Rahim AlHaj, virtuoso ud musician and composer, was born in Baghdad, Iraq and began playing the ud at age nine. Early on, it was clear that he had a remarkable talent for playing the ud. Alhaj studied under the renowned Munir Bashir, considered by many to be the greatest ud player ever, and Salim Abdul Kareem, at the Institute of Music in Baghdad, Iraq.
AlHaj won various awards at the Conservatory and graduated in 1990 with a diploma in composition. He holds a degree in Arabic Literature from Mustunsariya University in Baghdad. In 1991, after the first Gulf War, Mr. AlHaj was forced to leave Iraq due to his activism against the Saddam Hussein regime and began his life in Jordan and Syria. He moved to the United States of America in 2000 as a political refugee and has resided in Albuquerque, New Mexico ever since. Rahim became a U.S. citizen on August 15, 2008.
Rahim AlHaj has performed around the world and is considered one of the finest oud players in the world. He has won many honors and awards including two Grammy nominations. Rahim has recorded and performed with other master musicians of varied backgrounds and styles including multi-faceted American guitarist Bill Frisell, modern accordion innovator Guy Klucevsek, Indian sarod maestro Amjad Ali Khan and indie-rock pioneers REM.
He has composed pieces for solo ud, string quartet, symphony and beyond. Rahim’s music delicately combines traditional Iraqi maqams with contemporary styling and influence. His compositions evoke the experience of exile from his homeland and of new beginnings in his adopted country. His pieces establish new concepts without altering the foundation of the traditional “Iraqi School of oud”.
His discography includes earlier works such as The Second Baghdad (2002), the live CD Iraqi Music in a Time of War (2003), and Friendship: Oud and Sadaqa String Quartet (2005), a unique East and West musical collaboration; Home Again (UR Music, 2008) features original compositions portraying his trip to Iraq after 13 years in exile. His March 2009 release, Ancient Sounds (UR Music), a duet recording with Amjad Ali Khan, was nominated for a 2010 Grammy in the Best Traditional World Music Recording category.
When the Soul is Settled: Music of Iraq released by Smithsonian Folkways Recordings was also nominated for a Grammy in 2008.
In November of 2009 he released a special recording Under The Rose with Ottmar Liebert, Jon Gagan and Barrett Martin, with all net proceeds benefiting Direct Aid Iraq.
Rahim is featured in the 2009 documentary film on Smithsonian Folkways Records. Capping off an artistically fruitful 2009, Rahim was awarded the prestigious U.S. Artist Ford Fellowship Grant on December 14th.
Little Earth: Voices For Peace was released in 2010. The project features Rahim’s original compositions in collaboration with Bill Frisell, Klucevsek, REM, Maria De Barros, Liu Fang, Robert Mirabal, Hossein Omoumi, The Santa Fe Guitar Quartet and many more.
Natacha Atlas was born in Belgium, the daughter of an Egyptian father and an English mother. Natacha grew up in the Moroccan suburbs of Brussels, becoming fluent in French, Spanish, Arabic and English, immersing herself in Arabic culture, Egyptian “shaabi” pop and learning from childhood the raks sharki (belly dance) techniques that she uses during her spectacular live performances.
Even more remarkable than Natacha’s dance moves is her unmistakable voice, rich in nuance and grounded in Arabic music.
Natacha moved to England as a teenager and became Northampton’s first Arabic rock singer. Since then has involved herself in a wide variety of musical projects. Dividing her time between the UK and Brussels, she sang in a variety of Arabic and Turkish nightclubs, and spent a brief period in a Belgian salsa band called Mandanga. As she commuted between Northampton and Brussels, however, she began to attract the attention of the Balearic beat crew ¡Loca! and Jah Wobble, who was then assembling his Invaders of the Heart. Wobble was looking for an wide-ranging Middle Eastern singer and fell in love with her voice.
In 1991, both these projects became a reality. Timbal by ¡Loca! started out as a track on Nation Records’ Fuse Two compilation and became a massive dance club hit, while Wobble’s http://www.amazon.com/exec/obidos/ASIN/B000007641/musidelmund-20/002-7906139-4219234?%5Fencoding=UTF8&camp=1789&link%5Fcode=xm2 | Rising Above Bedlam – five tracks which Natasha co-wrote – attracted much critical acclaim and a Mercury award nomination.
