V. A. - THE MUSIC OF ISLÃM, VOLUME ONE : Al-Qāhirah, Classical Music Of Cairo, Egypt (1998) FLAC (tracks+.cue), lossless

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. by Heather Phares
Tracklist :
1 Khatwet Habiby 4:00
2 El Helwa Dayer Shebbak 6:08
3 Ud Solo 4:14
4 Ana Fi Entizarak Khalet 13:05
5 Nay Solo 2:42
6 Samra Ya Samra 5:35
7 Qanun Solo 2:50
8 Bint Al-Balad 4:26
9 Tabalah Solo 3:45
10 Sama'I Bayati (Al-Aryan) 6:22
11 Riqq Solo 2:57
12 Habibi Wa Enaya 6:46
Credits :
Daf [Duff] – Ibrahim Gomaa
Goblet Drum [Tabalah] – Khaled Gomaa
Kanun [Qanun] – Mostafa Abd El Khalek
Ney [Nay] – Mohamed Foda
Oud ['ud] – Mamdouh El Gbaly
Tambourine [Riqq] – Hesham El Araby

V. A. - THE MUSIC OF ISLÃM, VOLUME TWO : Music Of The South Sinai Bedouins (1998) FLAC (tracks+.cue), lossless

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. by Adam Greenberg
Tracklist :
1 Ba'ad Al- 'Asaha 5:56
2 Fi Solam Al Taeira 2:56
3 Lala Todayeqoun Al-Tarfi 4:30
4 El Banat Metalemat 3:18
5 Ibnattan Arabiyattan 5:18
6 Mili 'Allaya Mili 5:29
7 Qaṣidāh 4:07
Performer [Rabâbah], Vocals – Haj-Mohamed Ouda
8 Ya Rim 4:07
9 Allāh Ani Talabtak, Ma Talabt Al-Bakhil 3:44
10 Ya Warid Al-Ma, Asqini Sharaban 4:24
11 Sid El 'Arab 3:07
12 Nartiji Wa Al-Raja Fi Allāh 2:47
13 Khelli Ya Khelli 4:22
14 Gal Al Wada' 3:34
15 Barhum Ya Barhum 4:56
16 Ahlan Wa Sahlan 3:38
Credits :
Oud, Lead Vocals, Art Direction, Instruments [Simsimiyya] – Selim Seliman
Percussion – Soliman Hussein
Performer – Selim Seliman Ensemble
Vocals – Aly Heimed, Awad Gomaa, Ayed Hamdan, Ghaned Mohamed, Hemeid Abdallah, Hussein Awad, Meneify Hamdan, Mohamed Abdallah, Mohamed Hemeid, Mosallam Soliman

V. A. - THE MUSIC OF ISLÃM, VOLUME FOUR : Music Of The Arabian Peninsula, Doha, Qatar (1997) FLAC (tracks+.cue), lossless

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. by Adam Greenberg
Tracklist :
1 Quam Na Dimi 7:27
2 Ish Lonak Ini 5:55
3 Taqsīm 1 3:40
4 Ya Gariya Khabirini 6:05
5 Al Hajr 7:12
6 Marou Alyaa / El-Helwen 4:24
7 Taqsīm 2 6:21
8 Bead Konto 6:40
9 Lama Bada Yatasana 3:45
10 Taqsīm 3 5:50
11 Ya Helo / Ya Abu El-Sedara 5:52
Credits :
Oud – Mohammed Saleh Abd Al-Saheb Lelo
Percussion [Tabalah] – Haitham Hasan

V. A. - THE MUSIC OF ISLÃM, VOLUME SEVEN : Al-Andalūs Andalusian Music, Tetouan, Morocco (1998) FLAC (tracks+.cue), lossless

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. by Adam Greenberg
Tracklist:
1 Eshbehayn 8:49
2 Mkdam Sharki 9:08
3 Rashdayl 4:06
4 Esthlal 13:33
5 Times Mkdam Sharki 10:36
6 Rashdfa 7:22
7 Hijasoul (Chahshahachni) 11:04
8 Elhijaz 10:36
Credits :
Goblet Drum [Clay Darbūka] – Abdelilah Azlas
Kemenche [Kamanjā] – El Kacimi Mohamed
Leader – El Kacimi Mohamed
Ney [Nāy] – Abedlkarim Doukhou
Oud ['Ūd] – Ahmed El Kamas
Tambourine [Ṭār] – Mohamed El Rhouni
Transcription By [Annotation] – Timothy D. Fuson

AHMED ABDUL-MALIK - Eastern Moods of Ahmed Abdul Malik (1963-2012) MONO / FLAC (tracks), lossless

