A. R. Rahman (India) - Bombay Theme.mp4
ABDURRAHMAN ÖNÜL-DÖNDÜM MEVLANA GİBİ مولانا جلال الدين الرومي.mp4
Abed Azarieh - ibnArabi -عابد عزرية يغني لإبن عربي.mp4
abed azarieh ibn arabi al hob dini عابد عازرية - الحب ديني (ابن عربي.mp4
Abed Azrie - Belief (une poésie d'Ibn Arabiعابد عازريه - ابن عربي .mp4
achamaa une larme موسيقى روحانية مغربية.mp4
Achrak - Bab Makina - Festival musiques sacrées Fés - Maroc.mp4
Allah Hu Allah Hu [Nusrat Fateh Ali Khan].mp4
amina annabi-ibn arabi-امينة عنابي - الحب ديني-ابن عربي.mp4
AR Rahman _ Bombay.mp4
Atiq Rahimi - Syngué Sabour.mp4
AŞKIN İLAHİ DANSI رقص صوفي.mp4
Bachar Zarqan-ibn arabi-بشار زرقان-عجبت منك ومني- ابن عربي.mp4
Begum Abida Parveen - Bulle Shah.mp4
Demiryürek Tasdi Rahmet موسيقى صوفية تركية مع بلال ديميريوريك.mp4
Derviches de DAMAS.mp4
Derwich egyptienرقص درويش مصري.flv
Dhafer youssef - Al Hallej ظافر يوسف - الحلاج.mp4
Dhafer Youssef - Dawn Prayerظافر يوسف.mp4
Dhafer Youssef - L'Ange Aveugle -O Anjo Cegoظافر يوسف .mp4
Dhafer Youssef - L'Ange Aveugle ظافر يوسف الملاك الأعمى.mp4
Dhafer Youssef - Odd Poetry.mp4
Dhafer Youssef -Nahfa - ظافر يوسف - نهفة.mp4
Dhafer Youssef- Odd Poetryظافر يوسف .mp4
Ek Allah Kolo Main Dardi-abida_parveen.mp4
Ensemble Ibn Arabi - Je t'aime de deux amours - Rabia El Adaouiyaرابعة العدوية ـ أحبك حبين.mp4
Frederick Arthur Bridgman With Arabian Rhapsody by Omar Khairat.mp4
Galata Mavlevi - مولوية - ناي.mp4
Groupe Ibn arabi ابن عربي - موسيقى صوفية -حوار ثنائي بين آلة العود و القانون.mp4
Hallaj ظافر يوسف - الحلاج.mp4
Ibn Arab-Het-Ja en nee-van ابن عربي.flv
Ibn Arabi - Ses mots me ramener à la vie (Sufi Song)ابن عربي.mp4
ibn arabi - Tourjumenديوان ترجمان الأشواق للبحر الزاخر الامام ابن عربي.mp4
Jab se tu ne mujhe deewana-Abida Parveen.mp4
Jahida wahbe -al hallaj جاهدة وهبه - اذا هجرت-الحلاج.mp4
Jahida wahbe -Rumi جاهدة وهبه يا من هو سيدي- الرومي.mp4
Jahida Wehbe chante Günter Grass (Prix Nobel de Littérature 1999)جاهدة وهبه تغني لغوتر غراس.mp4
Jalâluddîn Rûmî - Shahram Nazeri - Chants + Entretien.mp4
Karima skolli -hobbk (كريمة الصقلي - حبك قد أرقني ( صوفي.mp4
Karima skolli -rab3a al3adawia (كريمة الصقلي- أحبك حبين ( رابعة العدوية.mp4
L'ensemble taybah et les derviches tourneurs.mp4
La Conférence des Oiseaux - Farid Al-Din Attar (1177) 1.mp4
La Conférence des Oiseaux - Farid Al-Din Attar (1177) 2.mp4
La religion de l'Amour. Ibn 'Arabi. Singer_ Ahmad el Sawy. Direction_ Elisa Toledoابن عربي.mp4
Mevlana Celaleddin Rumi - Mesnevi 1.mp4
MEVLANA CELALEDDİN RUMİ مولانا جلال الدين الرومي.mp4
MEVLANA CELALEDDİN RUMİ(30 EYLÜL 1207---17 ARALIK 1273) - semaجلال الدين الرومي.mp4
MEVLANA CELALEDDİN RUMİ(30 EYLÜL 1207-17 ARALIK 1273) SEMA GÖSTERİSİ.mp4
MEVLANA CELALEDDİN RUMİ(30 EYLÜL 1207-17 ARALIK 1273) Mevlana 7 ögüt (seven advice).mp4
MEVLANA CELALEDDİN RUMİ(30 EYLÜL 1207-17 ARALIK 1273) Ney taksimi - Uyan Ey Gözlerim.mp4
Moulawiya المولوية ....مدد ...مدد.mp4
Mute Sound - Homenaje a Ibn Arabiابن عربي.mp4
MİSTİK FLÜT- MYSTIC FLUTE-BY ALPARSLAN GÜN.mp4
Nusrat Fateh Ali Khan & Peter Gabriel - Signal to noise.mp4
Nusrat Fateh Ali Khan - Afreen Afreen.mp4
Nusrat Fateh Ali Khan - Must Nazron Se Allah Bachaye.mp4
Nusrat Fateh Ali Khan live at Washington University- Allah hoo.mp4
Nusrat Fateh Ali Khan performs a classic Qawwali song named -Ali Maula Ali Maula Ali Dam Dam.flv
Ode Ibn Arabi ابن عربي- أدين بدين الحب.mp4
Omar Faruk Tekbelik.mp4
Roda (ibn arabi)ou le jardin des désirs.mp4
RUMI - Dont go to sleep this night.mp4
Rumi Poem Iranian Music And Divine Dance.flv
Rumi-Jahida wahbe جلال الدين الرومي جاهدة وهبه - يامن هو سيدي.mp4
Sufi-Mohamed Nejad-Shirzad Sharif.mp4
Sun Charke De - Nusrat Fateh Ali Khan.mp4
Tanam Farsooda Jaan Para-Nusrat Fateh Ali Khan-Kalam= Moalana Ahmed Jaami.mp4
The Mevlana Rumi derwishes of Damascus.mp4
THE MEVLANA المولوية.mp4
The Sufi Whirling Dervishes of Istanbul.mp4
The Whirling Dervishes.mp4
Transes - Adeptes Soufis.mp4
Turkish Sufi Music.mp4
Vengo flamenco soufi.mp4
Ömer Faruk Tekbilek- AŞK...mp4
Şerîf Muhiddîn Targan (Turkey).mp4
Allah Rakkha Rahman
A R Rehman(Allah Rakkha Rahman)Rehman has spelled his music combining Kawaali and sufi tunes
QAWWALI - FLAMENCO
Faiz Ali Faiz Ensemble, Duqende, Miguel Poveda & Chicuelo
1. Allah Hu
2. No Llegaste A Quererme-Sal Al Guisao-La Tarara
3. Presumes Que Eres La Esencia
4. Rawance Bainan Painda - Ensemble De Qawwali Faiz Ali Faiz
5. No Pases Por Mi Calle
6.Tere 'Ishq Ne Nacaia-Con Esa Morena
1. Ya Mustafa - Ensemble De Qawwali Faiz Ali Faiz
2. No Me Hagas Tantos Planes - Miguel Poveda
3. Tango Al Mar
4. Dam Mast Qalandar - Ensemble De Qawwali Faiz Ali Faiz 5. De Querer A No Querer
In July 2004, Faiz Ali Faiz joined forces with leading flamenco artists Miguel Poveda, Duquende
Ritual Sufi-Andalusi: al-Shushtari (1212-1269). Omar Metioui and Mohamed Mehdi Temsamani. Sony Classical SK 62999, Hispanica series, 1997. Distributed by Sony Music Entertainment (Spain).This contains 35 selections, primarily from the poetry of al-Shushtari, an Andalusian Sufi disciple of the great philosopher Ibn Sab`in, in a nonclassical dialectal form of Arabic; the accompanying booklet contains the Arabic text handwritten in a Maghribi hand together with Spanish translations by Federico Corriente and Pablo Beneito, plus extensive notes in Spanish on the poet, Islamic music, and Sufi practice. The recitation of these verses, which are still sung by the Sufi brotherhoods of North Africa, includes the call to prayer (No. 1) in a remarkable choral intertwining of voices, plus three passages from the Qur'an (Nos. 2-3, 35). The recording in the Andalusian style was made by Moroccan musicians under the direction of a Sufi shaykh.
