Anouar Brahem, John Surman, Dave Holland - Kashf (Live in Duisburg 2000)

Individuation - تفرّد

Jazz improvisation, syncopated beats and counter-culture attitudes have been swinging in the Arab world since the early twentieth century. This Rough Guide explores today’s thriving scene, revealing how blending jazz and Arabic music has created the most beautiful of musical concoctions.

For more information, visit www.worldmusic.net/arabicjazz

The Rough Guide To Arabic Jazz
This Rough Guide travels the Arab world exploring the depth and range of jazz interpretations heard across the region’s many nations and cultures. 

Lebanon’s rich musical melting pot is to thank for many of the tracks on this album. Haunting track ‘Harrama el-Nawma’ is by Rima Khcheich, a singer from Khiam in the south of the country. Lebanese trumpeter and composer Ibrahim Malouf’s ‘Nomade Slang’ is anchored by an undulating double-time drum pattern with sharp stinging horn lines and inquisitive rising bass figures. Another Beirut-born musician, Rabi Abou-Khalil, contributes the track ‘A Better Tomorrow’ with his masterful oud bringing out a slinky, seductive flavour with brushed drums and a languorous wind solo. ‘Masâr’ by Le Trio Jourban also spotlights the iridescent delicacy of the stringed oud. 

Ahmad Kaabour is also from Lebanon and a prominent cultural figure in the Middle East: his 1975 hit ‘Oundaikom’ became the anthem of the Palestinian struggle. ‘Abou Afif’ was released in 2012 and is a peppy, almost saccharine number that encapsulates the feel of modernist 1970s jazz. 

Daramad count in the proceedings with the track ‘Tigris Eye’. The band’s line-up features a mix of Persian and Australian musicians allowing them to create a delicate musical dialogue. 

Karim Ziad is an Algerian jazz percussionist, guitarist and gumbri (Moroccan bass lute) player. Omar Faruk Tekbilek was born of Turkish and Egyptian parents and currently resides in America. ‘Dark Eyes’ is inspired by Sufi devotional music and ambient electronica. Maurice El Medioni stirs a potent punch with Cuban percussionist Roberto Rodriguez on closing track ‘Ana Ouna’.

Jazz is still pulsing through the veins of Arabic homelands and this Rough Guide offers up an insight in to the scene. 


Hijaz: Chemsi (taken from the album The Rough Guide To Arabic Jazz)

Huda Asfour - Oud
Kinan Azmeh - Clarinet
John Hadfield - Percussion
Kris Funn - Bass 

Joulnar جلنار

Fireflies!

Anouar Brahem - Leila Au Pays Du Carrousel

Album: Conte de l’incroyable amour (1992)

Anouar Brahem - Conte De L'Incroyable Amour

3MA Project (Rajery,Ballalké Sissoko & Driss El Maloumi) - Rania

The Exquisite Corpse Game
by VARIOUS ARTISTS

Fold 1: Khyam Allami
Fold 2: Karda Estra
Fold 3: JG Thirlwell
Fold 4: Kavus Torabi
Fold 5: British Theatre
Fold 6: Bob Drake
Fold 7: Weasel Walter
Fold 8: Dominique Leone
Fold 9: Appleblim
Fold 10: Katharine Blake
Fold 11: Max Tundra
Fold 12: Mikrokosmos
Fold 13: Craig Fortnam

Exquisite corpse is a method by which a collection of images is collectively assembled. Each collaborator adds to a composition in sequence until finally the whole completed picture is revealed.
This technique invented by the Surrealists is similar to the old parlour game, Consequences, in which players write in turn on a sheet of paper, fold it to conceal part of the writing, and then pass it to the next player for a further contribution.


The Exquisite Corpse Game is a unique musical collaboration based on these rules, featuring Khyam Allami, Karda Estra, JG Thirlwell (Foetus/ Manorexia/ Steroid Maximus etc) Kavus Torabi (Knifeworld/ Cardiacs/ Guapo), British Theatre (Oceansize/ Biffy Clyro), Bob Drake (Thinking Plague/ 5uu's/ The Science Group etc) Weasel Walter (The Flying Luttenbachers/ Behold The Arctopus) Dominique Leone, Appleblim, Katharine Blake (Mediaeval Baebes/ Miranda Sex Garden) Max Tundra, Mikrokosmos (Levitation/ Dark Star/ Cardiacs) Craig Fortnam (North Sea Radio Orchestra/ Arch Garrison)

Once the first 'fold' was recorded each artist was given only the last 20 seconds of the previous composition and had to continue by recording instrumental music in any way they saw fit.
Whether they chose to develop themes or take an obtuse 90 degree turn was entirely up to them.

Each 'fold' had to be a response to the 20 seconds they were given and be between one and four minutes long.

None of the contributors heard the entire piece until the final 'fold' had been completed

Taken individually, The Exquisite Corpse Game represents thirteen brand new, original compositions by thirteen innovative musical artists but taken as a whole the entire album has a kaleidoscopic, dream-like yet homogenous quality. Themes and ideas seem to repeat and reoccur throughout in a way that could not have been known to the contributors. There is an ebb and flow throughout that sounds both pre-concieved and deliberate.

Fold 1: Khyam Allami

Bazen geleneklerle yapılanlar sansasyon yaratır. FisFüz, geneneksel müzik öğeleriyle sansasyon yaratmanın sırrını çözmüş bir Türk-Alman grubudur. Grup, kendisini iki ulus ve kültür karşılaşması arasında kısıtlamıyor. Bunun yerine yaklaşık olarak 3000 yıllık kültür tarihi olan tüm Akdeniz ve Orta Doğu`yu müziğinin temeli olarak sayıyor. Müziklerinde hem çok eski ve gelenekselleşmiş hem de yepyeni öğeler, İspanyol, İtalyan, Türk, Oryantal ve Kuzey Afrika`ya özgü öğeler caz ile birliktebirleşiyor.

Bu albümde, yanlarında sayısız müzik aletleri ile birlikte yolculuğa çıkan müzisyenler, müziksel anlamda Akdeniz`i bir ucundan diğerine katediyor, Orta Doğu ülkelerinden geçip İran`ın uçsuz bucaksız topraklarını keşfedip Hint Yarımadası`nın güneyine Madras`a varıyor. Yol, hedef; oryantal zenginliklerin bolluğu ise müzikal azık onlar için. Bu kez perküsyonda uyumlu müzisyen ve bu heyecan verici müzikal yolculuk için ideal bir yoldaş olan olağanüstü Ramesh Shotham da gruba eşlik ediyor. 
Detaylar: http://aysaorg-music.com/musicians/ensemble-fisfuz/

Individuation - تفرّد

Khyam Allami

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