The success of Timbal consolidated Natacha’s relationship with the ground-breaking Nation Label, who introduced her to TransGlobal Underground (TGU), at that time enjoying Top 40 success with http://www.amazon.com/exec/obidos/ASIN/B00000DEO0/musidelmund-20/002-7906139-4219234?%5Fencoding=UTF8&camp=1789&link%5Fcode=xm2 | Templehead.
First guesting with TransGlobal Underground in 1991, Natacha became two years later a member of the core quartet of TransGlobal Underground, as lead singer and belly-dancer. A couple of years later, it was TransGlobal Underground’s Tim Whelan, Hamid ManTu and Nick Page (a.k.a. Count Dubulah, who helped her to make her first solo album, Diaspora.
Diaspora came out in the summer of 1995 to critical acclaim. Natacha combined the dubby, rhythmic-driven global dance of her longtime associates Transglobal Underground, with the more traditional work of Arabic musicians like Tunisian singer-songwriter Walid Rouissi and Egyptian composer and ud master Essam Rashad. The result was a collection of songs of love and yearning that genuinely fused West and East.
On her second LP, Halim, Natacha explored further her deeply felt affinity with Arabic musical heritage.
In parallel with the success of her solo albums she remained a full-time Transglobal Underground member, and Transglobal Underground composed her backing band, until they left Nation Records in 1999, and they have remained allies throughout her subsequent career. Atlas has appeared on most TGU albums and its members are usually involved in the production of her solo albums.
1997’s Halim followed, and then Gedida in 1999 , both creatively and naturally fusing Middle Eastern and European styles, and delighting an ever-increasing audience in both territories.
In 2000, Natacha released The Remix Collection, in which material from the first three albums was reworked by a variety of remixers, including Talvin Singh, Banco de Gaia, Youth, 16B, Klute, the Bullitnuts, TJ Rehmi, Spooky and Transglobal Underground.
Natacha’s fourth album Ayeshteni was released in 2001.
2002’s album, Natacha Atlas and Marc Eagleton Project’s Foretold in the Language of Dreams, was a considerable divergence. No beats; a calm recording, involving a slightly smaller group of musicians than normal, including Syrian qanun master Abdullah Chhadeh, whom Natacha married in 1999.
Aside from her own projects, Natacha remains very much in demand as a guest singer for the recordings and performances of a remarkably wide range of musicians, including Nitin Sawhney, Jocelyn Pook, the Indigo Girls, FunDaMental, Ghostland, Abdel Ali Slimani, Toires, !Loca, Musafir, Sawt El Atlas, Franco Battiato, Juno Reactor, Dhol Foundation, Jah Wobble, Jaz Coleman, Apache Indian (on his chart hit Arranged Marriage), Mick Karn, Jean-Michel Jarre’s Millennium Night spectacular at the Pyramids, Jonathan Demme’s film The Truth About Charlie, and David Arnold’s film scores including Stargate and Die Another Day.
Natacha Atlas spent a lot of time in her father’s homeland, Egypt. There, she worked with members of Transglobal Underground and Egyptian musicians. Her album, Ayeshteni, was recorded and composed there.
In 2003, she released Something Dangerous, a solo album of contrasts and collaborations, in which she injected Middle Eastern music into UK pop, pulling in dance music, rap, drum’n’bass, R&B, Hindi pop, film music and French chanson.
On Something Dangerous (2003), Atlas not only combined more styles than ever, but for the first time on an Atlas album it featured guest vocalists, and more singing in English than she did before. There is a collaboration with English composer Jocelyn Pook (who, among other things, created the score for Stanley Kubrick’s Eyes Wide Shut), it has Atlas’ Arabic vocal lushly surrounded by Pook’s western classical orchestration for the Prague Symphony Orchestra. Another guest is West Indian Princess Julianna, whom Atlas met when they were both guesting with Temple of Sound.
On the Arabic side, Atlas used Abdullah Chhadeh and one of Egypt’s finest shaabi trumpet players, the late Sami El Babli (deceased in a car crash shortly after the recording), to whom the track is dedicated. Atlas and Sinead O’Connor, who last recorded together on John Reynolds’, Justin Adams’ and Caroline Dale’s 2002 Ghostland album, trade aphorisms in ‘Simple Heart”.
With Mish Maoul (MNTCD 1038), released in April 2006, Atlas’ career came full circle to touch base with her roots.
The new album returned to the music she grew up hearing in the Moroccan suburb of Brussels, particularly when the Golden Sound Studio Orchestra of Cairo makes its entrance. It also reunited her again with Temple of Sound’s Nick Page (aka Count Dubulah), with whom she first worked in Transglobal Underground and who helped produce her very first solo album Diaspora.