Contains 35 selections, primarily from the poetry of al-Shushtari, in a nonclassical dialectal form of Arabic.
The recitation of these verses, which are still sung by the Sufi brotherhoods of North Africa, includes the call to prayer (No. 1) in a remarkable choral intertwining of voices, plus three passages from the Qur'an (Nos. 2-3, 35).
The recording in the Andalusian style was made by Moroccan musicians under the direction of a Sufi shaykh.
Shushtari was born in Shushtar, near Guadix (Spain) around year 1203, and died in Egypt the sixteen of October of 1269. His first studies sufies made them with lbn Suraqa, in their adolescente began in the practices of the sufies.
He went to Morocco where he established in Rabat, but mainly resided in Meknés, where already he was recognized like a teacher with an eccentric character.
In a zéjel it says of itself:
An old poor man by territories of Meknés in the middle of the zocos sings:
What people concerns to me!
And what I concern to people!
In 1253 he knew in Mecca who would be his true and definitive teacher, lbn Sab’in al-Mursi, he initiated him in the Sab’inia.
When lbn Sab’in died, Shustari became teacher of the disciples of ibn Sab’in and went with them to Egypt, where he died in 1.269.
His poems soon were sung, and becoming to comprise of the practices of Sama.
In Magreb and Syria they are used in the meetings of the shadzilies sufies.
Poemas del místico Al-Shushtarí, Granada 1212 - Damieta 1269
Cofradía Al-Shushtarí - Omar Metioui, dir.
Dhikr & Samá' is a recording of the al-Shushtariyya brotherhood's music, released by Pneuma as a continuation of Sony Classical's "Ritual Sufí-Andalusí" in the Hispánica series; the musicians, composers and production team being the same. This recording reveals the Sufi spirit and practices which are unknown to the Western world, together with al-Shushtarí's intoxicating poems, whose beauty and intensity can be universally understood in a religious and sensorial context.
I. Iftitáhiyya (Preludio)
1. Súrat al-Ahzáb (33), del 41 al 48 (¡Oh, los que creéis!)
2. as-Salat al-Mashíshiyya (Oración)
3. al-Bará'a (Oración) (O Dios, a nuestro señor Muhammad)
II. Tubú' (Modos)`Gríbt l-Hsín / Gríba Muharrara / Síka
4. Basít, Fayru l-Ma'árifi (En el oriente de la recta senda)
1. Basít, In Kunta Tunsifuhu (Si a su mitad llegaras)
2. Tawíl, Jala'tu 'Idhárí (De amor a Ti)
3. Basít, Wa Bi' Tiyábaka (Desprendente de todos tus vestidos)
6. Inshád, Dhá sh-Sharáb Lahu Awání (Esta bebida tiene vasijas que no cata el ignorante)
1. Muwashshah, Badaytu bi-Dhikri l-Habíb (He comenzado por invocar al Amado)
2. Muwashshah, Mudámk Yá Shayj l-Hadra (Tu vino maestro de la sesión, es vino maravilloso)
3. Tawíl, Wa Dhawwaqa li-l-Halláy (Al buen Hallách)
4. Muwashshah, Nashrab Ma' Nadímí (Búscame, en la taberna me verás)
5. Muwashshah, Min Sharábiya 'Ishrab (Bebe la bebida de mi secreto)
6. Wáfir, Sharibnáhá Bi-Dayrin (Hemos bebido vino en la bodega)
7. Muytath, Ta'allaqa I-Waydu Biyyá (No me deja el sentimiento)
8. Jafíf, Tába Shurbu l-Mudámi (Qué gozo el vino añejo)
III. Al-Imará, Danza Sufí o Hadra (Éxtasis o Trance)
Tubú' al-Hiyáz al-Mashriqí. Raml l-Máya Hamdán
8. Hulal, Lá Iláha Illá l-Láh / Alláh
1. Tawíl, Famá Zála Yasqíná (No cesa de servirnos de su gracia)
2. Jafíf, Tába Shurbu l-Mudámi (Qué gozo el vino añejo)
3. Muwashshah, Yá Nadím 'Isqi l-Awání (Compañro, llena las vasijas)
4. Zayal, Sultán Hád l-Hadrá (Sultán de esta sesión es un copero)
5. Kámil, Wa Shrab Mina r-Ráhi (Bebe el vino de dicha que se ofrece)
6. Mujalla' al-Basít, Yá Sáhi Hal Háhihi Shmúsu (Ay compañero)
7. Muwwál 1, Fa-'Ayába l-Faqíhu (Declara el alfaqui: del fermentado producto de la vid)
8. Muwwál 2, Áhi Yá Dhá l-Faqíh (Consideramos el consumo ilíto)
9. Muwwál 3, Latarkta d-Dunyá (Ay Alfaqí si tu lo degustaras)
10. Zayal, Hayyamní Lammá Tayallá li-l-Fu'ád (Me enamoró cuando se manifestó al corazón)
11. Muwashshah, Law Kunta Dhá t-Tisáli (Si tuvieras conexión varías que la excelsitud tiene luz)
12. Muwashshah, Al-Hubbu Afnání (El Amor me ha extinguido cuando vivía)
13. Zayal, Ta'lam Yá Jillí (Amigo es cualidad mía beber néctar)
14. Muwwál 4,Wa Shrab Mina r-Ráhi (Bebe el vino de dicha que se ofrece)
15. Muwwál 5,Wa Djul Ma'a n-Nudmáni (Escucha y abandonate a los sones)
16. Muwwál 6, Wa Jla' 'Idháraka (Y de estos allegados comensales)
17. Zayal, Man Yahím Fi Yamalí (Quien se prenda de mi bellaza)
18. Jafíf, Záraní Man 'Uhibbu (Me visitó el amado antes del alba)
19. Zayal, 'Innamá Nafshí Sirrí (Sólo revelo mi secreto a mis íntimos)
10. Súrat at-Tawba (9), del 127 al 128 (¡Profeta! Nos te hemos enviado como testigo)
Playing time: 68' 58"
Cofradía Al-Shushtarí [Omar Metioui (ud, voice), Hasan Ajyar (voice), Mohammed Berraq (voice), Abdeslam El Amrani Boukhobza (tar, voice), Ahmed Al Gazi (rebab), Abedehamid Al-Haddad (voice), Abderrahim Abdelmoumen (voice), Said Belcadi (voice), Mohamed Alami (voice), Abdeljalaq Hadaddou (voice, faqir), Mohamed Agdour (darbuga, bendir)] - Omar Metioui, dir.
