Um Kulthum [also written Umm Kulthum, Oum Kolthoum, Oum Kalsoum, Omme Kolsoum, and Oum Kulthoom] was one of the greatest vocalists in Arabic music during the 20th century. She was born in 1904, in a small village in the south of Egypt.
In her singing, the highly influential Um Kulthum offered an authentic art, relevant and rooted in the life of her people. She created a new genre of Arabic singing, which was adopted by many artists. She emphasized the sacredness of the sung lyrics, as though the words were from the Koran or from Arab classic poetry.
In 1975 she died, endowing the world a rich repertoire and one of the greatest human voices.
Ya Karawan – O plover (1926) Othkorene – Remember me (1939) Kull al-ahabbah – All the friends (1941) Raq il Habeeb – My beloved tendered back (1941) Ana Fi Entezarak – I am waiting for you (1943) Ghulubt asalih – Tired of forgiving (1946) Yali Kan Yashqiq Anini – You who enjoyed my cries (1949) Rubaiyat Al-Khayyam – Quatrains of Omar Khayyám maqam rast (1950) Ya Zalemny – You who were unjust to me (1954) Dalili Ehtar – I am lost (1955) Dhikrayatun Qessat Hobbi or the story of my love – memories (1955) Gharib’ Ala Bab erraja – Stranger at the door of hope (1955) ‘Awwidt ‘ayni – I accustomed my eyes (1957) Arouh li Meen or Arook Lemeen – Whom should I go to (1958) Hagartek or Hajartak – I left you EMI (1959) Hobb Eih – Which love maqam bayyati (1960) Howwa Sahih El-Hawa Ghallab – Is love really stronger? (1960) Lessa Faker – You still remember (1960) Ansak Ya Salam – Forget you? Come on! (1961) Hayart Albi Ma’ak – You confused my heart maqam nahwand (1961) Hasibak lil-zaman – I will leave you to time (1962) Zalamna El Hob – We have sinned against love (1962) Betfaker fi Meen – Who are you thinking of? (1963) Toof we Shoof – Wander and wonder (1963) Araka asiya al-dam – I see you refusing to cry (1964) Enta Omri – Sono – You are the love of my life (1964) Lel Sabr Hedod – Patience has limits (1964) Sirat el Houb – Tale of love (1964) Amal Hayati”; Sono – Hope of my life (1965) Baeed Anak – Away From You maqam bayyati (1965) Enta El Hobb – You are the love (1965) Al Atlal – The Ruins (1966) Fakarouni – They reminded me (1966) Fit al-ma’ ad – It is too late” or “The rendez-vous is over (1967) Hadeeth el Rouh – The talk of the soul (1967) Hathehe Laylati – This is my night maqam bayyati (1968) Alf Leila wa Leila – One thousand and one nights (1969) Aqbal al-layl – Night has arrived (1969) Es’al Rouhak – Ask yourself (1970) Wi-darit il-ayyam – And time passed by (1970) Aghadan alqak – Shall I see you tomorrow? (1971) El Hobb Kolloh – All the love (1971) Men Agl Aynayk – For your eyes (1972) Rihab al-huda al-Thulathiyah al-Muqaddisah – The paths to repentance or the holy trinity (1972) Ya Msaharny – You that keeps me awake at night (1972) Hakam ‘alayna al-haw’a – Love has ordered me (1973) Leilet Hobb – A night of love (1973) La Diva (EMI Arabia, 1998) La Diva II (EMI Arabia, 1998) La Diva III (EMI Arabia, 1998) La Diva IV (EMI Arabia, 1998) La Diva V (EMI Arabia, 1998) The Classics (EMI Arabia, 2001)
Renowned Syrian singer Wajde Ayub, born in Aleppo, is set to perform on Saturday, September 28, 2019 at Roulette in Downtown Brooklyn, New York City. His ensemble includes a chorus and instrumentalists , who are highly regarded in the field of Middle Eastern music in the United States.
The ensemble features Zafir Tawil on oud; Michael Abdullah on violin; Insia Malik on violin; Khaled Khalifa on cello; Naeif Rafeh on nay; Jamal Sinno on qanun; John Murchison on bass; Johnny Farraj on riqq (small frame drum); Mahmoud Kamil on Arabic tabla (goblet-shaped drum); Mohammad Almassri on katim (large frame drum); and Zahra Alzubaidi, Khadidja Guendil, and Nesma Mohamed on chorus.