The very names of the CDs I’m reviewing here (some, anyway) indicate that they’re looking to go to places that haven’t yet been fully explored musically. Ever-eager to hear new trails mapped out in the world of world music, I couldn’t be happier.
Tunisian Amine Mraihi is a wizard of the oud (Arabic lute). His brother Hamza has equally mastered the kanun (Arabic zither). Together they head up an impressive ensemble called The Band Beyond Borders and are looking to demonstrate as much on Fertile Paradoxes (ARC Music, 2017). You might think you have cause for concern about an opening track entitled “Spleen,” but have no fear. It’s as perfect a mood-setter as you could hope for, with Amine’s pensive riffing joined in due time by Hamza’s complimentary swirl, plus tabla, violin and classical Indian vocals. A meditative air soon jumps headlong into a stops-out jam featuring a chamber orchestra, layered percussion and solos galore, including saxophone, before settling back into the establishing calm.
The remainder of the pieces (shortest among them sporting a seven-and-a-half-minute running time) similarly blend serenity and thunder, tossing in a zesty accordion at one turn and a klezmer-like clarinet, flamenco flair or an abrupt jazz fusion passage the next. It would sound like a mess were it not for how precisely all the players are attuned to every nuanced change and how expertly they execute them. Whether it’s the evocative side or the supercharged moments that grab you most (or maybe the bridges between them), the sheer “wow” factor of this music makes it a must.
If the title doesn’t say it all, as in the case of Corky Siegel’s Chamber Blues’ album Different Voices (Dawnserly Records, 2016), it might be necessary to add an explanation like “Blues Harmonica and Classical String Quartet,” which this one does on the front cover. Siegel’s blues harp is certainly the first thing heard, in the form of a mournful wail that ushers in violins, viola, cello and the saxophone of guest Ernie Watts on the cheeky drag of “Missing Persons Blues.” That one’s a head-bobber, and nothing that follows breaks the flow, be it the vocal contributions of Matthew Santos (who also does some handy beatboxing), blues vet Sam Lay or Marcy Levy (reinvigorating that old warhorse “Lay Down Sally,” which she co-wrote with Eric Clapton).
High marks also for the aching gospel tinges of Chicago folk trio Sons of the Never Wrong on “I’ll Fly Away” and subtle counterpunch of the tabla that adds a groove dimension throughout. The interwoven tones of harmonica and strings bring forward the roots of their respective traditions while keeping the blues undertow intact and allowing for experimentation such as the Central Asian-flavored “Galloping Horses,” a track which ends too soon. It all wraps up beautifully with “The Sky Will Fall,” a most heed-worthy lament; although I think music of this caliber can keep both sky and earth intact.
A different sort of blue and a different sort of harp (think stringed) lead the way on New Perspectives (independent release, 2017) by Amelia Romano. This San Franciscan gal has been playing the harp from a very young age, presently favoring the cobalt blue electric model. And yes, some of the delicately refined tones affiliated with the harp are heard on this disc. But Romano has an ear and a vision well beyond the expected (her time teaching music in a South African township is one reason for that) and she takes the harp in Latin, blues, flamenco, jazz and singer/songwriter directions without missing a pluck.
While the personal touch of the relationship tale “Smile” opens the album on an inviting note that shows Romano to be a fine singer as well, it’s her versatility on the harp that really makes the whole thing a gem. South-of-the-border familiarities abound with “Bésame Mucho” and “Joropo Ortiz” reminding us that the harp is as much a Latin folkloric instrument as anything else, and in her own compositions Romano works the harp strings like heartstrings, whether laying back for an emotionally ambient passage or skillfully jamming inventive arrangements including the title track. Joined by varying, mainly acoustic combinations of bass, percussion, curator, guitar, viola, cello and reeds, Romano never comes across indulgent or showy. Instead she wields her chosen instrument with a combination of finesse and fire that’s unbeatable.
Build Music (Luaka Bop, 2017) is the latest by Brooklyn-based Janka Nabay and the Bubu Gang, and the music they’ve built is based on the ancient sound of Sierra Leone’s bubu horns, bamboo instruments used to accompany Ramadan processions. The bubu tones are recreated on keyboards and applied to modern Afropop arrangements topped with Nabay’s dryly infectious vocals. Lively, catchy and danceable though the results are, the programmed instrumentation that dominates gets a bit annoying after a while. It’s good, but it could have and should have been better. Recommended for those who prefer electronic over organic by a wide margin.