Recording site and date:
Palacio de las Instituciones Italians "Mulay Hfid" de Tanger, Morocco [27-28 September, 1998]
128 kbps including Covers "sorry"
HERE To Download
Along with his brother, Suleyman, Kudsi Erguner is one of the top players of the ney, a Turkish reed flute. In addition to his own recordings, Erguner has performed with Peter Gabriel, Maurice Bejart, Peter Brook, Georges Aperghis, Didier Lockwood and Michel Portal. His compositions and collaborations have been heard in the films, The Last Temptation Of Christ and Meetings With Remarkable Men, theater piece and film, Mahabharata, and ballets, Le Voyage Nocturne and Neva. Erguner's band, The Kudsi Erguner Ensemble, was formed in 1988, as Fasi, with the goal of preserving the classical music of the sixteenth century Ottomon Empire. Erguner hails from a musical family. His father, Ulvi Erguner, and garndfather, Suleyman Erguner, were well known players of the ney. In addition to what he learned from his father and grandfather, Erguner learned from the older musicians who often visited his childhood home. Erguner's knowledge of Turkish classical music was enhanced through his studies of the Sufi-brotherhoods. Launching his musical career, in 1969, as a member of the Istanbul Radio Orchestra, Erguner moved to Paris, six years later, to study architecture and musicology.The following year, he worked on Peter Brook's movie, Meetings With Remarkable Men, filmed on location in Afghanistan. Erguner later renewed his collaboration with Brook, composing and performing the score for a theater piece and film, Mahabharata. After conducting research in Turkey, through a grant from UNESCO, in 1980, Erguner returned to Paris and founded Mevlani, an institute for the study of the classical music and teachings of the Sufis. Between 1986 and 1987, Erguner spent lengthy periods in Pakistan recording and documenting traditional music for Radio France and France Musique. In late-1987, Erguner performed a concert of Ottoman music at the Royal Albert Hall in London. In 1988, Erguner collaborated with Peter Gabriel on the soundtrack of The Last Temptation Of Christ. The same year, he recorded an album with his brother, The Mystic Flutes Of Sufi, featuring preludes to ceremonies of the Whirling Dervishes. Kudsi and renewed their partnership in 1990, releasing a second album together, Sufi Music Of Turkey. The following year, Erguner released three albums -- Turquie Musique Soufi, with Ilahi and Nefes N. Uzel, Oriental Dreams, with Mahmoud Tebrizizadeh, and, together with thee Kudsi Erguner Ensemble, was one of several artists featured on Gazel: Classical Sufi Music Of The Ottomon Empire. In 1997, Erguner joined with Derya Turkan to record, Chemins. Two years later, he formed the Kudsi Erguner Sufi-Jazz Project, with Christof Lauer, Michel Godard and Marc Nauseef, and recorded, Ottomania.Links: http://lix.in/-42bc0c
Kudsi Erguner's Ottomania is the first World Music project that integrates the classical music of the Ottoman Empire with Western jazz improvisations and rhythms. It documents the story of a remarkable musical encounter, and is a logical continuation of Erguner's eventful life. Kudsi Erguner was born in Diyarbakir, Turkey in 1952, and has lived in Paris since 1975. On his way to preserving the inheritance of the Sufis, Kudsi Erguner had to battle against those who opposed him, and travel down unfamiliar paths. The flutist (he plays the Ney, a Turkish reed flute) is also active as musicologist, author, teacher and artistic adviser. He has worked as a musician and composer on various film scores (Martin Scorsese, with Peter Gabriel), theater pieces (Peter Brook), and ballet productions (Maurice Béjart, Carolyn Carlson). He has fused the most varied styles and epochs of occidental music with traditional Turkish music. It was because of this intermingling of musical styles that he aroused so much attention with his participation in Mozart's The Abduction from the Seraglio at the Salzburg Festivals in 1997/98. Likewise with his solo improvisations during the performance of Guillaume de Machaut's Messe de Notre Dame with the Hilliard Ensemble at the London Royal Festival Hall in February 1999. "Listen to the reed how it tells a tale..." So wrote Sufi master Djalal Ed Din Rumi in his mystic 13th century poem about the Ney. Erguner believes that had Djalal Ed Din Rumi been alive today, he might well have anointed the saxophone as holy instrument. Kudsi Erguner is the only Turkish musician of his generation to have been taught the Ney-flute in the classic oral tradition by his father, Ulvi Erguner, the last great master of the Ney-flute, and the former director of Radio Istanbul. Hundreds of years of a musical culture which always strove towards freedom and ecstasy are reflected in his playing. By the soundtrack of Peter Brook's film Mahabharata, Erguner, playing together with musicians from Japan, India, Denmark, Iran, and France, had attained a mystical, universal, elemental music. Everything is, after all, only a question of mutual respect, sensitivity, and openness. Unfortunately, 99% of the fusion music that is produced today is simply badly pasted together collages. With Ottomania, I have attempted to let a fusion really develop. It was therefore necessary for both sides to take a step towards each other. With Kudsi Erguner's ensemble on one side, and three great musicians from the international jazz scene - the German saxophonist Christof Lauer, the French tuba and serpent player Michel Godard, and the American drummer Mark Nauseef - on the other, Ottomania has successfully taken this step.Linx: http://lix.in/-3ca034