Saturday, September 28, 2019 at 8:00 p.m. Roulette, 509 Atlantic Avenue at 3rd Avenue, Downtown Brooklyn Information and tickets: Robert Browning Associates
Wajde Ayub started to sing and play the oud at an early age. He worked for more than 25 years with many of the finest musicians of Aleppo.
A classically trained Syrian mutrib (main vocalist), Wajde Ayub is much-admired for his delightful and impressive renderings of the repertory of Aleppo, one of the eminent cultural centers of the Middle East. This includes wasla, a musical suite that integrates composed and improvised parts; and muwashahat, sung poetry.
Since migrating to the United States in 2017, he has been a leading advocate of Syrian vocal music in his new home. He is enthusiastic about maintaining the ancient musical traditions of Syria – traditions that have been put in danger by the civil war that has ravaged the country.
His performances include layali (melismatic vocalizations) and mawwal (unmetered song). They are suggestive of those of his mentor, the great Sabah Fakhri, and resonate with the musical elation known as tarab, a heightened state of emotion similar to duende in flamenco. His ensemble is composed of a chorus and instrumentalists on ud (lute), violins, cello, nay (flute), qanun (zither), bass, and percussion who are highly respected in the field of Middle Eastern music in the United States.
In addition to performing in the Middle East, he has toured Europe, Latin America and the United States. Ayub was tutored to memorize dozens of classic Arabic compositions, which he performs and improvises during a concert.
Moroccan artist Karima Skalli is one of the leading classical Arabic music vocalists, inspired by the great voices of classical Egyptian music. At the age of 9 she sang one of Umm Khaltum’s songs in its entirety for her family. Her influences include Umm Khaltum, Suad Mohammed, Leila Morad, Mohamed Abdelwahab, and especially Asmahane.
She has collaborated with top composers and poets, specifically the great Moroccan ud player and composer, Saïd Chraïbi, who discovered her, and the eminent poet Abderrafie Jwahri. Both masters have composed elegant songs for her.
When she was invited to the Festival de la Goulette in Tunis, Karima skalli sang compositions by Nasser Shemma, the Iraqi ud master.
In November 1999, Karima was invited to perform at the Cairo Opera accompanied by the Egyptian Philharmonic Orchestra, a high point of her career. There, she dedicated the evening’s performance to the Egyptian diva Asmahane, who remains Karima’s model and inspiration.
Karima released one album, Wasla, for French label Institut du Monde Arabe.
Refugees for Refugees is a Belgium-based ensemble that
includes musicians from Syria, Tibet, Pakistan, Iraq, Afghanistan and Belgium
who are united by their aspiration to intertwine links between their
music. The group has developed an
original repertoire that fuses various traditions.
Influences include Afghan, Tibetan, Arabic, Pakistani, and European music. Refugees for Refugees uses a wide range of musical instruments, including nomadic Tibetan chants, the South Asian sarod, Arabic ud and Middle Eastern percussion.
The lineup in 2019 included Asad Qizilbash on sarod (Pakistan), Aren Dolma on vocals (Tibet), Fakher Madallal on vocals, percussion (Syria), Kelsang Hula on dramyen, vocals (Tibet), Mohammad Aman Yusufi on dambura, vocals (Afghanistan), Simon Leleux on percussion (Belgium), Souhad Najem on qanun (Iraq), Tammam Al Ramadan on ney (Syria), Tareq Alsayed Yahya on ud (Syria) and Tristan Driessens on ud (Belgium).
U.S.-based Egyptian composer, violinist and educator Dr. Riad Abdel-Gawad creates music that acknowledges the oneness of humanity. His new album Words of Peace comes out at a very difficult time for Riad Abdel-Gawad and his family. Their home was destroyed during the catastrophic Woolsey fire in 2018. Luckily, the CDs manufactured for this release were stored in a warehouse.
Riad Abdel-Gawad traveled to Cairo to record this album. There,
he worked with 17 vocalists, chanters and instrumentalists. Words of Peace is a
world music album that contains new musical compositions with elements of western
oratorio and eastern wasla and nuba musical suite traditions.
Words of Peace proposes healing, spiritual and practical implements to our current-day existential predicament, delivering a social critique of the human species’ racism, corruption, and materialism, as well as its climate change disaster that directly affected Riad’s life.
