The Best of Folk Music Group Anatolia is a compilation that includes recordings from Anatolia’s previous three albums: Folk Songs and Dance Music of Turkey and the Arab World (1996), Lost Songs of Palestine (2001), and Middle Eastern Songs and Dances for Children (2005).
Anatolia is a world music group led by American multi-instrumentalist Edward J. Hines, whose goal is to preserve the folk,classical and dance music traditions of the Middle East.
The Best of Folk Music Group Anatolia presents a fascinating overview of the rich and varied folk traditions of Turkey and the Arab world, using a wide spectrum of traditional musical instruments performed by Hines and his collaborators.
Even if you don’t speak the language, the popular Turkish children’s song “Ali Baban’ın Çiftliği” reels you in right away with its catchy hooks. It’s a lot of fun, featuring various mimicked farm animal sounds.
The lineup includes Edward Hines on ‘ud, divan sazi, kaval, clarinet, zurna, buzuq, cura, sipsi, ocarina and vocals); Taner Okatan on saz, baglama, divan sazi, percussion and vocals; Michel Moushabeck on percussion and vocals; Jamal Sinno on kanun; Jenny Killgore on violin, kasik and vocals; Bruce Rawan on kanun; Mohammed Mejaour on nay, percussion and vocals; Saied Khoury on violin, buzuq, ud and vocals; and V. Tailan Yildiz on accordion.
Simon Shaheen is one of the most significant Arab musicians, performers, and composers of his generation. His work incorporates and reflects a legacy of Arabic music, while it forges ahead to new frontiers, embracing many different styles in the process. This unique contribution to the world of arts was recognized in 1994 when Shaheen was honored with the prestigious National Heritage Award.
In the 1990s he released four albums of his own: Saltanah (Water Lily Acoustics), Turath (CMP), Taqasim (Lyrichord), and The Music of Mohamed Abdel Wahab (Axiom), while also contributing cuts to producer Bill Laswell’s fusion collective, Hallucination Engine (Island). He arranged and re-recorded the smash remake of the Latin singer Soraya’s song, “I’m Yours,” released on the compilation Desert Roses and Arabian Rhythms.
He has contributed selections to soundtracks for The Sheltering Sky and Malcolm X, among others, and has composed the entire soundtrack for the United Nations-sponsored documentary, For Everyone Everywhere. Broadcast globally in December 1998, this film celebrated the 50th anniversary of the United Nations Human Rights Charter.
Shaheen: Tradition and Creativity – A Heritage without Boundaries
Story by Kay Hardy Campbell (From the ARAMCO WORLD MAGAZINE May/June 1996. Reproduced by courtesy of Aramco World Magazine)
All day the Brooklyn Museum had rung with the rhythms of Arab musicians, the verses of poets and the background buzz of crowds in conversation. So when Simon Shaheen appeared on stage late in the afternoon, the quiet that settled around him was his audience’s way of acknowledging a special maestro. Shaheen ran this fingers through his dark wavy hair, lifted his violin and bow and locked eyes with each of the 16 musicians in his Near Eastern Music Ensemble.
Inspired by the Arab-American music and dance festivals that flourished from the 1930’s to the 1950’s, Shaheen organized last fall’s Mahrajan al-Fan, or festival of art, a weekend extravaganza of Arab-American culture. Booths from Arab restaurants, henna-painting lessons, folk dance, and a show of traditional Arab costumes framed performances by Arab-American musicians, poets, authors, filmmakers, and scholars. They came to Brooklyn from around the country to give visitors and each otheran exciting vision of the Arab cultures of their homelands, from Morocco to the Arabian Peninsula.
But as Simon Shaheen drew his bow into the haunting measures of his best-known composition, “Sama’i Kurd Shaheen,” his role as festival organizer and fundraiser fell away, and the hall was filled with the musical gifts that have made 40-year-old Shaheen one of the brightest, fastest rising stars in Arab music.
Shaheen’s musical journey began, in a sense, even before he was born in Tarshiha, in the Galilee. His family was full of instrumentalists and singers.