"Top-level World-Music", " a dazzling, image-rich album", "outstanding" were some of the words the press used to praise Kudsi Erguner's 1999 CD Ottomania. The CD brought together the classic music of the Ottoman empire with the improvisation of three top jaz musicians, saxophonist Christof Lauer, tuba player Michel Godard, and drummer Mark Nauseef. With Islam Blues the Ney (reed flute) virtuoso Kudsi Erguner has expanded the dimensions of the impressively successful Ottomania. It can be a new milestone in Erguner's remarkable career. He has written film music for, among others, Martin Scorsese (together with Peter Gabriel) and Peter Brook, produced ballet music for the great choreographer Maurice Béjart and, in an acclaimed Salzburger Festspiele production, brought out the oriental influence in Mozart's "The Abduction from the Seraglio". The son of Ney master Ulvi Erguner, Kudsi was born in Turkey in 1952. As musician, musicologist, teacher, author, and translator he has involved himself in the stimulation and revival of Turkish tradition, and again and again crossed musical borders with exciting results - which is natural for someone who has lived abroad (Paris) since his student days (from 1975 on). InIslam Blues Sufism, the teachings of the wisdom and mysticism of Islam, plays an even greater roll than in Ottomania. Erguner has been involved in Sufism since his childhood. He visited Sufi brotherhoods and thus absorbed its teachings and music. By 1988 he had recorded Sufi music - "The Mystic Flutes of Sufi", a prelude to the dancing dervish ceremonies. This time the music is not only played - it is also sung; for Islam Blues two singers were added to the ensemble. Hymns of praise to the Prophet Mohammed, maxims, and love poems by authors from the time of the Prophet compose the literary texts of this album. Erguner leans on the practice of the "Zikr" rites: in these meetings the dervishes invoke the name of the Prophet while the music accentuates the ceremonially induced feelings of ecstasy. With his compositions Erguner translates the atmosphere of these ceremonies into the universal language of music, a music which remains very near to the source, and yet flows into the endless ocean of sound. Besides Mark Nauseef, Erguner's jazz guests this time are the great contra-bass artist Renaud Garcia-Fons and the exceptional guitarist Nguyen Lé. Lé is the son of Vietnamese parents and grew up in Paris. He is a masterful wanderer between disparate musical worlds. The Algerian multi-instrumentalist Karim Ziad, who took a "North-African trip through Paris" on his impressive CD Ifrikya, takes over the drum part on the piece "Twins". There is a real symbiosis between the jazz musicians and the Turkish ensemble: while the immensely soft and tender sounding Turkish violin comfortably modulates almost like a jazz instrument, Nguyen Lé's guitar and Renaud Garcia-Fons' bass can almost pass as Oriental instruments. And Erguner's flute, this story-telling reed flute - has long since been at home in both houses.Linx: http://lix.in/-3e267b
Naïve Unesco (Traditional Musics of Today)
The ney is the emblematic flute of the Turko-Arab-Persian world. It is a simple reed with no mouthpiece or pipe; an "oblique" flute, falling somewhere between the straight and transverse flute.
Kudsi Erguner is an heir to the Sufi tradition of the Mevlévi brotherhood, which is both classical and mystical. He is a faithful exponent of this music in the modern mode.
Recorded in 1990
Text by Slimane Nadour
2. Pesrev (Ismaïl Hakki bey)
4. Saz Semaï (Sherif Muhyiddin bey)
5. Pesrev (Emin dede)
7. Saz Semaï (Salih dede)
9. Sirto (Suleyman Erguner)
Percussion performers: Pascal Quesnel & Nourredine Agoumi (bendirs)
Playing time: 69'59
Recording date: 1990
Composers are given parenthetically above.
One of many discs by Kudsi Erguner, but a nice one...
128 kbps sorry "normal quality &no scans"
Hammamizade İsmail Dede Efendi (1778-1846) was a composer of Turkish classical music. He was born on 9 January 1778, in Istanbul, Şehzadebaşı. He started studying music with Mehmed Emin Efendi, at the age of eight. He attended rituals at Yenikapı Mevlevihanesi, a place of Mevlevi gathering. He studied with Ali Nutki Dede and learned to play ney, in Yenikapı Mevlevihanesi. He became "Dede" in 1799. Dede Efendi's music was well appreciated by Sultan Selim III and then he performed his works at the palace. He had composed hundreds of songs and mevlevi rituals. In 1846 he pilgrimaged to Mecca, but in Mina contracted cholera and died. His grave is now in Mecca. Dede Efendi gave lessons in Turkish music to Hamparsum Limonciyan who developed the Hamparsum notation, the dominant notation for Turkish music. One of the greatest Turkish composers, he has created masterpieces in all forms and modes of Turkish music. He has also developed the composite musical modes of "sultanî yegâh", "nev-eser", "saba-buselik", "hicaz-buselik" and "araban kürdî". His greatest works are the seven Mevlevi pieces for Samah. More than two hundred of his compositions are available today.
