Seham Refki سهام رفقي

 

ممثلة ومطربة سورية اشتهرت في الأربعينات وخاصة في الأغاني البدوية .

ولدت في 3 أغسطس 1922.

توفيت عام 2007 في أسبانيا حيث كانت تعيش مع ابنتها.

مثلت في عدة أفلام منها فيلم البريمو وفيلم عودة الغائب من إخراج احمد جلال وبمشاركة محمود المليجى وماري كويني.

تزوجت من صلاح الدين الأسير أحد شخصيات بيروت الوطنية فأقنعها بالاعتزال وسحب اسطوانات أغانيها من السوق.

Seham Refki è stata una famosa attrice e cantante siriana degli anni 40. Nata il 3 Agosto del 1922, si è distinta con  successo nell'interpretazione  di canzoni beduine. I suoi brani più conosciuti sono  "Charyak Ana Charyak" e "  Yam El Abaya".
E' deceduta nel 2007 in Spagna, paese nel quale si era trasferita insieme alla figlia.


Seham Refki  سهام رفقيl  - La grande chanteuse bedouine

01.Yam El Abaya
02.Ana Mani Rayeda
03.Lomak Ya Layem Mayfeed
04.Charyak Ana Charyak
05.Lala Yaba Maridou
06.Leich Leich Ya Welfi
07.Chougui Ala Lahbab
08.El A'aba Ajmal Soura
09.Menen Ajib Esalwa
10.Laou Lel Gharam Hakem
11.Yaboul Zelof
12.Yam El Ouyoun Essoud

HERE

Massar Egbari مسار اجباري

Massar Egbari is a band from Alexandria, Egypt.

The band, which formed in 2005, presents a kind of alternative Egyptian music, mixing rock, jazz and blues with Oriental music. "Massar Egbari" means "Compulsory Track", a name intended to reflect how society forces people to lead their lives in a particular way. Massar Egbari presents music and songs talking about social problems. Love is not the main concern although it represents a part of their songs.

They have appeared in the indie music flick of 2011, Microphone.


(Source : Wikipedia)

MASSAR EGBARI means “Compulsory Detour”, which resembles the society we live in today. They specifically chose this title as it explains how we are expected, or rather, dictated to behave and dress in certain manners

Both, in title and in spirit, the band pokes fun at typical social norms and trends, which is clearly reflected in their music and chosen lyrics.

This sarcastic name was created since the band members felt that the society is trying to imply its power over people starting from their childhood till the day they die. This social power wants to stereotype everything including the way people think and feel, leaving no space for creation and innovation.

Massar Egbari presents music and songs talking about the social problems. Love is not thier main concern although it represents a part of our songs. Through the members’ different musical backgrounds, the band is presenting a kind of Alternative Egyptian Music, mixing rock, jazz and blues with some Oriental music.

You can neither call their music western, nor you can call it oriental; it is something in between, or maybe both! In one song they take you up to the western beat and lead you back to the oriental taste, something that satisfies different preferences.

Massar Egbari was founded in 2005 by 4 musicians: Ayman Massoud (Keyboards), Hani El Dakkak (Guitar & Lead Vocal), Ahmed Hafez (Bass guitar, Tamer Attallah (Drums).

Mahmoud Siam (Guitars) joined the Band in 2008 .


(Source : www.massaregbari.com)





Massar Egbari  مسار اجباري -  Eqra El Khabar    اقرأ الخبر 

1 - Mat5afeesh
2 - Al-leal
3 - El-Mroor
4 - Hawei
5 - Adef
6 - Sheta
7 - Egbari El-Msaar
8 - Ana Mawgoud
9 - Eqra2 El 5abar
10 - Adef " Remix "


HERE

Waed Bouhassoun وعــد بــوحـســّــون

 


La jeune joueuse de luth et chanteuse syrienne, Waed Bouhassoun possède un timbre de voix d’une qualité rare, comme on n’en entend plus qu’exceptionnellement, une de ces fameuses voix de la chanson arabe des années trente. On va tout de suite penser à Oum Kalthoum ou à Asmahan, mais non, pas du tout, bien qu’elle soit de la même ville que cette dernière, Waed a une voix qui n’est la copie d’aucune autre, elle a la voix de Waed. Dès sa première audition à Alep, les spécialistes (sammaïnes) ne s’y sont pas trompé et ont immédiatement reconnu son talent et symboliquement autorisée à se présenter en public ce qu’elle fit à Paris à la Maison des Cultures du Monde et à l’Institut du Monde Arabe en mars 2006. Le succès là aussi fut immédiat et la presse unanime salue « une révélation », « les applaudissements pleuvent » « l’époustouflante Waed »…De retour en Syrie, Waed va enchaîner les concerts notamment à l’Opéra de Damas. Toujours en 2006, elle est invitée au Festival d’Assilah puis au Festival de la Madinah à Tunis avant une nouvelle tournée en France, puis le Festival de Tétouan (mai 2007), celui des musiques sacrées du monde à Fès (juin 2007) et à nouveau le Festival d’Assilah (2007).
Le 31 janvier 2008, dans le Salon des Ambassadeurs de l’Alhambra de Grenade, elle est, avec Curro et Carlos Piñana, la vedette du concert d’inauguration de “Damas capitale culturelle du monde arabe”. Elle y interprète, en s’accompagnant au ‘oud, des poèmes de Wallada et d’Ibn Zaydoun qu’elle a mis en musique. Le concert est retransmis par plusieurs télévisions du monde arabe.
En mars 2008 Waed présente, en création mondiale, à l’Auditorium de l’Opéra Bastille à Paris, dans le cadre du Festival de l’Imaginaire, des poèmes chantés de la grande mystique Rabi’a al ’Adawiya, accompagnée par le joueur de nay Kudsi Erguner, un muezzin d’Istambul, un joueur de kanoun et un percussionniste. Ce même concert sera invité à l’Opéra de Damas puis à Soueida (Syrie) en mai 2008 et le 30 juin au Festival de Spoleto (Italie).
Depuis la parution de son premier CD : “La voix de l’amour”, elle a présenté plusieurs concerts en solo.
Actuellement Waed alterne ces concerts en solo avec des reprises du concert avec les Frères Piñana.

