establish a civilized communication which builds on what brings humans closer together rather than separates them. This is achieved through a unique musical exchange between different musical personalities (using each individual instrument as the only means of this musical communication), reflecting an approach that is as musically-based as much as it has social and political references and subtexts.

Because today's world is growing ever closer, and cultural barriers and misperceptions should be coming down at an ever-increasing pace. In these iconoclastic times, communication and understanding constitute an indispensable element in the process of human interaction. The most elevated form of interaction is the Hewar (dialogue) between two—or more—seemingly disparate and unique points of departure, with the goal of reaching a common human ground.

It is in light of this simple philosophy of the indispensability of Hewar, that the ensemble Hewar (Dialogue, in English) was conceived. Hewar was formed by a group of young and established Syrian musicians imbued with a sense of an urgent cultural mission, creative motivation, and openness.

(Source : Wikipedia)


Hewar – 2005 – Hewar حوار – 2005 – حوار

Hewar Front cover 

1- Departure Issam Rafea رحيل
2- Evening Kinan Azmeh مساء
3- Project Issam Rafea مشروع
4- Loquacity Issam Rafea ثرثرة
5- Dance Ghanem Haddad رقصة
6- Prayer (Tribute to Edward Said) Kinan Azmeh صلاة
7- Rituals Kinan Azmeh طقوس
8- Ink Kinan Azmeh حبر

HERE

Hewar – 2007 – 9 Days of Solitude, The Damascus Session حوار – 9 أيام من العزلة ,جلسة دمشق  




Hewar - 2007 - 9 giorni di solitudine, The Session Damasco حوار - 9 أيام من العزلة, جلسة دمشق 


1 - Wedding (عرس (05:24
2 - Zar (زار (04:50
3 - 4 Days Later (بعد 4 أيام (08:45
4 - Arabesque (أرابيسك (08:07
5 - Airports (مطارات (07:48
6 - Love on 139th Street in D (حب على شارع 139 في دي (06:33
7 - Monterosa (مونتيروزا (03:47
8 - Neyanana (نيانانا (06:16
9 - Viva el Chechenia (فيفا ال تشيتشينيا (07:33
10 - Truth in Mirror (حقيقة في مرآة (06:54 


El Dor El Awal الــدور الأول - Qarar Izala / Aa'tareeq



El Dor El Awal started with a jam between Ahmed Omar and Mohamed Samy. They began rehearsing in this small flat on the first floor of a building, playing day and night for six months, to build a repertoire for el Dor El Awal. They were almost living together in this flat playing and searching for a personal sound, far from the considerations of the Egyptian musical market. They felt they were pouring their souls out on that first floor. So they decided to actually call the band El Dor El Awal that literally means the first floor in Egyptian dialect.

El Dor El Awal is not your typical Egyptian band. Even its formation is unusual. Two percussionists that play an original set with bongos, congas, kakhon, tabla and elements from the drums, a keyboard that uses a piano sound as well as electronic effects to add colors to the music. And finally a flute, a violin, and a saxophone, that create a very particular brass section.

Blending in their different musical backgrounds and adding each their personal touch, El Dor El Awal have truly succeeded on creating their own personal style and constantly delivering some fresh tunes that make their way straight into the hearts of the audience.

When a group of seven young, talented, and highly inventive musicians get together to rehearse daily for six months on the first floor of a derelict building, the end result is ‘Qarar Izala’, the first album from Egyptian band Dor el Awal.

Their name is a pun on the Egyptian expression for ‘the first floor’, as well as a reference to this promising band’s first musical foray.

Meshing their different musical backgrounds together, they have succeeded in creating an intensely personal tapestry of sounds, one that fuses oriental "Taqassim" on qanoun and flute, jazzy improvisations on saxophone and flute, as well as Spanish/flamenco meanderings on two tracks.