CD 1: Neva Mevlevi Ayin-i serif'i:
1. Rast Naat
2. Giris taksimi
3. Devri Kebir
4. I. Selam "Devrirevan"
5. II. Selam "Evfer"
6. III. Selam "Devrikebir"
7. IV. Selam "Evfer"
8. Huzzam Son Pesrev
9. Huzzam Taksim
10. Kur'an-i Kerim (Solo: Bekir Sidki Sezgin)
CD 2: Huzzam Mevlevi Ayin-i serif'i:
1. Rast Naat
2. Giris taksimi
3. Devri Kebir
4. I. Selam "Devrirevan"
5. II. Selam "Evfer"
6. III. Selam "Devrikebir"
7. IV. Selam "Evfer"
8. Huzzam Son Pesrev
9. Huzzam Taksim
10. Kur'an-i Kerim
11. Post Duasi
CD 3: Hammamizade İsmail Dede Efendi:
1. Mahur Pesrevi
2. Ey Gonca Dehen
3. Yine Zevrak-i Derunum
4. Görsem Seni Doyunca
5. Yine Bir Gulnihal
6. Bir Çesm-i Ahu Hicr Ile
7. Yine Nes'e-yi Muhabbet
8. Aglatirlar Guldururler
9. Gel Derim Gelmez Yanima
160,08 MB, 128 kbps mp3, including covers scans
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Download CD 3
THE MEVLEVI RITES:
Being a Mevlevi was established as a seet after the death of Mevlana by his son Sultan Veled who was formed Mevlevi as a religious order according to his fathers thoughts, After that, the people in this way has called as "Mevlevi". The Mevlevi rites have been being done as a symbol of struggling while setting free of self existence for being in the right was with using right. The Mevlevi rites are played and sung by the commission of "Mutrip" in the place which is called "Semahane". In this commission, the "Naathan" group who reads the rites is placed together with the players of the Turkish Music instruments especially ney and kudum. These rites are composed of four main parts which are performed with special costumes by the commission of Mutrip and Semazens and every part of these rites is called "Selam". In the first selam, lovers set free from all kinds of doubts and they start believing in God. In the second selam, they accept that God is unique. In the third one, they reach to the level of a great and in the fourth selam, they start to turn around themselves. Seyh is also added to sema in this selam. He symbolizes Mevlana as being in the middle. When Seyh reaches his Post. Sema and Koran is started to read. After that, rites ends with the pray.
CD 1: Saba Mevlevi Ayini
1. Ney Taksimi
2. Birinci Selam
3. Ikinci Selam
4. Ucucu Selam
5. Ucuncu Selam (Yuruk Semai)
6. Dorduncu Selam
7. Son Pesrev
8. Huseyni Taksim (Ney)
9. Hicaz Taksim (Tanbur)
10. Acemasiran Taksim / (Ney, Tanbur)
11. Acemasiran Pesrevi / Dede Salih
12. Acemisan Ayin 1. selam / Hüseyin Fahrettin Dede
13. Ikinci Selam
14. Acemasiran Son Yürük Semai
CD 2: Ussak Mevlevi Ayini
1. Ussak Peşrevi
2. Birinci Selam
3. Ikinci Selam
4. Ucüncü Selam
5. Dorduncu Selam
6. Son Pesrev
7. Son Yürük Semai
8. Son Taksim (Ney)
CD 3: Bayati Mevlevi Ayini
1. Nat-i Mevlana / Aziz Bahriyeli
2. Bayati Taksim / Niyazi Sayin
3. Baayati Pesrevi / Emin Efendi
4. Birinci Selam
5. Ikinci Selam
6. Ucuncu Selam
7. Dorduncu Selam
8. Tanbur Taksimi / Necdet Yasar
9. Niyazi İlahisi
10. Son Taksim / Aka Gündüz Kutbay
119,35 MB, 128 kbps mp3, including covers scans
Download CD 1
Download CD 2
Download CD 3
Syria - Islamic Ritual Zikr
Auvidis UNESCO D 8013, 1989
TASSAWUF AND ZIKR
The word "Sufi", which is derived from the concept of tassawuf, denotes the esoteric currents in Islam which aim at seeking mystic union and the experience of the dissolution of the self in the Divine Essence. These currents appeared in the second century after the hijrah and since then have continued to multiply in various forms in the Islamic world. Both the word tassawuf and "Sufi", which is derived from it, contain the root suf which means wool and refers to the rough woollen garment originally worn by the ascetics as a taken of their detachment. The thinker al-Ghazali (450/1058-505/1111), a great Islamic mystic, in his work entitled Ihya "ulum al-din (Revival of the Sciences of Religion), defined this as follows: "To re-nounce the world in order to lead the life of an ascetic by ridding oneself of material bonds, by emptying the heart of its earthly concerns, and by approaching Almighty God with perfect spiritual diligence".
In one of his Maqamat the story-teller Hariri gives an account of the intense piety which prevailed during the second century after the hijrah in Baghdad , which was a meeting place for writers who sympathized with the ideas of the Sufis, and also in Basra, Kufa, Wasit and elsewhere. At this period Southern Iraq was the scene of the revival of religious fervour which led to the beginnings of the Sufi movements centred round the person of Hassan Basri (died in 100/772), who is regarded as the father of Islamic mysticism. These movements, which started in Iraq, later spread to Syria, Egypt and Anatolia through the founding of two of the oldest orders, the Qadiriyya and the Rifa'yya. Other movements came into being and influenced one another. This is true of the movement in Khorasan with its Turkish and Syrian ramifications (Mawlawiyya), of that in Egypt and the Maghrib (Shadhiliyya), and of that in Turkestan, which spread to the Ottoman Empire (Bektashiyya). The indian movement (Chistiyya), however, does not appear to have had any influence on the Arab world.
The sufi movement came under harsh criticism during the period of political agitation that followed the decline of the Umayyad cliphate and the ascendance of the Abbasids. It was attacked chiefly on the account of its esoteric practices and of being the privilege of an elite circle indulging in gnostic speculations. This weakening of faith was violently condemned by al-Ghazali, who advocated a return to the sources and affirmed the importance of a response of the heart in a direct and vivid experience. This appeal did not go unheeded and sufism began to be propagated by groups of people who gathered round a spiritual leader, a munshid, a director of conscience, called a shaykh, a bestower of baraka (blessing), who after his death, was elevated to the rank of the saint (sayedna) of his tariqa. Although the word tariqa originally denoted a way, a path to follow, in its religious acceptation it came to signify method, and then order or brotherhood . Hence the appearance in Mesopotamia of the first communities in the history of Islam, that of Qadiriyya founded by Abdul-qadir Jilani (died in Baghdad in 561/1161) and that of the Rifa'iyya founded by Ahmed Rifa'i (died in 575/1182). very little is Known about the latter, who left no writings. Born in an Arab family, he spent his life as an ascetic among the fakirs (a synonym of dervishes, the etymological meaning being "poor men") who gathered round him in a marshy region north of Basra called Bata'ih or al-Batiha. Initially the order was called the bata'ihiyya, but it soon assumed the name of its founder.
Historians such as Ibn Khallikan and Ibn Battuta were later to describe the ordeals which made the Rifa'iyya famous: walking on fire, placing a piece of burning wood on the tongue, swallowing potsherds, and transfixing the body (these practices were also adopted by maghribin brotherhood of the Isawiyya).
