CD Review: Baraka's Double-Disc 'Shams'

Baraka
Shams [2-CD]
Sketis Music

The Latvian band, Baraka, brings us a double-disc release of music celebrating the contemporary styles of Tajikistan. However, the music incorporates the help of Latvian, Russian, Tajiki, Lebanese, Nepalese, and Afghani musicians for a truly world music result. The Farsi or Tajiki vocals are used sparingly in ballads, folk songs, and jazzy songs throughout. There is a strong element of world jazz and lounge music, but some of the songs incorporate more of a Middle Eastern vein. Nevertheless, there is something for everyone here--from hip hop vocals to swaying jazz and funky Tajiki melodies. The songs are all very solid compositions with clear vocals and instrumental splendor. There are some traditional instruments, including the iconic dutar, setor, rubab, sitar, duduk, dilraba, and saz. The contemporary sounds stem from keyboards, guitars, bass, piano, and horns. Baraka does a great job blending the past with the present by not resorting to ho-hum melodies and rhythms, but rather bringing to life various instruments and styles indigenous to the Central Asian Republics, the Middle East, and Western Europe and Russia. Nearly two-hours of music are included with liner notes. ~ 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: Yasmine Hamdan's 'Ya Nass'

Yasmine Hamdan
Ya Nass
Kwaidan Records/Crammed Discs

Lebanese-singer, Yasmine Hamdan, is currently based in Paris, France, but her work extends beyond Europe and the Middle East with her latest release, Ya Nass. The contemporary music contained throughout the album is slightly organic, electronic, and dreamy. This is not dance music or Arabic percussion music, but it does contain some elements of both. Though, Yasmine sticks to a highly modern result with atmospheric electronics and a sweet vocal set-up. The edgy youthfulness of "Shouei," "Samar," and "Deny," represent some laid-back rhythms and melodies that are rather cosmopolitan and adventurous. "Enta Fen, Again" blends some trip-hop, dance motifs with the Arabic vocals. Yasmine tones it down a bit on "Nediya," which provides a more steady almost indifferent beat throughout. At any rate, Ya Nass is an album steeped in Middle Eastern and Arabic sensibilities with contemporary and mature edge that satisfies the soul and moves the body. Buy it today. ~ Matthew Forss

CD Review: Ibrahim Maalouf's 'Diagnostic'

Ibrahim Maalouf
Diagnostic
Mi'ster Productions

Born in Beirut, Lebanon and based in France, Ibrahim Maalouf's latest album, Diagnostic, is rather diverse overall. The album spans the worlds of jazz, piano music, Middle Eastern folk, and even a bit of Klezmer or Balkan folk. Whatever it is called, it is great. The instrumental medleys and folk vocals are top-notch, albeit a little experimental or improvisational. The dizzying melodies and slight rock elements of 'Never Serious,' make this album shine with inner light and a danceable beat without resorting to keyboards or electronic embellishments. Ibrahim prides himself as an arranger, trumpeter, and instructor, which is vital for understanding the ins-and-outs of performative music. This is perfect for the trumpet fan and avid listener of Middle Eastern jazz and folk. ~ Matthew Forss

CD Review: Abaji's Origine Orients

Abaji

Origine Orients

Absilone Music

Born in Beirut, Lebanon to parents of Turkish, Syrian, Greek, and Armenian lineage, Abaji is quite the instrumentarian. He has collected nearly 250+ instruments from the Mediterranean region, South America, Europe and the Middle East. Abaji plays the duduk, oud, bouzouki, daf, Bali flute, saz, harmonica, kemenche, and a few other instruments throughout the album. His folksy, bluesy Mediterranean concoctions eschew an earthly resonance of multiple ethnic roots. Moreover, Abaji sings in five different languages, including French, Arabic, Greek, Armenian, and Turkish. The entire album was recorded over two days and is void of re-recording and remastering of the tracks into a polished and commercialized piece of character-less matter. However, Origine Orients is a beautiful work of art that echoes back centuries ago to it's ancient roots along the Silk Road. At times, the instrumental medleys remind one of Australia's multi-talented, multi-instrumentalist, Xavier Rudd. Abaji's musical journey is contemplative, energetic, inspiring, and always imaginative. Nicely done! ~ Matthew Forss