Their concerts are great experiences where the saxophone, flute and violin intertwine with layers of bass and percussion, the build-up leading the audience into a trance-like state.


(Source : http://www.myspace.com/eldorelawwal)



Qarar Izala قــرار إزالــــة   El Dor El Awal الــدور الأول

 

[.1.] Blue hair الـــشــعـْــر الازرق
[.2.] Qarar izala قــرار إزالــــة
[.3.] Bossa بـــوســا
[.4.] Hawiyya حـــكــويــة
[.5.] Hawdag هـــودج
[.6.] Rehla رحــــلــة
[.7.] Iskandaria اســكــنــدريــة
[.8.] Megansa مــاجــنــســـيــة
[.9.] Sohba صـــحــبــة


Download

Aa'tareeq عــالـطـريـق   El Dor El Awal الــدور الأول


[.01.] Kitty
[.02.] Aa'tareeq
[.03.] Asmara
[.04.] Kalam
[.05.] Rogoa
[.06.] Raqs El Hawanem
[.07.] Hasaballah 2000
[.08.] Sowan
[.09.] Nefertari


Amal Murkus أمل مرقس‎ - Discography

 

Amal Murkus (Arabic: أمل مرقس‎) is an Arab Christian singer living in Israel. Her post-modern music style has a variety of Mediterranean influences. Her first album, Amal, was released in 1998, and her second, Shauq, in 2004. Her songs take inspiration by Palestinian folklore, traditional Arabic heritage, and pop music elements, and express the struggle against the marginalization and exclusion that Arab Palestinian culture feels.
Murkus was born and raised in the Arab town of Kafr Yasif in Galilee, and has devoted her career to promoting Palestinian music and culture in Israel and abroad. Murkus has been performing since she was five years old. In 1979, she won first prize in the Israeli Arab children's song festival, and went on to graduate from the Institute for Stage Art in Tel Aviv in 1990.
Murkus is a member of the counseling board of Free Muse, an organization working against the censorship of art and music. She took an active part in its congress in Denmark in 2003. Amal is currently studying art as a tool for social change at Musrara College in Jerusalem. Murkus appears regularly on TV in various educational and cultural programs. She has also appeared in feature films and was nominated for the Israeli Oscar for her performance in Ali Nasar's movie The Milky Way. In 2003, Murkus won 'Best Actress' at the Haifa Theatre Festival. Her extensive vocal range and abilities enable Murkus to sing in a wide variety of genres, from traditional Arab to modern popular western styles. As a result, she has created some remarkable collaborations with other artists and international musicians, including Joan Baez in an anti-war concert that took place in Tel Aviv in 1988; Mercedes Sosa; Oliver Shante, Germany; Stadio, Italy; the Greek singer Glykeria; Noa; Anwar Ebrahem from Tunisia, Enzo Avetable of Italy; Nani Cayemi in Brazil;Robert Wyatt in the UK and The Royal Liverpool Philharmonic Orchestra (UK) in 2005, and many others.
Murkus has also completed projects with the Palestinian poets Mahmoud Darwish in Nazareth in 2000 and Kafr Yasif in 1999, and Samih al-Qasim in 2006. Murkus has received many commendations for her unique art and music and for her work with local communities.