Tracklist :
1    Summertime 10'19
Written-By – Heyward, Girshwin
2    Ancient Scene 7'16
Written-By – Ahmed Abdul-Malik
3    Magrebi 5'18
Written-By – Ahmed Abdul-Malik
4    Sa-Ra-Ga' Ya-Hindi 9'47
Written-By – Ahmed Abdul-Malik
5    Shoof Habebe 5'17
Written-By – Ahmed Abdul-Malik
Credits :    
Alto Saxophone, Clarinet, Flute [Korean Reed Flute], Percussion – Bilal Abdurahman
Bass, Oud – Ahmed Abdul-Malik
Bass, Percussion – William Allen
Recorded By – Rudy Van Gelder

RABIH ABOU-KHALIL - Al-Jadida (1991) APE (image+.cue), lossless

Rabih Abou-Khalil, among the rare Arabic musicians who have recorded and played extensively with jazz musicians, successfully navigates the middle ground between traditional North African sounds and hard bop. Besides the leader's oud and flute, alto saxophonist Sonny Fortune provides the blues bite; bassist Glen Moore, the rhythmic connection, and percussionists Ramesh Shotham and Nabil Khaiat, provide the African seasoning. by Ron Wynn
Tracklist :
1 Catania 7:41
Rabih Abou-Khalil
2 Nashwa 9:33
Rabih Abou-Khalil
3 An Evening With Jerry 6:59
Rabih Abou-Khalil
4 When The Lights Go Out 7:14
Rabih Abou-Khalil
5 Storyteller 8:52
Rabih Abou-Khalil
6 Ornette Never Sleeps 4:01
Rabih Abou-Khalil
7 Nadim 8:29
Rabih Abou-Khalil
8 Wishing Well 5:25
Rabih Abou-Khalil
Credits :
Alto Saxophone – Sonny Fortune
Bass – Glen Moore
Drums [South Indian], Percussion – Ramesh Shotham
Frame Drum [Frame Drums], Percussion – Nabil Khaiat
Oud – Rabih Abou-Khalil

RABIH ABOU-KHALIL - Nafas (1988) APE (image+.cue), lossless

Recorded in Germany by Beirut native Rabih Abou-Khalil, this moody, atmospheric album is more like a soundscape than a collection of songs. Abou-Khalil's primary instrument is the oud, a lute-like instrument traditionally used in Arab music. This low, sweet-toned, obviously Far Eastern instrument is teamed up with nothing more than Arab drums in most of the songs. Sparse vocals, performed by Selim Kusur, do little to create any discernible melody. Instead, they add texture and effect -- or an intro in the case of "Incantation." Upbeat songs such as "Awakening" are carried along by the drums, while the melancholy sound of the oud dominates introspective tracks such as "Nafas." This album is a far cry from the complex, percussion-heavy, often slightly jangly albums that usually make it to the world music section in Western record stores. It is also unlike the techno-influenced worldbeat albums that found popularity amongst certain club circles. It is a wistful, lonely album. Its simple, spare instrumentation is its distinguishing feature; after listening to dozens of over-produced, musically complex albums, this one comes as a bit of a relief. Though certain world music experts consider Abou-Khalil to be an innovator within his subgenre, his music sounds neither new nor old. It's hard to fit within any time frame. by L. Katz  
Tracklist :
1     Awakening 2'06
Glen Velez
2     Window 8'56
Rabih Abou-Khalil / Selim Kusur / Setrak Sarkissian / Glen Velez
3     Gaval Dance 4'24
Setrak Sarkissian / Glen Velez
4     The Return 1 6'19
Rabih Abou-Khalil
5     The Return 2 4'28
Rabih Abou-Khalil
6     Incantation 6'03
Rabih Abou-Khalil
7     Waiting 7'32
Rabih Abou-Khalil
8     Amal Hayati 6'45
Mohamed Abdel Wahab
9     Nafas 1'37
Rabih Abou-Khalil
10     Nandi 2'07
Glen Velez
Credits :    
Frame Drum [Frame Drums] – Glen Velez
Goblet Drum [Darabukka] – Setrak Sarkissian
Ney [Nay], Voice – Selim Kusur
Oud – Rabih Abou-Khalil
Producer – Manfred Eicher

