Bellydance: Experiences

CD Review: Shake me Ya Gamal: Hot Tabla Solos

Artist: Gamal Goma
Title: Shake me Ya Gamal: Hot Tabla Solos
Label: Holywood Music Center
Available from: Amazon

I know this album is a few years old, and many of you already have it. But I just discovered it, and fell hopelessly in love, so I'm writing it up. I'm sure there are more people out there who love drum solos but have missed out on this album somehow.

I know I have seen some of these performed, but they are all 4-6 minutes long, so I don't think they have ever been as popular as shorter drum solo tracks. All 7 are very danceable, each one incorporates rhythm changes and a lot of variation in accents, so none of them sound repetitive. They are all also very different in feeling, so the album makes for a resource for a variety of drum solos that don't all sound alike. Especially since it includes some unusual touches like a solo incorporating Khaleeji rhythms, and two that include a little ayoub.

Plus, it has Fifi on the cover!

1. Sahra Saiidi - 4:45 The first half of this track is the 2 and a half minute "Sahra Saiidi" drum solo on the first Bellydance Superstars album. This version, however, continues on to a short interlude of heavy masmoudi, then an ending that matches the first part in sound.
2. Circle of Life - 4:37 - This solo is based primarily on the malfouf rhythm. Like the previous track, it breaks into a little interlude of a different rhythm, in this cas, fallahi (I think, it's a rhythm I don't know well, so I have to check)
3. Mouhammad Ali Street - 6:10 - This is my favorite track on the whole album, but I don't have the stamina to perform a 6 minute drum solo, and I certainly would not be able to keep it interesting even if I could! Though if I were to try, this would be the drum solo I would use, because the feeling of it and the nature of the accents change a lot, which helps prevent it from sounding repetitive. The best part is a wild bit of ayoub in the middle.
4. Zaar - 4:28 - Speaking of ayoub... Actually, even though this track is called "Zaar", there are other rhythms interspersed in this track, so it's not just 4 and a half minutes of doum-ka-doum-tek. It is, though, very grounded and heavy, and demands a lot of hair-tossing.
5. Khaliji Hafla - 5:13 - The first time I listened to this track I thought, "That sounds really different" - then I looked at the name of the track and it hit me. I have not come across many drum solos that incorporate khaleeji rhythms and sounds. It has that characteristic "rolling" sound to the beat that is characteristic of music from the Gulf, while still being very much a bellydance drum solo.
6. Harvest's End - 4:07 - A fun, bright, and zill-y maksoum. This is a pretty straightforward track structurally, so not too hard to choreograph, but it is quite fast.
7. Samaiyat - 4:43 - A little taste of chiftitelli. It's a little different, since it is slower than the other solos. It would be an excellent choice if you want to show off precision and isolation in your movements.

CD Review: Amer Ammouri - Oud Mosaics

Artist: Amer Ammouri
Title: Oud Mosaics
Label: Holywood Music Center
Available from: Amazon, eMusic

One of the first bellydance albums I bought when I started dancing was by John Bilezikjian, an amazing oud player. Ever since then, I have been in love with the sound of the oud. (Not quite to the point of my love of the mizmar, but close!)

Amer Amouri is a Syrian Oud player, but on this album he performs classic songs from all over the middle east. The oud is a stringed instrument related to the lute. From what I’ve been able to find from doing a little research, he plays in a pretty traditional style.

Every track on this album is an oud solo, no other instruments at all. This lends the songs a very intimate sound. Good for a small venue, but perhaps not as well matched to large spaces. They are beautiful and very evocative to listen to – but take care if you’re planning to perform to any of these songs, you need strong shimmies and a lot of stamina to really capture the vibration of the oud strings.

