CD Review: Ali Khattab's 'Sin Pais'

Ali Khattab
Sin Pais
Nesma Music

Egyptian composer, vocalist and guitarist, Ali Khattab, brings us a rousing mix of world fusion imbibed with an African, Arabic, and Andalusian presence. The flamenco-type melodies and instrumentation are mostly instrumental throughout, but Ali adds some vocals. There are Arabic forms, tangos, rumba, Sufi trance, and other indistinct musical qualities that add a blend of intense rhythms and contemplative tones. The music is created with the oud, violin, flute, double bass, duff, darbuca, palmas, req, and cajon. The most important aspect of the album is the origins of the music are multi-factoral and heavily influenced by various world music traditions. However, the music tends to flow very well without sounding disorderly or out-of-place. Ali succeeds with Sin Pais without any complaints here. ~ Matthew Forss

CD Review: The Nile Project's 'Aswan'

The Nile Project
Aswan
Self-Release

The Nile Project brings together eighteen musicians from several countries, including Egypt, Eritrea, Sudan, Ethiopia, Uganda, and South Sudan, that present traditional music with contemporary rhythms. The North African instrumentation is rather indigenous and vibrant, which stems from the rustic masinko, traditional drums, some strings, a sax, and numerous voices. This recording is a live album recorded at the Lincoln Center for the Performing Arts that captures the energy and life-force of the music in all its splendor. Heady rhythms, wild vocals, and swirling melodies entrance listeners from around the world throughout the fifteen tracks. Fans of North African, Ethiopian, Egyptian, and Middle Eastern music will love Aswan. It's accessible for young and old listeners alike. Head over to Africa with The Nile Project as your guide. You will definitely not be disappointed. ~ Matthew Forss

CD Review: Yom's 'Le Silence de L'Exode'

Yom
Le Silence de L'Exode
Buda Musique

Yom is a composer and clarinetist with a passion for making music inspired by the Old Testament's Book of Exodus describing the forty years of Jewish people wandering in the deserts of Egypt. The result is an album of plaintive, yet powerful sounds that evoke magical feelings of hope, love, and conquest. The music is rather laid-back and poignant with all of the music created by clarinet, cello, double bass, zarb, daf, and bendir. There are no vocals. The music is very cinematic in parts and aimless in others. The rather varied tones represent a mix of emotions and feelings in the listener. As a result, the tunes are not named in order for the listener to determine his or her own exodus journey. It is a rather consistent one-hour journey that is both nostalgic and refreshing. The instruments move about in dizzying ways at times, while other times the music is very dreamy. At any rate, anyone will find Yom to be an excellent guide for those seeking salvation in music from a heavenly source. ~ Matthew Forss

CD Review: Jalilah's Raks Sharki's 'Stagecuts'

Jalilah's Raks Sharki
Stagecuts
Piranha

Jalilah's Raks Sharki is part of an oriental dance series in sixteen tracks or 'stagecuts', which highlight the best dance form influenced by Egypt, Lebanon, and Turkey. The instrumental tracks are orchestral, full of percussion, and loads of danceable rhythms in every tempo imaginable. The group is spearheaded by Jalilah (AKA Lorraine Zamora Chamas), Mokhtar Al-Said, Hossam Shaker, and Ihsan Al-Mounzer. There are doumbek solos and tabla showcases, which will blow you away. The incredible musicianship is heartily apparent after the first few sounds on the first track. The entire project contains tracks pulled from six previous albums. Stagecuts does not have lengthy dance tracks, which were something rather commonplace years ago. Instead, the tracks are mostly four to five minutes long. Anyone interested in bellydance, Middle Eastern and African percussion, and Hossam Ramzy will love Stagecuts. ~ Matthew Forss

CD Review: Various Artists' 'Khat Thaleth'

Various Artists
Khat Thaleth
Stronghold Sound

Khat Thaleth is a twenty-three track release of global hip-hop, rap, and dub music that primarily surrounds itself with the Arab world. Most of the musicians featured on this compilation hail from Tunisia, Palestine, Jordan, Syria, Lebanon, and Egypt. The album title refers to a ‘third track’, which is a metaphor for a third way of looking at things. This is a strong, political recording with in-your-face-commentary and hip, exuberant groves with contemporary instrumentation and urban beats. This is pure, unfiltered hip-hop music with life-affirming qualities and authentic lyrical deliveries. A sampling of the featured musicians on the album include Touffar, Rami GB, Yaseen, Abdullah Miniawy, Al Haqq, Armada Bizerta, Mohamad Antar, and many others. Anyone with an interest in Arab rap, hip-hop, and urban music will love the upbeat, head-bobbing and toe-tapping melodies and rhythms of Khat Thaleth. The liner notes are mostly in Arabic. ~ Matthew Forss 