(Source :  http://www.waedbouhassoun.com )

Waed Bouhassoun وعــد بــوحـســّــون - La Voix De L’amour صـــوت الــحـــب

01 Ya Na'Iman / يا نائماً
02 Ya Wahiban / يا واهباً
03 Agharu Alayka / أغار عليك
04 Araftu I-Hawa / عرفت الهوى
05 Taqsim Nahawand / تقسيم نهاوند
06 Bismi I-Llah / باسم الاله
07 Biridaka Ya Khaliqi / برضاك يا خالقي
08 Ya Fajr Lamma Ttoll / يا فجر لما تطل
09 Awqidu I-Shumu U / أوقدوا الشموع

HERE 

Huda Asfour هدى عصفور

Huda Asfour was born to Palestinian parents in Lebanon in 1982, and grew up in Tunisia before moving to Gaza and then Ramallah. After secondary school she went to Birzeit University, where she joined the Sanabel ensemble, and then studied at the National Conservatory of Music under the supervision of the Palestinian musician Khaled Jubran.

She moved to Egypt in 2004 to continue her studies, where she teamed up with Tamer Abu-Ghazala to form Jahar. She performed in Egypt, Palestine and Lebanon, and in 2009 won a grant from the al-Mawred Cultural Foundation which enabled her to record her first album.

As well as being a musician, Asfour is a practicing biomedical engineer, with a post-doctoral position in the United States.

Asfour is one of a new generation of young Arab women singer-songwriters. Artists like Tunisia’s Badia Bouhreizi and the Egyptian Maryam have sought to create their own distinctive style and sound, rather than emulating the great divas Like Umm Kalthoum and Fairouz, or going along with the current vogue for reviving old classics. Of this generation, Kamila Jubran has arguably been the most successful in this endeavor, and her influence is clear on the work of the others, including Asfour.
In 2008 she released her debut album entitled " Mars (Back and Forth)" .
Asfour’s collection of seven songs and instrumental pieces is the culmination of ten years’ experience of music-making with a variety of groups, including the student ensemble Sanabel, and the band Jahar which brought her together with the young singer Tamer Abu Ghazala.
Her still somewhat seemingly experimental approach is evident in songs like Yasmine, whose words she wrote in Ramallah in 2002 during the second Palestinian intifada. It combines high poeticism – the lyrics sound derivative of Mahmoud Darwish, who had just published his collection State of Siege – with an eclectic combination of instrumental and vocal passages woven together in an oddly minimalist yet evocative medley, preceded by a lengthy rhythmic oud introduction.
 
(Source : http://english.al-akhbar.com)



Huda Asfour هدى عصفور - Mars (Back and Forth)

01 Sama'i
02 Lastou Shay'aa [I am Nothing]
03 Loure
04 Al Yasamine [Jasmine]
05 Julnar [Of the Sea]
06 Al Yasamine [Instrumental]
07 Jay W' Rayha [Back and Forth] 
08 sama'i kurd (Bonus track)

HERE 

Shadi Zaqtan شادي زقطان

                       






An evocative music and a poetry without compromise are the elements that characterize the work of Shadi Zaqtan , young singer-songwriter author of of what many call " new song of Palestine."

he has as consolidated his talent through the years until it became one of the most credible artists from the contemporary arab music scene .

Born in exile in 1978 by parents belonging to "Organization for the Liberation of Palestine" , he grew up in Oman, Syria, Beirut and Tunis before returning to the homeland and settled in Ramallah. . The poetic vocabulary has always been part of his life , because his grandfather, Khalil Zaqtan , was a classical poet , while his father, Ghassan Zktan , a modernist poet .

He is the author of a musical language unfamiliar to the Arab public,

His songs, performed using only acoustic guitar and vocals, musically have many more points of contact with the American folk song than with traditional Arabic music.

The words that accompany this music are perfectly in line with the Palestinian reality . Shadi explains : "The words of my songs are not part of an imaginary private , but they are what you can hear in the street, what you hear from the window of your home or office , the colloquial language we speak every day. The songs that I wrote telling stories I've heard in Palestine. I am a Palestinian who sings for the Palestinians, and not just for them. "
The texts of his songs were in fact inspired by conversations with taxi drivers and bus collective , with the students and the elderly, with those who are languishing at military checkpoints and in Israeli prisons , the people who daily lives the "punishment collective " perpetrated by the occupying power .
He considers himself a songwriter rather than a singer or a musician and, through his work , would like to redefine the profile of ' Palestinian artist : Neither hero nor victim , free from the idea of ​​freedom. He loves to say about it : " You will be free when you are free ."

The attention around his creations has grown little by little, even if at first the prevailing sentiment of the public was of caution. A great contribution to the spread of his songs was given by Khalil Sakakini Cultural Centre in Ramallah , where Shadie been invited several times to perform .
In 2010, the A. M Qattan Foundation in Ramallah has sponsored the creation of his first album titled " 'an balad " (translated " the country " ) . The album consists of ten songs performed with guitar and voice , was created in collaboration with the musician Imad Sayrafi , also a refugee from the third generation. The entire work , which reflects the poetry of the two musicians , in addition to addressing important issues for the Palestinian people , sometimes offers a different point of view on which to reflect .
Shadi says : " It must be understood that the Palestinian world is not a revolutionary manifesto , as many people think . Ours are the aspirations of ordinary human beings who want to live a normal life, the life to which every person is entitled . "
The album has managed to carve out a place in the heart of the Palestinian public thanks to the simplicity of the idea, to the communicative power of words and to the modernity of sound.

Among the pieces that have found greater consensus are "Bashoufek Fy Al Balad" and "11,000 Mahlan Fadhi." In the first song a love story is intertwined with the tragedy of an occupation which, in addition to stealing the land, it is also appropriate time. The second piece is considered his masterpiece. Eleven are in fact the Palestinian prisoners in Israeli jails. The text of the song sees the prisoners not only as combatants solitary, but as an important part of the life of Palestine. The Palestinians have been deprived of them, there is less of a prisoner in every part of their lives: in the crowd, in line at the bank, in the row for the purchase of a falafel, the barber, in the nightlife, in an evening gala, in a empty seat during a bus trip.

