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مشاهدة جميع الاصدارات : The last king : Maliki Ana 3Abdak by Abd al-Hayy Hilmi



fredlag@noos.fr
05-06-2006, 17:36
And it's over! My magic box doesn't have any more Maliki ana 3abdaks...
The disc has a very bad scratch at the start of both sides, do not expect miracles, even after heavy filtering, this is a technically bad one, although the voice is almost unaltered by the scratch.
Hilmi obviously got caught by the time and could hardly wrap up his rendition, to the point that one could almost suspect the record is incomplete, but this is *not* the case, the Baidaphon catalog is clear, this is only a 2 side record.
Abu Alaa', elli law qedt sawab3i el-3ashara shmu3 bardo mesh ha ye3gebo ( ;) ), will judge it inferior to Ali al-Harith, and it is probably. But :
Nice "higran" at 1'47", a wonderful long "aaaaaahebbak" at 3'40", 4'00 series of hilmiesque ahebbak-s, the sentence beginning 4'40 is original, nobody else does it, as well as the bayyati suspension in the 5th minute, simply suggested. Nice gaharkah question/answer game ending at 6'00", followed by ahebbaks, once again probably invented during the recording. Even almost at the end, new sentences are proposed.
In short, this is not as shockingly fantastic as his rendition of "asl el gharam nazra", but still both a document to try and outline the dor, and a very enjoyable moment as always with Abd al-Hayy.

Baidaphone 19136/37
عبد الحي افندي حلمي
دور / مليكي أنا عبدك
الاسطوانة في حالة سيئة وبداية الوجهين مشروخ

Najib
05-06-2006, 18:40
I loved the Aheb(sakteh)bak at 4'40 absolute genius stuff, and the bayat afterwards is sublime. Thanks Fred.

You see now that Abu 3ala is in Spain we can have a discontinuity party :p

Speaking of Hilmi, I understand that there is a Khadnyl Hawa performance by him?

fredlag@noos.fr
05-06-2006, 18:51
Oh yes, there is, and an original one since kadni l-hawa becomes a dor nawa athar with Hilmi. Yes, another idea for a posting, some day...

Najib
05-06-2006, 18:54
From Nahawand to Nawa Athar Ya lateef!

fredlag@noos.fr
05-06-2006, 19:09
Well it's not such a big change, just the 4th degree...

Najib
05-06-2006, 19:13
but what I meant is that we have been listening to Kadni in Nahawand for years, and 3ammy Hilmi from beyond the grave will guarantee to deliver us another delicious flavour!

أبو علاء
05-06-2006, 22:55
Well! Listen Fred! You're really unfair. I'm not commenting this recording yet because I have yet to listen to it, what I can't do right now as I'm recording today's 'alhan zaman (in Santiago di Compostela, can you imagine? After having had Illi jad bih rabbina of tapas, cañas and the like.:) ). But it is not true that I'm all the time nagging. Asking for more, instead, yes. I don't deny it. So, please do put that version of K(h)adni-l-hawa on your agenda. But, remember, there is also a Hawa habibi wafiqni by Safti I've been waiting for quite for some time now and a few other things I just don't remember. And speaking of Kadni-l-hawa, you mentioned in your thesis a performance thereof by Salih 'abdi-l-hay. Would you have it by any chance? If you do, I'll beg you to upload it before anything else. I'll come back later on.

fredlag@noos.fr
05-06-2006, 23:51
@ Abu Alaa' : Yes, I've heard at some point a tape of a 50s performance of Kadni l-hawa by Saleh, but I don't have it, sorry. All I have are 78rpms. But please tell me how you find Hilmi's performance of Maliki ana 3abdak...
@ Najib : Notice that Sayyid al-Safti's performance of Kadni al-Hawa is Nawa Athar too (on the CDA cd). Hilmi's is slightly different, half the qafla is nahawand kebir, the second half nawa athar.

Najib
06-06-2006, 11:21
I'll listen to the CD again, it's been a while.

My train reading now is chapter VII of the thesis. Very interesting indeed.

Now I understand that the chaps of the 1932 conference decided to call the Nikriz genre Nawa Athar. (What a mad bunch they were!).

Also thanks for the Mushaqqa table. I think this should decode some of the Talasem that Nidaa has posted.

I'll send you few comments - comments of a total ignorant of course - on the whole thing after I finish it.

