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مشاهدة جميع الاصدارات : لحين عودة أبو علاء تصّبِيره بصوت (الهادي قُـله) و لحن (الشيخ إمام)



محب الطرب
07-03-2006, 12:38
من خيرات سي محسن

يا عمّ إدريس يا بو المرّجيحه و القَوادِيس

لِبان دَكر مجوهرات بَكْشّ

و هذا الصوت من الذين يظهروا جماليات و عبقريات الشيخ بعيدا عن دوّشِة صوت (نجم) و الباقي
فضلا على أني أحب أسمع ألحان الشيخ من غيره حاله حال عَمُّه زكريا أحمد

mabrouk
07-03-2006, 12:45
الف شكر يا ابو علي ...جاري التحميل

أبو علاء
07-03-2006, 13:07
ألف شكر يا أبا علي ؛ كما كنت كتبت قيمة هذا التّسجيل تكمن أيضا في مصاحبة عازفين كبيرين للهادي أحدهما إيرانيّ والثّاني تركيّ.


I hope AmbroseBierce will pay attention to this thread. We have hear a couple of Shaykh 'imam 'isa compositions interpreted by the Tunisian singer Hedi Guella who is a personal friend of mine. The recordings are from a cconcert given by Hedi in 1980 in Tunisia when he came back to the country after quite a long exile. But what's remarkable about the recordings is that Hedi was accompanied by a couple of great musicians: an Armenian santour player whose name I forgot and the late Iranian kamanche player Mahmoud Tabrizi Zadeh. This kind of experience is in my view a model for what can be done in an outward looking innovative perspective. In other words, if Arab music is to open up towards other musics; such musics should be "parent" musics if I may put it this way, that is muiscs belonging to the same modal family or maqam musics such as the Persian and Ottoman ones (maybe the Indian, Pakistani, Afghan and central Asia ones as well), not jazz or European classical music to produce "oriental jazz" or qanun concertos!

محب الطرب
07-03-2006, 13:10
في إنتظار ما خفى له
و خاصة سهراته الخاصه

أبو علاء
07-03-2006, 13:16
أعدك بحلّوا المراكب من نفس الحفلة وببعض ألحان الهادي أيضا ؛ أمّا السّهرات الخاصّة فلديّ تسجيل يغنّي فيه الهادي جزءا من أحد ألحانه لكنّه مشوّش بأصوات زائدة (النّساء والأطفال) وكان علاء وحاتم وسليم (ابن الهادي) دون سنّ العاشرة، وأنت أدرى بالسّيّدات العربيّات ومدى احترامهنّ للغناء...:) (عفوا ليس المقصود التّعريض بجنسنا اللّطيف عموما، إنّما أقصد نوعا من النّساء العربيّات منه زوجتي وأخواتي).

AmbroseBierce
08-03-2006, 01:34
That is wonderful music, and I am very happy to hear it.

Maybe, Abu Alaa, you misunderstood me - I'm not championing the Westernization of Arab music, not at all. It's just that I think experimenting widens the horizon of artists (and of the listeners as well). There have already been interesting experiments between Turkish and Persian musicians (the same Tabrizi Zadeh and Kudsi Erguner) or Persian and Indian musicians, particularly the "Ghazal"-project of the kemenche player Kayhan Kalhor with the sitar player Shujaat Hussain Khan and different tabla players - they produced at least four albums. If there is interest, I can upload samples of that.

And listening to the Tarab music of Zanzibar is again interesting in hearing what an Arab/Black African encounter brings up musically.

So I'm delighted to hear an example of an Arab musician playing with his (cultural) neighbors.

When looking at intercultural, or rather transcultural musical projects, of course I cannot deny I'm European, and I see that WE gain a lot from this sort of exchange, though of course we have our own strictly classical scene fully intact with tremendous amounts of government funding, so the situation is not comparable really.

European classical music was deeply influenced by Arab music anyway, right at the beginning, but that is a different story altogether.

أبو علاء
08-03-2006, 08:56
Dear friend, I'm glad that you liked these recordings. I'll post at a later stage one more song of Shaykh 'iman interpreted by Guella on the same occaion with the same musicians as well as some compositions of Guella himself. What I wanted here is just to make my position more explicit and illustrate it. There's no misunderstanding between us. I think you touched the real problem as far as modernizing and westernizing trends about Arab music in the last part of your comment. If I show such a sensitivity and almost lack of tolerance vis-a-vis such claims, this due to the fact that the situation is completely different from the one in Europe. Not only the balance has been broken in our area more or less since the middle of the twentieth century in favour of the above mentioned trends. The major problem here is that it is precisely the claim that "modernization" and "westernization", too oftenm taken as synonyms, which led the extermination war against our classical musial heritage and, believe me, the term is not at all exaggerated. This why I'm making such a distinction between the "insider" and the "outsider" point of view. This is also why we are focusing so much on recovery in the first place. The prime problem in Arab culture today is one of identity and it is in music that such a problem is more severly felt than in any other field. You do not open up to other identities, dialogue with them, interact when your own identity has been completely lost..