“My grandfather was the principal singer in the church, and he also sang the classical Arab music repertoire,” he says. Shaheen’s father, Hikmat Shaheen, was a well-known player of the ‘ud the pear-shaped, short-necked, fretless forerunner of the European lute as well as a composer, educator, and founder of two regional orchestras.
At seven Shaheen began eight years of study of western classical music in Haifaby age 12 his father had him help run the orchestra. “I did all the rehearsals and arranged everything, while he supervised,” Shaheen says.
And at night, he says, the family would listen to the radio, where the airwaves were full of great Arab music, for those were the days of the famous Thursday-night broadcasts on Egyptian Radio’s “Voice of the Arabs.” The whole Arab world came to a halt to hear Umm Kalthum sing live full-length concerts to the big orchestral compositions of Riyad al-Sunbati, Mohamed Abdel Wahhab and others.
Umm Kalthum “used to come on the air on the first Thursday of each month,” Shaheen recalls with a smile. “I always remembered much of any new song she sang. The next morning I would hum the introduction and different parts for my father, and he would notate them.”
Shaheen went on to earn his bachelor’s degree in literature and music from the Academy of Music in Jerusalem, where he later taught. Yet “my real education,” he says, “was working with my father.”
Since he came to the United States in 1980 to pursue graduate studies in music, of course Simon Shaheen has made New York City his base for both the preservation of traditional Arab music and the exploration of artistic frontiers. Now, he is increasingly regarded as one of the most dynamic musical links between the Arab world and the West.
A fast-paced concert schedule brings him and the Near Eastern Music Ensemble to stages throughout North America and Europe. He is a master teacher of the ‘ud and violin as well as a popular lecturer. He composes both alone and in collaboration with others. But most important, Shaheen is increasingly looked upon as an inspiration.
“He has so much love for Arab music that you cannot escape it,” says ensemble soloist Ghada Ghanim. “Even if you are in the audience or just passing by, his enthusiasm will grab you!”
As a performer on both violin and ‘ud, Shaheen conquers complex phrases with mesmerizing frenzy and caresses others with quiet tenderness. He draws from a deep well of technique, applies it creatively, and metes out expression in deliberately tantalizing measure.
In 1994 Shaheen was awarded one of 11 National Heritage Fellowship Awards for outstanding contributions to traditional music. The New York Daily News has called his interpretations “some of the most sublime Arab music to be heard this side of the Dead Sea.” In February, he played a concert of traditional and original music as part of Lincoln Center’s Great Performers series.
Shaheen “combines technique with feeling,” says ethnomusicologist, composer and performer Ali Jihad Racy (See Aramco World, September/October 1995). “He is the product of two traditions. Conservatory-trained, he has one foot in western classical music, the other at the center of the Arab musical tradition. This is very unusual.”
Shaheen is also a master of taqasim, or improvisations. Arab instrumentalists use taqasim to explore a maqam, a scale or mode, with a series of musical phrases that the performer strings like pearls on a strand of pauses. Shaheen’s improvisations “invoke all the possible wealth of the maqam and rhythm,” says poet and musician Mansour Ajami. In a collaborative 1983 recording titled Taqasim, Shaheen playfully traded improvisation on the ‘ud with Racy on the buzuq, the ‘ud’s long-necked cousin.
Likewise, modal shifts and unexpected rhythmic phrases fill his popular compositions, such as “Sama’i Kurd Shaheen.” The resulting level of invention within traditional form is unrivaled among today’s composers. In its third verse he changes the maqam an astonishing six times, and only at the very last moment does he bring the melody back to kurd, the “home” maqam for which the piece is named. In the last verse, he bursts out of the base 10/8 rhythm, not into the sama’i’s traditional 3/4 or 6/8 closing rhythm, but into what proves to be a thrilling, unusual 7/8.