In 2001, Murkus was chosen by Austrian TV as one of the most beautiful voices of the 20th century, after taking part in a music film produced by the ARTE TV "Premadonas Fest", by the director-musician Andrew Heller, with Jesse Norman and Harris Alexiou, D.D. Bridgewater and others. Her first album, self-entitled “Amal” was written and composed by a diverse group of artists and musicians. It was released internationally in 2000 by EMI Hemisphere.
Her second album Shauq ("Longing") was recorded live in April 2004, at the Crown Hall in Jerusalem, with the Jerusalem Symphony Orchestra. Her third album is Na'na' ya Na'na' ("peppermint, O peppermint").
Past performances: Amal has appeared in an array of international music festivals, including: Womex (Spain); Festival Of Arab Arts (Liverpool, UK); Bath Festival (UK); Tudos Os Cuntus De Nondos (Brazil); "Almadina" (Tunisia); Ethnos (Italy); Ethnic Music Festival (Sicily); The Whit Night (Naples); The Jubilee Day Live Show (Vatican 2000);The Dho Ziff, Festival Of World Culture (Ireland);"Elias Crean" (Madrid); Casa De Arab Official Evening (Madrid); Tira & Peace (San Marino); "Voices " (Luxemburg); and The Royal Festival (London). Yaffa Cafe and Bookshop December 8, 2007 Jaffa Israel.
Amal has toured in Italy, Germany, France, Russia, Brazil, Spain, Denmark, Bulgaria, Greece and others. Compilations & Guest Appearances: 1998 Seven Times Seven – Oliver Shanty and Friends (Satva Music Germany) 1999 Voices From The World – Various Artists (NMC) 1999 Sweet Sorrw, Glykeria – Amal featured on the Single “The Mothers Prayer" (NMC) 1999 Radio Darwesh, Amal appeared as a guest performing 2 Songs (Polygram Italy) 2000, In Paradiso Conte, Duet With "Stadio" (EMI Italy) 2002 Majles Arab Songs (Virgin) 2002 Ethno (Eros, Greece) 2003 EMI Australia 2005 Label Bleu – France. 2007 Putumayo – World Music USA.
Amal considers herself a "Palestinian singer", and believes that her national pride is a cause of disconcert for many Israeli Jews. Her feminism has led to several conflicts with the Islamic Movement in Israel, which demanded that her performances be cancelled during the Ramadan. She says "I refused to cancel. I knew that this was not the real reason, since singing during Ramadan is not forbidden. I suppose that the people from the Islamic Movement are bothered by my social agenda. I criticize not only the Jews, but also what is happening in my own society. I call for the liberation and empowerment of women. I believe that women hold the key – if they do not progress, society will not progress. But the Islamic Movement does not want women to progress. It wants us to remain in the dark".
In August 2008 Amal sang at the birthday of Maria Amman, a Palestinian girl from the Gaza Strip who lost her mother, two of her brothers, her aunt and her grandmother after her house was hit by an IDF projectile, which also left Maria severely injured and almost completely paralyzed. Murkus said that she was trying to "give Maria a mother's attention, not just my songs, in a humble attempt to fill a tiny bit of the void left in her life. I came today to utter Maria's voice. The voice of Palestinian children, who are victimized by the war. The State should allow Maria and her family to stay, in order for her to receive the best treatment possible; that would be the least the State can do in order to make up for what has happened to this child".