The Semitic root ZKR is associated with the notion of remembering. The word zikr (dhkr) primarily means an act of remembrance, more particularly an act of meditation on the name of Allah, And then it came to signify a technique for keeping the remembrance of Allah constantly in mind. It is mentioned several times in the Qoran. In the 41st verse of surate al-Ahzab we read, "Ye who believe, remeber (uzkuru) God with a continual remembering (zikran kathiran)".
There are numerous justifications for the zikr both in the Qoran and in the Hadith (the sayings of the Prophet).
The zikr is a method of asceticism practised either by a single believer or by a group. It is also a technique, chiefly a collective technique, which finds expression in the "session", the hadra. The various exercises performed during a hadra, such as the acceleration of the movement of the body, the swaying of the head in time with the breathing, the uttering of repeated phrases, etc., have been described by many scholars.
The technique of the zikr has often been explained during the course of the centuries, but there are few references to its musical aspects, to the perceptible manifestations of the context in terms of sound which plays a predominant part in the procedure of the ritual. In Islam, where the adhan, tell call to prayer, and the reciting of the sacred book are the two officially accepted forms of vocal art, the zikr forms a third and no less imprtant example. Here the progressive sequence of chant is connected with the degree of intensity of the spiritual experience. Old Indian texts repeatedly state that "the word is God". a notion which can be grasped at every moment during zikr, where, strangely enough, the melodic aspect provides the basis of the rhythmic aspect and indeed dominates it. The nearer the development of the chant comes to its climax, the more intense does the experience of the zikr become. Starting with an intoned recitation, the participants gradually reach the fullness of a cantilena through chanting a madih. On the other hand, the alteration of the first phrase of the shahada (testimony), "La illaha illa 'llah", repeated in a melodic style, gives rise to a kind of rhythmic pulse which generates the articulation of the words "hay" (living) and "hu" (he).
The presence of the singing, which is kept up throughout the service, is felt under various aspects comparable to a scale of degrees of intensity corresponding to the musical degrees of the maqam. This term, which is here taken not in its musical but in its Sufi sense, signifies the various stations through which the believer has to pass in order to attain union with God. This development is realized in several stages.
In answer to the recitation chanted by the munshid, or hymnodist, and when he comes to a qafla, i.e. the end of a phrase or, in musical terms, a return to the tonic, the hadra enters either by uttering exclamations on the syllable ah, which resounds like a kind of drone, or by declaring the attributes of the shahada. the purpose of this is obvious: it affords a means of filling in what would otherwise be a silence, in other words, a means of maintaining the impetus of the ceremony. This fear of emptiness bears an affinity with the state of mind of the faithful who "sit down in a circle without leaving any gaps between one another, for such gaps would cause the demon to rejoice and give access to him" (an Ibadite treatise by al-Jytali).
Those who are responsible for guiding the course of the zikr by singing are called munshid (plural munshidin). Their number varies from one to twelve according to the ceremony. if he takes part in the singing, the shaykh, or head of the tariqa, cannot be regarded as a munshid, who is the Islamic counterpart of the hymnodist in the rites of Christianity. Although a layman by origin and not admitted to the brotherhood, the munshid is treated with great respect and even veneration. In the hierarchy he comes immediately after the shaykh himself. He is juded by his qualities as a singer, these qualities being defined by the word hess (voice), by the abundance of his literary and the musical heritage.
Apart from the munshid there are other members of the faithful, called zakira, who may be close relatives of the shaykh and play a not unimportant part. It is their duty to raise the pitch level of the shahada along a chromatic scale of micro-intervals and to increase the tempo, at the same time taking account of the singing of the munshid, who at this stage is the leading figure in the ceremony. this they do in a most natural manner and without any apparent effort.
the agents which are conducive to "the sturation of the spirit" by enhancing the intensity of communion with the zikr are the percussion instruments. The two main brotherhoods which came into being in the Iraqi sphere, the Qadiriyya and the Rifa'iyya, use similar percussion instruments, namely frame drums called mizhar or mazhar. It is not impossible that the origin of this instrument, which has always had a religious function, is to be sought in Sumer because it is deplcted in bas-reliefs found in Mesopotamia.
the vigorous beating of the mizhar, which in Arabic means "that which causes to appear", gradually overpowers all physical which makes it easier to subject the body to the discipline of the ceremony, particularly during the trial by transfixing. the great volume of sound generated by this instrument, which can be heard from a considerable distance, causes the chanting it accompanies to impress itself more strongly on the mind and body of the faithful who identtify themselves with it.
Other musical instruments were authorized to be employed by the different brotherhoods, among which the mawlawiyya order has made the most expressive use of them.
the ceremony presented here four parts. The first, which is called wird by the theologians of Islam and known as mawled in the vernacular speech of Aleppo, consists of various intoned recitations: a reading from the Qoran, a ta'tira or prayer for the Prophet, qasida (poems) and madih (hymns).
The second part starts with the entry of the percussion supported by several madih (songs of praise) sung by shaykh al-Yamili and concludes with the trial representing an act of faith which makes the novices the elect of the holy Sayedna Ahmed Rifa'i, the founder of the order which bears his name. this long crescendo which enables the faithful to enter into a state of ecstasy lasts for nearly an hour. It is usually called darb shish, or "piercing with the sword". The third part, which immediately follows the preceding one introduces the munshid or hymnodist Munhiedin Ahmed, who becomes the leading figure in the ceremony properly known as the zikr, or "remembrance of Allah", A du'a or prayer of invocation, which forms the fourth and last part, concludes the ritual with a litany.
the abridged presentation of the second and third parts, the darb shish and the zikr, is intended to give as faithful an impression as possible of the Rifa'yya ceremony of Aleppo.
The zawiya of Shaykh Ahmed al-Yamili is a well-known meeting place for pilgrims and worshippers in the city of Aleppo, Zawiya, in Turkish tekke, literally "corner", is the name given to a room in a house set aside by a brotherhood for the purpose of holding communal prayers. The office of the superior of an order, who has the title of shaykh or spiritual head, is usually handed down from father to son. this is the case with the zawiya of the al-Yamili family, which has held this officer for more than two centuries. Every thursday evening a gathering is held which is attended by anything from sixty to eighty participants, some of whom travel fairly long distances to be present. The zawiya is a small room measuring four metres by three. The disciples take off their shoes when entering, respectfully kiss the hand of the shaykh, who invites them to take their places on the carpet, and then concentrate in silence and wait for the ceremony to begin. The participants, who are called hadra, whence comes the concept of "presence" often used as a synonym of zikr, arrange themselves in a circular formation called halqa, a word which gave rise to the frequently used term halqa zikr, all of them facing in the direction of Mecca. On the walls there are inscriptions in Kufic letters glorifying the Prophet and the founder of the Sayedna brotherhood, the holy Ahmed Rifa'i. A sword, the shish, hangs on one of the walls, and here and there are suspended a dozen or so mizhar or frame-drums, the skins of which are frequently heated over a coal fire to increase their tension and to produce a duller or a clearer sound. An officiant is responsible for performing this task through-out the ceremony. Two tabl or kettledrums are additionally used at the beginning and end of the second part, the darb shish.