The musician’s collective it represents is appreciably larger, but on Jinja (Zambaleta, 2016), The Nile Project is comprised of 13 players and singers from seven nations (Egypt, Ethiopia, Sudan, Kenya, Rwanda, Burundi, Uganda) that are among those spanned by the world’s longest river. The project’s first album was a live set from their 2013 debut concert, and this, their second (named for the Ugandan city in which the collective most recently gathered), is an assemblage of recordings from both proper and impromptu studios. In the end it matters little whether the music was laid down on or off the fly, because it’s seamless and brilliant.
The basics are easily described: melodies provided by the oud, krar and adungu (Arabic, Ethiopian and Ugandan lutes respectively); ample support from bass, saxophone and qawala (Egyptian flute); vocals traded between countries and genders; galloping percussion from across the spectrum and once in a while a specific element like the ikebme (lamellaphone) arising prominently. Musically, it’s tougher to find descriptive words.
Anyone familiar with Egyptian raks sharki or the increasingly well-known strains of Ethio-jazz will find common ground goodness here, as will those who can appreciate combined Egyptian and Sudanese love song sentiments, the embellishing of an Ethiopian Christian hymn with sounds straight out of the Muslim world, multilingual singing with shared passion as an unbreakable link, the beauty of acoustic instruments bursting forth unencumbered by overproduction or the way the whole disc comes across as how you’d imagine the perfect soundtrack accompanying a visit to the Nile’s 4000-plus miles would sound. And I’m barely marring the surface in relating the many pleasures to be heard.
If combining oud and kanun (see above) with piano isn’t entirely new, it’s still not the sort of combination you hear every day. And what some might find truly radical about Andalusia of Love (Nagam Records, 2016) is the fact that Marcel Khalife, a Lebanese Christian, sets to music the poetry of Mahmoud Darwish (1941-2008), a Palestinian who championed the cause of peace between Palestine and Israel.
The elder Khalife (on oud and vocals) is joined by his sons Rami (piano) and Bachar (percussion) and Gilbert Yammine (kanun). The foursome work together with an energy that builds and separates much like the nuances of poetry: musical passages correspond to the rising and falling of sung stanzas supported by variations in tone, feel and speed to emphasize what I can only assume are changes in mood, intent and subject matter.
One need not understand the language to appreciate the unity-espousing feel of music that ranges from traditional to experimental. The savory concluding track “Achikain,” which tapers to a trickle after a flood of inspired group dynamics, is a fitting end to a wonderfully rendered cycle of music.
A native of Lebanon, May Nasr has been influenced by the songs of the great Fairuz, Zaki Nassif, Ahmad Kaabour, Marcel Khalife, Julia Boutros.
In her early singing career, May was mentored by the renowned sound engineer Farid Abul Kheir, and trained by the great Lebanese singer Zaki Nassif as well as Badia Sabra Haddad, the former voice teacher of Fairuz.
A voice for freedom, justice, equality, humanity and love, May often focuses on the beauty of the Lebanese people in her music, using songs of peace, love and resilience to inspire positive change in local and global Arab communities. A strong voice for social justice as well, Nasr helps support local charities as well as global organizations through the proceeds of her many popular concerts.
She has performed to ecstatic audiences throughout the Middle East and the world. Her first CD, Lil Ghaly, was released in November 2008 and her second recording, Written in Water, with Lourdes Pérez, was released in 2010.
“May sings with her guitar, her heart and the beautiful voice with which she has been blessed.” – Zaki Nassif
Renowned throughout the Arab world, Le Trio Joubran is led by Palestinian ud virtuoso Samir Joubran. Samir performs in duo or trio lineups with his younger brothers: Wissam Joubran and Adnan Joubran.
Samir and his brothers are the sons of a master luthier, who is the son of a master luthier; a family steeped in the ancient history of the ud, the Arabic lute.
Their mother sang in a Muashahat (a classical Arabic poetry/music form) ensemble and their father is an ud crafter known throughout the Arab world. The brothers were born in the Galilean city of Nazareth in a family with a strong musical tradition.
The three sons perform on uds built by Wissam, who was the first Arabic luthier to graduate from the Stradivarius Institute in Cremona, Italy, where he mastered the construction of violins and uds.
Le Trio Joubran was born when elder brother Samir listened to the jazz/rock/flamenco guitar trio of Al Di Meola (USA), Paco de Lucia (Spain), and John McLaughlin (UK).
