Haytham Safia, born in 1980, is an Arab-Israeli from Jerusalem. His passion for the Ud started at an early stage.
In 2001 he made his debut as a performer in The Netherlands where he acquired a firm position in the musical ensemble accompanying the Galili Dance Group; they toured throughout Europe.
In 2002 he graduated with distinction at the Academy of Music and Dance in Jerusalem. With Joshua Samson and Tony Overwater he performed at the Cultura Nova Festival in Heerlen September 2003. In February 24 he played as a soloist with the Holland Symphonia in the Concertgebouw in Amsterdam.
In November 2004 he participated in a workshop in the Rasa (Utrecht) for the Lute festival with another eight musicians from different nationalities.
Haytham Safia is in essence a classical Arabic musician but his compositions and music are influenced by other musical styles such as Persian, Balkan and jazz music.
He established his own group The Haytham Safia Quartet which consists of four musicians from different backgrounds: a Dutch, German and an African. The group performs Haytham’s original compositions that encompass both his performance experience and academic training while still true to his Arab roots.
Badavi Zubayr, who sings and plays the ud, represents the urban tradition of the Hadramawt Valley (Yemen). Badavi composes his own melodies as much as he draws inspiration from the rich traditions of the Valley. He is influenced both by the old town’s culture as well as by the surrounding desert that his family comes from. Badavi is especially influenced by the tribal and Beduin tradition of Hadramawt. The tribesmen of the side valleys, like Dawcan, perform the dahifa, where two people dance in a circle, accompanied by mizmar, a double-reed clarinet or qasaba, a straight flute. The Beduin perform the miraikuz dance with hand-clapping and wooden castanets called maraqis.
Zubayr lives in the historical town of Shibam founded during the 9th century. It is also known as the “Manhattan of the desert”. The architecture of this town symbolizes the mixture between the pre-Islamic and Islamic cultures of Yemen
Mina Rad, a Paris-based journalist traveled all the way to Yemen to interview Zubayr. This is an account of her experience: “At the old port of Shibam, we asked a taxi driver about Badavi who proudly brought us to his beautiful house with two floors. There we found Badavi and his musicians. Badavi, a fifty year old man, with a brown face and a deep look, was surprised by the arrival of a journalist who came all the way from the West to find him, welcomed us very warmly. It was the afternoon, the time that the people of the desert get together to chew the qat (the special herb that has a relaxing effect). We were lucky, because Badavi was rehearsing with his musicians. He welcomed us in his big guesthouse, called in Yemenite Mafradj. A beautiful hall was surrounded by the small traditional wooden windows made by the hands of the artist himself. In such a warm atmosphere, Badavi and his group performed an unforgettable concert for us. Accompanied by a rhythmic sound of the waterpipe, while the musicians were chewing their qat, we discovered Badavi. Through his peaceful sound of ud and his deep voice, we entered to the magic world of the desert.”
Ahmed Yaslam Khames Zubier, whose nickname is Badavi, which means the son of the desert, is one of the most popular singers in the valley of Hadramawt, in the South of Yemen. In his hometown, Shibam, with 4 inhabitants, he is considered as the king of the wedding ceremonies.
He was brought up in a family of musicians and carpenters. Since his childhood, he learned the family’s crafts and music from his father. The first instrument that he played was a mizmar (a kind of clarinet). Inspired by his sensibility for poetry, he started to compose poems. “I wanted so much to sing and play music, that is why I gave up the mizmar and learned ud”, with enthusiasm he explained “My life is summed up in my poetry and my music. I let my poetry be rhymed by the sound of my ud”.
At the age of twenty he formed his own group and made his first recording on cassette in 1973, when he was 23. His cassettes became very popular in the region. Since then he has produced dozens of them. Every driver in the desert, has one in his car. As said one of the drivers of a trolley, “the long roads of the desert become more joyful thanks to the melodies of the son of the desert.” The people of Hadramawt like not only his music but also his poetry that describes the everyday life of the Beduins, love and the feeling of being away from hometown.