Shaheen’s traditional arrangements and compositions appear on two recordings. The Music of Mohamed Abdel Wahab is Shaheen’s tribute to the late Egyptian composer and consists largely of Shaheen’s orchestrations of Abdel Wahhab’s music. “Turath” (“Heritage”) is Shaheen’s compilation of classical Arab ensemble music. The Library of Congress named it one of the outstanding traditional recordings of 1992. By late 1995, Shaheen had three further recordings in progress.
Ever since he was a boy, Shaheen’s artistic openness and gregarious personality have propelled him across cultural boundaries, and in New York, he has delighted in the city’s trove of artistic possibilities. “I have preserved my artistry, the traditional Arab and western classical repertoire, in New York,” he says. “At the same time, I’ve been exposed to many ideas. I have met many musicians in New York who have widened my perspective.”
He is one of several jazz artists who make up the experimental fusion group Material, which appears on the Axiom label. Rolling Stone called Material’s 1994 Hallucination Engine. “One groovy om of exhilaration and release.” Shaheen left a strong imprint on the group’s “The Hidden Garden/Naima”, and “Ruins,” both of which blended Arabic vocals and instrumentals with western rock, jazz and classical elements. Another fusion recording, with Indian slide guitarist Vishwa Bhatt and titled Saltanah, is forthcoming on the Water Lily Acoustics label.
As a teacher of students of both Arab and non-Arab backgrounds, Shaheen reaches out to help them grasp the sensibility and structure of Arab music. William Nakhly, the Galilee-born conductor of Boston’s Middle East Orchestra and Chorus, pursuing a doctorate of music in the United States, says that he and many other young Palestinian musicians emulate Shaheen’s ensemble concepts. They collect tapes of his rehearsals and his live performances, he says, to study his work more closely.
“I think Simon is having a great impact,” says Racy. “The culture needs a role model who combines tradition, authenticity and creativity, someone who combines roots with innovation. Simon thinks deeply about his music. He has true sensitivity to it as a culture, as a legacy, as a message, and he is conscious of the importance of this musical message.”
The coming years will no doubt see Shaheen’s work bear further fruit as his global audience widens. Two sold-out concerts in January in Haifa, played in honor of his father, featured his recent compositions, “Long Kurd Shaheen” and “Al Cantra.” His debut in Lebanon, scheduled for this year, will mark the fulfillment of his personal dream to perform, at last, in Beirut.
Beyond recording and composing, Shaheen is exploring the possible foundation of an Arab arts institute in New York. But his greatest hope, he says, is to make music “that people will view as sincere and without boundaries.” Music “should become the heritage, the turath, of whatever community you belong to. For music to be truly successful, it has to be within the realm of turath.”
As Shaheen carries his reinvigorated legacy to a new generation, it is easy to imagine he will reach his goal.
What to Listen For: Simon Shaheen has some advice for those listening to Arab music for the first time. “Think with your voice when you listen to Arab music. It has a linear quality like the voice. Concentrate on its melodies, and listen to how they interact with the rhythm. Arab music is characterized by the use of quarter-tones, which lie between the half-steps of western music. They have a quality that you may not be able to hear at first. Don’t think of them as out-of-tune notes. They are deliberate. The more you listen, the more you will begin to hear them and come to love them, for it is the quarter-tones which distinguish many beautiful maqams in Arabic music.”
Wissam Joubran was born in 1983, and was introduced very young to ud by his brother Samir. He attended numerous local and international festivals, among them the Printemps de Palestine, in France in 1997.
He has inherited of his father’s vocation, a stringed-instrument maker master, and is strikingly talented in improvising and creating clever and appropriate transitions between the Arabic Maqams.
Wissam was the first string-instrument maker from the Arabic world to enter the Antonio Stradivari Institute (Italy) in order to bring his knowledge to perfection. Samir and Wissam started to go on tour outside of the Middle East on August 2002, and their reputation never stopped to grow while they performed in Europe, Canada and Brazil.
Nizar Rohana is a Palestinian ud player living in the Netherlands. He stands out for bringing together virtuosity within fresh contemporary compositions, while maintaining the ud’s authentic language.
