Posts Tagged ‘عزف’

Nguyen Le duos with Paolo Fresu, Dhafer Youssef - 2006 - Homescape

Where does jazz stop and world music start? The boundaries are getting more blurred by the minute. We’re all postmodernists now, and many musicians under fifty reflect a range of influences beyond those traditionally associated with their own core style. Some, like French-Vietnamese guitarist Nguyen Le, are so polyglot as to be practically beyond category.

Le started out down the cultural miscenegation road with his first band, the multi-ethnic Ultramarine, whose 1989 album, De, was named World Music Album of the Year by the radical French newspaper Liberation. He’s continued to mix it up ever since—prominent genre-benders he’s worked with include Miroslav Vitous, Trilok Gurtu, David Liebman, Paul McCandless, Peter Erskine and Mino Cinelu. In the late 1990s Le became increasingly interested in Maghrebi music, working with Algerian singers Safy Boutella and Cheb Mami, and in 1998 he brought Maghrebi and Vietnamese musicians together on the album Maghrebi & Friends.

None of this, however, can prepare you for the galaxy of sound sources on Homescape, a series of alternating duets with Sardinian trumpeter Paolo Fresu and Tunisian oud player Dhafer Youssef. Some of these sources are developed and explored, others are referred to only in passing, and they include—but aren’t limited to—post-Hendrix rock, Milesian harmon-mute free improv, Maghrebi trance music, Ellingtonia, ambient, a Papua New Guinea vocal choir (sampled and replayed backwards), Delta blues, Vietnamese folk tunes, flamenco, Iranian modes, a Sardinian choir, Australian aboriginal ritual music, French chanson, Gregorian chant, and Indonesian gamelan/gong music.

Guitars, trumpet/flugelhorn and oud aside, the music is generated by loops, samples and overdubs, and the entire heavily post-produced album was recorded and mixed in Le’s Paris apartment – since 2003, his friends and neighbours Fresu and Youssef have been dropping by to home-record. The duets with Fresu are typically in free-improv mode (the exception being Duke Ellington & Billy Strayhorn’s lovely “Chelsea Bridge”), while the Youssef duets tend to be song or structure-based.

In the main sunny and joyful, though not without some darker and more abrasive moments, the fifteen tracks—average length three minutes, a handful six or seven—resemble a series of round-the-world postcards sent by Le, who mixed and post-produced everything solo, to his collaborators. As a soundtrack to an evening communing with the big bamboo, the exotic and the very exotic drifting in and out of the mix, it’s rich, colourful and beguiling.

Nguyen Le duos with Paolo Fresu, Dhafer Youssef - 2006 - Homescape

Paolo Fresu (born February 10, 1961) is a trumpet and flugelhorn jazz player, as well as an arranger of music, and music composer. Fresu was born in Berchidda, Sardinia. He picked up the trumpet at the age of 11, and played in the band Bernardo de Muro in his home town Berchidda.[1] Fresu graduated from the Conservatory of Cagliari in 1984, in trumpet studies under Enzo Morandini, and attended the University of Musical and performing arts in Bologna.

Nguyên Lê (b. Paris, France, 14 January 1959) is a French jazz musician and composer of Vietnamese ancestry. His main instrument is guitar, and he also plays electric bass guitar and guitar synthesizer.
He has released numerous albums, both as a leader and as a sideman. His 1996 album Tales from Viêt-Nam blends jazz and traditional Vietnamese music. Nguyên Lê has performed with Randy Brecker, Vince Mendoza, Eric Vloeimans, Carla Bley, Michel Portal, and Dhafer Youssef.

Dhafer Youssef (born 1967 in Teboulba, Tunisia) is a composer, vocalist, and oud player. He has been living and working in various European countries since 1990. During this time he had the opportunity to perform his music on stages in Austria, France, Germany, Switzerland, the UK and other countries as well as his native Tunisia (where he started singing in the Islamic tradition  at age 5 ).

Nguyen Le – electric, acoustic, fretless, synthesizer, e-bow, Vietnamese guitars, computer programming & electronics.
Paolo Fresu – trumpet, fluegelhorn & electronics.
Dhafer Youssef – oud, vocals & electronics.