1. Ya Shadil Ah Han – 3:30 – (Egypt) Very introspective and dramatic.
2. Ammi Ya Bayya Il Ward – 4:25 – (Iraq) This song captures a lot of the percussive sounds that can be made with the oud.
3. Hawil Ya Ghannam – 4:28 – (Lebanon) Lots of pauses early in the song, it would be a beautiful choice for a dancer who is comfortable with just standing still sometimes. The tempo picks up a little in the 2nd half. This track is in my opinion one of the most well-suited to performance on this album.
4. Al Alla Taoud – 5:44 – (Lebanon) This is the most useless description ever, but this song immediately made me think of Morrocan tiles. There’s a very geometric and angular feeling to the song, in the form of stacato tones and repeating motifs. But it’s really beautiful because of it.
5. Fog Al Nakhel – 2:11 – (Syria) Short and sweet. This song is one of the more upbeat-sounding to me. And at just over 2 minutes long, it may be a useful in situations where a 4 or 5 minute oud solo might be too much for your audience.
6. Basamatk – 3:39 – (Syria) This song is full of built up tension and release.
7. Ma Alli Woultilou – 3:18 – (Egypt) This track has a folky sound to me. It’s hard to describe what makes me feel that way, especially since there are no other instruments involved. To me this track feels very flat-footed and grounded.
8. Fog Al Shoq – 3:46 – (Egypt) I heard this, and I though the sound was very round (especially in contrast to track 4)
9. Talaa Min Beit Abouha – 3:36 – (Iraq) The fastest paced track on the CD, this one also has a more folky sound to me. Mind you, it’s fast for an oud solo, not fast like a drum solo. This is a shimmy-all-the-way-through song.
10. Inta Fen Ou Hobbi Fen – 3:25 – (Egypt ) Another very introspective-feeling track. It has a very clearly Egyptian feel to it.
11. Asmar Yasmarani – 3:53 – (Egypt ) Lots of repeating motifs, but varying in tempo. This is another one I would chose as a good pick for performance. It’s a little syncopated-sounding, and would keep an audience’s interest.
12. Al Rabia – 6:58 – (Egypt) Long, but very beautiful. The sound is very full, while at the same time, stacato plucking sounds are used to almost capture the sounds of drum rhythms.

CD Review: Hoda - Sha'bi Chic

What a great, fun album. I've been on the lookout for more great Sha'abi (I love both Saad and Hakim, but there's so much more out there!)

It was released on the Copeland International Arts label (i.e. the Bellydance Superstars label) who also released Saad’s The Prince of Sha’abi. It struck me as a little funny that the label has not settled on a common English transliteration of the word “sha’abi”. Unfortunately, this CD is not as technically well recorded or mixed as Saad’s. It sounds fine on it’s own, but when you compare the two, Sha’bi Chic sounds like the mix is muddier. That comparison makes me wonder if these albums are new recordings or if they are US releases of albums previously released in Egypt. Or even if they are “Greatest Hits” – type compilations of songs off of multiple prior albums released in Egypt.

From a dancing perspective, this whole album has very prominent rhythms, and is a lot of fun to dance to. There's a lot of tracks based on the saiidi rhythm, so there's a number of options if you're looking for a modern cane piece. I don't know what the difference is, but I've read that there are stylistic differences between "sha'abi cane" and "baladi cane" - so that might be one thing to be careful of. Every track, however, is totally danceable if you just need a fun sha'abi song to rock out to, or use for audience participation.

As always, here are the details:

1. Endahly Had Kbeer – 4:20 – This track is built largely of electronic instruments, but they retain a flavor of traditional instruments. Especially a little bit of reediness that suggests a mizmar
2. Ashoufak Uyoum – 3:40 - It’s got a great beat, I can really dance to it. Seriously, it’s got a great, steady beat. The rhythmic structure is not complex, but it is even and easy to follow, I think it would be great for a group dance.
3. El Kalam Mish Kalamek – 3:10 - This track has a very cute intro, and is a solid saiidi rhythm. It would make a really cute modern cane dance.
4. Ekhwat Banat – 4:09 - This is one of the more electronic tracks on the album, including some distortion on Hoda’s vocal track. The rhythm is actually very fast, though the vocals feel quite a bit slower.
5. Inta Lissa Faker Bali – 4:55 - Mercifully, this is *not* a remix of Lisaa Fakir. It’s actually a cute, drummy song. Unfortunately it ends with a long fade.
6. Kaf Hawak – 4:14 - This track starts with a slow, pretty intro for about 40 seconds then picks up the pace. I would like this track for a hafla or workshop show where I was only dancing to one song, since the intro allows for a very short veil entrance, but the song itself is fast-paced and easy to clap to. Unfortunately it also ends with a fade.
7. Aashek – 4:03 - Ok, the weird synthesizer effects are a little dated, but the song has cute little rhythmic interludes that would let you vary the pace of your dancing.
8. Maa’Lesh – 4:04 - I don’t usually like suynth-y mizmar-ish sounds, but this song uses them to good effect. The song is based on a solid saiidi rhythm, and is a little slower and longer than El Kalam Mish Kalamek, making it another good choice for a cane piece.
9. Yallah Kheir – 5:17 - This track has a great intro. It opens with a couple of measures of slow, clear baladi that gets the audience’s attention right off the bat. The rest of the song is a great fast maksoum, with great emotional vocals, and little instrumental sections.
10. La Ou Lissa – 4:46 - This is a pleasant pop song, it has these funny very low-pitched male background vocals. Ends rather abruptly, but could be used for a pose if you’re quick.