He was born in the village of ‘Isifya on Mount Carmel, near Haifa city, to a father who played ud in communal celebrations. His mother accompanied him on percussion. From a young age, Rohana played music, picking up the ud when he was 13.
After extensive studies in ud performance, composition, and musicology, Rohana immersed himself in developing contemporary ud compositions, taking inspiration from Bach, Mozart, Beethoven, Chopin and Brahms all the way to Tanburi Cemil Bey, Kemani Tatyus Efendi, Muhammad Al-Qasabji and Muhammad Abdel Wahab.
In 2001 he was awarded a Bachelor of Music and Arts (specialized in ud performance and musicology) from the Arabic Music Department of the Jerusalem Academy for Music and Dance and the Musicology Department of the Hebrew University. For some time he then focused his work on the music of the great Egyptian composer Muhammad Al-Qasabji, completing his Master’s degree in 2006.
Since September 2013, Rohana has been based in The Netherlands, pursuing his PhD in improvisation and composition in solo ud performance at Leiden University Academy for Creative and Performing Arts. He is working under the supervision of Prof. Joep Bor, Prof. Frans De Ruiter and Dr. Anne Van Oostrum, as part of the doctoral program designed for musician-researchers, docARTES.
As a performer, Rohana’s wide-ranging stage experience as a soloist and within groups encompasses playing traditional, modern, experimental, and world music. During the last years, he performed in countries such as Japan, Morocco, Egypt, Turkey and in the USA and Europe, releasing his first album Sard (Narration) in May 2008.
In 2013 he formed his own trio together with Hungarian double bass player Matyas Szandai, and French-Lebanese percussionist Wassim Halal, releasing their debut album Furat (Euphrates) in 2016.
In 2015, Rohana was invited by the acclaimed Dutch bass player Tony Overwater to participate in the music recordings for the IKON documentary series ‘Om de Oude Wereldzee’ (‘Around the Ancient World Sea’), based on the travels of Dutch politician Abraham Kuyper. In 2016, Overwater and Rohana formed the Rohana-Overwater Ensemble together with the Dutch clarinetist Maarten Ornestein; Tunisian violinist and viola d’amore player Jasser Haj Youssef and Jordanian percussionist Nasser Salameh.
Between 2001 and 2007 Rohana was one of the main ud and music theory teachers at the Edward Said National Conservatory in Jerusalem, Ramallah and Bethlehem, and in 2006 he also worked as the deputy for academic affairs.
Ud player, composer and teacher Issa Boulos was born in Jerusalem, Palestine, 1968. Issa Boulos comes from a family of both musical and literary traditions and began to study voice at the age of 7. At that early age, Issa showed extraordinary talent in singing Arab classical maqam repertoire. At the age of 13 he entered the Institute of Fine Arts in Ramallah to study the ‘ud with Abu Raw`hi ‘Ibaidu. He graduated in 1985 and worked in Ramallah as an arranger of folksongs and a musician in the ensemble of Sariyyat Ramallah Dance Group and Released al-‘Ashiq in 1986, and in al-Ra`hh’la, with composer Jamil al-Sayih and Released Rasif al-Madinah in 1989.
During the 1990s, under the influence of newly developed musical trends, Boulos’s career took a new direction. He pursued music composition in response to a contemporary concern for revolutionary cultural change and richer and more flexible responses to widely different dramatic requirements. He adopted the performance practices, educational principles and aesthetic values of Western art music while adapting his art to suit the sensibilities of Palestinian politicized taste and maintained a link with the maqam tradition by continuing its ancient line of oral transmission. From 1991 to 1993, Issa composed over 200 instrumental and vocal pieces and one large-scale work titled Kawkab Akhar.
He was appointed director of Birzeit University’s musical group Sanabil in addition to training Al- Funoun Popular Dance Troupe and Sareyyet Ramallah Troupe for Music and Dance. This era was the most experimental, challenging and yet prolific. It laid out conventional and modern compositional devices as abstract tools rather than absolute. His fascination with music towards higher levels of expression and interpretation encouraged him to examine other aspects of sound, and simultaneously broaden his artistic perspective, which was substantiated by the increasing number of questions concerning music making.