On 30 March 2013 , during the commemorations for Land  Day, Shadi Zaqtan presented at the ' Al- Balad Theatre in Amman his second album entitled " Ghanna ' ala al Hagiz " ( sing at the checkpoint ) .
The new album, produced again by using the collaboration of Imad Sayrafi, musically continues the discussion started in the first album, but introduces some new features. Rather than sing only texts he composed, in some songs, Shadi has decided to use a more classical repertoire using poems by authors such Yusuf al-Khatib ("Qubbara"), Mourid Barghouti ("Watany") and the Tunisian poet As Saghir Walad Ahmad ("Nuhibbu to bilad"). The song "Watany" in particular, whose music born from a collaboration with musician native of New Zealand Tiki Taane, musically presents a decided change of register.
The album was given as a symbolic gesture to the people of Qalandiya refugee camp, which is close to the famous checkpoint near the apartheid wall. 









Shadi Zaqtan, la nuova canzone palestinese

Una musica evocativa e una poesia senza compromessi sono gli elementi che caratterizzano l'opera di Shadi Zaqtan , giovane cantautore artefice di quella che da molti viene chiamata “  nuova canzone palestinese”. Considerato agli esordi un  interprete pieno di promesse , ha consolidato il suo talento attraverso gli anni sino a divenire uno tra i più credibili artisti   della scena musicale araba contmporanea.

Nato in esilio nel 1978 da genitori rifugiati appartenenti all' Organizzazione per la Liberazione della Palestina (OLP ) , è cresciuto in Oman, Siria, Beirut e Tunisi prima di far ritorno nella terra d'origine stabilendosi a Ramallah. Il lessico poetico ha sempre fatto parte della sua vita ; infatti il nonno, Khalil Zaqtan, era un poeta classico, mentre il padre, Ghassan Zktan ,un poeta modernista.

Da sempre appassionato di musica , nel 2005 decide di provare a sperimentare una propria linea musicale servendosi di un linguaggio sonoro poco familiare al pubblico arabo. I suoi brani, eseguiti servendosi unicamente di chitarra acustica e voce, hanno musicalmente molti più punti di contatto con la canzone folk americana che con la musica araba tradizionale.

Perfettamente radicate nella storia e nell'attualità palestinese sono invece le parole che accompagnano questa musica . Spiega Shadi : “ Le parole delle mie canzoni non fanno parte di un immaginario privato , ma sono ciò che arriva dalla strada , ciò che si sente dalla finestra di casa o dell'ufficio, il linguaggio colloquiale che parliamo ogni giorno . Credo che la canzone contemporanea palestinese manchi di un certo realismo . Le canzoni che ho scritto raccontano storie che ho sentito in Palestina. Io sono un palestinese che canta per i palestinesi , e non solo per loro " .
I testi dei suoi brani sono stati ispirati infatti dalle conversazioni avute con gli autisti di taxi e autobus collettivi, con gli studenti e gli anziani , con i palestinesi che languono ai posti di blocco militari e nelle prigioni israeliane ,il popolo che quotidianamente vive la “punizione collettiva” perpetrata dall'occupante .

Egli considera sé stesso un autore di canzoni piuttosto che un cantante o un musicista e , tramite il suo lavoro , vorrebbe ridefinire il profilo dell' artista palestinese : Nè eroe né vittima , libero dall'idea di libertà. Ama dire a questo proposito : “ Sarai libero quando sei libero”.

L'attenzione attorno alle sue creazioni è cresciuta poco a poco , anche se in un primo momento il sentimento prevalente da parte del pubblico è stato di cautela. Un grande contributo per la diffusione dei suoi brani è stato dato dal centro culturale Khalil Sakakini di Ramallah che ha invitato Shadi ad esibirsi più volte presso il proprio spazio.

Nel 2010 l'A.M. Qattan Foundation di Ramallah ha patrocinato la realizzazione del suo primo album intitolato “ 'an balad “ ( traducibile “dal paese”) . Il disco, composto da dieci brani eseguiti per chitarra e voce , è stato realizzato con la collaborazione del musicista Imad Sayrafi, anch'egli rifugiato di terza generazione . L'intero lavoro ,che riflette la poetica dei due musicisti , oltre ad affrontare temi importanti ed imprescindibili per il popolo palestinese , offre a volte un diverso punto di vista sul quale riflettere .

Afferma Shadi : “ Si deve comprendere che il mondo palestinese non è un manifesto rivoluzionario , come molte persone amano pensare . Le nostre sono le aspirazioni di comuni esseri umani che vogliono vivere una vita normale , la vita alla quale ogni persona ha il diritto . "

L'album è riuscito a ritagliarsi un posto nel cuore del pubblico palestinese grazie alla semplicità dell'idea , alla forza comunicativa delle parole e a quelle sonorità che avevano in un primo momento sollevato molti dubbi.

Tra i brani che hanno trovato maggior consenso troviamo “Bashoufek Fe Al Balad” e “ 11.000 Mahlan Fadhi” . Nel primo brano una storia d'amore si intreccia indissolubilmente con la tragicità di un occupazione la quale, oltre a impossessarsi della terra, si è appropriata anche del tempo. Il secondo pezzo invece è da molti considerato il capolavoro di Shadi . Undicimila sono infatti i prigionieri palestinesi rinchiusi nelle carceri israeliane. Il testo della canzone vede i prigionieri non solo come combattenti solitari dell'occupazione , ma come parte integrante della vita della Palestina. I palestinesi sono stati privati di loro , vi è un prigioniero di meno in ogni parte della loro vita : tra la folla , nella coda in banca , nella fila per l'acquisto di un falafel , dal barbiere , nella vita notturna , in una serata di gala , in una sedile vuoto durante un viaggio in autobus.