“The CD tells the story of humanity through Adam and Eve; speaks about the wisdom from religions actions againust racism; tells the little heard story in the West about Prophet Mohamed’s striving towards peace through the activism of politics, as well as speaks about the plight of our planet and its inhabitants through contemporary Arabic ands Nibian (African) poetry,” says Riad Abdel-Gawad . “This time there are also some incredibly improvised solos from singers, chanters and instrumentalists.”
Words of Peace is a beautifully-crafted, gracefully elegant album, highlighting Riad Abdel-Gawad’s mastery as a musician and composer. He’s joined by a outstanding ensemble of top talent from Egypt’s Arabic and Nubian traditions.
The CD booklet includes a striking cover, booklet and
inside-tray art from two female contemporary Arab artists: Carelle Hosmsy and
Behia Shehab. The liner notes contain fascinating details in Arabic and
Personnel: Riad Abdel-Gawad on violin; Ahmed Asteeka on electronic keyboard; Yaser Ontar on vocals; Mohamed Atef on kawala (flute); Mohamed Foda on nay; amal Ibrahim on vocals; Moustafa Abdel-Khalek on qanun; Taha essayad on cello; Islam El Qasabgy on oud; Ashraf Issam on riqq and duff; Hussein Darweesh on bass; and Khaloud Adel (soprano), Rahma Adel (alto) and Mohamed Khaked (tenor) on chorus.
French event Arabesques Festival will take place September
10 to 22, 2019. For this 14th edition,
Arabesques will showcase many artists from the Arab world who incorporate their
African roots and transform them: Aziz Sahmaoui, Oum, Alchimix, Imed Alibi and
New collaborations reflect the creative vitality of the African continent, like the 3MA project bringing together the leading artists of Morocco, Mali and Madagascar: Ballaké Sissoko, Driss el Maloumi and Rajery.
There will be an opportunity to break boundaries as with the
creation of Soundjata (Sundiata Keita), a recovery of the Manding epic by storyteller
Jihad Darwiche and Malian kora player Tom Diakite.
Additional shows include: The Whirling Dervishes of Damascus and the Al-Kindi Ensemble; Jordi Savall & Waed Bouhassoun, with the Orpheus XXI project; well-known world music acts: Marcel & Rami Khalife featuring Aymeric Westrich, Takfarinas, DuOud …
The festival will present a circus performance of the
Acrobatic Group of Tangier with Halka.
The new Arab scene will be featured: Alchimix, Imed Alibi,
Sofiane Saidi & Mazalda, Le Lanceur de dés Walid Ben Selim, and Faraj Suleiman
Trio as well as the Count of Bouderbala’s One Man Show.
Shubbak Festival will return to London’s Barbican Hall on Tuesday, July 9, 2019 with a special tribute concert to the late Palestinian singer, songwriter and composer Rim Banna. The show will include musicians who knew her best as well as close peers in the Palestinian music scene.
The performers include Lebanese visual artist and singer-songwriter Tania Saleh, Palestinian composer and pianist Faraj Suleiman and Syrian producer/MC Bu Kolthoum who will be performing newly re-orchestrated versions of Rim Banna’s material, accompanied by a specially assembled band.
The event is called “The Trace of the Butterfly,” which is the name of one of Banna’s songs as well as a poem by Mahmoud Darwish.
Le Trio Joubran is an acclaimed ensemble featuring the Joubran brothers: Samir, Wissam and Adnan. The three musicians are oud (Arabic lute) maestros and play a superb fusion of Arabic music and global music influences.
Le Trio Joubran’s most recent recording, The Long March is the number one album on the March 2019 Transglobal World Music Chart. Adnan Joubran talked to World Music Central about the trio and the Long March.
What do you consider as the essential elements of your music?
Depth of emotions, is one of the essential elements of our music, Le Trio Joubran do their best to understand why they use a note better than another, how a melody becomes a melody, an image first, a direction, a feeling, and a message, some melodies start with a moment of a life for one of the group, and this develops into a concept, and then a melody.
As composers, we aim to bring back or revive emotions that we human beings began to put a side, unfortunately, media, social media has made us numb, and made us live an illusionary life of strength, beauty, power and glory, which isn’t much of a reflection of reality.
Other musical element such “Improvisation” which we always make sure that the album has, or the performance has, to keep our musicality on alert, and or brotherhood on motion, us improvising means alive, means changing, from concert to another, means discover yourself, and let the other discover you better.