In 1994 he moved to Chicago, where he studied music composition at Columbia College Chicago with Gustavo Leone and Athanasios Zervas and later at Roosevelt University with Robert Lombardo and Ilya Levinson. In 1998 he co-founded the Issa Boulos Quartet, performing his original contemporary compositions that ranged from classical Arab compositions to jazz. After completing his Masters in 2000, he spent one year in his hometown where he was active as a composer, educator, ‘udist, and instructor of Western theory, ‘ud, chorus, ensemble and theory of Arab music at the National Conservatory of Music, Ramallah.
Issa has given workshops and lecture-demonstrations at several American institutions and colleges. He is cofounder of Sama Music, leader of the al-Sharq Ensemble, the Boulos Ensemble and member in Lingua Musica, and has recently been appointed director of the University of Chicago Middle East Ensemble. Although he has continued to write instrumental and vocal compositions, Boulos is best known for his theme works: Kawkab Akhar (1993), a large-scale instrumental work that capped his early stylistic development composed during the Palestinian Intifada, which was followed by ‘Arus al-Tira (1994), composed while he was an undergraduate; Samar (1998), and his extended work al-Hallaj (2000) which is a series of composed Sufi poems penetrating the philosophy and tragic ending of Abu al-Mughith al-Husayn Ibn Mansur al-`Hallaj.
His subsequent works include traditional Arabic compositions and arrangements, jazz, and film and theatre scores, notably those for Lysistrata 2000, Catharsis and recently the film The New Americans. In his orchestral composition, Shortly After Life, Boulos used a variety of Western classical compositional techniques; the work is a tribute to his father Ibrahim Boulos.
Boulos’s music still depends extensively on the melodic material of maqam; by treating this material through improvisations and using various musical techniques. His blend of tradition and innovation has forged important musical links between the Arab world and the West. Issa is currently involved with the Arab Classical Music Society (ACMC) that he established in 2003. The Society is launching an archive for Arab classical music and preparing for the release of the first volume of the Anthology of Arab Classical Music. As for his current personal projects, Issa is applying final touches on his new work Reef for kemenche and percussion. It will be released later in the Spring of 2004. http://home.uchicago.edu/~iboulos/ Contact Issa Boulos directly at email@example.com. Palestine Middle East
Marcel Khalife was born in 1950 in Amchit, Mount-Lebanon. He studied the ud (the Arabic lute, also known as oud and l’ud) at the Beirut National conservatory, and, ever since, has been injecting a new life into the ud. “My grandfather was a fisherman and he used to sing songs of the sea,” Khalife recalls. “Then I used to go to church and listen to Christian music, and also to Islamic recitations of the Koran. In Lebanon we have a marriage of Islamic and Christian culture. That really helped to form my musical awareness.”
From 1970 to 1975, Marcel Khalife taught at the conservatory and other local institutions. During that same period, he toured the Middle East, North Africa, Europe and the United States giving solo performances on the ud.
Ud playing was traditionally constrained by the strict techniques that governed its playing. Highly talented and skillful musicians such as Marcel Khalife were, however, able to free the instrument from those constraints and thus greatly expanding its possibilities.
In 1972, Marcel Khalife created a musical group in his native village with the goal of reviving its musical heritage and the Arabic chorale. The first performances took place in Lebanon. 1976 saw the birth of Al Mayadeen Ensemble. Enriched by the previous ensemble’s musical experiences, Al Mayadeen’s notoriety went well beyond Lebanon. Accompanied by his musical ensemble, Marcel Khalife began a lifelong far-reaching musical journey, performing in Arab countries, Europe, the United States, Canada, South America, Australia, and Japan.
During Lebanon’s civil war, he risked his life performing in bombed out concert halls, bringing his music and the great poetry of the Arab world to his war-ravished country. “Since I was born,” he says, “I’ve felt I had a rebel’s soul within me. I rejected things that might be inherited, but that were wrong.”