Il 30 Marzo del 2013, durante le commemorazioni per la Giornata della Terra , Shadi Zaqtan ha presentato presso l 'Al-Balad Theatre di Amman il suo secondo album intitolato : “ Ghanna' ala al Hagiz “ ( cantare al posto di blocco). Il nuovo disco, realizzato servendosi nuovamente della collaborazione di Imad Sayrafi , prosegue musicalmente il discorso intrapreso nel lavoro precedente, introducendo alcune novità. Piuttosto che cantare unicamente liriche di sua produzione ,in alcuni brani, Shadi ha deciso di affidarsi ad un repertorio più classico musicando poesie di autori quali Yusuf al Khatib ( “Qubbara” ) , Mourid Barghouti (“ Watany”) e il poeta tunisino As Saghir Walad Ahmad ( “Nuhibbu al bilad”) . Il brano “ Watany” in particolare , le cui musiche nascono da una collaborazione con il musicista indigeno neozelandese Tiki Taane, segna un deciso cambio di registro dal punto di vista musicale.

L'album è stato donato come gesto simbolico agli abitanti del campo profughi di Qalandiya che sta a ridosso del famoso posto di blocco e di quello che viene chiamato muro dell'apartheid .

Nel suo bel libro “ L'infelicità araba “ il (mai troppo) compianto Samir Kassir accusava i suoi fratelli arabi di concedersi troppo al rimpianto e alla nostalgia per un passato mitizzato , atteggiamenti che considerava causa di un immobilismo esiziale . Riteneva  però un eccezione il popolo palestinese, sempre combattivo e determinato , mai disposto ad arrendersi . Shadi Zaqtan è un perfetto rappresentante di questa determinazione. Figlio di una ferita antica mai sanata , non dimentica il passato, osserva attento il presente ed offre, nel suo piccolo , elementi nuovi per guardare al futuro.

Shadi Zaqtan شادي زقطان - 'an balad عن بلد

 

01 Bashoufek Fy Al Balad بشوفك في البلد
02 Nashret Akhbar نشرة اخبار
03 11.000 Mahlan Fadhi - أحد عشر ألف محل فاضي
04 Nashret Akhbar ( rock v) نشرة اخبار
05 Kartushka-batata بطاطا
06 Theeb ذيب
07 Fy balad في بلد
08 Laa لا
09 Morjeeha مرجيحة
10 Yuma el thob يما الثوب 
11 Nashret Akhbar ( Audio Tunnel Remix)


HERE


Shadi Zaqtan شادي زقطان - Ghanna'  ala al hagiz غناء على الحاجز

01  Dawleh  دولة
02  Bakun  باقون
03 Qubbara  قبرة
04 3sh  ( instrumental)
05 Gaza غزة
06 Watany  وطني
07 Nuhibbu al bilad   نحب البلاد
08 Ma bentasash  ما بينتساش
09 Laba'idi ba'id   لبعيد بعيد
10 Wein وين
11 Watan وطن
12  Ya Dierati  يا ديرتي
13 Baghanni   بغني
14 Wein وين  ( alternative version)

HERE 



N.B :

The album "''an balad" is available for purchase online at the site of Palestine online store.
A comprehensive selection of tracks produced by Shadi Zaqtan can be heard at his REVERBNATION page



L'album " 'an balad " è acquistabile on line presso il sito Palestine on line store  
Un esauriente selezione dei brani prodotti da Shadi Zaqtan è ascoltabile in streaming presso la sua pagina REVERBNATION