CD Review: Hossam Ramzy - Zeina, Best of Mohammed Abdul Wahab

Title: Zeina, Best of Mohammed Abdul Wahab
Artist: Hossam Ramzy
Available from: Hossamramzy.com, Maqam

I picked up this CD primarily because it has both Zeina and Aziza on it (and I really just can't say no to new versions of Aziza) But I am loving the whole album.

Mohammed Abdul Wahab was probably the most prolific Egyptian composer of the 20th century. Some of the most famous Egyptian classics are his compositions, many were songs composed for movies during the Golden Age of Egyptian cinema.

It's pretty awesome to hear what Hossam Ramzy has done with Mohammed Abdul Wahab's music. The instrumentation is very "modern Egyptian", where the instruments are totally traditional, but the quality and tone of the recording is totally modern. Like most of Ramzy's music, the drumming is clear and prominent, and the music is made to be easy to dance to.

Most of the songs are longer than I can generally use for performance, but I have been loving this CD for practice at home - the beat is so clear and solid. You know how old recordings sound kind of muddy? You know, because the recordings were mono, and they sound like the whole band was recorded with just a couple of microphones? This recording sounds like as if those fuzzy recordings were brought into focus, and the whole thing sounds like golden age music made sharper and brighter. If you can make use of 6-10 minute tracks, these are all completely instrumental, so no worrying about lyrics.

1. Zeina - 5:51- Wow, it starts with this beautiful kanoon, and then the flute comes in to take the melody. It's a really lovely arrangement. Especially since the flute is so airy and weightless, but the drums are mixed in to be very heavy. The middle of the song is very grounded and the music has a really rich texture. The song ends with a long fade-out.
   
2. Elhabayib ya Habiba - 7:31 - I got a very "mysterious and romantic" feel from this song. I know it sounds like a weird description, but the kanoon comes in for these quick little accents that really invite the dancer to accent with a pretty shimmy. The song is definitely faster than it sounds at first. The melody is at a pretty medium pace, but the beat is quite a bit faster. The song ends with a little drummy bit.
   
3. Khai Khai - 10:49 - This song has a very earthy feel, since it's starts right away with a solid maksoum rhythm and comes back to it more than once over the course of the song. It's got an incredibly lovely chiftitelli in the middle, where it's just the tabla keeping the slow rhythm, and a beautiful violin solo over top. It has a solid end suitable for a pose.
   
4. Olli Amallak Eih Albi - 6:53 - I heard this song, and it immediately sounded like "Egyptian movie music" to me. :) It is a very pretty song, and I think a dancer whose style is inherently elegant could really do something beautiful with this song.
   
5. Mawkib Ennoor - 7:15 - Oooh, this track starts with a slow and dramatic intro that really commands attention. The track retains that dramatic tone throughout, even when the tempo and drums pick up. The melody instruments remain languorous, and the ney and (I think) an accordion are used to great effect to keep the mysterious sound going. At about 4:30, it slows into an ayoub rhythm for about half a minute - long enough to get some hair tossing in, but short enough to keep it interesting.
   
6. Aziza - 4:55 - This is a very clean version of this song, with a very full sound. I have to admit, I personally prefer the more raw sound of Zikrayat's live recording but they are very different. This is a great version to use for performance, since it is a great-quality studio recording.  This song is full of little accent bits, and they are very clear and sharp in this version. The non-accent parts of the music are lush and full of instruments, it approaches the sound of an orchestra instead of a small ensemble.
   
7. Layali Ramadan - 5:34 - This entire track is pure kanoon solo, no drums, no nothing. and it is *breathtaking*. Like too beautiful to describe, you have to hear it for yourself.

CD Review: Mohammed El-Bakkar - Dances of Port Said

Title: Dances of Port Said
Artist: Mohammed El-Bakkar and his Oriental Ensemble
Available from: the CD is for sale at Maqam, Amazon, basically everywhere. The songs are officially available for free from El-Bakkar.com

This is actually the 5th album in a series, but the cover is an iconic representative of the classic bellydance music of the 50's, 60's and 70's. Pe-ko records has been busy for the last few years re-releasing some of their back catalog of classic albums on CD.