CD Review: Egyptian Project's 'Ya Amar'

Egyptian Project
Ya Amar
SixDegrees Records

Produced by France’s Jerome Ettinger (who plays arghul and computer), Egyptian Project explores a balanced blend of electronic, acoustic, and contemporary Egyptian music. Jerome assembled several musicians, including Sayed Emam on vocals and kawala, Ragab Sadek on darbouka, duff, rek, sagats, and doholla, Salama Metwally on rababa and violin, Ihab Radwan on oud, Julien Bonvoisin on bass, Carlos Robles Arenas on drums, Camille Momper on cello, and Nicolas Berrivin on piano. The wide array of instrumentation creates chilling beats, rhythms, and melodies that are steeped in Egyptian musical traditions without resorting to forced electronic compositions of dance music. The music is somewhat danceable, but the primary elements are more folk, pop, and new age. Ya Amar is an ambitious effort that succeeds on all ac(chords)! ~ Matthew Forss

CD Review: Michel Sajrawy's 'Arabop'

Michel Sajrawy
Arabop
Dasam Studio

Nazareth-based, Palestinian-guitarist, Michel Sajrawy, offers a glimpse into a new world of Arab maqam and Western improvisation on his latest album, Arabop. The jazzy, experimental sounds are rich with Middle Eastern and North Africa melodies, but familiar to all. The instrumental repertoire is well-balanced with Michel on guitar and keyboards, Amiram Granot on sax, Maali Klar on soprano sax, Samir Makhoul on oud and vocals, Valeri Lipets on contra bass, Wisam Sajrawy on darbuka and shakers, Stas Zilberman on drums, Nehaya Damouni on chants, and Adnan Haddad on speech. The wildly-played guitar stylings are equivalent to Hossam Ramzy on the drums. At any rate, the songs are up-tempo, but reflective in a similar manner. The energized darbuka and electric guitars thunder with delight on "Tojann." "1 Count Before 40" is a more meditative, lounge jazz tune that is wholly instrumental. "Arabop" reflects a more jazzy side to the music with a jaunty sax line and playful melody overall. The highly-energize "Batumi" is a guitar lovers dream with an equal amount of percussive embellishments throughout. There is a slight klezmer undertone. Overall, Michel succeeds wildly with a stunning set of mostly instrumental music that is both jazzy, Arabic, and improvisational. This is maqam music for future generations. ~ Matthew Forss

CD Review: Various Artists' 'Orient Noir'

Various Artists
Orient Noir
Piranha

This fourteen-track release represents the collective efforts of music curator and collector, Dr. Bertram Nickolay. The musical tapestry of the album traverses the Mediterranean, North African region, and the Middle East. Several notable artists are involved in this project, including Watcha Clan, Bi Kidude Baraka, Mahmoud Fadl, Susan Sandler, Ihsan Al-Mounzer, Maurice El-Medioni, The Klezmatics, Emil Zrihan, and others. The music is joyous, boisterous, and classical with touches of strings, percussion, and chaabi dance music and swirling melodies. There are also elements of gypsy, klezmer, jazz, and improvisation throughout. The mix of styles is not a negative, as each song is something different, but always engaging. Listen to the music of Serbia, Jerusalem, NY, Lebanon, Egypt, Zanzibar, France, and elsewhere. Vocals are in Arabic, French, Hebrew, Ladino, and Swahili. This is a great compilation from the Orient. ~ Matthew Forss 

CD Review: Joseph Tawadros' 'The Hour of Separation'

Joseph Tawadros

The Hour of Separation

Enja Records

Joesph Tawadros is an Egyptian-born oud player and a resident of Australia with James Tawadros on req and bendir. His latest album is number seven in a handful of recordings with an improvisational, jazz, or world beat background. Joseph is joined by three other musicians from America, including John Abercrombie on electric guitar, John Patitucci on double bass, and Jack Dejohnette on drums. The fifteen, instrumental tracks are fairly reserved and not too energetic; except for Track 4. However, the album is nearly seventy-eight minutes long, which provides the listener with a satsifying musical experience. The crystalline sounds of the oud are a perfect match for the drums, guitar, and assorted percussion. Fans of Middle Eastern, North African, jazz, percussion, and instrumental world music should find The Hour of Separation a worthy addition to your music library. ~ Matthew Forss