Yehya Khalil يحيى خليل

Yehya Khalil was born in Cairo, Egypt and from his early childhood experienced a natural rhythm pulsating through his day-to-day life. He literally began drumming as a toddler using any utensils he found readily available, and any surface that could withstand his passionate hands.Unlike most children, Yehya was in no way uncertain about what he wanted to be when he grew up - "a percussionist".It was not until his father brought home the family's first radio that Yehya discovered his Jazz music was his true calling. At the time, Jazz was literally unheard of in Egypt, let alone the alternative musical genre that it was in the West. But for the avant-garde Yehya, it was the perfect vessel for his passion for music and his untamed rhythmic energy.
All the way across the Atlantic from the United States and into his dimly lit bed room in the chic suburb of Heliopolis, the airwaves of the Voice of America introduced the young Yehya to a musical form that would guide the outcome of the rest of his life.Intent on introducing Jazz in Egypt, Yehya began a musical crusade that would continue through out his life, pitting him against mainstream and established pop cultures. As a mere adolescent, Yehya Khalil could be accredited for single handedly founding the Egyptian jazz scene in 1957 when he formed the Cairo Jazz Quartet. Playing in any venue that would have them, often for free, Yehya and his disciples were not only competing against Arabic music and culture, but other more commercial forms of Western music such as Rock and Roll, and the impending onslaught of Beatle mania that were already making a strong headway in Egypt.
Frustrated with his own limitations and his homelands impermeable cultural wall, Yehya began to dream of the American jazz scene to which he was privy to through his radio and an expansive record collection that consumed most of his income. From Miles Davis to Duke Ellington, American jazz had flared up Yehya's imagination and creative juices to the extent that he was convinced that experiencing Jazz at its source was the only way toward his own artistic maturity.
By 1965, Egypt was under the socialist rule of President Nasser and only two years away from a defining war with Israel. Travel per se was restricted, and his dream to make his journey to America, the Mecca of Jazz, was fraught with financial and political obstacles. Through fortune and his numerous social contacts, Yehya Khalil hooked up with a Lebanese musical promoter and producer who promised to assist him to immigrate to the United States on the condition that Yehya travel first to Lebanon to perform while he waited for his paper work to go through. Desperate for his move West, Yehya would have to travel East to Beirut for his ultimate destination.
For almost a year, Yehya fused effortlessly with Beirut's lively musical scene that was at the time far more advanced than Cairo. Nevertheless, when almost one year later his paperwork came through, Yehya Khalil did not think twice about making his move to the United States, New York to be precise.Armed only with his passport, $600, and an address of an old acquaintance he knew in Cairo who had since moved to New York, Yehya Khalil landed in America in 1966 on a cold, rainy night.
New York's breath taking skyline was almost enough to overshadow the brutal reality of America's busy urban life when he discovered his friend was not at his apartment contrary to a pre-agreed appointment. His first night in American was spent with his luggage on the streets of Manhattan waiting for his friend who would only come back in the early morning hours of the next day.Cultural shock aside, Yehya was on a mission to suck up like a sponge all that America had to offer in the way of Jazz. Soon after his arrival, Yehya managed to land himself a number of small gigs in jazz clubs in Brooklyn catering predominantly to African Americans.
To his surprise, Yehyha discovered that what he thought were his limited musical skills were already ripe for America, let alone a discerning black audience.But it took a woman Yehya was seeing at the time to convince him that the real jazz scene was in Chicago rather than New York. Almost a year after his maiden landing, Yehya packed the drum set he had purchased in New York and headed to Chicago, even after breaking up with the woman who had first planted the idea in his head. Luck would have it that Yehya's first apartment in Chicago was a couple of blocks away from the Mother's Blues club where for the first time he saw the great musicians he had previously heard on radio perform in the flesh. The list included Miles Davis, Elvin Jones, Gabor Zabo, and West Montgomery.After landing a few small gigs here and there that paid the bills, Yehya's first serious musical engagement came one day with an aggressive knock on his door.
Convinced it was the police responding to a complaint against his loud rehearsals, Yehya was instead met with his equally loud neighbor, a black saxophone player who came to recruit Yehya as his drummer. Within weeks, Yehya and the saxophonist were playing in an "all-black" line up. The band toured some of Chicago's biggest jazz and blues clubs. Although technically Caucasian, Yehya feels he was lucky not to be stereotyped according to his race by either blacks or whites as both groups did not include him in the volatile race equation.
Instead they saw him as a brilliant musician, regardless of his color.After a stint with the Four Tops, and a couple of performances as a drummer with James Brown, fortune would have it that Yehya Khalil met up with Jim Post, the front man of a band on the verge of commercial success. Yehya signed on and traveled with the band to Atlanta where they would record their first album. Months later, Friend and Lover broke into the charts with the top ten single Reach Out Of The Darkness.
The rapid success of Friend and Lover catapulted them into a vigorous touring regimen that had them sharing bills with Eric Clapton and Jimi Hendrix. Perhaps the apex of Friend and Lover's glory was performing on the Ed Sullivan show. This quick rise to fame was short-lived however when Jim Post and his wife, the leading lady of Friend and Lover separated. While fascinated with his brush with commercial music industry, Yehya believed he had diverted from his passion for jazz and chose to return to Chicago to pursue that dream despite numerous offers from other bands and record companies.In Chicago, Yehya enrolled in the American Music Conservatory for two years and continued to enrich his musical experiences. Perhaps the most defining moment in his career was when he was accepted as the last student of the legendary Roy C. Knapp, known as the 'Dean of Percussion' by his many students. Roy Knapp had an illustrious career as a performer and teacher in the Chicago area. His students included Gene Krupa, Dave Tough, George Wettling, Baby Dodds, Sid Catlett, and Louie Bellson. Knapp's performing career spanned 1910 to 1961. In addition to performing in theaters, television, and with the Minneapolis Symphony, Knapp spent much of his career performing on WLS radio in Chicago.
Yehya Khalil believes that in addition to maturing his musical skills as a drummer and a percussionist, Roy Knapp provided him with life-long wisdom, discipline and perspective as a unique mentor and father figure. Roy always instilled a sense of mission in Yehya by reminding him to "chase the music rather than the glory". Yehya became Roy's friend and companion in his last days and believes that he was fortunate to be exposed to the distilled knowledge of a great percussionist and an amazing human being.Graduating from the Roy Knapp School, Yehya Khalil continued to tour the United States as a jazz percussionist. During his fifteen years in the United States, Yehya Khalil played with the likes of Dizzie Gillespie, Duke Ellington, and Herbie Hancock. On a tour of Egypt in 1985, Dizzie Gillespie introduced Yehya Khalil as quite possibly "the greatest percussionist alive".A death in the family forced Yehya to return to Egypt in 1979, leaving behind everything he had built over the past fifteen years. Continued family issues meant that Yehya had to remain in Egypt against his wishes. His homeland however was markedly different from what he had left in the 1960s. The Open Door economic policies of President Sadat had set in motion an irreversible cultural revolution that created a thirst for everything new.
Rather than view his residence in Egypt as a predicament, he began to view it as an opportunity to shape the entire Egyptian musical scene.Yehya's prediction could not have been more accurate. Over the last twenty years, he has single handedly created the contemporary Egyptian popular and jazz music scene and put himself at the helm of the Jazz movement in the Middle East. He has a huge and growing fan base that attends his regular concerts and consumes his music with passion. Today Yehya Khalil is doing what he does best, reinventing his musical identity and pushing his creative limits to new and undiscovered dimensions.
His sound is a blend of authentic Arabic music cast in a raw Jazz instrumentation with Yehya's powerful drumming at the center of it all. Khalil captured the imagination of Egypt's youth, serious jazz and rock fans, and patrons of modern music in Cairo.Yehya Khalil has played in more than twenty countries, 100 cities, and performed in over 5,000 concerts and events over the last forty years. He is the host of Jazz World on the Egyptian national television. Yehya Khalil continues to play regularly all year round at the Cairo Opera House and has recently released his latest album, Rhythm of the Soul.


(Source : http://www.yehyakhalil.com)

Yehya Khalil يحيى خليل  -  Rythem Of Soul   إيقاع الروح     
 

01.Donya
02.Om Kolthom
03.Crichenoo
04.5-4
05.Amira
06.Delaila
07.Men Gher Enwan
08.Eespania
09.Hakawy Elahawy

HERE

Chants palestiniens de l' interieur par Mustafa Al Kurd et la troupe El Balaline اغاني دخال فاسطين لمصطفى الكرد و فرقة البلااين - Terre de ma patrie ارض وطنى

Vinyle imprimé en 1976 par L'Association Médicale Franco / Palestienne

Presse écrite sur la couverture arrière :

" Le troupe  d'el Baladine s'est crèè après l'agression de juin 1967 et l'occupation du reste de la Palestine. Elle regroupe des poètes, compositeurs et acteurs palestiniens. depuis elle livre un combat determine pour que vive la culture palestinienne, que l'occupant s'acharne à museler. El Baladine est non seulement l'expression des traditions populaires palestiniennes , mais ègalement l'explosion de cette nouvelle gèneration de poètes populaires de la terre et de la rèsistance.
Cette terre, ils la chantent dans les champs avec les paysans, les ècoliers dans la rue, l'ouvrier sous le jonc du colon et les patriotes dans les geoles de l'occupant.
La musique est faite de battements de coeur ,de crèpitements de fusils et de sanglots de mères affligèes.
Les paroles sont un cri d'amour à leur terre ,à son soleil brùlants,à son blè jaune ,à ses pruniers, à l'odeur de son jasmine, à sa jeunesse meurtrie et revoltèe.
Leur thèàtre est une fresque vivante de la vie de leur peuple sous l'occupation ,son enfer quotidien ,ses actes hèroiques,ses faiblesses,son espoir...