I *love* this CD. Don't judge it by it's cover. I know when I first saw covers like this, I thought the albums would be full of schmaltzy seduce-your-sultan music. I was shocked to discover the album was packed with great folky music packed with traditional instruments and raw, danceable sounds.

Speaking of dancing, this music definitely has a dated quality to it. Te recording sounds "old", and it could not be mistaken for modern bellydance music. For that reason, it would be difficult to shoe horn these songs into a set made up of primarily modern music. Thankfully, now so many older albums have been re-released on CD, it would not be hard to put together a full set of old-fashioned music.

The rhythmic structures of these songs are not very complicated, most of the CD really seems to be 2/4 rhythms like malfouf or similar.  As an added bonus, though, if you like to debke, lots of the songs on this album are either explicitly debke songs, or work well for it.

1. Dari E Yeounik [See and Admire] - 3:08 - This is one of my favorite tracks on the album, there's clapping in the recording, which always inspires me to want to clap along. Plus zaghareeting and cheering, overall it's just an inspiring and fun track.
2. Ish Allamak [Who Taught You?] - 3:31 - More clapping and zaghareeting! A very bouncy, hip-droppy kind of song. The beat it really steady, it's got a drawn out syllable in the lyrics at about the 1:30 mark which really cries out for a big hip circle.
3. Hora el Hawara [The Circle Dance] - 4:03 - This is definitely a debke song, it has a great steady rhythm.
4. Ya Natir [The One Who Waits] - 4:56 - Starts with a pretty flute solo for the first 20 seconds, then the drums come in. The vocals are a fun call-and-response format.
5. Ya Noor el Ein [Light of My Eyes] - 3:28 - This song is still well paced and energetic, but to me it has a somewhat more introspective sound than the previous tracks - even including the zaghareeting later in the track.
6. Salaam Aleikum [Greetings!] - 4:08 - This is the slowest song on the album, though it's not really slow. It changes a lot moving between more energetic portions, and more emotional-sounding sections.
7. Yam Safereen [You Travelers!] - 2:46 - This song is very bouncy. It includes a little more of the call-and-response stuff between El-Bakkar and a his backup singers.
8. Mnishebak [From My Window] - 3:59 - I have always thought this song would make a cute group dance. The beat is very even, and there's clapping in the song so it's easy for the audience to clap along.
9. Dabke [Let Us Dance, Dabke] - 3:40 - Well, obviously this is a debke song, the title kind of says it all.
10. Yaboo E Yeoun Asaleya [Eyes of Honey] - 3:27 - Has a simple, but fun clapping rhythm in the recording: clap. pause. clap-clap-clap. I think it's a cute rhythm to engage the audience, and the song is pretty and sensual, and makes good use of the flute.
11. Raks el Dabke [Double String Dance] - 3:46 -Like the title implies, this song is very string-heavy, and the flute is used to nice effect. There's not a whole lot in the way of lyrics, though there is a smidge of vocals right in the middle, but those seem to be more exclamations than real lyrics.
12. Afrah el Jabel [Mountain Festival] - 5:30 - the beat is really simple and steady through the whole song, but the melody and singing have a lot of variety to them, so there's a lot of great accents to pick out and use.

CD Review: Upper Egypt Ensemble - Mazamir Sahara

Title: Mazamir Sahara
Artist: Upper Egypt Ensemble
Available from: eMusic, Lark of the Morning

I learned something new today. the plural of mizmar is mazamir. And as much as I love just one mizmar, a whole album of multiple mazamir is so much of a good thing, it's almost decadent. :) (For those who have been wondering all this time, a mizmar is like a really nasal-sounding oboe-like instrument)

Seriously, thought, the music is totally folky. Real traditional instruments, no synthesized or western instruments at all. It's raw, and feels very much like it could have been a live recording. I don't think there's anything on it other than just mizmar and tabla.

It sounds to me like very authentic Upper Egyptian music (I'm not an expert, of course) It's a solid recording, not cabaret-ified for a dainty little cane routine. It calls out for all-out folky Saiidi dancing.