Track List:
1 –  Stranieri
(Paolo Fresu / Nguyên Lê) (06:00)
2 –  Byzance (Dhafer Youssef / Nguyên Lê) (04:25)
3 –  Muqqam (Dhafer Youssef) (02:44)
4 –  Mali Iwa (Nguyên Lê) (06:27)
5 –  Zafaran (Dhafer Youssef / Nguyen Le) (06:02)
6 –  Domus de Janas (Paolo Fresu / Nguyên Lê) (02:18)
7 – Kithara (Dhafer Youssef) (02:18)
8 –  Chelsea Bridge (Billy Strayhorn) (03:00)
9 –  Safina (Dhafer Youssef / Nguyên Lê) (03:27)
10 –  Des Pres (Paolo Fresu / Nguyên Lê) (02:19)
11 –  Thang Long (Nguyên Lê) (05:33)
12 –  Neon (Paolo Fresu / Nguyên Lê) (03:12)
13 –  Mangustao (Dominique Borker) (07:26)
14 –  Lacrima Christi (Paolo Fresu / Nguyên Lê) (03:14)
15 –  Beyti (Dhafer Youssef / Nguyên Lê) (02:53)

Duration : 61:19 | Bitarte : 320 kBit/s | Year : 2006 | Size : 144 mb

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Charbel Rouhana - 2010 - Doux Zen شربل روحانا - دوزان

Charbel Rouhana is internationally renowned as one of the most revered oud players to date. A trueblooded Lebanese, he was born is Aamchit and pursued his education at the Holy Spirit University in Kaslik, where he currently teaches oud playing. He was attracted to the oud because of its direct link to his beloved Arab heritage. One of his greatest achievements was establishing a new methodology for oud playing that has been adopted by the National Conservatory of Music. Since 1984, Rouhana has been performing at international venues throughout the world. He’s best known for his 1995 work with Abdul Haleem Caracalla’s shows, including ‘Elissa – The Queen of Carthage’ amongst others. He has been the recipient of several national awards, including Best Composition for his track ‘Hymn of Peace’.

Charbel’s music transforms a once traditional, secretive instrument into a modern, internationally recognised and greatly appreciated instrument that communicates Oriental/Arabic music with other cultures and music environments. His latest album titled ‘Doux Zen’ is composed in an entirely unique form. It is essential ear-candy for some of Charbel Rouhana’s greatest and most complex works.

Charbel Rouhana شربل روحانا

شربل روحانا ..