RABIH ABOU-KHALIL - Blue Camel (1992) APE (image+.cue), lossless

Blue Camel is the pinnacle to date of Lebanese oud player Rabih Abou-Khalil's achievement as a jazzman. In both mood and scope, it can almost be characterized as a new Kind of Blue. Both tense and reflective, it is perfect for listening after midnight. Abou-Khalil brings back Charlie Mariano on alto sax and Kenny Wheeler on flügelhorn and trumpet, and they generally alternate solos with Abou-Khalil himself. Rounding out the roster is Steve Swallow on bass, Milton Cardona on congos, Nabil Khaiat on frame drums, and Ramesh Shotham on South Indian drums and percussion. They form a tight ensemble and play comfortably with each other. The album opens with "Sahara," which contains both one of Abou-Khalil's tunes, a mesmerizing melody that could be either Arabic or jazz, and one of Abou-Khalil's best solos, a well-defined interlude that delightfully features the unique timbre of the oud. "Tsarka" begins with a fast break on the oud that turns out to be one of the two motifs on which everything is built. After it is elaborated for a few bars, the oud comes back with another building block. Then we get some stunning improvisations, especially from Abou-Khalil. "Ziriab" opens with a trumpet solo in which Kenny Wheeler tests the compass of his instrument, backed up with some atmospheric sounds from the udu drum; then Abou-Khalil enters with another great tune for everyone to build on. The title track is nothing but fun. Seductive percussion ushers in Wheeler and Mariano playing in unison for a tune that is somewhere between Duke Ellington and the court of Baghdad. As the percussion bubbles along, Milton Cardona's congos adding a Latin flavor to the proceedings, Abou-Khalil steps up with a very fast and rhythmic, if not very tuneful, solo. Midway through the track, Mariano blisters the paint with a screeching sax workout that bridges the Arabic and the Latin, while remaining all the while pure jazz. Even Steve Swallow gets a chance to feature his bass after which the ensemble brings it together and takes it home. Some of the other tracks are not as good as the ones mentioned above, but they are all listenable and very atmospheric. The aptly named "A Night in the Mountains" is a slow, thoughtful walk, perfect for silent contemplation. The album ends with "Beirut," named for the Lebanese city torn by civil war from which Abou-Khalil had to flee many years ago. The track begins with a quiet oud solo and then builds to something more chaotic and striving. Blue Camel may not be a perfect album, but it demonstrates better than any other that a fusion between jazz and a musical form from another culture is possible and can work to the advantage of both. Plus, it's just great listening. by Kurt Keefner  
Tracklist :
1    Sahara    8:18
Rabih Abou-Khalil
2    Tsarka    6:45
Rabih Abou-Khalil
3    Ziriab    6:49
Rabih Abou-Khalil
4    Blue Camel    8:20
Rabih Abou-Khalil
5    On Time    6:19
Rabih Abou-Khalil
6    A Night In The Mountains    8:37
Rabih Abou-Khalil
7    Rabou-Abou-Kabou    4:47
Rabih Abou-Khalil
8    Beirut    10:52
Rabih Abou-Khalil
Credits :    
Alto Saxophone – Charlie "Sir Charles" Mariano
Artwork [Cover Art], Calligraphy – Georges Ghantous
Bass – Steve "Dr. Zvalov" Swallow*
Congas – Milton Cardona
Drums [South Indian], Percussion – Ramesh Shotham
Flugelhorn, Trumpet – Kenny Wheeler
Frame Drum – Nabil Khaiat
Oud, Producer, Design [Cover Design] – Rabih Abou-Khalil

RABIH ABOU-KHALIL - Between Dusk and Dawn (1993) APE (image+.cue), lossless

One of Rabih Abou-Khalil's earlier albums, Between Dusk and Dawn features stellar sidemen such as master percussionist Glen Velez and jazz saxophonist Charlie Mariano. In places it exhibits that ecstatic melding of jazz and Arabic music that was later perfected on Blue Camel. But in other places it gives us long patches of noodling and less-then-engaging playfulness. An example of the former would be the first track, "Dusk." At just over 14 minutes, more than half of this piece is devoted to a shapeless and tiresome prelude for percussion and oud (Arabic lute). An example of the latter is the aptly named "The Thing That Came Out of the Swamp," which features everything but the kitchen sink, including Glen Velez's overtone singing, in a fantasy that sounds like Stravinsky crossed with Steve Reich. Yet there are solid, jazzy tracks like "Chess with Mal" which opens with a long but well-formed solo by Charlie Mariano before sax and oud synchronize for one of Abou-Khalil's gloriously rhythmic tunes. Or "Dawn," where Abou-Khalil plays one of his favorite tricks of making it sound as if the melody of the piece grows out of his initial improvisation. Despite the album's lack of overall focus, it does offer a bounty for the ear, especially in the percussion. A disc for fans of one or more of the musicians involved. by Kurt Keefner  
Tracklist:
1    Dusk    14:15
Rabih Abou-Khalil
2    Bat Dance    5:32
Rabih Abou-Khalil
3    Nightfall 6:38
Rabih Abou-Khalil
Flute – Rabih Abou-Khalil
4    Ugo In Love    3:46
Rabih Abou-Khalil
5    Chess With Mal    7:32
Rabih Abou-Khalil
6    The Thing That Came Out Of The Swamp 4:10
Composed By – Armann, Abou-Khalil
Flute – Rabih Abou-Khalil
Marimba – Christian Burchard
Overtone Voice [Overtone Singing] – Glen Velez
Piano – Michael Armann
7    Dawn    5:51
Rabih Abou-Khalil
8    And Finally ... The Oasis    6:53
Rabih Abou-Khalil
Credits:
Bass, Arranged By – Glen Moore
Frame Drum [Middle Eastern Frame Drums], Bodhrán [Bodhran (Irish Frame Drum)], Goblet Drum [Darbukka], Percussion, Arranged By – Glen Velez
Oud, Composed By, Arranged By, Producer, Photography [Cover And Layout] – Rabih Abou-Khalil
Percussion [South Indian Percussion], Thavil [Tavil], Ghatam, Jew's Harp [Mouth Harp], Dholak, Kanjira, Percussion, Arranged By – Ramesh Shotham
Soprano Saxophone, Alto Saxophone, Arranged By – Charlie Mariano