Mustafa El Kurd et ses jeunes compagnons sont parmi les prècurseurs d'une nouvelle culture qui puise son authenticitè et sa force dans l'histoire et la lutte de leur peuple.
Pour l' AMFP , la publication de ce premiere recueil de chansons palestiniennes de l'intèrieur, constitue un acte de solidaritè.

- A Mustafa El Kurd ,arrètè par le autoritès israeliennes,et maintenu en detention administrative pour une pèriode indèterminèe.

- A la Troupe d'El Balaline , soumise à toute  sorte de mesures  rèpressives pour la museler, car sa voix géne l'occupant, le dèsigne et la dèfie.

- Au peuple palestinien ,et à sa lutte courageuse et quotidienne contre l'occupation ; car dèfendre sa  culture  est un acte fondamentalement  vital ,un acte de rèstistance ,pour que vive et s'èpanouisse l'identitè collective d'un peuple.

- en Palestine ,l'occupant sioniste ne s'est pas seulement appropriè la terre ,dètruit ses villages et opprimè ses hommes.
il s'acharne à vouloir effacer son passè et s'approprier ses traditions ! : car raser un village ,detruire les vieux quartiers arabe de  Jerusalem n'est pas un simple acte de colon ,c'est une rage  effrènèe d'effacer tout ce qui tèmoigne de l'existance d'un peuple. Lui voler ses danses; ses costumes traditionnels (vendus aux Etats - Unis sous la dèsignation de : Tenues de paysans  israeliens !) ; interdire toute forme d'expressions orale ; aculturer ses enfants par une scolaritè batarde et raciste ...... Tels sont les actes quotidiens de  l'occupant Des actes qui costituent une atteinte aux droits de l'homme les plus èlèmentaires.

Nous espèrons  quant à nous , que ce disque tèmoin de la lutte acharnèe que mène le peuple palestinen sur un front jusque là mèconnu , contribuera ,à faire connaitre son combat et à rassembler plus d'amis autour de sa cause ".

L'association Mèdicale Franco/Palestienne  Paris le 15 Juin 1976






Questo è decisamente un disco di altri tempi. Sia per quanto riguarda la musica qui incisa che per ciò che concerne il progetto in sè. L'associazione medica Franco / Palestinese nel 1976 ha voluto realizzare questo album per sostenere il popolo palestinese e per chiedere (anzi ESIGERE) la liberazione di Mustafa Al Kurd, uno dei menestrelli palestinesi odiati dallo stato sionista, imprigionato unicamente per la forza delle sue parole.
La lotta palestinese non è ancora finita, Israele continua ad occupare la Cisgiordania , il mondo,intorpidito da pornografia usa e getta e feticci tecnologici ,non fa più  caso a nulla .
Questo disco, materiale musicale di notevole importanza storica ( e qui mi ripeto) , forse potrà ricordare a qualcuno che alcune cose non sono mai cambiate e che esiste  un popolo (tradito, ingiuriato, offeso )  che lotta unicamente per il diritto all'esistenza e per la propria terra .

Note dal retro copertina :

" La troupe E l Baladine è stata creata dopo l'aggressione  nel giugno 1967 , e l'occupazione del resto della Palestina . Essa comprende poeti , compositori e attori palestinesi . In quanto fornisce una lotta decisa per una forte cultura palestinese , l'occupante è intenzionato a metterla a tacere . El Baladine non è solo espressione del folklore palestinese , ma l'esplosione di una nuova generazione di poeti popolari della terra e della resistenza .Questa terra , la cantano nei campi con i contadini , con gli studenti in strada , gli operai  ed i Patrioti nelle carceri dell'occupante .La musica è fatta di battiti cardiaci , fucili scoppiettanti e singhiozzi di madri in difficoltà .I testi sono un grido d'amore per la propria terra , per il sole cocente , per il giallo del grano , per le sue  prugne, per l'odore del suo gelsomino, per la sua giovinezza contusa e ribelle .Il loro teatro è un murales vivente della vita del loro popolo sotto occupazione , l' inferno quotidiano , i suoi atti eroici, le sue debolezze , la sua speranza ...Mustafa Al Krd e i  suoi giovani compagni sono tra i precursori di una nuova cultura che trae la sua autenticità e sua la forza dalla storia e dalla lotta del suo popolo .per l'AMFP , la pubblicazione di questo primo album di canzoni palestinesi costituisce un atto di solidarietà .- a Mustafa Al Kurd  , arrestato dalle autorità israeliane e tenuto in detenzione amministrativa per un periodo indeterminato .- a la  troupe  di El Balaline , soggetta ad ogni  tipo di misure repressive per metterla in silenzio .- al   popolo palestinese e alla sua lotta coraggiosa e quotidiana contro l'occupazione ;  difendere la sua cultura è un atto fondamentalmente vitale , un atto di restistenza , per la  vivace e rigogliosa  identità collettiva di un popolo .- alla  Palestina , l' occupante sionista non si è solo appropriato della terra  , distrutto i suoi villaggi e oppresso il suo popolo.Egli persiste nel voler cancellare le sue tradizioni ed il suo passato ! : Radere al suolo un villaggio  , distruggere i vecchi quartieri arabi di Gerusalemme non è un semplice atto di colonialismo ,  è una rabbia frenetica per cancellare tutto ciò che dimostra l' esistenza di un popolo . Ruba le sue danze , i suoi costumi (venduti negli Stati Uniti con la denominazione: Costumi degli agricoltori israeliani ) vieta  tutte le forme di espressione orale; educa i suoi figli con una scolarità  bastarda e  razzista  ...... Tali sono  gli atti quotidiani dell'occupante . Degli atti che costitutiscono  una violazione dei più elementari diritti umani.
Da parte nostra speriamo , che questo disco , testimone della lotta   della popolazione palestinese su un  fronte finora sconosciuto , contribuisca a far conoscere la sua lotta e a raccogliere altri amici intorno alla  sua causa " .


