Inimitable world music producer Eckart Rahn again brings listeners a collection of recordings that is as moving as it is obscure as it is technically perfect. This sampler selects from a 15-volume set documenting the state of Islamic music from Turkey south to Yemen and Morocco east to Indonesia. The sampler is available for sale, separate from the perhaps imposing set. Detailed documentation discusses Islamic music cursorily and technically. Instrumentation, the role of religion in the music, and Islam and its history are also covered. Unfortunately, there is not much track-by-track text other than the source of each cut. The sampler begins very strongly, with an unaccompanied feat of vocal acrobatics in a Koran recitation recorded in Istanbul, followed by a rich arrangement of Iranian strings and percussion. From Marrakesh, Morocco, comes a sonorous example of deep-pitched drums backing group song. After this example of Gnawa music is an Egyptian flute, string, and percussion melody that clearly brings pyramids and oases to mind. Returning to Istanbul, listeners hear a surprisingly sedate male chorus backed by flute and tambourines from Music of Islam, Vol. 9: Mawlawiyah Music of the Whirling Dervishes. (Perhaps even dervishes need to relax.) Coming from Yemen is a very intricate and hypnotic melody from a plucked string instrument. The compilers chose to represent Pakistan with a near seven-minute raga. A clear, bright, Oriental female voice defines an Indonesian ensemble. Having heard from lower Egypt, listeners make a visit to upper Egypt where the leader of a Nubian troupe initiates each verse answered by the chorus, all to a lively drum beat. More exotic, moving, and densely structured music is heard from Qatar, Egypt, Morocco, Turkey, Tunisia, and Morocco.
Tom Schulte
The Music Of Islām - Volume One:
Al-Qāhirah, Classical Music Of Cairo, Egypt
Music of Islam 1: Al Qahirah Music of Cairo collects Islamic songs from Egypt, including "Khatwet Habibi," "Sama I Bayati," and "Bint Al-Balad," and provides insight into the diverse sacred music of this religion.
Heather Phares
The Music Of Islām - Volume Two:
Music Of The South Sinai Bedouins
Proudly produced in the year 1418 (by the Muslim calendar), volume two of the relatively far-reaching Music of Islam series focuses on the nomads of Southern Egypt. The ud and the rebab figure heavily in this music, providing the backdrop to every possible song. Combined with this is the general chorus of vocalists and handclaps accompanying the leader of the troupe. The music is performed wonderfully, though the requisite repetition could prove itself a bit much for the casual listener. Another nice note on this album: The liner notes are more than extensive, delving into the history of Islam and all things related to it. For a curious listener, this Music of Islam series could prove itself quite fulfilling. A single volume alone, however, might not be expansive enough to provide an appreciation of the forms.
Adam Greenberg
The Music Of Islām - Volume Three:
Music Of The Nubians, Aswān, Egypt
Music of Islam 3: Music of the Nubians collects Islamic songs of the Nubian people, as performed by the Aswan Troupe of Folkloric Art. Songs such as "Al-Kartch," "Salaam Ya," "Al-Tatha," and "Allah Musau" provide more insight into the diverse sacred music of Islam.
Heather Phares
The Music Of Islām - Volume Four:
Music Of The Arabian Peninsula, Doha, Qatar
The Iraqi installment of Celestial Harmonies' Music of Islam series. As circumstances stood, an album of music recorded in Iraq proper was impossible given the problems with entering the country for the recording team. Instead, they managed to find a pair of Iraqi expatriate musicians residing in Qatar who were happy to make a recording. Mohammed Saleh is an outstanding ud player and a graduate of Baghdad University, as was percussionist Haitham Hasan. The music is relatively simple in instrumentation, but rather complex in performance, as most good ud music is. Despite the obvious cultural/historical losses stemming from not making the recording in Basra as originally intended, this album is a stunning work. Saleh's ability is made clear by both the range of maqams he is capable of and the amount of capability he displays within each performance. While Iraqi music is relatively hard to come by in general, this album is quite accessible, and the extremely comprehensive liner notes make it a worthwhile short study for the intrepid listener unfamiliar with the music and the culture behind it. Pick it up, along with the rest of the series, for a nice look into a music culture from the cradle of civilization that's often overshadowed by the political happenings of the region.