(Source : Wikipedia)



Amal Murkus أمــل مُرقس - Shauq شوق


 


01). Diary Of A Palestinian Wound يوميات جرح فلسطيني
02 How A Song Is Born كيف تولد اغنية
03). Stranger In A Far City غريب في مدينة بعيدة
04). Waiting For A Baby Girl جينة عروس(
05). Papers ورق
06). Come To Me تعالي إليّ(
07). Grandma ستي
08). Torch Of The Magi نيران المجوس
09). Longing شوق(
10). Hawana هوانا


HERE


Na'na ya Na'na نعنع يا نعنع-Amal Murkus أمـــل مرقس


-. Marshoosha مرشوشة
-. Alrozana ع الروزانا
-. Ah ya asmar آه يا أسمر
-. Nasrawiyyat نصراويات
-. Elsaber الصبر
-. Skaba سكابا
-. Na'na ya Na'na نعنع يا نعنع
-. Taei al fay تعي ع الفي
-. Hayman هيمان
-. Bhallelak بهللك
-. Yallah elgheth يالله الغيث
-. Tahat elKhail تحت الخيل
-. Hamam eldar حمام الدار
-. Azzab عذب قلبي


HERE


Amal Murkus أمــل مــرقــس   Baghanni بــغــنـّــي


 


01 Baghanni
02Kam Alba3edo? 
03  Kol Shi
04 Mas2 Sager
05 Abbay 
06 Doq  
07  Ezra3oni 
08 Ana Ray7a
09 7ob W Fara7
10 Akraho Safka Aldam 
11 3ala Hazeh Al2ard

 HERE


Amal Murkus - Amal (1997)

 

1) Hkaye (A Tale)
2) Hulum (A Dream)
3) Taalu (Come On Poet)
4) La Ahada Yalam (No One Knows)
5) Tamahali
6) Risalatohu Lakhira (His Last Letter)
7) Ya Oud [acapella]
8) Asfur (The Bird)
9) Alouf Mashaal [Palestinian folk song]
10) Ya Ba La La [a folk/love song]
11) Dunia Lwan (Colourful World)
12) Yaumiat jorh falastini ( The Memories of a Palestinian Wound)


HERE


Sprinting Gazelle: Palestinian Songs From the Motherland and the Diaspora ريم الكيلان Reem Kelani

Reem Kelani al Cemal Resit Rey Concert Hall, Turchia 

For the past decade, Palestinian singer, musician and broadcaster Reem Kelani has been working with some of the best British Jazz musicians, introducing them to and training them in Arabic music. She has toured extensively with her band, in the UK and internationally.

Reem has also brought musicians together, extending her UK based line-up on international tours to include musicians from Syria, Egypt, Iran, Turkey and Portugal.

Reem’s profile in the Arab and non Arab world continues to grow, all the more to her credit as an unsigned artist who has preserved her independence, musically, spiritually and politically.

Following her acclaimed British Council tour in Syria in 2007, Reem's “Anglo-Syrian” band performed at Jableh Festival, Lattakia in July 2009, in south-east Turkey in October 2009, at the Asian Games in Guangzhou in November 2010, and at World Music Shanghai in May 2011.

Joint projects- Exceptional Turkish collective Kardes, Türküler
- Turkish Roma clarinet virtuoso Selim Sesler
- “From Palestine to Portugal” with Portuguese Fado singer Liana. A first of its kind, the project combined the poetry of Palestinian national poet Mahmoud Darwish and Portuguese Nobel laureate José Saramago
- Duo Jazz project with the exceptional Jazz pianist Bruno Heinen


Special commissionsReem’s acclaimed composition “Paradise in Strangers” with the Beating Wing Orchestra, an ensemble of locally based refugee musicians was commissioned by Manchester International Festival in 2007.
“If anyone can do it, that person is Reem Kelani. She has a genius for finding the universal in the particular. Her album, Sprinting Gazelle, introduced jazz musicians to Middle Eastern modes and was pure and profound. The 'f' word ('fusion') doesn't even apply.” Mike Butler, The Metro

Nominations- BBC Alba’s A’Gharaids series, featuring a special collaboration by Reem Kelani and Gaelic singer Catriona Watt, nominated for the Scottish Traditional Music Awards 2009
- Arab-British Culture and Society Award Nomination 2008 – a special commendation for Reem’s “notable contribution to our knowledge and understanding of the life, society and culture of the Arab people”
- Paul Hamlyn Foundation Breakthrough Fund Nomination, 2007
- Glastonbury Unsigned Bands finalist 2005


Debut albumTitle: “Sprinting Gazelle – Palestinian Songs from the Motherland and the Diaspora”
Label: Fuse Records
Best of 2006: Financial Times, Time Out & New Internationalist
More than 50 first class reviews from across the world.


“A lovely stillness pervades this album, whose illuminating English-Arabic liner notes are a work of art in themselves.” Michael Church, BBC Music Magazine


Forthcoming album

Reem is currently working on her next album, a tribute to the great Egyptian composer Sayyid Darwish (1892 – 1923), which she hopes to release in 2012.