The trio’s first CD together, Randana, was the first meeting of an ud trio. “We wanted to experiment composing for three uds,” says Samir. “It was a challenge and the music was experimental. Through our touring we gained confidence which makes the music on Majaz different. It’s more accessible to a wider public; it’s more clear, transparent, and joyful but with sadness in the background, and yet proud. We introduce percussion in a very subtle way, sensitive and present. Three uds are there with three different personalities, but together.”
Ronnie Malley is a multi-instrumentalist musician, theatrical performer, producer, and educator. He collaborates with the music groups Allos Musica, Duzan Ensemble, Lamajamal, and Surabhi, and is a faculty member at the Chicago Academy for the Arts. He performed recently at the Jaipur Literature Festival (JLF) in India with George Lawler (percussion), Subrata Bhattacharya (tabla) and Abhisek Lahiri (sarod). See my writeup on the JLF music showcase here.
His recent credits include author and composer of the original play Ziryab, The Songbird of Andalusia (Silk Road Rising World Premiere), author and composer of the story The Oud, Ziryab, and Andalusia: An Enchanting Tale of Music (Oregon Shakespeare Festival, Chicago Cultural Center). He has produced the albums Auraad Fathiya, Saazuk Safar, Tsikago, and Gypsy Surf.
Ronnie conducts Arabic language artist residencies for Chicago Public Schools through Intercultural Music Production and is a teaching artist for music and theater with Global Voices Initiative. He joins us in this wide-ranging interview on his musical journey, the role of music in cultural identity, and his message for a better world.
Q: How did the lineup for East Meets Middle East get formed? How did the musicians know each other?
RM: East Meets Middle East (EMME) formed in early 2016 as a collaboration between two Chicago musicians; George Lawler and myself, who had been playing together for over 10 years, and two seasoned classical Indian musicians from Calcutta; Subrata Bhattacharya and Abhisek Lahiri, who were both on tour and visiting Chicago. We were introduced by a mutual musician friend.
EMME’s concept arose from a conversation between Subrata and myself about a hate crime on a Sikh temple in Milwaukee, which we thought displayed the ignorance that exists about different faiths and cultures from the Middle East and India, not only in America, but elsewhere. We thought about making a project that would emphasize the uniqueness of these rich, yet distinct, cultures and serve as a contrast to many ‘East Meets West’ albums that often lump South Asian and Middle Eastern music into one broad category.
Q: How was your overall experience touring through India this month?
RM: Touring India this month was an exhilarating experience! I’d say one major highlight was being able to see three distinct cities: Kolkata, Jaipur and Delhi. In Kolkata, George and I were able to get a closer look at one of India’s cultural capitals and learn more about its folk music (e.g., Jhoomur and Tusu) as well as one of my favorite literary icons Rabindranath Tagore.
In Jaipur, the world just came together through music and literature. I especially enjoyed reconnecting with friends such as Nathu Lal Solanki (nagarra player from Rajasthan) and Homayun Sakhi (Afghan rubab player in Aga Khan All Stars). Delhi was also amazing because George and I got to perform with friends Raghu and Sudha Raghuraman, masters of Carnatic music, and also meet folks from Amarrass Records, Desmania Design, and One World College of Music.
Q: How is your album ‘East Meets Middle East’ being received by the audiences and media?
RM: Folks at the JLF were very supportive. We’re a little new as a group and still building our audience and media coverage, but social media and streaming site comments have also shown appreciation for what we’re trying to do. Some have expressed that it’s refreshing to get a more in-depth look at these cultures through music. Others enjoy the instruments and how they complement each other.
The sarod and tabla are Indian counterparts to the Middle Eastern oud and darbuka (also called a tabla in the Mid East). Though, I’d say most comments have been about the improvisation. We have a structure for the compositions, but we also leave room to improvise – making each live performance a unique experience for us and the audience.
Q: The tracks Misty Trail and Distant Star really jump out! Can you describe how they were created?
RM: All of the tracks on the album are original compositions. Misty Trail is a composition by Subrata Bhattacharya and Distant Star is an original composition of mine. Initially, Subrata went to a studio in India with Abhisek Lahiri and recorded the composition as a guide track for us to learn, and eventually re-record in Chicago.
Distant Star came about as an improvisation while rehearsing with George in Chicago, which I later arranged. Ultimately, once we had a structure for the pieces, improvisation became the focus. Indeed the whole album was conceived like that. Basically, once Subrata and Abhisek arrived in Chicago, they came to George’s and my studio for rehearsals, which we ended up recording, and that became the album. It’s a live album of original compositions and improvisations, but really it’s a musical dialogue of our encounter.