In 2002, European television networks broadcast a documentary on Marcel Khalife. A DVD, entitled Voyageur, expands the original 90-minute program into a three-hour feature with additional performances filmed at concerts and in studios. In all, the DVD presents 33 selections from Khalife’s repertoire, which ranges from compositions for solo ud and vocal settings of Arabic poetry to orchestral compositions, films cores and ballets.
In 2003, the San Francisco International Arts Festival (SFIAF) and The San Francisco World Music Festival announced a commissioned project for the creation of a new evening length orchestral work with libretto by Marcel Khalife, in collaboration with the San Francisco Chamber Orchestra (music director, Benjamin Simon) and women’s vocal ensemble, KITKA (artistic director, Shira Cion) and soloists Omayma Al-kalil (vocals), Rahman Asadollahi (garmon: Azerbajani accordion), Hai Pu (Chinese percussion) and Zhang Xiao-Feng (erhu: Chinese fiddle). The theme of the new work was “Embracing Global Peace.”
About his CD Caress Khalife says, “This work attempts to elevate Arabic music to a level that allows it to express profound human emotions, not by mere performance, but by empowering the music to mature and develop into a universal language of expression.”
His composition is noted for being deeply attached to lyrical text. Through his association with great contemporary Arab poets, most notably Palestinian poet Mahmoud Darwish, he seeks to renew the character of Arab song, breaking its stereotypes and advancing the culture of the society that surrounds it.
“I do not fit in a cultural box, nor do I want to,” says Khalife, who now lives in Paris. “I have strived all my life to break free of old traditional constraints, to let music speak for itself unshackled by predetermined traditional rules. I have defied identities and categorizations, which only serve to blind us to the vastness and complexity of humanity. There are no set lenses with which I should be looked at. My music, it all comes together for the sake of humanity.”
The second trait has been a consistent message of peace and justice. In 2004, during his US tour, he said: “More than ever, we all have to work much harder for peace…Peace cannot be imposed upon a people by a certain political power or agenda. Peace is achieved through respect, understanding of others and their culture; it is achieved by giving up fear of others; it is achieved through dialogue.”
Promesses De La Tempête – Promises of the Storm (Le Chant Du Monde, 1976)
Ghinä’iyat Ahmad Al Arabi (1984)
Dreamy Sunrise (Nagam Records, 1990)
Peace Be With You (Nagam Records, 1990)
Ode To A Homeland (Nagam Records, 1990)
Summer Night’s Dream (Nagam Records, 1992)
Of All The Beautiful Mothers (Nagam Records, 1994) Arabic Coffeepot (Nagam Records, 1995) Jadal (Nagam Records, 1995)
Magic Carpet (Nagam Records, 1998)
The Bridge (Nagam Records, 2001)
Concerto Al Andalus (Nagam Records, 2002)
Stripped Bare (Nagam Records, 2002) At The Border (Nagam Records, 2003)
Happiness (Nagam Records, 2003) Caress (Nagam Records, 2004) Taqasim (Connecting Cultures, 2007)
Sharq (Connecting Cultures, 2007) Fall Of The Moon (Nagam Records, 2012)
A Jordanian of Palestinian descent, singer/songwriter Naser Musa started playing ‘ud, a Middle Eastern lute, at an early age while living in Amman, Jordan. In addition to the ‘ud, he also studied singing Arabic music. He moved to the United States in 1982 and earned a degree in music from California Polytechnic University, Pomona.
Musa performs regularly at concerts and festivals around the world. An ‘ud virtuoso and a valued studio musician,
Charbel Rouhana, one of the finest ud players in Lebanon. Born in 1965 in Aamchit (a town north of Beirut), Charbel pursued his music education at the Holy-Spirit University in Kaslib and obtained his Diploma in ud instrumentation in 1986 and his M.A. in Musicology in 1987.
One of his major achievements is establishing a new methodology in playing the ud. This method was published and adopted by the National Conservatory of Music and the Faculty of Music in the Holy Spirit University-where he has been teaching ud courses since 1986 till present.