RABIH ABOU-KHALIL - Bukra (1989) APE (image+.cue), lossless

Tracklist:
1    Fortune Seeker    4:52
Rabih Abou-Khalil
2    Bukra    7:58
Rabih Abou-Khalil
3    Kibbe    8:16
Rabih Abou-Khalil
4    Remember... The Desert 7:10
Rabih Abou-Khalil
Overtone Voice – Glen Velez
5    Nayla    9:24
Rabih Abou-Khalil
6    Time    4:25
Rabih Abou-Khalil
7    Reflections    8:05
Rabih Abou-Khalil
Credits:
Alto Saxophone – Sonny Fortune
Artwork [Cover Art], Calligraphy – Georges Ghantous
Bass – Glen Moore
Drums [South Indian], Percussion – Ramesh Shotham
Frame Drum, Percussion – Glen Velez
 Oud, Producer, Design [Cover Design] – Rabih Abou-Khalil

RABIH ABOU-KHALIL - Roots & Sprouts (1990) APE (image+.cue), lossless

In a satisfying stylistic experiment, Lebanese composer and oud player Rabih Abou-Khalil has decided to put together an album of jazz numbers with no Western instruments other than Glen Moore's standup bass. There is Yassin El-Achek on violin, but the violin is almost as much a Middle Eastern instrument as a Western one. El-Achek usually remains in the Middle Eastern style of playing, but occasionally, as on "Wordless," he double-stops and trills like Paganini.

The tracks are nicely constructed, and the improvisations are not allowed to run amok or become shapeless. The tunes are, as usual with Abou-Khalil, Middle Eastern melodies with phrases and turns that nod at Western notions of what "Oriental" music sounds like. This conceit paves the way for the extremely rare event of Abou-Khalil covering someone else's song. And which did he choose? Duke Ellington's "Caravan," the all-time most famous faux-Arabic jazz number! The song turns into a duet between El-Achek's violin and Selim Kusur's nay (Arabic flute). It's fun but lightweight compared to the album's originals. All the instrumentalists are in fine form, particularly Glen Velez, who really shakes his tambourine as well as pulling out his snare drums for several numbers. Abou-Khalil has never been better as a performer, especially on the opening of "Remembering Machgara," where he makes his oud sound like an electric guitar. It helps that the album is unusually well-arranged, even for Abou-Khalil, and well-recorded, even for Enja, everything sounding wonderfully present and defined. This album represents the expatriate Lebanese composer-musician in his prime. by Kurt Keefner  
Tracklist:
1    Remembering Machgara    7:10
Rabih Abou-Khalil
2    Walking On Air    9:03
Rabih Abou-Khalil
3    Nida    6:38
Rabih Abou-Khalil
4    Revelation    5:38
Rabih Abou-Khalil
5    Wordless    8:05
Rabih Abou-Khalil
6    Sweet Rain    4:59
Rabih Abou-Khalil
7    Outlook    8:25
Rabih Abou-Khalil
8    Caravan 5:32
Composed By – Ellington, Mills, Tizol
9    Dreams Of A Dying City    11:06
Rabih Abou-Khalil
Credits:
Bass – Glen Moore
Oud, Arranged, Producer – Rabih Abou-Khalil
Goblet Drum [Darabukka] – Mohammad Al-Sous
Ney [Nay] – Selim Kusur
Percussion [Frame Drums] – Glen Velez
Violin – Yassin El-Achek