Each of the faithful is dressed in a long white cotton tunic, the jellaba or gallabiyya, the distinctive apparel of the Rifa'iyya. The tunic worn by the shaykh is blue, and he also wears a maroon woollen mantle and a turban; the laffa, a symbol of his authority.
Opposite the shaykh, and with his back to the direction of Mecca, sits the chief munshid or hymnodist, who, like the officiant, does not take part in the mystic exaltation. During the zikr, however, he joins the shaykh, and from then on remains in a standing position facing southwards. The faithful all sit on mats and cushions during the first two parts, but stand up during the last two parts when the shahada or profession of faith, "La illah illa 'llah" (there is no God but Allah), is pronounced by the shaykh to start the zikr.
This is an authentic ritual, seldom recorded, in which music produces a state of trance in the audience.
The obsessional beat of the drums, the accelerating tempo, the repetition and rise of the song, the panting rhythms, all bring about a state of ecstasy; the audience is subsumed into the Divine Being.
Recorded in 1973
1. Islamic Ritual Darb Shish 25:05
2. Islamic Ritual Zikr 27:50
320 kbps including full scans
01. Masalların Masalı
02. İnsanları Seviyorum
04. Seversin Dünyayı
06. Bursa Kalesi
08. Geliyor Sıram
09. Götürmeyin Beni
10. Bugün Pazar
11. Ölmekten Korkmuyorum
12. Gelsene Dedi Bana
13. Şair Eczanesi
128 kbps including covers
Faiz Ali Faiz The new Qawwali voice Thanks to the genuis and the voice ofNusrat Fateh Ali Kahn (1948-1997), the force of qawwali is known the world over ; everyone has been waiting for a new artist with a sufficiently virtuosic talent and freedom of approach to take up Nusrat’s legacy. Here he is. Born in 1962, this young qawwal has an especially distinctive tone and vocal range which in many ways recall those of his illustrious predecessor, whose compositions he often revives. He has no scruples about distributing the ritual order so as to arouse the emotions of the audience and impose his personality as a soloist. Faiz Ali Faiz is unquestionably the major new voice of qawwali. The Qawwali : The Qawwali is a syncretic musical form from non-orthodox Islam in South Asia. The term comes from the Arabic word qaul (to say, word) and denotes both a musical genre from India and Pakistan and the actual form it takes. It is a sacred song designed to convey the message of Sufi poetry in the assemblies of auditions (sama’), with specific musical characteristics : the use of powerful male voices, with solo and chorus alternating, repetitions and improvisations by the accompanying drums and vigourous hand-clapping, the continual introduction of foreign elements ( poetic and musical quotations) into the original structure in order to reinforce the impact of the “world” on the audience and by extension, to arouse the emotion of mysticism in them, which can go as far as a state of trance.Part 1
ABIDA PARVEEN - Visal
Abida Parveen Visal - The meeting Mystic Pets from the Hind and the SindAbida Parveen is often compared to Nusrat Fateh Ali Khan for the dazzling quality of her voice and her vivd musical imagination allied to her utterly feminine sensibility, all used to tell the Beloved, the states that his love makes us endure. A real cult is now devoted to Abida, proof indeed of the way this immense artist gives herself over entirely to her public in her music; so long as they demand it, she is ready to go on giving the best of her gifts to serve the kalam (the Word) of the Sufi saints. Sometimes she will linger on a low note, sometimes she’ll rise to dizzy heights with vocal ornaments of dazzling virtuosity; she seems to be in a state of ecstatic communion with her audience, inspired by an energy coming directly from Him whose praises she sings. Poems from Hind and Sind This mystic poetry developed largely in the austerely beautiful countryside bordering the shrine route in the area known in ancient times as the Hind and the Sind that follows the modern-day border between India and Pakistan. At first these poems did not exist in written form. They were collected much later after the death of the saints and then transmitted orally from one generation to another. This explains how one singer’s version will differ from another; it has also given the bards a certain freedom of expression when weaving their tale. For example, if a singer wants to develop the theme of firaq (seperation), after a poem by Khawaja Ghulam Farid, he might find the needs to insert the verses of another poet into his own in order to underline he emotion he arouses. This is known as girah (literally « a knot », such as one finds in carpets).Part 1
FAIZ ALI FAIZ - Hommage a Nusrat Fateh Ali Khan
Faiz Ali Faiz..Thanks to his voice and his ability, Nusrat Fateh Ali Khan has brought the power of Qawwali before the whole world. An artist with sufficient virtuosity and liberty to re-ignite the flame has long been awaited and now we have one. Born in 1962, this young Qawwal has distinguished himself by a tone and expansive vocal abilities reminiscent of his illustrious predecessor whose works he loves to copy. He doesn't hesitate to disorganise the ritual to rouse the audience and impose his personality as soloist, Faiz Ali Faiz is indisputably the great new voice of Qawwali.Re Up Here
ABIDA PARVEEN - Ishq
Abida Parveen Songs to the Divine BelovedRe Up
If Abida Parveen is really a cult, it is because this tremendous artist offers herself to her audience, like noone. This way to serve the Kalam (the Verb) of the Sufi saints is often compared to Nusrat Fateh Ali Khan. Sometimes staying on a low note, sometimes producing sounds of an extraordinary virtuosity, she is always transformed by energy, seemingly inspired by He of whom she sings the praises in ecstatic communion with her audience. One for her dazzling voice and her musical imagination allied with a totally feminine, delicate statement to the divine Beloved.
6th Sense. New Songs from Bengal
Iris Musique 3001 822, 1999
Bapi has called his album "The 6th sense" to touch the heart and recover an intangible and essential virtue there. Our task is to follow him and his "Baul Bishwa" along this winding path, note by note, step by step, body and soul.
This album is a gem.
Paralleling the Baul philosophy of taking the best elements of disparate religions and loving "humanity" as the common denominator, this music assimilates influences from a succession of Hindu, Buddhist, and Muslim conquests. This eclectic music captures some of the soaring vocal highs of qawaali music (think Nusrat Fateh Ali Khan), but it also features jangley beautiful melodies and is packaged in a deeper and more accessible rhythmic groove. This sound is quite different from the Rough Guide track- it's more organic and upbeat.
