Tags: Bema Enno, Joseph Sakr, Ziad, ziad al rahbani, بما إنو, تلفن عياش, جوزيف صقر, جوزيف صقر بما إنو, جوزيف صقر وزياد الرحباني, زياد الرحباني, زياد رحباني, سراج, سراج على سراج, مربى الدلال, هيك بتعمل هيك

Tags: Der Nachtreisende, Instrumental, Iraq, oud, Saif Karomi, تحميل عود, سراج, سراج على سراج, سيف كرومي, عزف, عود, مسافر الليل

Ibrahim Ferrer was literally born into music– his mother gave birth to him at a dance in his hometown of San Luis, Cuba, in 1927. Orphaned at the age of 12, he sold fruit and sang on the streets for money and ultimately found his way into bands that played in the nearby major city of Santiago. The region around Santiago is widely thought to be the home of the bolero song style, but Ferrer didn’t sing boleros with the bands and dance orchestras he joined. The style remained in the back of his mind, though, through a career that took him to Havana, where his band Los Bocucos immortalized two of Cuba’s great songs, “De Camino a la Vereda” and Faustino Oramas’ classic composition “Ay, Candela”, both uptempo son tunes miles removed from the sensual, slowly swaying rhythms and billowing melodies of the bolero.

“Una Fuerza Immensa”, from 1977, was the only bolero in his catalog until his late-life resurrection with Buena Vista Social Club, where he finally got to put his naturally rich and expressive voice to work on one of the all-time great compositions of the form, “Isolina Carillo’s “Dos Gardenias”. Looking back, it seems obvious that this man, who once accurately compared his own voice with the flavor of Eastern Cuban rum, should have had free reign to sing these songs all along.

Mi Sueño, literally “My Dream,” is an entire album of boleros and contains Ferrer’s final recordings, made in the years before his death in 2005. For a record that focuses so tightly on such a specific form, it’s remarkably varied, giving his voice complete freedom to roam through the songs. It’s the type of music I’ve come to appreciate a great deal more as I’ve grown older, free of pretense and just plain beautiful. Ferrer could have left no better goodbye to the world.

It nearly didn’t come out. Ferrer died in the midst of recording Mi Sueño, and it wasn’t until after a clutch of well-recorded demos were hunted down that the whole album could be pieced together. Another song with fellow elder statesman Rubén González on piano, “Melodias del Rio”, was added from a 1998 session with Ry Cooder, and the final tracklist runs by like a river of melody and languid, jazz-informed Cuban rhythm.

So it’s a dream fulfilled late, but thankfully the work was put in to see it through, as there are some amazing performances. “Perfidia” is stunning Cuban jazz, with expansive piano from co-producer Roberto Fonseca providing a deep, deep groove that Ferrer sinks right into. “Cada Noche Un Amor” nods to the James Bond theme, perhaps coincidentally, in its opening chords, and then dives into a Santiago slow burn, with Ferrer stretching out and just letting the song spill over the chords as the melody demands. Guitarist Manuel Galban, once the leader of vocal group Los Zafiros and long a personal favorite of mine, is right behind, trading intoxicating lead phrases with Fonseca. His brief solo is gorgeous.

My favorite, though, is “Copla Guajira”, where the tempo picks up a bit and Ferrer trades phrases with clarinetist Javier Zalbar. Galban lends his unmistakable, spindly leads, heightening the late night cool of the song. It’s wonderful to hear musicians playing in such telepathic sympathy with each other in any context, but that this was a project that so clearly meant the world to Ferrer heightens the passion just that final bit more. Newcomers to Ferrer’s music can’t really go wrong with his Nonesuch output, and this is as wonderful a place to start as any, though those seeking a bit more history would be well advised to check his volume of Escondido’s excellent Cuban Essentials series. For devotees of Cuban sounds, Mi Sueño is a dream come true in any language.

Joe Tangari, June 25, 2007

http://en.wikipedia.org/wiki/Ibrahim_Ferrer

Track List:

1. Dos Almas (04:05)
2. Si te contara (03:21)
3. Melodia del rio (02:51)
4. Cada noche un amor (03:20)
5. Deuda (04:24)
6. Uno (04:20)
7. Convergencia (03:48)
8. Quiereme mucho (05:13)
9. Perfidia (04:08)
10. Copla Guajira (03:39)
11. Quizas, Quizas (04:03)
12. Alma Libre (03:22)

Duration : 46:34 | Bitarte : 320 kBit/s | Year : 2007 | Size : 100 mb

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Tags: Buena Vista Social Club, Cuba, Ibrahim Ferrer, Mi Sueño, أغاني كوبية, تحميل, سراج, سراج على سراج

Buena Vista Social Club is a studio album by Cuban bandleader and musician Juan de Marcos González and American guitarist Ry Cooder with traditional Cuban musicians, released September 16, 1997 on World Circuit Records. The album was produced by Cooder who travelled to Cuba to record sessions with the musicians, many of whom were previously largely unknown outside Cuba. The musicians and the songs were later also featured in a documentary film of the same name. The music featured on the album was inspired by the Buena Vista Social Club, a membership club that was at its height during the 1940s and 1950s. Many of the musicians performing on the record were either former performers at the club or were prominent Cuban musicians during the era of the club’s existence. Other younger musicians on the record trace their musical roots back to pre-revolutionary Cuban music, mainly the famous Havana musical scene of the 1950s.