RABIH ABOU-KHALIL - Sultan's Picnic (1994) APE (image+.cue), lossless

Composer and oudist Rabih Abou-Khalil generates variety and interest by bringing aboard different guest musicians for each album. The personnel on Sultan's Picnic is so similar to that of Blue Camel that one might expect them to sound similar. But there's a key difference in the presence of Howard Levy on Sultan's Picnic. Levy is a talented harmonica player who has done a lot of offbeat work, including a stint with Béla Fleck & the Flecktones. Despite the power of Charlie Mariano on alto sax and Kenny Wheeler on trumpet, this album is dominated by the idioms of the harmonica, specifically the jazzy, quirky, lackadaisical idiom popularized by Levy's work with the Flecktones. This domination is noticeable from the beginning, on "Sunrise in Montreal." Occasionally, the harmonica recedes to the background and allows other instruments to shine through. On "Solitude," Levy provides only the occasional raspy sound effect, while Abou-Khalil steps forward with an instrument he had custom-built: the bass oud. Other novel instruments put in an appearance here as well. Michel Godard huffs and toots away on the tuba and its archaic predecessor, the serpent. (This is in addition to Steve Swallow on bass.) Whether because of the multitude of instruments -- all the aforementioned, plus three percussionists and an uncredited electric guitar -- or just too much influence from Levy, the album lacks focus, except when it sounds like the Flecktones. There are exceptions, like "The Happy Sheik" and "Snake Soup," where Abou-Khalil sounds like his dramatic self again. But on these tracks, Levy is used mostly as punctuation. by Kurt Keefner  
Tracklist:
1    Sunrise In Montreal    8:14
Rabih Abou-Khalil
2    Solitude    6:32
Rabih Abou-Khalil
3    Dog River    4:25
Rabih Abou-Khalil
4    Moments    6:17
Rabih Abou-Khalil
5    Lamentation    8:59
Rabih Abou-Khalil
6    Nocturne Au Villaret    6:33
Rabih Abou-Khalil
7    The Happy Sheik    6:02
Rabih Abou-Khalil
8    Snake Soup    4:28
Rabih Abou-Khalil
Credits:
Alto Saxophone – Charlie Mariano
Artwork [Cover Art], Calligraphy – Georges Ghantous
Bass – Steve Swallow
Congas – Milton Cardona
Drums – Mark Nauseef
Frame Drum – Nabil Khaiat
Harmonica – Howard Levy
Oud – Rabih Abou-Khalil
Oud [Bass] – Rabih Abou-Khalil (pistas: 2)
Trumpet, Flugelhorn – Kenny Wheeler
Tuba, Serpent – Michel Godard

RABIH ABOU-KHALIL - Tarab (1993) APE (image+.cue), lossless

Tarab is an unusual album for the great Lebanese jazz composer and oud player in that it features no Western instruments or musicians, except for Glen Moore on the acoustic bass. The melody instruments are the nay (Arabic flute) played by the Syrian veteran Selim Kusur and, as always, Abou-Khalil on oud or Arabic lute (which more or less functions like the piano in a standard jazz quartet). Rounding out the group are Nabil Khaiat on frame drums and percussion, and Rameesh Shotham on South Indian drums and other percussion. Everyone but Kusur has worked at least semi-regularly with Abou-Khalil. (Kusur did play on Abou-Khalil's Roots & Sprouts, an earlier instance of an album with no Western instruments.) The lack of Western instrumentalists gives Tarab a less jazzy, more Arabic feeling than Abou-Khalil's other albums. Abou-Khalil builds his albums around his guest instrumentalists, so Tarab features the nay prominently, but even more, this is an album for the oud and for showing off the rhythm section. For example, on "In Search of the Well" there is actually a bass solo. And there are a few other pleasant surprises scattered throughout the album. On "Awakening," someone -- just who is not credited -- lets forth a string of bol singing, that rapid-fire, tongue-twisting Indian chant made famous in the West by Sheila Chandra. And on "Arabian Waltz," a jaw harp appears out of the blue , presumably played by Shotham, who plays it on Between Dusk and Dawn, accenting the fast-paced original version of what later became the more lush title track of the album Arabian Waltz. This last song is especially welcome for its strong melody, standing out on an album that certainly does not lack for atmosphere, but which would have benefited from greater tunefulness. Still, a very worthy effort, though not the best place to start one's Rabih Abou-Khalil collection, especially if one is coming from a jazz background. by Kurt Keefner
Tracklist:
1 Bushman in the Desert 8:00
Rabih Abou-Khalil
2 After Dinner 5:53  
Rabih Abou-Khalil
3 Awakening 8:06
Rabih Abou-Khalil / Erik Berglund
4 Haneen Wa Hanaan 8:07
Rabih Abou-Khalil
5 Lost Centuries 7:10
Rabih Abou-Khalil
6 In Search of the Well 3:37
Rabih Abou-Khalil
7 Orange Fields 9:38
Rabih Abou-Khalil
8 A Tooth Lost 5:20
Rabih Abou-Khalil
9 Arabian Waltz 5:00
Rabih Abou-Khalil
Credits:
Bass – Glen Moore
Oud, Cover [Cover Design], Design [Cover Design] – Rabih Abou-Khalil
Drums [South Indian Drums], Percussion, Jew's Harp [Mouth Harp] – Ramesh Shotham
Frame Drum [Frame Drums], Percussion – Nabil Khaiat
Ney [Nay] – Selim Kusur