Adam Greenberg
The Music Of Islām - Volume Five:
ʾAīssāoua Ṣūfī Ceremony, Marrakesh, Morocco Part 1&2
This pair of discs in the outstanding Music of Islam series on Celestial Harmonies showcases the music of the Aissaoua sect of Sufism, largely from Morocco. The Aissaoua are followers of the teachings of Shaykh 'Abd Allah Sidi Muhammad Ben 'Aisa as-Sufiani al-Mukhtari, a 15th century Sufist. The music is more similar to Moroccan music in general than to the average Sufi forms, which are generally characterized by the ney and clapping to accompany the dances of the dervishes. Here, there are oboes blaring through sections of the ceremony, and drumming throughout (though the instrumentation builds from the beginning to the end, reaching a climax of intensity at a specific point during which the trance dancing of the accompanying ceremony reaches its height as well). This is energetic music for the most part, far outpacing the normal Sufi music of the Middle East at any rate (though still perhaps falling behind the pace of the Sufi-based qawwali of Pakistan). It is a dense sound in spots, followed by periods of relatively sparse instrumentation and vocals. It is a complex sound overall, but an interesting combination of styles and tempos. To go with this, there are the ultra-informative liner notes compiled by Celestial Harmonies for each volume of the series, with a number of essays dealing with all major aspects of Islam as well as specific ones for the genre being showcased. This is something of an ethnomusicologist's boon, with the comprehensive treatment both of the different genres as well as each genre alone. Pick up the series if there is any interest whatsoever in Islamic music in you.
Adam Greenberg
The Music Of Islām - Volume Six:
Al-Maghrib, Gnāwa Music, Marrakesh, Morocco
Part of the Celestial Harmonies' lengthy Music of Islam series, this album showcases the music of the Gnawa sect of Morocco. The instrumentation is relatively simple, with the sintir holding the lead, a tbil or two keeping a deep bass rhythm, and the never-ending clash of the qaraqeb clacking throughout every moment of the ceremony. As a mild rarity, this group of musicians has a separate lead vocalist from the sintir player, who usually holds the duties. The sintirist still helps out on vocals, but only following the same melodic lines now and then for added force. The style of music embraced by the Gnawa is an amazing sound in and of itself, but, with some quality musicians, it can come out far beyond its normal boundaries. Here, the levels of virtuosity are somewhat mid-level. The musicians are good, but perhaps not up to the level of some of the higher players in the genre (Brahim el Belkani, for example). As such, the sound is good, but there are better albums available elsewhere (such as the Moroccan Sufism installation of Rounder's Anthology of World Music series). As part of the extensive series here on Celestial Harmonies, this album fits in quite well. It's worth a listen, but don't spend a lot of time hunting for it.
Adam Greenberg
The Music Of Islām - Volume Seven:
Al-Andalūs Andalusian Music - Tetouan, Morocco
From the vast series of Islamic music on Celestial Harmonies comes this album of Moroccan-Andalusian music. The performing ensemble makes use of an ud, ney, darbukka, tar, and a violin. Slightly different from the classical version of the genre, but there's enough freedom inherent in the music to allow for it easily enough. There's the usual call-and-response vocal that's so common in much North African music, but mixed in with instrumental solo breaks. The album opens with a lament at the loss of Andalusia that includes a noteworthy introductory section with instrumental preludes with and without rhythm (much like the alap and jor in Indian music). Another lament (at the loss of Alhambra this time) follows in much the same style (though without the tuchiya rhythmic prelude), and is followed itself by a more relaxed wedding song. Two more laments at the loss of Andalusia continue the progression, with another wedding song breaking the mood before two more laments at the loss of Alhambra finish the album. While the lyrical content is certainly not the most uplifting, the musical forms remain relatively upbeat throughout much of the album. A pulsing rhythm accentuated by the tar pushes the players forward into an ever more frenzied mood. The solo performers are worth hearing, though perhaps not of the virtuosic level of some others (Kudsi Erguner is a leading example for nay, Munir Beken for oud). As part of the series, this album has notable value as another piece of the worldwide puzzle of Islamic music. Give it a listen as part of the series, but don't seek it out alone.
Adam Greenberg
The Music Of Islām - Volume Eight:
Folkloric Music Of Tunisia
North African Islamic music is generally a bit more rousing than other forms that are found in the Middle East proper, probably due to the extended distance from the seats of orthodoxy, which frown upon music in general (the same is true in the other direction -- Pakistani Sufi music is also distant from the Middle East and far more rousing). Case in point here, Tunisian folkloric music. There's extensive use made of a slinking melodic bagpipe to double up over the lead vocalist's expertise. This is the music that people envision as filling the bazaars of any North African polis. For folks who are already in the know as to this type of music, this isn't a bad item at all. For those who aren't, it also wouldn't be too bad of a place to start (though they should know that all Muslim music is certainly not like this). Also for those ones, a possible gain might be had in looking up some Gnawa ritual music, which holds some subtle similarities.