Q: What other lineups and genres have you experimented with?
RM: I grew up playing everything from rock and blues guitar to Middle Eastern and North African folk and classical music. George and I also have had the group Lamajamal for about ten years, which explores music from the Balkans, Greece, the Middle East, and North Africa. With that group, we include clarinet, bass, guitar, and various Turkish instruments. George also has a group called Byzantine Time Machine, which explores Balkan and Greek music through an electronic medium.
I also have another fusion group called Surabhi, which is a group that celebrates the connections of Indian, African, and Middle Eastern music to Spanish flamenco. The lineup for Surabhi consists of veena, oud, tabla, guitar, cajon, bass, and African percussion. Our groups are based in Chicago.
Both Abhisek and Subrata also have their own fusion projects in Calcutta as well as Europe and the US. Abhisek’s group is Ionah and Subrata’s projects are many, including Flat Earth Ensemble and Naad, to name a few. They’ve also collaborated with countless artists.
I think EMME is unique for all of us. The group explores the relationship between raga and maqam musical styles, but also delves into the improvisational components of those styles, as well as drawing on all of our collective influences in everything from Pink Floyd to Ali Akhbar Khan.
Q: How would you describe your musical journey so far, in terms of phases, genres, collaborations, inner discovery?
RM: For myself, music has been all I’ve ever really known. I went from performing in the family Mid-Eastern band at weddings as a child to playing rock and in punk marching bands to performing classical Turkish and Persian repertoire with the University of Chicago Middle East Music Ensemble to collaborating with world artists and creating groups like EMME.
I know Abhisek also began performing with his father, Pt. Alok Lahiri, at a young age. George, like myself, honed a lot of his background in world musics from Chicago’s diverse communities. It’s all really a continuous journey that unfolds new chapters with every project, encounter, or collaboration. It’s about trying to build experiences where music is a medium for social interactions and dialogue – not just for musicians, but also those with whom we interact.
Q: What are the challenges you face as a musician and composer?
RM: As a musician and composer, the great challenge is striking a balance between performing and writing in one’s career. As a performer, sufficient practice to hone one’s craft and deliver a great performance is essential, even when the repertoire is not new. One has to discover something new in what might appear mundane. As a composer, it is important to shift practice routines for performances and allow more time to think creatively for thoughts and inspiration to translate into more writing.
Q: Who would you say are the leading influences in your musical career?
RM: The family band with my father and brother is probably my first leading influence in my musical career as we were able to perform as the house band in Chicago for many visiting artists from the Middle East.
Next, I would say the musicians with whom I performed like Tony Hanna from Lebanon, Magdi El Husseini from Egypt, and Najib Bahri and Mohammed Saleh from Tunisia. A lot of credit is also due to some of Chicago’s own older established musicians who migrated to the US, like Issa Boulos and James Stoynoff.
Q: How do you blend different musical influences and genres, i.e. how do you create fusion without confusion?
RM: It is about mutual respect. For example, it is one thing to say, “Oh, I love Indian or Middle Eastern food,” and another thing to have dinner with an Indian or Middle Eastern family. In the first case, it’s like choosing something as a matter of taste simply because it’s appealing and can offer some spice to your proverbial melody. Perhaps, it’s a start to gauge interest, but confusion on what’s authentic or appropriate can arise.
In the second case, a relationship is formed. One learns the customs, language, and perspective of a culture developing a bond with the people and their tradition. The latter approach is what I appreciate about creating cross-cultural collaborations in music.
Q: What kinds of social and political messages have been conveyed in your recent albums? What is your vision of what music can do in this age of political/economical turmoil?
RM: With EMME, we’re trying to raise awareness that there are similarities and distinctions in the traditions we represent. Both Mid-Eastern and South Asian cultures have robust pluralistic societies consisting of many religions and philosophies that tend to be homogenized in the West, but also misunderstood in the East amongst the people themselves.
Our hope is that music can serve its part in an effort to bring humanity closer in dialogue and make us all more productive. While it is important to celebrate our differences, we should also get over them and realize we face similar issues that affect and should unite us all.
Q: What new album or video are you working on now?
RM: All the members of EMME have their own projects they tend to, but we are looking to begin recording a second album in Chicago around Spring and Summer of 2017.
Q: How is the creative scenario for traditional and fusion music today? Are audiences/venues/labels/artistes very open to such collaboration?
RM: It’s important not to ascribe the label ‘fusion’ to all cross-cultural collaborations. Indeed many traditional styles, such as Spanish flamenco, Indian raga, Mid Eastern maqam, and music from the Americas are organic blends of multiple styles that date back hundreds of years.