Hattouma
06-06-2006, 14:12
الدور أكثر من رائع من مليكي عبده
بس قصير ماشبعتش
:)

Hi Najib ..i also started reading the thesis but going much slower ..would be nice if you post your comments and quesions for Fred on the forum (maybe in Fred's work thread ? i think this will help us all ..and we should do the same ...it is not everyday that one reads a study and get a chance to be in contact with the person who made it ..lucky we are :)...if Fred does't mind ofcourse ..

of course i am more ignorant in the field but matlomoni :)

أبو علاء
06-06-2006, 22:14
:) Sorry, Fred. I did listen to the dawr yesterday but I couldn't comment on it because I've lost my connection. Right now, I'm conncecting from the hotel lobby with the laptop on my knees and I can't read from normal distance. So I can't elaborate, especiallly that I can't check the recording while writing. What I can say right now as a general comment is that I do like this version although, indeed, not as much as Manyalawi's and Harith (you already knew that didn't you? On ne se refait pas !:) You know, in the end, names do not mean anything for me regardless of the fact that I like the singer in general or dislike him/her. To give you an example, I don't like Wahhab at all and yet I love ya tara ya nismah. And, as you know, I like so much Safti, but I prefer Mahmud Mursi's version of hawa habibi to another one I heard by the same Safti very recently.:) I don't claim to be an anarchist although the fundamentals of their vision seem to me so valid. But I like most a certain motto of theirs if you see what I mean...
Back to this version of 'abdi-l-hay. What remained my mind retained as preliminary remarks is this: I'll never overemphasize the beauty of his voice (and I'm not writing this just to be pleasant to you.:) ). My second remark concerns the takht that I found particularly joyful and inventive in this recording. I don't remember details but I'm thinking of the way they played lawazim and the very intoductory dulab. Back to Hilmi's performance, I was struck by a sort of "low tone" husayni/bayati. I can't say which minute it was and whether you mentioned it (maybe you did; I can't read right now). And then, there's that strange final part. Of course I believe you when you say this is definitely the full recording, but it is rather peculiar, isn't it? Not ontly because of the absence of conclusive taqsim or layali. There's not even a qaflah so to speak. And there's a part of the melody and lyrics missing: wadi muhgiti fi'idik winnabi tirham.

fredlag@noos.fr
06-06-2006, 22:56
Now, you're inventing a Manyalawi version that doesn't exist ! That's wishful thinking, Shaykh Yusuf never recorded it, unfortunately. You're refering to Sulayman/Siliman Abu Dawud, I think, right ?
Concerning the strange ending, I think Hilmi simply didn't realize the recording was finishing, or thought 2 sides would be enough, and got carried away while singing. When it was over, he probably said to himself : What the hell ! they're not paying me enough to repeat it.
Personnally, I love a lot of Abd al-Wahhab recordings, I love all his early Gramophone tracks, especially the qasa'id in the Abu al-Ela Muhammad way (ta3ali nufni nafsayna gharaman, minka ya hagiru da'i, ya garat al-wadi) and I also appreciate the later stuff, but as "variety" music, as light stuff, as if it were another person.
Exactly like Souma, I know you all hate the Fakkaruni, Ba3id 3annak, Alf layla things, but I actually like it. Only, I don't take it for serious music. So I'm not disappointed. It's like La Callas singing Madonna, when you admit it's Madonna or Britney Spears repertoire, you can't be disappointed, you just admit it has nothing to do with art music, it's dance, it's pop, it's light entertainment, it's very well made. Of course you can wonder why on earth would Maria Callas sing Britney Spears, but the reasons are so complex it would take 10 other posts...
Included : page of the Baidaphon catalog proving it's just a 2 side version.

أبو علاء
06-06-2006, 23:09
Sorry for the confusion, Fred. It's not 'abud Dawud. I did think of that one actually to say Hilmi's version was better. What made me think of Manyalawi's version and my preferring it was another series of performances of one and the same dawr (different from this one) post in the same period: El-bulbul gani (you'll remember I wrote after listening to it I would not change my mind even after listening to the missing version, which was by Hilmi too)! You see, I'm a bit overstressed. As for the completeness of this version, I did already write I knew you were right, I was just explaining to which extent it was "abnormal".

Hattouma
08-06-2006, 23:49
love a lot of Abd al-Wahhab recordings, I love all his early Gramophone tracks, especially the qasa'id in the Abu al-Ela Muhammad way (ta3ali nufni nafsayna gharaman, minka ya hagiru da'i, ya garat al-wadi) and I also appreciate the later stuff, but as "variety" music, as light stuff, as if it were another person.
Exactly like Souma, I know you all hate the Fakkaruni, Ba3id 3annak, Alf layla things, but I actually like it. Only, I don't take it for serious music. So I'm not disappointed. It's like La Callas singing Madonna, when you admit it's Madonna or Britney Spears repertoire, you can't be disappointed, you just admit it has nothing to do with art music, it's dance, it's pop, it's light entertainment, it's very well made. Of course you can wonder why on earth would Maria Callas sing Britney Spears, but the reasons are so complex it would take 10 other posts...
Included : page of the Baidaphon catalog proving it's just a 2 side version.



Oh Fred , don''t worry i think Abu Alaa is the only real "Mutaterf " here :) ,Mutateref in a very good thing however ... El-Tarab that is ..:) if we only had so many of this kind of mutaterfeeen :)..