BURHAN ÖÇAL & ISTANBUL ORIENTAL ENSEMBLE - Sultan's Secret Door (1997) FLAC (tracks+.cue), lossless

Tracklist:
1    Mahur Oriental    8:08
2    Nihavent Oriental    6:49
3    Nihavent Oyun Havasi    8:44
4    Roman II    7:47
5    Fasulye    6:18
6    Sultaniyegâh Sirto    14:48
7    Roxelana    5:54
8    Eve Dönüs    4:27
9    Ke Jati Den Ma To Les - Ta Lefta/Indim Havuz Basina 9:20
Guest [Guests] – Musicians of the group Prosechós
Credits:
Arranged By – Burhan Öçal (tracks: 1 to 3, 5 to 7), Istanbul Oriental Ensemble (tracks: 3, 4), Prosechós (tracks: 9)
Clarinet, Performer [Zurna] – Ferdi Nadaz
Composed By – Burhan Öçal (tracks: 8), Istanbul Oriental Ensemble (tracks: 3, 4, 7), trad. (tracks: 1, 2, 5, 6, 9)
Cover – Franz Aumüller
Goblet Drum [Darbouka] – Ekrem Bağı
Kanun [Qanun] – Şahin Sert
Leader, Goblet Drum [Darbuka], Performer [Kös], Tambura [Tanbur], Baglama [Saz], Percussion [Percussions] – Burhan Öçal
Oud, Vocals – Hüseyin Bitmez
Painting [Cover] – Paul Louis Bouchard
Violin [Keman] – Fethi Tekyaygil

MICHAEL ASKILL & OMAR FARUK TEKBILEK - Fata Morgana (1995) FLAC (image+.cue), lossless

 Tracklist:
1 - Desert Wind    1:39
Omar Faruk Tekbilek, Michael Askill
2 - Aman 3:43
Omar Faruk Tekbilek, Michael Askill, Ghassan Barakat, Ian Cleworth, Rebecca Lagos
3 - Distant Call And March Of The Janissaries 5:27
Omar Faruk Tekbilek, Michael Askill, Ian Cleworth, Rebecca Lagos    
4 - Cool Water 4:25
Omar Faruk Tekbilek, Michael Askill, Ian Cleworth, Rebecca Lagos
5 - The Goldsmiths 3:14
Omar Faruk Tekbilek, Michael Askill, Ian Cleworth, Rebecca Lagos
6 - Ocean Dream 1 2:45
Michael Askill, Ian Cleworth, Rebecca Lagos
7 - Sufi House 3:44
Omar Faruk Tekbilek, Michael Askill, Ghassan Barakat, Ian Cleworth
8 - Boiling Water 4:17
Omar Faruk Tekbilek, Michael Askill, Ghassan Barakat, Ian Cleworth, Rebecca Lagos
9 - Fata Morgana 2:22
Michael Askill, Ian Cleworth, Rebecca Lagos
10 - Ba-la-ma 4:06
Omar Faruk Tekbilek, Michael Askill
11 - Little Janissary March 2:55
Omar Faruk Tekbilek, Michael Askill
12 - Ocean Dream 2 2:11
Omar Faruk Tekbilek, Michael Askill
13 - Under Desert Stars 5:29
Omar Faruk Tekbilek, Michael Askill, Ian Cleworth, Rebecca Lagos
14 - From Emptiness 12:40
Omar Faruk Tekbilek, Michael Askill, Ghassan Barakat, Ian Cleworth, Rebecca Lagos
15 - Desert Winds 1:39
Omar Faruk Tekbilek, Michael Askill
Credits :
Michael Askill - Arranger, Bells, Composer, Crotale, Cymbals, Djembe, Drums, Gong, Handclapping, Percussion, Producer, Temple Bowls, Thai Gong, Wah Wah Guitar
Ghassan Barakat - Darbouka, Drums
Ian Cleworth - Bells, Conch, Crotale, Cymbals, Drums, Drums (Bass), Glockenspiel, Gong, Marimba, Percussion, Thai Gong, Water Gong
Rebecca Lagos - Angklung, Bells, Darbouka, Djembe, Glockenspiel, Gong, Handclapping, Thai Gong, Triangle
Omar Faruk Tekbilek - Arranger, Baglama, Composer, Darbouka, Handclapping, Kaval, Kavala, Ney, Oud, Percussion, Vocals, Voices, Zurna