She has been working on this project for the past eight years, conducting field trips to Egypt, Syria and Turkey as part of her research. Some of the new songs already form part of Reem’s live repertoire.

Press quotes

“I thought, there she is, Reem Kelani, pouring every milligram of her being into this performance, her audience rapt, transported before her, and there's this precious, non-violent force transmuting a mouthful of air into articulate energy, an energy that evokes sympathetic vibrations through whole communities, giving hope and strength, lifting human spirits from out of their dark times.” Brian Robinson, Musicweaver

“Palestinian singer Reem Kelani was a new name in my world, but the woman was so endearing I'll never forget her.” Gary Bannister, Dimitriou's Jazz Alley, Seattle

“What I found here was more than just mere singing. I saw the amazing presence of this singer, her towering stance and appearance on stage, her interaction with the band and with the audience.” Rashed Issa, as-Safir, Syria & Lebanon

“When she told me earlier that she did not see any difference between jazz and Arabic music, it sounded a stretch; here, for a moment, the two spin together so fast they sound like one.” David Honigmann, Financial Times

Background

Born in Manchester, England, and brought up in Kuwait, Reem qualified as a biologist in 1986 at Kuwait University. Upon her graduation and before switching to a full-time career in music, she worked for two years as an assistant marine researcher for Kuwait Institute of Scientific Research (KISR) and two years in research management for the Vice Rector of Research at Kuwait University. Reem is also a literary translator: she assisted her father Dr. Yousef Kelani in the English-Arabic translation of Manfred Ullman’s seminal book ‘Islamic Medicine’ in 1980 and she currently works with the likes of literary editor and historian Dr. Salma Khadra Jayyusi. The sleeve notes of Reem’s debut CD are another example of her translation work.


(Source : http://www.reemkelani.com/)



Sprinting Gazelle: Palestinian Songs From the Motherland and the Diaspora آه يا ريم الغزلان:أغاني فلسطينية من الوطن والشتات -  Reem Kelani ريم الكيلاني


01  Qata'en an-Nasraawiyyaat
قطعن النصراويات
02  'Adthab el-Jammaal Qalbi
عذب الجمال قلبي
03  Tahlileh Jaliliyyeh
تهليلة جليلية
04  Habl el-Ghiwa
حبل الغوى
(5). Mawwaal
 موال
06  Khawaatir wa-Asdaa'
خواطر و أصداء
07  Ya Reem al-Ghuzlaan
اه يا ريم الغزلان
08 Jaffa!
يافا
09 Qasidat al-'Awdah
قصيدة العودة
10  Il-Hamdillah
الحمد لله

venerdì 27 luglio 2012

Levantine Indulgence انغماس الشامي Gaida غيداء



For Gaida, morning in Damascus meant melodies: waking to the sound of her father’s radio while he shaved, the predawn intertwining calls to prayer bursting from mosques across the world’s longest-inhabited city. Strains of Umm Kulthum and Fairouz rose from radios and stores as horses clopped and cars purred by. The age-old harmonized with the modern.

These sounds shaped the gorgeous and thoughtful Syrian singer’s impeccable musical intuition and velvety yet crystalline voice, now channeled into the stunning live performances and bluesy originals of Levantine Indulgence, a set of songs as rich and subtle as the Fertile Crescent oasis of ancient Levant. With her voice as a common denominator, Gaida has found the soulful sweet spot where complex Levantine rhythms synch up with breezy hints of bossa nova, pounding belly dance beats, and that certain swing found only in jazz.

Gaida’s songs, refined over a decades-long journey, unite the elegance of Arabic poetry and the refined ornamentation of Middle Eastern vocals with the sophisticated urbanite sensibilities of her adopted home. They translate the elevated tarab (ecstasy) into the indulgence of a personal passion that drove the girl from Damascus to defy her beloved father and find her voice, meanwhile moving from intimate clubs to prestigious national venues like the Kennedy Center and major feature films, including Jonathan Demme’s 2008 drama “Rachel Getting Married.”