Overall, I think there’s an audience for anything one wants to focus on – and in turn, probably a record label or streaming service that’s tailored for or by that audience. There’s room for a lot styles from academic projects like Yo Yo Ma’s Silk Road, to cross-genre projects like Junoon, or straight up hip-hop sung in Arabic or Punjabi by emerging artists where these languages are spoken. My hope is that people in general can transcend the labeling of a genre and rather open more to exploring and appreciating sound, whether it’s classical or contemporary, analog or digital.
Q: Where do you see yourself 10 or 15 years from today? What are some ‘˜dream projects’ or visions you are working towards?
RM: 10 to 15 years from today I plan on continuing to work in music production and performance as well as teaching and writing about it. The greater vision is to create more interdisciplinary art projects that allow others to perceive practice of art as a way of life and perceiving the world, not just as a commodity for consumption.
Q: Do you compose on the road also, while traveling?
RM: I always have a recorder and blank sheet music handy. Inspiration strikes when you least expect it sometimes. It could come from seeing something or someone in the street, while waiting for a train, or in a cab driving through the street of Calcutta or Chicago.
Q: What are some unusual reactions you have got during your live performances?
RM: It really depends on the audience and where we’ve played. In my group Lamajamal, we had people come up to us crying saying how a piece of music brought back memories of their father or mother, or of being back in their country. That was the case once with an Armenian woman who was attending a performance at a cultural center.
We’ve also been asked to conduct workshops and lectures about the music and cultures we present. This was the case when Lamajamal presented a workshop on commonalities between Jewish, Turkish, and Middle Eastern Music at Georgetown University. My other group Surabhi has given similar performances and presentations about the commonalities of Indian, Arab, and Spanish music. These presentations are often meant with informative questions and new learning.
A different experience occurred when I was touring last year with a project called Caravanserai. The sponsors of the tour were showcasing arts and artists from the Muslim world to cities in America, where most people had never even met a Muslim, and were informed only by what they saw on TV. Zeshan Bagewadi, an Indian-American musician, and myself headlined the tour. Though we both had Muslim backgrounds, the music we presented was funk and rock n’ roll with elements of Sufi poetry and style.
In our first performance to some community members from the town, someone within earshot said, ‘So this is what terrorist music sounds like!’ That was definitely not a reaction I was expecting on the first day being in this town. After a week-long residency of workshops and community engagement there, we felt that our music and outreach was able to soften their hearts from the first reaction and open their minds by the time of the final performance at the end of the week.
Q: As a Palestinian, how important is culture to the people’s identity, and how do you see yourself contributing to this preservation?
RM: Culture is the image and representation of any people’s identity. Yet, I also think it’s important to make sure we identify with who we are – musician, artist, poet, athlete – more than where we come from. In other words, I’d rather be considered an artist who happens to be Palestinian, than always being viewed as a Palestinian artist.
My background is in Global Music Studies and I find that by knowing and passing along music from my culture or other cultures with which I engage (e.g., Indian, Turkish, Balkan, American) I can represent them better from an artistic perspective than a nationalist one. There are many Mid Eastern and South Asian artists who know their traditional cultures very well, but who also have experience in music from outside, yet existing within, their own cultures in genres like rock n’ roll, hip hop, jazz, and classical music. In that sense, they still represent who they are and also where they come from.
Artists like Junoon, Zubin Mehta, M.I.A, and the Palestinian hip-hop group DAM are all examples of artists from specific cultures who are also global representatives. In short, if I were to represent my ethnic heritage, I would say demonstrating how I am a global citizen would be one way.
Q: Do you also teach workshops for students and musicians?
RM: All of the members of EMME are also teachers of their respective craft. George and I both work at the Old Town School of Folk Music in Chicago and also work as teaching artists conducting workshops and lectures in schools and universities. Abhisek and Subrata also have many private students and have given residency workshops at schools around the world including the University of Illinois in Champaign-Urbana.
Q: How has the music industry changed over the years, and how has it impacted you?
RM: I think acts have come to rely greatly on the do-it-yourself model with emphasis on income from live performance, self-publishing, and potential placement for licensing than record sales, which in today’s digital economy can be negligible for artists. The ability to reach a whole new audience has never been easier through the advent of social media and recording technology. As for other aspects, we learn to embrace and utilize tools responsibly, whether they be social media or instruments like electronic loops and mixers.