«دوزان» أو «Doux Zen» هما عنوانان لألبوم واحد، ولفظة واحدة بلغتَيْن ومعنيَيْن. لكنهما يدلان على مهنة وشخصيّة الفنان شربل روحانا (1965) صاحب العمل. الدوزان هو ممارسة موسيقية يومية لعازف العود اللبناني. والـDoux Zen هو تلك الهالة من السكون والسلام و«الرواق» التي تحيط بروحانا، وبتصرفاته وحديثه وعزفه أيضاً. يأتي «دوزان» بعد أقل من عامين على صدور «شغل بيت» الألبوم الذي شاركت في تنفيذه «فرقة بيروت للموسيقى الشرقية». غير أنه يختلف عنه شكلاً ومضموناً، كما عن جميع أعمال شربل روحانا السابقة.
لا يزال عازف العود البارع، والمؤلف الموسيقي ذو الأسلوب الخاص، أميناً لبساطته كما لوتيرته في العمل. وفي ظل الأمانتَيْن، لا يتوانى روحانا عن البحث، وعن خوض التجارب الجديدة التي لا يدفعها قطّ إلى حدود غير مكفولة النتائج.
بعد تجربة الأغنية في أسطوانة «خطيرة…» (2006)، يقدِّم شربل روحانا في جديده سبع ثنائيات لآلتي عود، مستعيداً بذلك ذكريات تعود إلى عام 1995، يوم أدّى مع الفنان مرسيل خليفة مؤلفته الضخمة «جدل». ويعلق روحانا هنا وهناك في «دوزان»، تذكاراً احتفظ به من «جدل»، محافظاً على خصوصيته في التعبير. لكنه، بخلاف «جدل»، يعتمد فقط على ثنائي العود، مسقطاً من التركيبة الرباعية التي اعتمدها خليفة، القسم الإيقاعي، أي الدفع الإيقاعي لآلة الباص والإيقاعات. في حال التدوين الموسيقي الدقيق، لا حاجة قصوى إلى آلة قرعية تضبط الإيقاع. كما في أي سوناتة لآلتين مختلفتَيْن ومتشابهتَيْن في الموسيقى الكلاسيكية. ويُستثنى من المقطوعات السبع، «بسمة» التي يشارك في أدائها الرِّق.
الشراكة في الألبوم، هي لعازف العود إيلي خوري الذي ارتبط في السنوات الأخيرة بمشروع شربل روحانا الموسيقي. وعموماً، يقوم الثنائي بأداء يأخذ أشكالاً عدّة، كتنفيذ الجمل ذاتها في الوقت نفسه، أو التسليم عبر عزف ألحان متتالية، أو العزف المتوافق أو المتقابل هارمونياً. إضافة إلى مساندة الأول لإتاحة المجال في الإسهاب للثاني، والعكس… أو توَلّي أحدهما التقاسيم خلال ترقُّب الآخر. في كل الحالات، باستثناء العزف المنفرد والتنفيذ المتتالي، تتيح الهندسة الصوتية التمييز بين المساهمتَيْن، والسمع الأفضل عبر التقاط نبرات كل آلة من مسافتَيْن (قريبة في الواجهة: روحانا وبعيدة في الخلفية: رزق). وتساعد في هذا الاتجاه أيضاً النبرة الفريدة لكل من العودَيْن (عود شربل رخيم وعود إيلي ثاقب)، ما يتيح تعرُّف الأذن عليهما على نحو منفصل، وتلقّيهما مجتمعَيْن. العود الثاقب (إيلي خوري) والعود الرخيم (روحانا).
من ناحية أخرى، تتفاوت الألحان في جمالها وتماسك مسارها بين قطعة وأخرى، أو ضمن المقطوعة نفسها. أما بالنسبة إلى التوافق النغمي، فهو موجود، لكن لا يعوّل عليه بالقدر المطلوب، ما كان ليعطي الألبوم ثقلاً إضافياً، ومواد حافظة لسنواتٍ مقبلة، وخصوصاً أنّ الشق المرتجل، أي التقاسيم، غير طاغٍ على العمل، وكذلك النفس الشرقي الصَرْف. إذ يقف روحانا، كما في معظم أعماله السابقة، القديمة والجديدة، على مسافة واحدة من الشرق (بالمعنى الكلاسيكي التقليدي) والغرب (بالمعنى العام).
تجدر الإشارة إلى أن شربل روحانا، الحائز جوائز عدّة، محلية وعالمية، هو من أبرز الأكاديميِّين العرب في مجاله. وله منهج جديد في العزف على العود من ثمانية أجزاء. أما نشاطه الفني ونتاجه الموسيقي، فيشملان مشاركاته العديدة كعازف عود إلى جانب أبرز الموسيقيين اللبنانيين، إضافة إلى أعماله الخاصة التي صدرت في أسطوانات عدة، أبرزها «مدى» و«سلامات» و«مزاج علني» و«العكس صحيح» و«همزة وصل»…

المصدر : جريدة الأخبار

Track List:
1 –  Doux Zen (دوزان (04:58
2 –  before Tuning (قبل الدوزان (06:14
3 –  Kermelon (كرمالن (05:59
4 –  Retour (رجوع (07:13
5 –  Hakaya (حكايا (05:52
6 –  Missing You (عم اشتقلك (06:52
7 –  Basma (بسمة (03:53

Length : 41:00 | Bitarte : 320 kBit/s | Year : 2010 | Size : 109 mb

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Andre Msane - 2004 - Souffle d'Orient أندره مسن – 2004 – نسيم الشرق

André Msane, oud
Born in 1974
BA in Musicology from Saint-Esprit University, Kaslik (Lebanon)
Diploma on the oud from the Higher National Conservatory of Music, Beirut
Runner-up in the oud category of the Studio al-Fann competition in 1992
Teacher at the Conservatory since 1998
André Msane’s break came in 1992, when he was just 18, through the famed Studio El- Fann talent show, in which he underlined his talents as faithful interpreter of the ancient musical tradition of the oriental maqams (learned through the teaching of the master, Georges Farah). Msane aims to bring innovation to his practice of the oud while remaining faithful to the spirit of improvisation and variation that is the essence of oriental music. Deeply steeped in the popular repertory of Lebanon’s different regions – from dabke dances to musical styles ranging from ataba to mijana, an expertise hat has enabled him to accompany the legendary singer Wadi el-Safi – his training in musicology at Kaslik University (whose reputation in the domain of Oriental music needs no introduction) further developed a deep understanding of the Syriac modes of the Maronite liturgical tradition. His training was crowned by two concerts with the Kaslik Choir at the Vatican, under the celebrated director Louis Hajje. Msane is the only graduate in musicology to have chosen to specialize on the oud at Beirut’s Higher National Conservatory of Music, where he now teaches. His talents have been on displ y for several years now in numerous recordings, whether accompanied or in his own compositions.