“For me, indulgence means giving yourself a treat,” explains Gaida, who is now based in New York. “When we perform as a band, we give ourselves the freedom to create something beautiful. We indulge ourselves. If I want to improvise, I improvise. I forget myself.”

Gaida comes by this indulgence honestly, having gotten a primer in Middle Eastern song and improvisation from toddlerhood. “My mother would sit with me in the living room and teach me the song word by word,” says Gaida. “Then I would sing it back to her. That’s really where my musical training came from.” Soon, Gaida was writing down favorite song on slips of paper, tucking them into her schoolbooks for safekeeping. Looking in a mirror to aid her first improvisations, Gaida began crafting her own highly personal versions of Syrian folk classics like “Almaya.”

Damascus itself conspired with Gaida’s warm and musical family, with their large record collection and love of musical get-togethers, to create a sonic foundation for the singer’s future art. Gaida fondly recalls the complicated chance harmonies that appeared as the city’s muezzins performed the calls to prayer.

“The call to prayer has been stuck in my soul since I was a little kid. Four o’ clock in the morning, when Damascus was so quiet, all the mosques were calling for prayer, and you hear the collection of them in the most unbelievable harmonies. Mostly I would hear the mosque next to our house, where they used to improvise from one maqam(melodic scale) to another. And improvise beautifully,” Gaida reminisces. “I think this is where I get a lot of the melodies in my head and why improvisation comes easily to me. You can throw me in any band and I invoke the sounds around me and mix them within me.”

Gaida had a chance to do just that, when her studies took her to Detroit to get a degree in biology. Her pursuit of a career in the sciences was encouraged by her engineer father who was opposed to his daughter becoming a professional performer. “I only know how to sing. It’s the only thing I do naturally. It’s like an itch. An itch that I can’t stop,” Gaida reflects. “When my dad did not encourage me, I felt like I had something wrong with me. Yet it increased my desire to do it. The more someone wants to stop you, the more you want to sing and make music!”

The itch led Gaida to her university’s music school and to a new world of American jazz, blues, and rock bands. Soon, she found herself performing a regular gig at a local Lebanese restaurant. “My eyes were always on the door worrying that my dad might come in. Even though he was in Syria!” she laughs.

Coincidentally, during her first restaurant concert, famous Lebanese poet Maroon Karam happened to be in town and caught the show. He was so taken by her voice, he gave her the bittersweet poem of separation that became “Ghayeb,” featured on the new CD. He also filed a story in the pages of a Lebanese magazine about his adventures in Detroit, praising Gaida as one of the best Middle Eastern voices he had ever heard. Gaida’s nightmare came true. “My family saw the article. Usually when families see something like that they are proud of you. But my mom called and said, ‘What are you doing? You are going to give your dad a heart attack!’” recalls Gaida. “I felt so guilty instead of proud. I stopped singing.”

Yet nothing could end Gaida’s passion for music. Melodies began appearing in her head when she least expected them. When her younger brother Ammar got married, she and her brother and musical collaborator, Adel, wanted to create a song together, but Gaida developed a frustrating case of writer’s block: “It was getting close to the wedding date and I still couldn’t come up with anything,” Gaida recounts. “Adel called me and said, ‘You are not going to do it; I’m going to do it.’ And I said, “No I will do it!” and hung up the phone and started singing a song. I called my brother back and started singing for him. He said, ‘Oh my god, that is it. That is it!’ The siblings recorded “Ammar” in Adel’s tiny bedroom studio in Queens. Breakthrough recordings of “Ammar” and “Ghayeb” from this mid-1990s period form the backbone of their respective final versions on the new album.