So, obviously, I'm recommending this album for the Egyptian-style dancers who want to get down with the folk sound. But I also think this is a great album for old-school tribal-style dancing. All the songs have great prominent drums that make you want to dance, and most of the tracks are long enough to be satisfying,  but short enough to be useful for haflas and showcases. None of the songs have lyrics, so you never have to worry about what anyone is saying.

1. Ismaaouni - 3:25 - Starts with a kind of mysterious sound, then dives into kind-of slow and laid back but intense drums.
2. Mzmar Solo - 1:13 - Two mizmars playing off of each other. One stays with a drone in the background, while the other plays the melody, no other instruments at all. all I can say, is you have to really love mizmar.
3. Aminti Billah - 2:54 - Very slow rhythm at first, picks up into a steady saiidi rhythm as the song goes on.
4. Ana Ma Fiyee - 3:09 - A little more fast-paced, very easy to clap to, and I couldn't sit still while this song was on.  Includes a couple of times where the mizmar hangs back for a while and the drums take over.
5. Khawatem - 3:37 - Most of the other tracks are based on the saiidi rhythm, this one is mostly maksoum. Great, heavy drums through the whole song.
6. Gan Al Hawa - 7:30 - I think this song is a little long for a solo, but would make a great tableau-type group dance. The song changes a lot, so it stays interesting for the whole time.
7. Sirt Al Hob - 15:44 - Another long track. I could only really see using it at a folk dance or international culture festival, since it has a a good "intro"-type sound for the first minute, then goes ito a long but varied song. It has a distinct "finale" type section for the last minute as well.
8. Hikayat Mizmar - 1:49 - This track is all mizmar, similar in structure to "Mzmar Solo"
9. Mazamir Holiday - 5:22 - This one hits hard with the drums right at the start, and there are a number of times in the song where the drums become more prominent over the mizmar.

CD Review: Funky Grooves of Yemen

Title: Funky Grooves of Yemen
Artist: Zafa
Available from: eMusic, Tower has it in stock, Amazon, CD universe, etc all are out of stock. Neither Rashid nor Maqam carry it.

I bought this CD specifically because I know absolutely nothing about Yemeni music. I went into it figuring that since Yemen is on the Arabian peninsula, the music may be somewhat similar to Saudi music.

I wasn't expecting an album quite like this. When they said "funky grooves" they weren't kidding. this album is at it's heart Arabic music, but it was also obviously influenced by American jazz-funk. I was right about the Saudi influence, there are a couple of tracks with a total khaleegi sound. I've been loving listening to it, it's great listening music. The album is so laid back, it's great music to just lay back and relax.

I was on the fence about breaking this album down song by song, since it's not music I would ever perform to (I don't feel like it fits with my style very well), but on the other hand, I am sure many of you out there might find a real hidden treasure on this album. If you're looking for a slow, smooth track that isn't a taqseem, give this album a listen.

• Tariki - 3:23 - This is the jazziest track on this album. Mostly western instruments, very chill, laid back sound.
• Walad - 3:42 - This is a very fusiony track. It has the rolling character of music from the arabian peninsula, but the instrumentation is very western.
• Yuma Wa Yaba - 4:05 - This track has an Indian sound to me? I could swear that's a sitar at the beginning.
• Habibi - 5:36 - Very drone-y, exotic, laid back feel to this song. Kind of languid.
• Wasmaee - 4:09 - This song incorporates traditional music, and has an obvious old-school khaleegi rhythm to it.
• Wanabee - 4:40 - Almost new age-y sounding. Lots of ney makes the music sound very light and delicate.
• Ya Ra'ab - 4:15 - Prominent drumming, again with that characteristically rolling Khaleegy sound.
• Yuma - 4:07 - Has a great chorus sound of background dancers, and some metallic sounding drums, this song has a really pretty melody.
• Yemen - 6:14 - The vocals have a very raw, traditional sound, but the music is new-agey-electronic. The music is very quiet, though,through most of the song, making the vocals seem a little a-capella-ish.

CD Review: Saad - Prince of Sha'abi

Title: Prince of Sha’abi

Artist: Saad (aka, Saad el Saghir)

Available from: Amazon, eMusic, lots of other places. This album was formally released in the US, it’s not an import.

I’m sure plenty of you reading already have this album, but if you don’t, you should!

Sha’abi, as I understand it, is Egyptian urban working-class music. The most famous sha’abi artist that you’ll hear at American haflas is Hakim, but well, you’ll hear him a *lot*, and it’s nice to hear someone else for a change.

