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Hossam ramzy Mohammad Abdel Wahab Natasha Atlas

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AUSTRALIA - Victoria

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World: Middle East Traditional Folk: Traditional Folk Moods: Mood: Upbeat
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by Yalla!

Upbeat, traditional, vibrant , middle-eastern dance music.
Genre: World: Middle East Traditional
Release Date: 

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  Song Share Time Download
1. Gawazi
5:22 $0.99
2. Wahda Wa Noos
10:34 $0.99
3. Rampi/Tiren Gelir
7:03 $0.99
4. A Night At Katcouta
10:43 $0.99
5. Mwashshah: Lamma Bada
5:32 $0.99
6. Azizia
10:10 $0.99
7. Zaar
7:03 $0.99
8. Salamat
8:12 $0.99
Downloads are available as MP3-320 files.


Album Notes
The title refers to the gypsy people of Egypt, supposedly remnants of the gypsies of Europe and North India. The music also comes from the fellahin or country people.
I witnessed (and in Luxor played with) various mizmar ensembles often involving up to three mizmars and a tabul. This especially occurs during a moulid or celebration of a prophets birthday. I attended one of Cairo's biggest moulids, lasting two weeks, in Sayidda Zeinab. Many musical groups lived and played in brightly decorated tents on the streets (note our album cover) while the public (men and women) did zikr's (trance dances). There were also deafening Koran recitations for 16 hours a day outside my window. Earplugs didn't help! They say there is a moulid every day of the year somewhere in Egypt. P.C.

The Gawazi dancers perform to this music in groups and follow a leader who dictates the next move or step and the shape of the formation. M.S.
Camels and horses in South dance to it
The title means 'one and a half', referring to the movement of the hips. It is dance music of the Saiidi people of Upper Egypt. I was brought into a local house in Luxor and heard this music playing while the children were dancing. Later I was taken to a street stall where I found a recording of Fikri Sawi, the "number two rebab player in Upper Egypt". This music is traditionally led by the rebab, a bow-necked lute with one or two strings. This piece begins on the maqam of rast which emotes power and masculinity. P.C.
This shaabi (folk) music is danced improvisatorally, based around impressive hip movement, gestures from the upper body and simple arm poses. M.S.

is a popular Romany (gypsy) Turkish piece. The rhythm is 9/8 or karsilama from Anatolia (central Turkey). This would be danced traditionally in a circle dance, very energetically, with lots of jumping. In Eastern Turkey I attended Kurdish weddings where I took part in these dances. It is written in the hijaz maqam, evoking joy and the desert.

Cadirimin ustune sip dede damladi
Allah canimi almadi almadi
Hey...rampi rampi masallah
Veresiye vere vere kalmadi kalmadi
Allah canimi almadi almadi

"It's dripping on my tent; she's a bad girl
She does business without cash
O, Rampi, this is the time to make love"

It segues into the traditional Turkish 2/4 tune Tiren Gelir. P.C.

This is Beledy or 'urban folk' music of Cairo. It is an improvised genre with shared musical phrases, understood by the musicians and dancers. Its drama is played as a dialogue between accordion, drum and dancer. Maria danced in the studio as we played this: truly a live performance.The piece is named after the restaraunt where Yalla! regularly play.
For the dancer this is refined and intense with subtle inner body movement. The dancer truly becomes the instrument and the dance is often performed on the spot with all gestures and dialogue expessed through different parts of the body. M.S.
It finishes with a traditional Saiidi piece (the rhythm and people are called saiidi). This is often associated with a stick dance (tahtib) where two men dance and hit sticks in a mock fight. In Cairo, this is often done by single performers and I saw audience members pay for the priviledge of dancing. Female dancers often perform a cane dance (raqs al assaya) and camels and horses are trained to dance, in time, to this music. P.C.

5.MWASHSHAH (Lamma Bada Yata Thanna)This is a very old genre of Arabic

vocal art music based on the Andalusian poetic form (North Africa and South Spain). It is
traditionally performed by an ensemble (takht) of exactly our make-up.
Our mwashshah is lamma bada in 10/8 rhythm (samai thakil) in maqam nahawand. Its sadness is accented by the plaintive aman's (alas). The composer is unknown.

Lamma Ba Da Yata Thanna
Aman Aman Aman Aman
Hubby jamalu atanna
Lama balahzo asarna
Hosnon sana hina maa
Waadei waya heirati
Man lee fee shackwaty
Bil hub min lowati
Illa ma le fe jamal

"Ah come with the king of beauty and leave the wise to talk. Make the most of what we yet may spend - the flower that one has blown forever dies."
(Trans. Fouad Harraka)

This is Egyptian 'classical' music written for orchestra by Mohamed Abd el-Wahaab. It shows European orchestral influence, hencethe Beethoven-like ending (though unresolved harmonically to symbolize unrequited love).
For this style of music the dancer often devises a choreography.The movements here are larger and more flamboyant with influences from Western ballet, modern dance, cabaret and Indian dance. The piece contains four taqsims (improvised instrumental solos ) which are used for dancing improvisation.These are dialogues between dancer and musician. M.S.

This is based on a Derwish hymn (ilahi). The Whirling Derwishes of Turkey follow the tradition of Sufism as begun by Mevlana Celaleddin-i Rumi. It is a branch of Islam but more intuitive and individualistic than orthodox types.A zaar or zikr ceremony may The name of Allah is chanted in synchrony with body movements of rhythmic shaking, bouncing and head tossing. The ceremonies that I attended in Turkey were more formal than the sufi street festivals I witnessed (and played with) in Egypt.
The first piece is in the maqam segah, denoting spiritual love, the favourite maqam of the Derwish. It is played on their favourite instrument, the ney. The words are by Yunus Emre the 13th century legendary mystic and writer. Music is by Sikarzade Ahmed Effendi.

Segah Ilahi
Dervislik bastadir, tacda degildir
Kizdirmak oddadir, sacda degildir
Eger bir Muminin, kalbin yikarsan
Eger bir Muminin, kalbin yikarsan
Hakka eyledigin, secde degildir

"Dervishood is in the mind, not in the wearing of a crown
It is not the pot but the fire which creates the heat
No amount of prayer will redeem you if you break the heart of a beleiver "
(trans. Ozlem Ozmetin and Hassan Titiz)

The second tune is a traditional Derwish hymn in the beyatti maqam with its emotion of vitality, joy and femininity. P.C.

This means 'greeting'. This music is performed at weddings as guests arrive. A different salamat song is sung for each guest depending on the region they hail from. This one is in the saba maqam which often expresses yearning or sadness.
Salamat salamat ya gayib ainy
Ebat lee gowab yeta-mainy
Salamat salamat...ya gayib ainy
Ana bahebak wa y baredak
Lesa bahebak wa y bareedak
Gorob ainik wareeny edak
Babhat gowab le gareebak
consist of singing, instrumentalists, incense, meditation, ectasy and trance dance. The aim is to bring about Gods presence (hadrah) and sometimes to exorcise evil spirits.

Greetings! You are distant from my eyes
Send me a letter to comfort me
I love you and want you
I will send a letter to your neighbour
(Trans. Mohammad Osman)



to write a review

Maria Sangiorgi

Great for dancing a listening
I love this album. It is great for all styles of Middle Eastern dance, it has something, for Baladi, Tribal, Classical and Trance style dancers. I know that even though the album was produced in Australia, it has managed to sell very well in the UK. Every dancer who hears it wants to buy it. I am very happy it is now available for purchase on line.