مشاهدة جميع الاصدارات : Saleh Abd al-Hayy 78rpm recordings of adwar (episode 4)

28-04-2006, 15:28
Let us compare today two versions of the same dor recorded by Saleh Abd al-Hayy in the 78rpm era, a slow acoustic version recorded with Baidaphon circa 1922 and a livelier later electric one, recorded for Columbia circa 1927.

dor / 3ala rohi ana l-gani
composed by Muhammad Uthman, maqam gaharkah
(although Shaykh Uthman al-Gindi [not "Jundi", Abu Ala', G-i-n-d-i, bil-gim el-masreyya, law samaht, we bel-kasr, mesh bed-damm, like Nadia-sallemli 3al batingan-El Gindi], in his "Rawd al-Masarrat", claims autorship for both text and music of the dor, but it could be a rival melody)
Baidaphon 82189/90
Columbia D13299 (E97/98)

It is also one of those rare adwar in which the singer sings two dor-s instead of one.
I am a little puzzled by what the raqqaq is doing in the Baidaphon version, a sort of rythmic equivalent of a slightly clumsy morning stroll in the desert streets of Zamalek... And the ever amusing hesitation of the takht between rast and gerka, in the 'what is he doing ebn el kalb da' way. Amaana amaana !
The Columbia version, although the record is a little worn out and thus malyan khashkhasha, is "more professionnal" and much more in the tragic mode. Saleh's voice had made huge progress in its ability to convey emotion. 3agab laaaaaaaaaaaamma ! qafla rast at 3:37 is clearly in the Abd al-Hayy Hilmi style. The "amaaaaaaaana amaaana" section, from 6' on, is great.

28-04-2006, 15:35
Laughing of course, you made me laugh in the middle of a very crazy week. Thanks!

I'll listen and come back.

What a wind-down for the weekend :)

أبو علاء
28-04-2006, 15:55
Hadhir bulaq(i)-afandi, gindi not jundi and dor not dawr... and yet, you couldn't figure out Shikh 'amin Hasanin could pronounce bi'ayshika ya hadi instead of ya hadin!:)
I'll download them and listen to them later because I have to go to work soon. But, I vaguely remember Khula'i attributing this dor to somebody else (maybe Maslub or Khadhrawi, I'm not sure).

28-04-2006, 15:59
"shiikh" ? You mean "sheekh", I reckon... Ah ya tawansa...

As for Amin Hasaneen (Hasanayn), well, I admit, my ears must have been plugged...


أبو علاء
28-04-2006, 16:15
Ok, then we can say we're all square. I might even add on something. I've just come through a recording of 'ana fi-ntidharak you'll like. Even though it's not the full version of it, yet the "segment" I've got and will send you soon is 64 minutes long!

28-04-2006, 16:40
we're debating pronounciation.

In the columbia record what is he sayying at 6:44 (men Toummouh (mouth)) is that Egyptian or Shami?

Both records are so gorgeous it's hard for me to choose, and yes it seems that the
Raqqeeq in the columbia record wasn't paid well that day :-)

Funny also on the Columbia recording that the methhabgiyyah are about to die when their turn come up at 4:28 because of how high the note is

28-04-2006, 16:48
La habibi, it's clearly "men fommo" with an /f/, not a shami /t/

It's the raqqaq in the Baidaphon recording I don't really understand, not the Columbia one, or am I wrong ?

أمانة يا رايح يمّه
تبوس لي الحلو من فمّه
وتقولله عبدك المضنى
علشانك سلي همّه

ولكن صالح بيغني حاجة تانية بدل علشانك
عشق و؟

28-04-2006, 17:58
I must admit I had to pull the volume up a bit to even notice the Raqqaq in the Baidaphone recording. Once I did that, blimey he is all over the place!!!!

The raqqaq on the Colombia record has definitely started with a limp!

I think he is saying:

عشق كاسك سليه همه

Or did I have too much curry over lunch?

أبو علاء
28-04-2006, 22:45
Ok. First of all, I have to say I don't like much this dawr, maybe because of the maqam I don't like at all. Don't laught at me, this is totally subjective. I used to have the Baidaphon recording (never cared about the raqqaq, but it's true he's gone astray) and what's amazing is that I have always thought what Fred said here, that is this is probably Salih's ever closest performance to his uncle's style. Maybe the same applies to 'ashki limin to a lesser extent. But, I'm not aware of other such performances where the link is between the two singers looks something more than blood parenthood. I might be wrong, but this is my personal impression. This simialarity of style could be due to the relatively early timing of this recording. Now, this is the first time I listen to the Columbia recroding and I definitely prefer it to the Baidaphon one. Maybe because it is "more rofessional" as Fred put it. More probably because Salih put much more emotion in it (I agree with you on that too). Maybe also because the rast aspect is more pronounced here (the dulab already doesn't leave any room for hesitation). And, yes, the aaah segment in bayati is tremendous.

29-04-2006, 11:40
It seems that the Gurka-Rast-Ibnil-Kalb is a tradition in the Egyptian music :-)

Violinist Wael Abu Bakr told me that when he was playing with Abdel Muttaleb he tried to "Vary" some of his lazmah and get it on that gurka-rast twilight zone. When he did that Abdel Muttaleb stopped and immediately told him

"Bi ti3mil eyh yabnel Kalb?"

07-05-2006, 18:23
شكرا يا فريد ..(معلش أنا دايما متأخر) الدور ده كان بالنسبة لي يتلخص في أمانة ِ (بالكسر) !!!!عشان كان عندي تسجيل بيضا فقط ...لكن تسجيل كولومبيا أحسن و "عجب" عجيبة فعلاً
الطريف إن تسجيل بيضافون متوفر في سوق الكاسيت في مصر إنتاج شركة الفنان سيد إسماعيل راندافون و مكتوب فيه كلمات الدور ل بديع خيري و ألحان ل أحمد عبد القادر !!!!شوفتوا إزاي؟

و صالح فعلاً بياكل "عِشق ....سلي همه" بسرعة زي عادته في ختم أي حاجة الكلام لاحظتها في المواوييل أيضاً