One thing to note, though. The liner notes for this CD do not include translations, and sha’abi can often be political, bawdy or both. So it’s worthwhile to look for translations or run these songs by an Arabic speaker before you use them in a performance, just so you know what you’re dancing to. (That’s a good idea anyway, of course – but in this case, it’s worth a reminder)

This album is fun and bouncy, and very easy to dance to. Lots of synthesizers and stuff, but also some appearances by traditional instruments. Every track is danceable, and most are less than 5 minutes long, so would work for hafla and showcase situations where you have a limited time slot. The songs all have great repeating structures to them, making them good to choreograph for student group dances, etc.

• Sabah el Sa'awah - 5:08 – Lots of synthesizer.
• Bel Arabi - 4:27 – Lots of traditional instruments! Including a little mizmar used as an accent a couple of times in the song. And you all know how much I love mizmar.
• El Kalam ala - 4:14 – The lyrics are kind of call-and-response-ish, would be cute to dance with two groups of dancers, alternating with the two voices.
• Shokran Aal Akher - 4:10 – Starts with a little fast chiftitelli (I guess wahad e noss, since this is an Egyptian song) then settles into a more saiidi-ish rhythm.
• Ya Tayeba Yamma - 5:12 - This song is slower and more emotional-sounding. The first minute is slow and sad-sounding, including a prominent ney. Then the drum starts to come in, but the tempo is still slow.
• Ya Ma' Alem - 3:59 – *Very* silly song. Starts with a phone ringing, and a sung play on a phone conversation (I think) The whole thing has funny voices and and a very lighthearted sound.
• Sallo Aal Nabi - 4:17 – A little less bouncy than a lot of the other songs on the album. Still great to dance to, but a little more restrained than the rest of the all-out party music.
• Howa Tale'et Menhom - 3:20 – Another song that seems to be pretty emotional, but not nearly as much as “Ya Tayeba Yamma”
• Ya Hawel Allah Ya Rab - 3:34 – very easy to clap to, and has these kind of cute synthesizer bits.
• Al Laila Dy - 4:32 – This song has a really different sound from the rest of the album, almost a little African influence, but still very Egyptian. It’s hard to describe. Also, it has grunting. Like I said, a different sound.
• Ya Elly Enta Ba'et Anny - 4:43 – Kind of old-school sounding compared to other Egyptian music. Little in the way of electronic instruments, and very grounded-sounding.
• Bat Bat - 4:37 – Literally starts with “3,2,1 Hit it!” a very clap your hands, tap your toes, chest drops for 5 minutes song.

CD Review: Zikrayat Live at Lotus

Details

Title: Live at Lotus
Artist: Zikrayat
Available from: CD Baby

This whole album is so old-school! The sound of the music is very classic, but the quality of the recording is modern. According to the liner notes, they're influenced primarily by "Golden Age" movie music, and the CD captures a lot of that tone, mixed with that feel of live concerts with the big Egyptian stars.

When I first played this CD, the music almost pulled me out of my chair, it is so dance-able. I have more than once just cranked it to improv in my basement. It's easy to dance to the whole CD from beginning to end, the songs include a lot of style and tempo changes. The show was completely acoustic, which gives the recording a very immediate, in-the-moment feel.

As far as using this CD for performance, the music is excellent. But since this is a live recording, there's a lot of clapping and crowd sounds, which I know some people feel weird about. Though if your live audience is clapping, then it shouldn't be an issue if the recording is too. The music is super-traditional though, so it's great for cabaret dancing, some tracks would work for more old-school tribal, but this is really not workable for fusion or experimental stuff.