Adam Greenberg
The Music Of Islām - Volume Nine:
Mawlawiyah Music Of The Whirling Dervishes
Part of the generally well-done series from Celestial Harmonies dealing with the musics of various groups in the Islamic spectrum. This album deals specifically with the Turkish Sufi mystics (whirling dervishes) who use the music in general as part of a ceremony of ecstatic motion (known as a "sema"). The first six tracks comprise the whole of a sema ceremony, or at least a short form of it. The music is primarily ritual, but is also wonderfully aesthetic at the same time. Of course, there is something missing without the visuals that are really needed to convey the ceremony (the dancing), but still, the hypnotic melodies are enough to please the average listener (with some background). Also included are two instrumental improvisations to showcase the secular musical ability of the troupe as well. For a nice look into the sounds of the Sufis, this isn't a bad place to start. Thorough liner notes also add an extra sheen to the package.
Adam Greenberg
The Music Of Islām - Volume Ten:
Qurʾān Recitation, Istanbul, Turkey
Music of Islam 10: Qur'an Recitation collects readings of the Koran by performers like Hafiz Husey Erek, Hafiz Kan Karaca, and Al-Sheikh Kesova. "Ezan" ("Call to Prayer"), "Rahman" ("Most Gracious"), and "Falaq" ("The Dawn") are just a few of the recitations included on this devout album.
Heather Phares
The Music Of Islām - Volume Eleven:
Music Of Yemen, Sanaʾa, Yemen
Music of Islam 11: Yemen collects Islamic songs performed by Omar Ghallab, Yahya Arouma, and Saleh Abdul Baqi. Songs like "Ana Atarajjak" ("I Implore You") and "Taba'an Liqa" ("It Was Nice to Meet You") provide more insight into the diverse sacred music of Islam.
Heather Phares
The Music Of Islām - Volume Twelve:
Music Of Iran
In this volume from Celestial Harmonies' Music of Islam series, Persian classical music is explored along with more contemporary forms of Iranian music. The instrumentation is limited to kemantche and santur here, with accompaniment on the zarb and duff, depending on the piece being played. A surprisingly large number of pieces here are based in Kurdish folk music, something of a rarity for most Iranian albums, but a welcome influence here. The pieces move back and forth between Dastgahs Shur and Homayoun, as is called for by the mood of the work. The album starts out with some Kurdish music based in Shur, followed by a piece from the Europeanizing legend Ali Naqi Vaziri. It moves through a piece of Shooshtari folk music based in Homayoun, followed by an outstanding solo on the santur by Sadjadifard Agha-ye. A short dance number in Shur follows, followed itself by a lengthy improvisation in various folk forms. Sahihi Agha-ye provides a masterful solo on the zarb, and a piece from kemantche player Ali Asghar Bahari follows, showcasing some good interplay between kemantche and santur. An improvisation largely on kemantche follows, and the album finishes where it began, with a pair of songs based in Kurdish folk music. Throughout, the musicians show a good deal of virtuosity, perhaps less than on some other albums, but still more than most albums on the market. Pick it up as part of this outstanding series of albums of Islamic music, but if not as part of the series, look into some old Majid Kiani work instead as a start (at least for the santur).
Adam Greenberg
The Music Of Islām - Volume Thirteen:
Music Of Pakistan, Lahore, Pakistan
An album of Pakistani religious music, supposedly. Really, the music is simply enough Indian classical music (generally either secular, or more probably Hindu religious) with stunning vocals by Ustad Bary Fateh Ali Khan. Pakistan is close enough to borrow the tradition (and indeed was in the past a part of the country), and for that matter, many of the most renowned Indian classical vocalists are in fact Muslim (even if the texts of their songs are from Hindu religious scripts). Nonetheless, Pakistan is definitely an Islamic nation (that's where a good deal of the mutual animosity between India and Pakistan comes from), and this music is from Pakistan. For actual Pakistani, Muslim, religious music, one should probably look into the qawwal traditions (especially the notable Nusrat Fateh Ali Khan). For a nice album of Indian classical, this one isn't bad, but it isn't entirely what it proposes to be.
Adam Greenberg
The Music Of Islām - Volume Fourteen:
Mystic Music Through The Ages
From the surprisingly good and comprehensive series of Islamic music on Celestial Harmonies comes this volume, dealing with mystic musics of Islam, primarily that of the Sufis, and moreover that of Turkey to a large extent. The performers are the Galata Mevlevi house, led by Nail Kesova, also available on volume nine of the series (Whirling Dervishes). The playing is impeccable, with a trio of ney players providing the breathy sound that is so necessary for a good bit of Sufi music. The vocals are also perfectly in place, with an outstanding performance by Kesova. Songs are largely works of poetry, with three from the great Rumi, and a number from other mystics through the ages (as the title would suggest). For a nice look through all aspects of Islamic music, this series is probably the way to go. For a simple look into the Sufist traditions, this album fits right in competition with a number of other ones, but the quality of music here might give it a bit of an edge.
Adam Greenberg
The Music Of Islām - Volume Fifteen:
Muslim Music Of Indonesia, Aceh & West Sumatra (2CD)