Andre Msane أندره مسن

André Msane, oud
Joseph Karam, nay
David Abou Atmeh, qanoun
Patrick Msane, percussions
Jihad Harfouche, basse
David Estefan, daff

Track List:
1 – Tahiyya (تحية (03:28
2 – ‘Abir (عبير (04:37
3 – 86/100 (04:17)
4 – Ghunj (غنج (04:19
5 – Hurub (هروب (06:12
6 – Longa Bayati (لونغا بياتي (03:53
7 – ‘Achiq (عاشق (02:55
8 – La Tabki (لا تبك (06:13
9 – Nassim Al-Chark (نسيم الشرق (12:41

Duration: 48:35 | Bitrate: 192 kBit/s | Year: 2004 | Size: 71 mb

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Abdullah Chhadeh & Nara - 2005 - Seven Gates عبد الله شحادة ونارة – 2005 – أبواب الشام السبعة

Abdullah Chhadeh is a Syrian Qanun virtuoso from Damascus. Leader of the group Nara, composer, orchestral soloist and recitalist. The Qanun is an Arabic instrument that sounds as mystical and sonorous as the concert harp, as delicate as the virginal and as regal as the harpsicord. Chhadeh’s recordings and collaborations have included both solo performances and featured soloist work with Sinead O’ Connor, Jocelyn Pook, Natacha Atlas and David Arnold among others.

Abdullah Chhadeh عبد الله شحادة

Nara was formed in 2001, an ensemble combining Abdullah’s qanun with a variety of traditional and mainstream instruments such as the nay (Arabic end-blown flute),Syrian accordion and Middle Eastern and Western percussion such as the frame-drum, daf, darbuka, kit-drums and double bass. An ever evolving musical project based entirely on Abdullah’s original compositions. In the first few months of its existence Nara has produced startlingly enthusiastic reactions from audiences, particularly at WOMEX and at WOMAD festivals in the UK and Canary Islands.

Track List:

1 –  Bab – Toma (07:31)
2 –  Al Salaam Alikum (04:04)
3 –  Keif (08:33)
4 –  Bab – Al Saghir (02:21)
5 –  Asaf (05:21)
6 –  Bab – Al Faraj (10:10)
7 –  Saltaneh (08:59)
8 –  Bab – Kisan (03:51)
9 –  Bab – Al Salam (07:34)
10 –  Bab – Sharqi (04:07)
11 –  Bab – El Jabi (02:07)

Duration : 64:38 | Bitarte : 220 VBR kBit/s | Year : 2005 | Size : 85 mb

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Ahmad Al-Khatib - 2005 - Sada

Ahmad Al-Khatib is a rising star as an Oud soloist, specialising in the modern Iraqi school of Oud performance. Ahmad was born in Jordan to Palestinian refugee parents. He started to play Oud at an early age, and later studied music and cello playing at Al-Yarmouk University in Jordan where he graduated with honors in 1997. In 1998, Ahmad came back to his homeland, Palestine. He was instrumental in developing the Oriental music Department at the Edward Said National Conservatory of Music (ESNCM), later heading it until August 2002, when he was forced to leave Palestine. Ahmad continues to work for the ESNCM, liaising between Palestine and other music conservatories in the Arab world. At present he lives in Sweden, where he is performing recitals and undertaking a Masters in  Ethnomusicology at the University of Gothenburg. Ahmad released his first solo CD, Sada, in 2004.

Ahmad al-khatib


01 – Furatayn (From Jerusalem to Bafhdad) (05:12)
02 – Hikaya Sharqiyya (Oriental Tale) (12:45)
حكاية شرقية
03 – Sada (Echo) (05:29)
04 – Al-Nil Al-Abyad (The White Nile) (09:24)
النيل الأبيض
05 – Sama’i Ghofran (04:39)
سماعي غفران
06 – Ghurbah (Diaspora) (07:11)
07 – Ta’ammul (Reflection) (09:10)
08 – Farahafaza (10:05)
09 – Nawa Athar Etude (01:36)
تمرين نوا أثر

Duration: 65:27 | Bitrate: 320 kBit/s | Year: 2005 | Size: 157 mb

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