OMAR FARUK TEKBILEK - Whirling (1994) FLAC (image+.cue), lossless

Whirling celebrates the melodies and rhythms of the Middle East. Famed instrumentalist Omar Faruk Tekbilek plays an impressive array of instruments, including the two he is most famous for: the ney flute and the lute-like baglama. He is joined by Brian Keane, who contributes splendid background on guitar and synthesizer, and Ara Dinkjian and Arto Tuncboyaciyan on a variety of Middle Eastern instruments. Hassan Isikkut provides vocals. Faruk, a well-known musician and composer in Turkey, is also an accomplished jazz musician, and this aspect of his musical abilities adds a subtle flavor to the pieces. AllMusic
Tracklist:
1    Whirling Dervish    10:40
2    Gawazi    6:12
3    Love Respect Truth    7:09
4    Old Man's Dance    4:36
5    Long Wait    6:00
6    Moments Of Doubt    5:19
7    Caspian Winds    4:40
8    Fly Away    4:42
9    La Ilaha Il Allah    5:25
10    Sultan Of The Hearts    7:22
Credits:
Bendir, Cymbal, Percussion, Percussion [Bottle], Vocals – Arto Tuncboyaciyan
Featuring – Ara Dinkjian, Arto Tuncboyaciyan, Brian Keane, Hassan Işikkut
Guitar, Synthesizer, Bass, Wind Chimes – Brian Keane
Kanun – Hassan Işikkut
Ney, Baglama, Zurna, Reeds [Mijwiz], Performer [Jura], Goblet Drum [Darbuka], Bendir, Tambourine, Accordion, Vocals – Omar Faruk Tekbilek
Oud, Cümbüş [Sazbush], Cümbüş, Bass – Ara Dinkjian
Producer – Brian Keane

 

RICHARD A. HAGOPIAN & OMAR FARUK TEKBILEK - Gypsy Fire (1994) Mp3

For those uninitiated in the music that accompanies the belly dance, or those who think that belly dancing music was issued exclusively on those cheesy 1960s long-players, go on to the next review unless you are willing to have your cultural misperceptions challenged. The title of this recording by the renowned oud wizard Richard Hagopian -- and his ensemble that includes the great zuna and ney player Omar Faruk Tekbilek and saxophonist Yuri Yukanov, among others -- says it all. Belly dancing music is the jazz of the East. This is music that relies on shifting, careening rhythms; complex melodic and modal figures; and plenty of improvisation to get both the stories in these songs across and the dancers where they need to be in order to reveal the narrative to an audience of one or hundreds. Unlike the early American jazzmen who had no choice but to play their music in whorehouses, these musicians have a time-honored tradition to present their artistry within. The music played here by Hagopian and company reflects not only history, but also innovation -- nothing here reeks of being worn or coming from antiquity. Each tune, whether an original or a folk tune, is approached as a unique entity, as a framework for musical and cultural re-visioning. And if one considers it, this music as it is, forged from Midddle Eastern, European, and Asian cultures, is perhaps the most progressive of all. For ten tracks, there is no let-up in the deeply satisfying, sensual pleasure of the atmospherics and textural wonders Mr. Hagopian and his crew weave, nor is there a lack of musical or aesthetic imagination. Gypsy Fire is pure, sophisticated pleasure. (This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist:
1    Rompi Rompi    4:06
2    Nihavent    4:46
3    Istemen Babacim    4:06
4    Kadife    5:50
5    Muhabbet    8:12
6    Minoush    3:34
7    Fincan    4:32
8    Konyali    2:31
9    Beledy    3:03
10    Siseler    4:59
Credits:
Ara Dinkjian - Guitar
Harold G. Hagopian - Producer, Violin
Richard Hagopian - Ud, Vocals
Hassan Isikkut - Kanun
Chris Marashlian - Bass
Omar Faruk Tekbilek - Composer, Ney, Producer, Zurna, etc ...
Arto Tuncboyaciyan - Percussion
Yuri Yunakov - Saxophone
Notas
'The Most Exciting Belly Dance Music Of The Century'

 