 L'associazione Franco/Palestinese  Parigi  15 giugno 1976

Numérisés à partir du vinyle originale

Digitalizzato dal supporto originale in vinile 


01 Le bourreau -  Il boia -  الجلاد *
02 L'espoir  - La speranza -  الامل 
03 Les marins -I marinai -  البحار
04 Le soc - L'aratro -  المحراث
05  La terre - La terra -  الارض
06 Beit eskaria بىت اسكارىا

* Remarque / Nota :

Le bourreau الجلاد

Paroles de Kamal Nasser ( un de trois dirigeants palestiniens assassinès , lors d'un raid israelien a Beyrouth le 09/04/1976)

Il boia الجلاد

Testo di Kamal Nasser (uno dei tre leader palestinesi assassinati durante un raid israeliano a Beirut il 09/04/1976)

HERE

JadaL جدل‎

JadaL (English: Controversy) is a Jordanian Arabic Rock band from Amman, Jordan, formed in 2003 by Composer/Music Producer/Guitarist Mahmoud Radaideh, which has held various members over the years.

When the band released their first single ‘El Tobah’ (Repentance), a cover of Abdel Halim Hafez’s legendary love song, their musical style, coined as Arabic Rock, was described as ‘groundbreaking’ due to its unique blend of rock and Arabic, or more specifically Jordanian, lyrics.

JadaL then released their first original single, Salma that Mahmoud Radaideh wrote and composed for his niece, which quickly became a radio hit and gained many followers, thus cementing JadaL ‘as one of the premier arabic rock bands in the country and the region’. Shortly after, JadaL’s debut album 'Arabic Rocks' was released in 2009, the members back then consisted of Mahmoud Radaideh (Guitars, Compositions), Kamel Almani (Bass, Compositions), Rami Delshad (Vocals) and Laith Nimri (Drums). The album was well-received, staying true to their principles and ‘polished’ rock sound. Produced by Mahmoud Radaideh & Hanna Gargour, the album also featured Palestinian Hip-hop artist DAM on the track ‘Ya Bani Adam’ (You Human Being) .

In 2011 a new single was released, 'Bye Bye 3azizi' ( باي باي عزيزي‎) (Bye Bye My Dear), written and composed by Mahmoud Radaideh and main vocals performed by Ahmad Zoubi.

The second album 'El Makina' ( الماكينه‎) was released Dec 2012, composed written and produced by Mahmoud Radaideh, performed by: Vocals:Ahmad Zoubi, Mahmoud Radaideh. Acoustic Drums: Ammar Urabi. Bass: Amjad Shahrour, Mahmoud Radaideh. Keyboards and Synthesisers: Bader Helalat, Mahmoud Radaideh, Hani Mezian. Guitars: Mahmoud Radaideh. Mixed by: David Scott. Recorded at Sweetspot Sound works studios in Amman.

In local and international concerts and festivals, JadaL often performs with local and regional artists, such as Canteca de Maco, Jericho, Rim Banna, DAM , Omar Al-Abdallat, Mashrou' Leila and others.

Jadal are known for their lively performances. Jadal’s music breaks boundaries, challenges the music scene. Their diverse fans, both rock and Arabic music fans, prove that music isn’t biased to language or background.

(Source : Wikipedia & http://jadalband.com)

                                                                                                 


 JadaL جدل‎ - Arabic Rocks

 Arabic Rocks is Jadal's debut album, released 2009 and consists of the tracks that they've played all along; the tracks that made their audience double & triple throughout the past couple of years.

The album also features a track featuring the hip-hop crew DAM, named "Ya Bani Adam".

Album produced by Mahmoud Radaideh & Hanna Gargour, all tracks edited & mixed by Hanna Gargour, album photography by Hiba Judeh, and artwork by Rami Delshad.

( www.eka3productions.com)



 
01 Iss
02 Salma
03 Ya Bani Adam (feat. DAM) (You Human being)
04 Omr Jdeed (New life)
05 Ya Ahla Oyoun (Prettiest Eyes)
06 Al Tobah (Abd Al Haleem Hafiz Cover)
07 Meen Shaf Habibi (Who Has Seen My Love)
08 Niyalak (Lucky You)
09 El Daraweesh
10 La Tloum (Don't Blame)
11 Galbi Mithel ElWard (My Heart is Like The Rose)
12 Nseet Ahla Thekra (I Forgot The Sweetest Memory)
13 Bayya' ElKastana (The Chestnut Seller)
14 Rah Bakkeer (Gone Too Soon)

HERE


JadaL جدل‎ - El Makina   الماكينه‎

This is the highly anticipated second album by the Jordanian rock group Jadal—the follow up to their classic first album ‘Arabic Rocks.’ "El Makina" contains 10 tracks that address social and personal issues pertinent to youth in the Middle East. Jadal sounds like a mix between Suystem of a Down and Jason Mraz. Composed and written by Mahmoud Radaideh. Vocals: Ahmad Zou’bi, Drums: Ammar Urabi, Bass: Amjad Shahrour, Guitars: Mahmoud Radaideh, Accordion: Hani Mezyan, Backing Vocals: Mahmoud Radaideh, Synthesizers:Bader Helalat. Mixing Engineer: David Scott.