• Yamma-l-Amar Aal Baab - 4:38 - This track includes singing, and the audience claps along to the music enthusiastically. It’s a very energizing track, has a great solid rhythm, and lots of tempo changes and accents.
• Oud Taqsim - 3:00 - The pauses in this track give it a kind of “holding your breath” feeling.
• Imta Hataaraf - 6:43 - The singer’s voice is very passionate, so this track gives a dancer a lot of emotional energy to work with. This track especially has a very Golden Age feel.
• Tableau from the film Ruined Honeymoon - 4:00 - This track has a slow and delicate intro for the first 30 seconds, then starts to pick up into a spirited and fast-paced song. It’s instrumental, and the audience joins in clapping at the end.
• Ana Albi Ilayk Mayyal - 5:58 - This song feels very grounded, and moves a lot between slow and fast, quiet and loud… it has a lot of contrast. It ends with a few seconds of applause
• Ahlami - 6:47 - Another track with a lot of tone changes. This track is instrumental and has a beautiful ney in it, very light and pretty. There’s a great interlude in the first half with a heavy couple of bars of beledi rhythm that I wish was repeated later in the song
• Nay Taqsim - 2:29 - This taqsim has a more exotic or fantastical feel than track 2.
• Habbaitak Tinseet in-Nowm - 5:28 - Another complex piece that takes you though a number of tempos and emotions. Including slower, sadder sections and energetic clapping.
• Mawwal - 2:29 - A pretty and intense mawwal
• Jayibli Salaam - 2:35 - Another very movie-ish feeling track, with some nice back-and-forth between the main female singer and one of the guys in the band. Ends with applause.
• Raqsat Karkaday - 5:10 - Slow intro for just under a minute then a folky and grounded instrumental song. Lots of good pauses in the music to make for dramatic pauses in dancing.
• Drum Solo - 3:09 - Very fresh sounding drum solo. I can’t put my finger on what makes it so different, but it really doesn’t sound like any of the other drum solos in my CD collection. A few other instruments join in at the end, it makes for a nice ending, though the finish on the track is a little quiet
• Aziza - 3:44 - I am always on the lookout for new versions of this song. I really like this one. It has a kind-of “heavy” feel to it, not as light and bouncy as some of the other versions I have
• Raqsat Assaya - 5:44 - Hooray for mizmar! Any of you who have read my previous reviews know how much I love a band who is not afraid to really embrace the mizmar. This track has a long, slow intro that builds up a lot of tension, then it picks up into a *great* folky song that not only has a Saiidi rhythm, but also has that Saiidi feeling, making it perfect for a really traditional cane dance

Review: Lebanon: The Baalbek Folk Festival

Title: Lebanon: The Baalbek Folk Festival
Artist: Fairuz
Available from: Smithsonian Folkways (CD), Smithsonian Global Sound (Electronic), eMusic (Electronic subscription service)

I picked this CD up on eMusic. Since the CD only has two tracks, I effectively paid $0.66 for this CD. That is *insane*. I love finding random gems like this in their catalog. This CD was released in 1994, so it's not new, I've just never stumbled across it before, and I love Fairuz, so I jumped on it.

First of all, the album has some pretty serious weaknesses: It is almost certainly a recording from the 60's or 70's - the recording quality itself is not so great. It doesn’t seem to be strictly mono, though there is ultimately very little that comes through the right channel. All of the vocals and lead instruments are for sure on the left channel. The sound has that somewhat flat character that’s common in older recordings. The whole thing is not separated into tracks by song, and instead is made up of two long tracks.

That said, The concert itself is wonderful to listen to. It's very different from the feel of a studio recording, songs flow from one to the next it feels very organic. Like a live recording should. It's a slice of history, and really sounds exactly like the kind of thing you'd expect to get though the Smithsonian.

Since it was recorded at a festival, I expected to hear the audience, and for it to have what I thought of as a “festival sound” – the first track is completely the opposite of my expectations. It has an almost movie soundtrack sound, in part because of the full orchestra. Fairuz herself sounds lovely, and the music is delicate and even kind of whimsical? It’s hard to describe. The music is definitely not Egyptian, but it has that cinematic sound like Golden Era movie music.

The second track is a little closer to what I was expecting, there’s a tiny bit of applause mixed in, the music is folk instruments instead of an orchestra, and the songs themselves sound folkier. I would probably have been able to recognize this track as probably Lebanese music even if I had not already known where it was from.

This is not bellydance music, and it is not an album for people who like modern music, or listeners who put great emphasis on the quality of recordings (a fancy stereo would be wasted on such an old and rough recording. This CD was not re-mastered or anything) but it's an awesome resource for anyone with an interest in historical recordings of Middle Eastern music, and of course, fans of Fairuz.

eMusic doesn't list track names, so I figured I'd paste them in here for anyone who was curious:

1) Dabke / 'Ayn Al-Mayy (The Water Spring) / Ya Natoor (The Watchman) / Yabu Al-Iyoon Al-Sood (Black Eyes) / Tikhmeen Rahit Hilwit Al-Hilween (The Sweetness of the Sweet Ones Is Gone) / Ya Karm (The Vineyard) / Shatti Ya Dini (Rain, Come Down on Our Crops) - 19:48

2) Finale - 26:06