CD Review: Morocco's Hassan Erraji

Hassan Erraji

Awal Mara

World Village

Multi-instrumentalist and blind musician, Hassan Erraji, is a Moroccan native with musical ties to the Atlas Mountains. Hassan plays the oud, qanun, violin, darbouka, keyboard, nay flute, and also sings on each track. Awal Mara, which means, "love at first sight", features background vocals by Hassan's daughter, Yasmin Erraji. The traditional instrumentation mixed with drums and bass creates a modern musical environment without delving into the outer reaches of electronica or dance music. However, every song has a high degree of danceability. The most striking musical similarity to Hassan's music is from the bellydance and ensemble music of Egypt, or even the music of the Arabian Peninsula. The Gnawan trance music native to Morocco is not featured here, however there are hints of it throughout. Awal Mara induces a state of intrigue with the country-esque "Mounyati" and the instrumental "Douka Dance". Think of it like 'Love At First Sound', too! ~ Matthew Forss

CD Review: Egypt's Riad Abdel-Gawad

Riad Abdel-Gawad

Egypt: Mother Of The World

City Hall Records

A soul-stirring blend of classical, instrumental, Arabic tunes are Riad Abdel-Gawad's trademark. The follow-up to Riad's first release, El Tarab El Aseel (Incognito, 2008), continues the Arabic folk music traditions with a repertoire of violin, riqq, tambourine, daf, bongos, qanun, nay flute, oud, and contrabass. The entire album is void of vocalizations. Instead, the instruments provide a leading role. The tunes are completely original, but resemble Middle Eastern and Central Asian ensemble music. This could be due in part to Egypt being the 'mother of the world' as the birthplace of culturally confluent musical idioms. Whatever the reason, the lively compositions dance around in the listener's head long after the CD ends. The running time is over seventy-minutes. The liner notes fold out into a colored picture of Riad playing a violin in front of some pyramids, while the opposite side contains English and Arabic song summaries superimposed over instrument images. A classical release of creative proportions! ~ Matthew Forss

CD Review: The Spy From Cairo

The Spy From Cairo

Secretly Famous

Wonderwheel Recordings

Originally from Italy, The Spy From Cairo is trans-global groovemaster extraordinaire Moreno Visini. There are little musical references to Italy on this album, but the dub-grooves and traditional instrumentation reflect a purely North African/Middle Eastern origin. The Spy From Cairo plays several instruments including bass, oud, saz, darbouka, keyboards, and ciftelli (two-stringed lute). A stand-out guest vocalist adds her Tunisian presence on "Ana Arabi", "Jennaty", and "Blood and Honey". Additionally, the mizmar and nay flute adds a good amount of musical fluidity on "Nayphony". Secretly Famous is a dub-fest for a new generation. There is a nice mix of original songs and remixes/tributes to great musicians from Egypt including Farid Al Atrache and Mohamed Abdel Wahab. The end result is an Afro-dub sound with an abundance of creativity, musicianship, and cultural awareness. Secretly Famous won't be secret much longer; once the addictive sounds make their way online, on the radio, and in the clubs. ~ Matthew Forss

CD Review: The Beats of 'Halalwood'

U-cef
Halalwood
Crammed

The funky, electronic beats and ethnic infusions of U-cef's Moroccan homeland creates a truly modern form of musical expression. Ten tracks and dozens of musicians from the UK, Morocco, France, Egypt, and Tunisia accompany and comprise the album's musical backbone. The innovative electronic beats and vocals by Natacha Atlas (Egypt), Rachid Taha (Algeria), and others, create something engaging and classic. There is a fine balance between rai, rap, spoken-word, electronica, gnawa, and Arabic trance music throughout all of the tracks. Halalwood is bound to draw in younger crowds, because of its close association with Western beats and arrangments. It's easy to use the term 'fusion' for U-cef's music. In essence, U-cef's vision for the music is very clearly and intelligently defined. Halalwood not only contains sporadic female vocals, hip beats, and male vocals, but it also embraces a new musical and cultural movement, as Hollywood and Bollywood have done before. This is contemporary Moroccan music for the world to enjoy! ~ Matthew Forss

CD Review: A Dr. of Violin - Riad Abdel-Gawad

Riad Abdel-Gawad
El Tarab El Aseel (Autochthonic Enchantment)
Incognito

Born in Egypt and educated with a doctorate in music from Harvard, Riad Abdel-Gawad knows his way around Arabic compositions. Riad performs traditional Arabic music using different classical modes of performance. The classical elements are also closeyl associated with compositions outside of the Middle East region. Riad's violin playing is precise and steeped in tradition. Yet, the violin is also joined with the oud, riqq, qanun, and ney flute. Anyone with a knowledge of traditional Arabic music and classical compositions will listen to Riad with a different 'ear' than the casual aficionado of Middle Eastern music. Nevertheless, it's an amazing instrumental collection of four very long compositions that do not require a doctorate in order to appreciate it. A classic release! ~ Matthew Forss