Buena Vista Social Club earned considerable critical praise and has received numerous accolades from several music writers and publications. In 2003, the album was ranked number 260 on Rolling Stone magazine’s list of the 500 greatest albums of all time, one of only two albums on the list to be produced in a non-English speaking country.

“Chan Chan“, the first song on the album, is a Cuban song composition by Compay Segundo, revolving around two central characters, Juanita and Chan Chan. The song was one of Compay’s last compositions and was written in 1987. “Chan Chan” had already been recorded by Segundo himself various times.

“El cuarto de Tula” was composed by Gonzales Y Siaba Sergio Eulogio(1916–1989). It is sung by Eliades Ochoa with Ibrahim Ferrer and Manuel “Puntillita” Licea joining Ochoa in an extended descarga (jam) section improvising lyrics. Barbarito Torres plays a frenetic lute solo towards the end of the track. Timbales are played by the 13 year old Julienne Oviedo Sánchez. The song is featured in the film “Training Day” (2001).

“Dos gardenias” is a bolero sung by Ibrahim Ferrer. The song was written by Isolina Carillo in the 1930s and became a huge success in the 1940s. The song was chosen for the album after Cooder heard Ferrer and Rubén González improvising the melody before a recording session. Ferrer learned the song whilst playing with Cuban bandleader Beny Moré.

“Y Tu Que Has Hecho” was written 1920s by Eusebio Delfín and features his friend Compay Segundo on tres and vocals. Segundo was traditionally a “second voice” singer providing a baritone counterpoint harmony. On the Buena Vista Social Club recording of “Y Tu Que Has Hecho?”, he multitracks both voices. The song also features a duet between Segundo on tres and Ry Cooder on guitar.

“Veinte años” is a bolero written by María Teresa Vera and is sung on the Buena Vista album by the only female in the ensemble, Omara Portuondo with Segundo providing baritone.
“El carretero” is a guajira (country lament) sung by Eliades Ochoa with the full ensemble providing additional instruments and backing vocals.

“Candela” is a popular song written by Faustino Oramas with lyrics rich with sexual innuendo. On the album it is sung by Ibrahim Ferrer who improvises vocal lines throughout the track, and the whole ensemble perform an extended descarga.

The title track, “Buena Vista Social Club“, was written by bass player Cachaíto’s father, Orestes López.The song spotlighted the piano work of Rubén González and it was recorded after Cooder heard González improvising around the tune’s musical theme before a day’s recording session. After playing the tune, González explained to Cooder the history of the social club and that the song was the club’s “mascot tune”.

When searching for a name for the overall project, manager Nick Gold chose the song’s title. According to Cooder, “It should be the thing that sets it apart. It was a kind of club by then. Everybody was hanging out and we had rum and coffee around two in the afternoon. It felt like a club, so let’s call it that. That’s what gave it a handle.”

http://www.buenavistasocialclub.com/

Members :

• Luis Barzaga (backing vocals)
• Joachim Cooder (drums)
• Ry Cooder (guitar)
• Juan de Marcos González (guitar, vocals, percussion)
• Manuel Galbán (guitar)
• Carlos González (bongos)
• Manuel “Guajiro” Mirabal (trumpet)
• Eliades Ochoa (vocals, guitar)
• Julienne Oviedo Sanchez (timbales)
• Omara Portuondo (vocals)
• Barbarito Torres (laúd)
• Amadito Valdés (percussion)
• Alberto “Virgilio” Valdés (percussion)
• Lázaro Villa (vocals, percussion)

Track List:

1. Chan Chan (04:18)
2. De Camino a La Vereda (05:04)
3. El Cuarto de Tula (07:26)
4. Pueblo Nuevo (06:07)
5. Dos Gardenias (03:04)
6. Y Tu Que Has Hecho (03:15)
7. Veinte Anos (03:32)
8. El Carretero (03:30)
9. Candela (05:29)
10. Amor de Loca Juventud (03:23)
11. Orgullecida (03:19)
12. Murmullo (03:52)
13. Buena Vista Social Club (04:53)
14. La Bayamesa (02:55)

Duration : 60:07 | Bitarte : 320 kBit/s | Year : 1997 | Size : 128 mb

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Tags: Amor de Loca Juventud, Buena Vista Social Club, Candela, Chan Chan, Dos gardenias, El cuarto de Tula, Eliades Ochoa, Omara Portuondo, Rubén González, Ry Cooder, Veinte años, Y Tu Que Has Hecho, أغاني كوبية, بيونا فيستا, سراج, سراج على سراج, كوبا