The next breakthrough came when she moved to New York and began hanging out in the city’s increasingly vibrant Arabic music scene—one that, like Gaida, is evolving a unique voice and sound. After a concert at Alwan for the Arts in Lower Manhattan, Gaida found herself jamming with oud player Najib Shaheen, which caught the ear of percussionist Johnny Farraj. Soon, Gaida became a fixture at Arabic jam sessions around the city, where she met Iraqi-American jazz trumpeter and santoor player Amir ElSaffar. Gaida would improvise melodies for ElSaffar, and he in turn would create a filigree of jazz-inspired arrangements for songs like “Kaifa Uhibuka.” The two bi-cultural musicians were coming from opposite ends—maqam and jazz—and meeting in the middle.

These new musical connections marked a rebirth for Gaida, who is also a trained speech therapist that works with Arab children and professional vocalists, a field that gave her scientific knowledge to back up her impeccable vocal technique. Her unstoppable passion for music led to a revelatory realization for her father: His daughter had become an amazing and respected artist, as well as a talented health professional. “Now I don’t feel guilty if I’m singing,” Gaida muses. “I did what my dad wanted me to do professionally.


(Source : http://www.gaidamusic.com )



Levantine Indulgence انــغــماس الــشــامــي Gaida غــيـــداء 

 

01 Dream 
02 Ammar 
03 Illak Shi 
04 Indulgence 
05 Kaifa Uhibuka 
06  Salam Min Dimashq 
07 Almaya 
08 Ghayeb 
09 Bint Elbalad

HERE

mercoledì 25 luglio 2012

Asateer Al Fann Al Arabi ( Legends Of Arabic Arts)



01.Oulli Aamalak Eh Albi - Mohamed Abdel Wahab
02.Enta Omri - Oum Kolthom
03.Gana El Hawa - Abdel Halim Hafez
04.Laktob Aawerak El Chagar - Farid El Atrache
05.Siret El Hobb - Oum Kalthoum
06.Ya Msafer Wahdak - Mohammad Abdel Wahab
07.Zay Al Hawa - Abdel Halim Hafez
08.Ya Habaybi Ya Ghaybeen - Farid El Atrache
09.We Daret El Ayam - Om Kolthoum
10.Quloulou - Abdel Halim Hafez
11.Sa'a Bekorb El Habib - Farid El Atrache

Download part 1
Download  part 2

Kamilya Jubran - Makan/Wanabni



Kamilya Jubran was born in Akka in the State of Israel, to Palestinian parents who are from a northern Palestinian village in Al-Jaleel. Elias Jubran, Kamilya's father, an authentic instrument maker and a music teacher; was her first source of classical Arabic musical education. In Jerusalem and for twenty years, Kamilya was Sabreen's lead song performer, and player of Oud, Qanoon, and other oriental instruments. www.sabreen.org. From 1982 to 2002, Kamilya along with Sabreen represented the voice of resistance; struggle for freedom, and a deep and dynamic artistic-political process that created a new style of a modern Arabic song.

Since 2002, Kamilya toured with her first project Mahattaat, then Wameedd, besides a solo performance in several Arab and European cities

Kamilya is creating and performing her own songs and music while roaming the in-between spaces of the world and non-commercial milieus with a number of European musicians.





Makan - Kamilya Jubran


1- Yaday يداي
2-Rafif رفيف
3-Suwar صور
4-Lafz لفظ
5-Qawafel قوافل
6-Makan مكان
7-Orjouha ارجوحة
8-Nabd نبض
9-Smat صمت
HERE



Kamilya Jubran & Werner Hasler – Wanabni كميليا جبران & فيرنر هاسلر – ونبني   

Kamilya Jubran & Werner Hasler - Wanabni

Wanabni (08:49) ونبني
Wanarif (06:58) ونعرف
Lam (05:06) لم
Wahdi (04:01) وحدي
Walasna (08:44) ولسنا
Waaddana (03:23)
Faqat (04:27) فقط
Asra (04:56) أسرى
Shams (04:52) شمس