Q: What is your message to the aspiring musicians out there?
RM: The only way you’ll get to where you’re going is if you remain in the game. All measures of success are relative. One does not have to be a superstar to have a career in music, even though that, too, is a legitimate aspiration. I’ve found it to be more rewarding to contemplate what we can contribute to the world as artists and how the relationships we build along the way truly determine our success.
Q: What is your message to your audiences?
RM: Support live music and art. Practice an art, whatever it may be, if just for the sake of appreciating expression and what art means to humanity. In a world, caught up in technology, nothing will ever replace the need for face to face time whether one is a practitioner, student, or observer.
Born in 1947 in Damascus (Syria), ud player, violinist, vocalist and composer Anwar Diab Agha has performed throughout the Middle East and Europe with Sabah Fakhri, Mayada Hinawi, and Firqat Umayya. He was a member of the National Television and Radio Orchestra in Damascus since 1969, and accompanied some of the Arab world’s most famous singers, including Fairouz, Sabah, and Wadi al-Safi.
Anwar Diab Agha is also renowned as a composer, whose works have been performed by many contemporary Arabic singers. He was the leader of Firqat al-Anwar in Damascus.
After moving to Vermont in the United States, Anwar Diab Agha formed Grup Anwar (meaning ‘luminous’ in Arabic) in fall 2011. The group specializes in classical and traditional Arabic music.
Jedid is an excellent album by Belgium-based Iraqi qanun maestro and composer Osama Abdulrasol. His quintet features Belgian and Canadian musicians who come from the classical and jazz music fields. So it’s no surprise that Jedid is a fabulous mix of Arabic, jazz, classical, Sephardic and other music influences.
Although Osama Abdulrasol’s spectacular qanun solos are the highlights of the album, his band features skilled instrumentalists who deliver equally stunning performances, including Philippe Thuriot’s jazz accordion improvisations.
The album lineup includes Osama Abdulrasol on qanun and ud, Philippe Thuriot on accordion, Lode Vercampt on cello, François Taillefer on percussion, and Helena Schoeters on vocals.
Karim Baggili – Apollo You Sixteen (Take the Bus, 2016)
Apollo You Sixteen is the title of the fifth album by Belgian multi-instrumentalist, vocalist and composer Karim Baggili. His music style is deeply influenced by flamenco and Arabic music. It’s a very vibrant form of world music mixing acoustic instruments with rock style drum set and electric bass as well as dance beats.
Karim Baggili’s main instruments are the flamenco guitar and the Arabic ud. His first instrument was the guitar. He bought his first ud at 20 during a trip to Jordan.
The musical pieces switch back and forth from high energy, high speed flamenco to Arabic rooted sounds plus some delightful laid back pieces with Spanish classical and jazz influences as contrast. There is one song “Exitimuse” that strays away from the rest, venturing into what I would define as Europop. Maybe they had commercial radio in mind.
The lineup on Apollo You Sixteen includes Karim Baggili on guitars, ud, vocals and bass; Youri Nanai on bass; Vivian Ladrière on percussion and drums; and Mohammed Al Mokhlis on violin. Guests featured: Karoline de la Serna on vocals; Silvano Macaluso on piano, keyboards and programming; Houssem Ben El Kadhi on kawala (cane flute); and Ahmed Khaili on darbuka.
Karim Baggili was born in Belgium in 1976 and has Jordanian and Yugoslav ancestry. He’s a self-taught guitarist. He started with the electric guitar at the age of 16. At 20, he learned flamenco guitar techniques and acquired his first ud. In 2000, Karim won the first prize at the “Open String Festival” in Osnabruck, Germany.
Karim works on numerous projects as a composer or arranger for albums, documentaries and short films.
Ud master Nizar Rohana dedicates his new album to the Euphrates River. Furat is the Arabic world for the Euphrates River, located in a region of ancient civilizations. This fascination with the rich history of the peoples who lived along the river banks inspired the compositions featured in Furat.
The album contains six original pieces composed by Rohana plus Sama‘i Muayyar composed by Tanburi Cemil Bey. The instrumental performances feature Rohana on ud along with Matyas Szandai on double bass and Wassim Halal on percussion. Rohana delivers striking solos and delightful interplay with the bass.
The primary influences are Arabic classical music and jazz. The ud is highlighted throughout the album supported by gentle bass and a variety of percussion although the frame drums are the most frequent.
Nizar Rohana is a Palestinian musician presently based in the Netherlands.
Furat features beautifully composed musical pieces highlighting the exquisite sound of the ud.