Badavi is not only a musician but he also makes his own instruments. The originality of his music is based on the mixture between the happy melodies of the coast and the nostalgic ones of the desert. Even though the musical tendencies of the region are to modernize the music with western instruments, he remains faithful to the old tradition of Hadramawt. That’s why the Hadramawt people who emigrated to the Arabic gulf countries, very often invite him to the Gulf countries to sing for them at their weddings and bring them the melodies of the hometown.
Hassan al-Ajami is one of the last players of qanbus, a small lute with 4 strings. He represents the elegant tradition of Sana. He is the third generation of the qanbus player and singer. His peaceful melodies relate the sound of his ancestors from Iran to Yemen.
Mohamed Adlen Fergani was born on the 29th of April 1993 in the city of Constantine, Algeria. He belongs to the Fergani family where Maluf music is a part of the heart and soul of all family members. This family atmosphere has pushed his learning of the use of many musical instruments: percussion at the age of 8, mandolin at 13, then violin and oud (Arabic lute).
Beside his musical career, Adlen is studying Aeronautics at Constantine University. He is part of the 4th Generation of the Fergani family that includes his great grandfather Hamou Fergani, grandfather Hadj Mohamed Taher Fergani, his father Nasserdine Fergani and his uncle Salim Fergani.
Carrying over the mission to preserve the musical patrimonial heritage of Constantine, already developed by the predecessors, he is distinguished by his beautiful voice appreciated by his fans and Maluf followers. His musical products are inspired by the heart, spirit and allows the listeners to travel through the ancient Arab Andalusian world thanks to the selected words and refined music. The success has been proven in many festivals, wedding ceremonies, Ramadan parties or religious events.
The title of his first album is “Ana el mamhoun bel ghoram”, supervised by his grandfather, maestro Mohamed Hadj Fergani and featuring the participation of other artists as well. A second album is in the works.
Adlen Fergani has performed on TV, radio and at numerous festivals throughout Algeria.
His awards and trophies include Trophy & Expression of Gratitude for the conservation of Constantine Patrimonies, 8th Edition of « Cultural National Festival of Andalusian Music and Maluf (2014) and Trophy & Expression of Gratitude for the participation in “Knowledge days University of Constantine 2012.
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.
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.
Ara Dinkjian is an Armenian born in the United States in 1958. His earliest professional musical experience was accompanying his father Onnik Dinkjian, a renowned Armenian folk and liturgical singer.
Ara learned several western and eastern instruments (piano, guitar, darbuka, clarinet) and in 1980 graduated from the Hartt College of Music, earning the country’s first and only special degree in the instrument for which he has become most well-known, the oud. For the past 35 years, he has continued his post as organist in the Armenian Apostolic Church.
Throughout his musical life, Ara has continued to develop his highly personal compositional style which blends his eastern and western roots. In 1985, to help realize these compositions and musical concepts, Ara formed his instrumental quartet, Night Ark, which recorded four CDs for RCA/BMG and Universal/PolyGram.
Night Ark’s recordings and concert tours were highly influential for musicians and music lovers throughout the world because they demonstrated how music can move forward while still retaining the dignity and soul of one’s culture.
These compositions have had a universal appeal; his songs have been recorded by world famous instrumentalists and singers in thirteen different languages, demonstrating that music does indeed unite people and cultures. His hit song “Dinata, Dinata” was performed at the closing ceremonies of the 2004 Athens Olympics. Many of his compositions have appeared in movie and television soundtracks.
Ara is also considered one of the best oud players in the world, with a very personal style that emphasizes his uniquely beautiful tone. He has appeared throughout the world on concert stages, oud festivals, seminars, and master classes.
His CDs ‘An Armenian In America’, ‘Voice Of Armenians’, and ‘Peace On Earth’ were recorded live at the 2005, 2006, and 2007 Jerusalem International Oud Festivals.
In 2010, Ara Dinkjian formed The Secret Trio, along with clariner virtuoso Ismail Lumanovski (New York Gypsy All-Stars) and qanun maestro Tamer Pinarbasi. The ensemble performs Turkish, Balkan Roma (Gypsy) and Armenian music.