Sabreen group




Sabreen Group – the Palestinian Music Group was formed in 1980 with a vision focused on the development of the Palestinian modern song, reflecting the humanitarian and cultural reality in general, and the suffering endured from the political situation in particular. Thus, their recordings remain imbued with a sense of hope, yet reflect the frustrations and longing associated with Palestine. Its music is constantly taking new directions and forms and as such, embodies the spirit of creativity and innovation. Sabreen music is a language and a world of its own and is derived from local sources (folklore, traditional music) as well as international sources (jazz, rock, etc.). This unique blend of music and cultures continue to distinguish Sabreen's music thus presenting it as a recognized Palestinian and International voice.

Rather than remain static, producing new albums but churning out the same sound year after year, its sound has evolved and matured to mix soulful lyrics with a fusion of musical influences, including classical oriental Arabic, and musical traditions from the east and the west. Its music is constantly taking new directions and forms and as such, embodies the spirit of creativity and innovation.

As they cannot be placed in the standard, tidy categories of most commercial productions in the music industry, Sabreen's recordings are laborious to promote, difficult to market, thus requiring sustaining financially. It is a blend of stubbornness and flexibility that has sustained Sabreen through the passing years, as it has had to compensate for the lacking infrastructure necessary for its growth.

Sabreen music is a language and a world unto its own. And is derived from the local sources (folklore, traditional music) as well as from international sources (jazz, rock, etc.). This unique blend of music and cultures continue to distinguish Sabreen's music thus presenting it as a recognized Palestinian and International voice.



While all Sabreen albums' liner notes include the names of individuals who collaborated with the group, on each recording, the following individuals remain the primary contributors to and full time members of Sabreen.

Said Murad
The founder of the group, Said is also the composer and arranger of all its music. He is the general director of Sabreen Association for Artistic Development and remains one of the prominent figures influencing music in Palestine. He plays numerous oriental instruments for Sabreen recordings, has also co-founded, and trained a number of local music and folk groups. He is on the board of directors for a number of local arts, production, and education centres and was the artistic director of a number of local music festivals. Said also composes music for theatre, films, documentaries, and for folk dance groups.

Kamilya Jubran
Kamilya is the lead singer of Sabreen. She is the group's co-producer and is the vice-director of Sabreen Association for Artistic Development. She learned and trained from her father, a gifted music teacher and instrument maker. Contributing to the lead vocals to all of Sabreen’s productions, she plays Oud and Qanoon.

Wissam Murad
Wissam first developed his voice and percussion skills at the age of five while participating in an educational music band for young people initiated by Sabreen. He went on to learn the Oud in their training center in 1990. He studied jazz piano for three years in a music academy in Jerusalem and he has performed solo in international music festivals and has contributed to recorded film scores, in addition to leading music training workshops with local youngsters.


(Source : http://www.sabreen.org) 




مجموعة صابرين Sabreen Group - دخان البراكين Smoke of the Volcanoes



01 - Jbeineh
02 - On Wishes
03 - Love on the Palestinian Way
04 - Opening - Al Fateha
05 - Smoke of the Volcanoes
06 - On Man
07 - Drink
08 - A Mother's Lyllaby
09 - Music  


HERE 



Death of the Prophet  موت النبي



 


01 - A Patriotic Song
02 - Khayyal Al-Mzaghirtat
03 - A Song for Childhood
04 - Hurly Burly
05 - Dance Of The Resistance
06 - Love
07 - Death of the Prophet Inst
08 - Ya Halali - يــا حــلالــي
09 - Improvisation on Moondance
10 - Eash Ya Kdeesh 



 Here Come the Doves



01 - The gypsy
02 - A letter from an Exiled
03 - Thirty Stars
04 - St. George
05 - The Gypsy
06 - Ramallah
07 - The Doves are Coming
08 - Abu Hableh
09 - The Pirate
10 - Yammay  


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