OMAR FARUK TEKBILEK - Mystical Garden (1996) FLAC (image+.cue), lossless

 Tracklist:
1    Other Side Of The River    8:53
2    Magic Of The Evening    6:47
3    Laz    3:55
4    Shashkin    6:48
5    Hasret    8:53
6    Egyptian Dance    5:06
7    Three Last Words    8:33
8    Mystical Garden    7:07
9    Hu Allah    9:59
Credits:
Arranged By – Ara Dinkjian (tracks: 3), Brian Keane (tracks: 3), Omar Faruk Tekbilek (tracks: 4)
Composed By – Ara Dinkjian (tracks: 7), Arto Tuncboyaciyan (tracks: 1), Brian Keane (tracks: 2), Omar Faruk Tekbilek (tracks: 5, 6, 8, 9), Traditional (tracks: 3, 4)
Flugelhorn – Dan Pickering (tracks: 1)
Frame Drum, Shaker, Bells, Bendir, Finger Cymbals [Zil], Triangle, Guiro, Davul, Performer [Water Bowl] – Arto Tuncboyaciyan
Guest [Natural Sounds Provided By] – Ira Spiegel
Guitar, Synthesizer, Arranged By [Arrangements], Bass, Percussion, Cymbal, Drums, Producer – Brian Keane
Kanun, Violin – Hassan Iṣikkut
Ney, Kaval [Kavala], Zurna, Baglama, Drum [Jura], Oud, Goblet Drum [Darbuka], Bendir, Tambourine, Davul, Finger Cymbals, Synthesizer, Vocals – Omar Faruk Tekbilek
Oud, Cümbüş – Ara Dinkjian (tracks: 3, 5, 7)
Percussion – Arto Tuncboyaciyan (tracks: 2)
Vocals – Arto Tuncboyaciyan (tracks: 1, 3, 7)
Notas
The cover illustration is "Autumn Landscape With Mountains And Trees" circa 1370, and attributed to kar-i mani. It is found today in the Topkapi Museum in Istanbul.

OMAR FARUK TEKBILEK - Crescent Moon (1998) FLAC (image+.cue), lossless

Crescent Moon is a set of diversely fluid desert ambience with Middle Eastern and Mediterranean influences. Multi-talented multi-instrumentalist Omar Faruk Tekbilek created this massive soundscape with assistance from Brian Keane. Steve Roach also appears as a guest musician. This is a quirky crossover. Tekbilek mixes ambient atmospheres with touches of belly dance music. The result is a somewhat frenetic cloud of desert sand. The styles contrast and compliment each other. The soundscape is hot, arid, and tempestuous. It is an exotic sound design. This CD will appeal to fans of Jamshied Sharifi, Natacha Atlas, Sheila Chandra, and TUU. It is essential world music. by Jim Brenholts
Tracklist:
1    Crescent Moon    7:56
2    Yahel    6:57
3    Salute To The Sun    8:57
4    Tamzara    4:10
5    Baglama Delight    5:31
6    Hijaz Raks    4:59
7    Last Moments Of Love    4:56
8    Adanali    5:10
9    Azeri    7:23
10    Yunnus    10:12
Credits:
Composed By – Arto Tuncboyaciyan (tracks: 3), Keane (tracks: 3), Hasan Issikut (tracks: 7), Tekbilek (tracks: 3)
Composed By [All Compositions By] – Omar Faruk Tekbilek (tracks: 1, 2, 4 to 6, 8 to 10)
Musician [The Musicians:] – Ara Dinkjian, Arto Tuncboyaciyan, Brian Keane, Hasan Isikutt, Nick Mouganis, Omar Faruk Tekbilek, Steve Roach, Steve Tavelaris, Yuri Yunakov
Producer – Brian Keane

OMAR FARUK TEKBILEK - One Truth (1999) FLAC (image+.cue), lossless

Omar Faruk Tekbilek's One Truth continues his exploration of the mystical sounds of Sufism, blending Middle Eastern instruments like the ney flute and modern electronic textures into intense, intricate works. The album's songs of devotion showcase Tekbilek's technical skill as well as his intuitive understanding of this passionate and spiritual music. by Heather Phares
Tracklist:
1    Red Skies    6:42
2    I Love You    8:11
3    Wildflower    5:50
4    Manhem    5:52
5    Tahir Ranks    5:19
6    Roman    4:58
7    One Truth    6:59
8    Ara'ya    5:10
9    Sufi    9:31
10    Istanbul    6:30
Credits:
Arranged By – Omar Faruk Tekbilek, Yuval Ron
Backing Vocals – Azam Ali, Deniz Tekbilek, Pinar Tekbilek
Baglama, Bells, Bendir, Bongos, Goblet Drum [Darbuka], Daf, Djembe, Strings [Jura], Kaval, Keyboards, Ney, Oud, Cymbal [Rama], Shaker, Slit Drum, Snare, Tambourine, Finger Cymbals [Zils], Zurna, Voice – Omar Faruk Tekbilek
Bendir, Bells, Shaker, Finger Cymbals, Percussion [Bottles] – Dror Sini
Cello – Kenan Torfeh
Drum – Tal Bergman
Electric Guitar – Mike Fonte
Flamenco Guitar – Adam Del Monte
Producer, Keyboards, Classical Guitar, Piano – Yuval Ron
Shaker, Overtone Voice – Randy Crafton
Sintir [Bass], Guitar [12-String] – Chris Cunningham
Toy Piano – Ian Nickus
Tracking By – Randy Crafton
Violin – Roberto Cani
Violin, Kanun – Hasan Isikkut