(ARABOLOGY :  http://author32.blogspot.it/)





01 Ghabeh B'eed
02 Ana Bakhaf Min El Commitment
03 Fe Nabd Ana Has
04 El Makina
05 I'm in Love With Wala Bint
06 Yum El Jum'a Dayman Ashwab
07 Zad El Sheib
08 Bye Bye Azizi
09 Ma Raddatish
10 Hada Yakhud Makani

 HERE

AA.VV. - Qat, Coffee And Qambus قــات وفــهــوة وقـنــبــوس

Qat, Coffee & Qambus: Raw 45s from Yemen is a compilation of rare, Yemeni vinyl singles, showcasing the little-documented, evolving local music styles in the 1960s and 70s. Vintage oud and vocal music inspired by the qat-chewing, coffee-sipping, qambus-playing culture of Yemen! Although part of the classical Arabic musical tradition, the music of Yemen takes its rhythmic lead as much from the East African coast (a mere 20 miles across the Red Sea) as the surrounding Arab Peninsula. Little has been written about the music and culture of one of the world's oldest civilizations, and each 45rpm disc gives a small glimpse of the poetic tradition, the unique local oud styles as well as an insight into people's day to day lives, or the highs and lows of human relationships. Overall, the compilation gives a flavor of the sights and sounds of Yemen, with detailed notes that tell the story of the hunt for music that has mostly lain forgotten in the antique markets of the capital, until now

(Source :  http://folkmusicsmb.blogspot.it)

01 Ya Mun Dakhal Bahr Al-Hawa (Hey, Who Enters The Sea of Passion?) - Fatimah Al-Zaelaeyah 
02 Raee Al-Gamel (The Owner Of Beauty) - Ahmed Al Sonaidar 
03 Mushtaq (I'm Yearning) - Bolbol Al-Hejaz and Soni Ahmad 
04 Bellah Alek Wa Mosafer (Hey You, Passenger!) - Ayob Absi
05 Marhaban Ahlan (Hello, Welcome) - Mohammed Ben Mohammed Ba-Soweid 
06 Haya Abu- Saif (Welcome Saif's Father) - Amna Hizam 
07 Hom Bel Hawa Ya Nas Walaoni (They Made Me Fond Of Love)  -  Reja Ali 
08 Wahed Mozawag (A Married Person)  - Mohammed Hamood Al-Awami
09 Amsi Sameer Al-Nojoom (Night Stars Watcher)  - Ahmad Al-Haraz

HERE

Oky Doky اوكي دوكي

From Beirut, Lebanon, OkyDoky is a producer and performer of electronic music. Known for catchy beats, eccentric sampling, and energetic performances, OkyDoky‘s music consists of live instrumentation, sampling, effects modulation, and vocoding using laptops, synthesizers, midi-controllers, and other audiogenic toys. A breaks-based style with influences from 80s electro to drum n bass and metal.

OkyDoky اوكي دوكي -Boombox

 

1. Pocket Knife 02:08
2. No Emperor 02:56
3. Afrit 02:34
4. Manimal 02:00
5. Alien Intelligence 03:29
6. Lake Vostok 02:23
7. Kung Fu 02:22
8. Mandala 03:19
9. Gunmen 01:16
10.Queen of the Locusts 02:18
11. Afrit (The Dvj M Doussare Remix) 02:58
12. Lake Vostok (RadioKVM Remix) 02:40
13. Queen of the Locusts (Osloob Remix) 02:10
14. Queen of the Locusts (Liliane Chlela Remix) 03:20
15. No Emperor (Jad Atoui Remix) 01:52
16. Pocket Knife (Reznyck Remix) 02:51 



This album is the culmination of a year and a half of inspiration from the raw energy of drums and synths. A lot of slicing vinyl samples to make kits, a lot of classic drum machine samples, a lot of analog synths or analog sampled synths, and a rule of keeping to somewhere around a fast hiphop tempo (85-100bpm) and under 3 minutes length, which at first came naturally then had to be consciously enforced. I was most inspired by Quakers, though there are a lot of 'mixtapes' these days, but that one seduced me totally and entirely to an electronic analog space that was new for me and made me aware of an ingredient i already searched for in electronic music - some degree of rawness, imperfection, improv, ie some human core, inherently imperfect and unpredictable even within the cloak of a DAW and a rhythmic beat.

Often i would just start by exploring a new kit with my triggerfinger and the rest would write itself. In a few cases the synth lines led. A few tracks were made that were eventually scrapped, a new vetting process that could only come with months of slow building. The order the tracks are in on the album are exactly the order i wrote them in, except mandala which was last written but fit better elsewhere.

I asked a number of my friends if they'd like to remix a track of their choice. I assumed most would not come through in the end, but i was wrong and ended up with 6 full remixed tracks. Each is totally different from the next, but somehow together they make a perfect 'side B' to my 10 'side A' compositions. There is even a 7th remix which i am assured constantly is 'almost done' so keep an eye out for a hidden bonus track on future downloads.

After all that there came endless mixing, over and over and over again, until i was happy with my tracks, or really until the mastering session i'd booked came up and I had no choice but to stop tweaking things. The mastering process was a whole other story which developed from a test release I did earlier this year with a friend from Berlin. I found an old studio in Brooklyn with an old timer engineer, better known for his work on indie rock than electronic music, short on words and big on brains and vintage equipment, and who added an immense quality to bring everything together. The moral of that story is: Analog Mastering. i cant praise it enough.

The album is released with a Creative Commons license, meaning both I and the remix artists would like to see this music get copied and shared and spread beyond the abilities of any one person or any one label or market.

To anyone who was around in Beirut in 2008-2011, when OkyDoky first started and developed (and for which i owe sary moussa aka RadioKVM a hell of a lot), this album is a departure from my early style of breaks and vocoders (and death metal). I have no idea what my next album next will be but it will certainly be different again. 

credits  :
 
Released 01 October 2013 .

All tracks composed and produced by OkyDoky except:

#11 by Olivier Sacriste aka The Dvj M Doussare
#12 by Sary Moussa aka RadioKVM
#13 by Osloob
#14 by Liliane Chlela
#15 by Jad Atoui
#16 by Seb Bailly aka Reznyck

Mastered at Salt, Brooklyn

Cover photo: NASA


(Source : Bandcamp)


DOWNLOAD ALBUM HERE