Charbel Rouhana has been performing live events since 1984, touring several countries, venues, and festivals. He also collaborated in composing musicals for choreographer Abdul Haleem Caracall’s shows: “Elissa-The Queen of Carthage” (1995), “Andalusia-Lost Glory” (1997), and “Bleilit Kamar” (1999). Winner of several national awards, Charbel also won the first prize at the Hirayama Competition in 1995 in Japan, for Best Composition entitled “Hymn of Peace”.
According to Charbel, Oriental-Arabic music is facing a renaissance period incarnated by traditional instruments especially the ud which is ancient and always related to traditional singing and classical instrumental Arabic music. Charbel’s musical writings succeeded in transforming this Arabic traditional instrument into a multinational, modern instrument able to communicate with other cultures and music, with an emphasis on the Oriental-Arabic style.
Naseer Shamma was born in 1963 in Kut, a village on the Tigris River in Iraq. He began studying the ud at the age of 12 in Baghdad, following in the footsteps of Jamil and Munir Bachir. When he was 11, Shamma saw the ud for the first time, in the hands of a stylish music teacher . Although Shamma’s father, a shop owner, was religiously conservative, he did not object to his son’s artistic ambitions. In 1985,
Shamma played his own compositions at his first concert, attended by several renowned Iraqi artists. At the time, he worked closely with “the emir of the ud,” the late Iraqi master Munir Bashir. But Shamma wanted to blaze his own path. Master Munir invented the technique of contemplation with oud, but I wanted my music to carry content, an idea or image that is shocking. He received his diploma from the Baghdad Academy of Music in 1987.
He began to teach ud after three years at the academy, as well as continuing his own studies. Shamma has composed music for films, plays and television, and has written a unique ud method for one hand – this is designed at for children injured during the Gulf War. Between 1993 and 1998 he taught ud the Higher Institute of Music in Tunisia, and in 1999 he took the post of Director of the Arab Center for the Ud in Cairo.
His compositions are culturally unique. He performs on the oud in a manner which combines ancient methods with his own modern compositions.
He has constructed an eight-string ud following the manuscript of the 9th century music theorist al-Farabi. This new design (8 instead of 6 strings) expanded the musical range of the ud and gave it a distinct tonality.
Born in Belgium in 1976 with Jordanian and Yugoslavian origins, Karim Baggili, is a composer, self-taught guitarist and ud player.
He began playing the electric guitar at the age of 16. At 20, he started working the different techniques of the flamenco guitar and acquired an Arabic lute (ud) during one of his many trips to Jordan.
He participated in several projects: Ereska Trio, Colette, and a play. He worked with “L’Orchestre de Chambre de la Nathen”, and with singers for children like, Christian Merveille, Yvette Berger, Raphy Rapha?l…
In 2000, Karim won the first price of the “Open String Festival” in Osnabruck.
His first CD was released in 2002 and he took part in many CD recordings. He also composed the music of several documentaries and one short film.
Karim performed with groups like Traces and Turdus Philomelos. He also plays with jazz pianist Nathalie Loriers and takes part on stage and in studio with an English singer, Melanie Gabriel. He also performed with Philippe Lafontaine.
He brought together great musicians for his new band: Karim Baggili Quartet where he plays all his compositions inspired by flamenco music, South American rythms and one of his origins: Arabic music.
The Karim Baggili Quartet CD Cuatro con Cuatro was released at the beginning of December 2005 and will be followed by a tour in Belgium. Label: homerecords.
A solo CD, Douar was released in Germany mid-November 2005 by Acoustic Music Records. The release was followed by a tour of nine dates in several towns of Germany. The event was called “The International Guitar Night”.
Karim also performs often in solo or in duets with his percussionist Osvaldo Hernandez Napoles.
Aton Lua, another of his projects, is a mixture of rock and world music where he sings (in French, English, Spanish, Arabic and Serbo-Croatian) and plays the electric guitar, flamenco guitar and lute (ud).