He continues to compose, perform, record, and teach, while creating his own unique musical landscape.
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.
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.
Dhafer Youssef is a creative ud (Arabic lute) player from Tunisia. He’s also an excellent vocalist and prolific composer. Youssef mixes traditional Sufi music, world music, and jazz influences with Arabic lyricism.
Dhafer Youssef was born November 19th, 1967 in Tebulba. The son of a modest family from this Tunisian fishing village, he comes from a
long line of muezzins. Although he received vocal training as a young boy, Dhafer became interested in the ud. He played it at the youth center in Tebulba, where he also discovered the electric bass and various rhythms.
Seeking new possibilities, Dhafer Youssef moved to Tunisia’s capital, Tunis. He enrolled in the musical conservatory at Nahj Zarkoun. Disappointed with his experience there, he moved to Austria to complete his musical training.
Vienna’s multicultural scene opened the door to new options. Dhafer studied musicology, but soon realized he was more interested in jazz and Indian music. He participated in numerous jam sessions and met Austrian percussionist Gerhard Reiter. The two musicians formed a band called Zeryab.
In 1996, Dhafer Youssef released his first album “Musafir” (The Traveler, in Arabic). This album was the result of an encounter with Anton Burger, Achim Tang, Jatinder Thakur and Otto Leichner. He presented this project at Porgy & Bess, the renowned Viennese club.
At Porgy & Bess he met Nguyen Lê, the French guitarist of Vietnamese origin and Italian trumpeter Paolo Fresu who invites him to several performances throughout Europe.
In 1998, Dhafer released “Malak” (Enja Records). Three years later he recorded “Electric Sufi” (Enja Records), an album that featured Wolfgang Muthspiel on guitar, Markus Stockhausen on trumpet, Deepak Ram on bansuri, Dieter Ilg on bass, Mino Cinelu on percussion, Rodericke Packe on electronics, Will Calhoun on drums and Doug Wimbish on bass.
In 2003, Dhafer Youssef recorded “Digital Prophecy,” a world jazz symbiosis between the ud and electric instruments. This time, the lineup featured Scandinavian musicians: Nils Petter Molvaer on trumpet, Bugge Wesseltoft on piano, Eivind Aarset on guitar, Auden Erlien on electric bass, and Rune Arnesen on drums.
“Divine Shadows” came out in 2005, followed by “Abu Nawas Rhapsody” (2010) where he was accompanied by pianist Tigran Hamasyan, drummer Mark Giuliana and double bass player Chris Jennings.
In 2011, Dhafer invited Turkish clarinetist Hüsnü Senlendirici and kanun player Aytaç Dogan to a performance in Ludwigsburg (Germany). Inspired by this meeting, Dhafer Youssef released “Birds Requiem” (2013).
Dhafer returned to New York City in 2016, a city where he lived for a few years. There, he recorded “Diwan of Beauty and Odd” with New York jazz scene musicians: Aaron Parks on piano, Ben Williams on bass, Mark Guiliana on the drums and Ambrose Akinmusire on trumpet.
Musafir (1996) Malak (Enja, 1999) Electric Sufi (Enja, 2001) Digital Prophecy (Justin Time, 2003)
Exile, with Gilad Atzmon & The Orient House Ensemble (Enja, 2003)
Odem, with Wolfgang Puschnig and Jatinder Thakur) (EmArcy, 2005) Divine Shadows (Jazzland, 2006)
Homescape, with Nguyên Lê and Paolo Fresu (ACT, 2006) Glow, with Wolfgang Muthspiel (Material, 2007)
Jo & Co, with Anna Maria Jopek (Universal Music Poland, 2008)
Latitudini – Omaggio Alla World Music, with Paolo Fresu and Eivind Aarset (Casa Del Jazz, 2008) Abu Nawas Rhapsody (EmArcy, 2010) Birds Requiem (Okeh, 2013) Diwan of Beauty and Odd (Okeh, 2016)