Who can you cite as your main musical influences?
Lately, quiet few! Hard not to mention the career of Paco de Lucia and Keith Jarrett for Adnan, and classical artists such as Abdel Wahab for Samir, and the influence of traditional Arabic singing for Wissam.
In the same time, we all listen to different music, jazz, tango, pop, rock, tango and classical Western and Eastern! I believe one should listen and keep listening to all types of music, we find elements that inspire in every genre of music.
How did the ensemble evolve from your first recordings?
The first recording I reckon was experimental in a way that we were trying to see if it works, and it did!
To have three oud players, composers, virtuosos, is a big challenge. We achieved success because we are brothers and we could handle this quiet tough mission well because we allowed ourselves to unveil hidden sides of us, others could like or dislike, but trust, which is another meaning of “brotherhood” could allow this.
At that period, the composition was a secondary target, although today, we have proved to ourselves that it works, that there should be no limit in composition, and there isn’t always a need to prove our technical skills. Today, we stop by the title, and we stop by the message. We make sure that the message is there and the composition should serve it, by complexity, length, directivity, sounds and instruments, and notes.
Two years of discussions and two other years of recordings! Not that it should take that long! But we have been busy touring with previous album, and small projects on the side, such as music for films and important shows, and also because we live apart now, each with his growing family, and each in a different country. We get to meet in tours and discuss and then dedicate a period of recording. But this time has given maturity for the tracks and the ideas.
In this album, we tried to achieve a wider listeners, and introduce the oud to a bigger public, also we tried to introduce new sounds to the listeners of the oud. We have electronics, orchestral, tribal sounds, and vocals. The oud is the singer, and all the other elements support the singer to represent the story.
The body of the album is the poem of Mahmoud Darwish, which says the message of the album. The tracks titles are extracted from this text that is trying to tell this world of industry and world of power, that we are humans. Before and after all, our humanity should remain, despite the reality of wiping it away, and before this power can wipe it away, we will defend everything we have, even our final songs.
We have collaborated with the musical producer Renaud Letang, which an amazing experience, to hand over our baby (composition) and another musician and master of production looks at it and takes the essence of it.
Also we had the privilege to collaborate with Roger Waters for two tracks: one single which we released as a video clip under the title “Supremacy” before the album; and another track, “Carry The Earth” in the album as a dedication to four boys killed on the beach of Gaza by the Israeli forces.
As well with Mohammad Motamdi, an amazing vocalist and singer from Iran; an oriental orchestra from Turkey; as well as a western orchestra from Macedonia; and many other talented musicians!
We have succeeded to color the album. Each title to have a different color and influence, and in the same to have a one message uniting the while tracks.
The three brothers play oud, the Arabic lute. Where did they get the training?
We come from family blended with music and oud making, our father is the third generation in the family who builds the instrument.
Samir, the eldest, had his elder brother the Oud in the house! He studied with a local teacher, and then went to Cairo to learn music.
Wissam started at a young age learning music and violin, and then took the oud as his language as well as studying in Italy (Antonio Stradivari Institute) violin making.
Adnan, had two brothers that are oud players and one father oud maker, so he had no choice to escape this world! Only at the age of 16, he took the instrument in his hands and tried to play, and by the age of 18 he was on stage touring after self-training and listening to his brothers and many other music and musicians.
Who makes your ouds?
Where are your currently based?
Adnan in London, Samir between Paris and Ramallah, and Wissam in Paris.
Do you have any initiatives to transmit Palestinian and Arabic music traditions to new generations?
Of course, in each album we make sure there is a track that is a traditional way of composing and playing, and we make sure the on stage we have one traditional improvisation. Still, there is more initiative for a more dedicated album only for traditional music.
If you could gather any musicians or musical groups to collaborate with, whom would that be?
Some of them died. Many of them are alive! Hard to mention names, because there are too many! Me, personally, I’d love to play with Keith Jarrett.
Do you have any upcoming projects to share with us?
We are very proud of our last album, we have just finished it and glad to share it with you and the rest of the world. There will be soon a very big collaboration with a mainstream artist, but we are not to uncover this surprise now 🙂
The Long March by Le Trio Joubran is the number one album in the March 2019 Transglobal World Music Chart. Le Trio Joubran features three Palestinian brothers who are ud masters: Samir, Wissam and Adnan.