The liner notes are fabulous and detailed- with a history of Baul music as well as English and French translations of the presumably Bengali lyrics.
An interesting quote from Bapi Das Baul:
"when you are on stage with the only desire to share your music with a musician who comes from somewhere else, the listening is vibrating. You can hear it like an endless interrogation point; you can smell it in the air like the memory of a forgotten perfume... you can taste it in singing words you don't understand."
I'm surprised this album isn't better known. I'd recommend it as one of the first records to buy for someone wanting to explore the vast and diverse musical traditions of India.
1. Ore Amar Mon Ganer Nowka
2. Mona Mona Mon
3. Dancing with Chakras
4. Mi Je Mone Mone
5. Chere De Tor
6. Nodi Chena Bora Dai
7. Ore Obodh Mon Chas Kore
320 kbps including full scans
Chants Sacres De Nubie Et Du Kordofan
01. Sal Al-Rakab (Enquire About the Convoy) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Shihub, Mahmud
02. Shâshâ Al-Samir (Hum, My Companion) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Allah, Muhammad 'Ab
03. Shawqaq Shawa Al-Damîr (Your Love Has Made Me Dizzy) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Mahi, Hajj
04. Al-Jihâd Fiyâ Halfa (O My Friends) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Hajj Al-Mahi
05. Yâ Habîbî Ahmad Tabib (My Beloved Ahmad Is Also My Savior) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Hajj Al-Mahi
06. Al-Hijâz Iâha Barqû (Hedjaz Appeared Like a Flash of Lightning) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al- Hajj Al-Mahi
07. Al-Ba'ûdah (The Mosquito) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Zamakhshari
08. Anta Nûr Al-Gharbi Wa-Sabâh (You Shine Forth Over East and West Alike) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Bura'i, Sheikh '
09. Sâqiyat Al-Lay (Night-Time Irrigation) - Ensemble Al-Mahi & Ensemble Al-Bura'i, Al-Bura'i, Sheikh '
10. La Ilah Illa Lah (There Is But One God, Allah) - Ensemble Al-Mahi & Ensemble Al-Bura'i,
Mp3 320 kbps , including full booklet scans
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Sheikh Ahmad Al Tuni
The Sultan of All Munshidin
Long Distance 3060972, 2000
Ahmad Al-Tuni comes from the village of Hawatka, near Assiout, and is one of the last great munshidin (singers of the inshad dini, the islamic sacred song or hymn) of Upper Egypt. Beneath the starry sky of the nights without end when the sufis celebrate their rituals in the villages of the Upper Nile region, all is dusty and dimly lit; then, as the night lengthens, its penetrating chill gradually seeps through the air, mingling with the fervent clamour of the devout. From the midst of this somewhat chaotic expression of faith, the munshid's voice rises forth and induces via the dhikr (literally a memory or remembrance) the state of trance common to sufi ritual. On Egyptian soil, the dhikr - where the name of god is recited according to some special breathing techniques - takes on the aspect of an ancient rite where all and sundry take part and indeed, where no-one can avoid entering into the trance-like state, as if there were no need to belong to any
particular brotherhood (tariqa). It includes the hadra, that moment of collective spirituality, where the common man can enter into the presence of the divine; this is an open, creative event where a whole range of emotional behaviour is expressed. No matter whether one is a disciple of Ahmad Al-Badawi, the founder of the Egyptian way known as the Ahmadiyah, or a member of the Shadhiliyah, the brotherhood created by Abu Al-Hasan Al-Shadili from Fez in Morocco, or a member of Ahmad Al-Rifa'i'rifa'iyah brotherhood, founded in Southern Irak in the 12th century, everyone flocks towards the sound of the munshid's voice. he is the true master of ceremonies, he will throw forth several spirited phrases guaranteed to charm and win over his public in exactly the way he wants.
The inshad or sacred chant is the central pillar of organisation here. In this context, where there are absolutely no authoritarian or religious sanctions from on high banning music and emotion, it is the munshid who controls everything, and and as a result the inshad is both freer and all the richer in musical terms.
Generally speaking, the religious singing of today recalls Arab music in urban style from before the 30's. This fact has been drawn to our attention by Michael Frishkopf. A small mixed instrumental group (the takht) in which each instrument is allowed to keep its individuality and express it in richly ornamented style, a flexibility of form that can include vocal and instrumental improvisations, the inclusion of some deliciously sensual modulations that float from one mode (maqam) to another, the whole punctuated with melodic rhythms (qafla-s): these are the traits that give this particular style its inherent richness.
So little by little the munshid has built up his ensemble and its musical potential. Thus we find the instruments originally linked to this type of singing the daf, the naqrazan (a percussive copper drum to be struck with sticks) the raq (a little tambourine with tiny cymbals attached) or the qawal (the flute) this is the instrumentation still used by Shaykh Barrayn but others have started to make a timid appearance, too: the Egyptian tabla, for instance, the kamantcha (the oriental violin), the 'ud and even occasionally the qanun. the musicians who perform on these instruments are not necessarily great virtuosi in the classical or strict sense of the term, but rather than being masters of a technique, one senses their devotion, their desire to amplify and serve the voice of the singer.
The great Egyptian munshid Ahmad Al-Tuni, a master of the inshad, chants almost in the manner of an actor from earlier times declaiming his lines. He holds his sipa (the muslim rosary) in one hand and accompanies his poetry with expressive gestures and mime; his body moves nervously to and fro, from side to side, as if to mark the violently forceful rhythms of the daf and the Egyptian tabla. he recalls better than anyone those singers of former times known as the mutrib, literally "one who creates tarab", the singers who produced the ideal blend of emotion from the mingling of words and voice.
The ibtihalat (a supplication in free poetic form) the tawashih diniya (religious poetry based on a musical exchange between the soloist and the choir) the qisas diniya (stories on religious themes) and the sufi inshad are the various steps along the musical way to the state of saltana, the bliss of listening.
The first time Ahmad Al-Tuni came to France to sing at the theatre de la ville in 1999, everyone was surprised by how easily he managed to transpose his art to the setting of a stage in a western theatre. With the particular power one always finds in oriental trance music one has only to recall the Qawali from Pakistan he weaves his vocal arabesques around poetic maxims from some of the great masters such as Al-Hallaj or Ibn Al-Farid. In this context the maxims become mere shivers of sound, a resonance of notes lost in the emotion of the moment.
Ahmad Al-Tuni's charisma is such that he stands out as one of the last truly great singers of his kind, those of another era where lyricism and the voluptuous sensuality of the words had their place, where the voice alone could provoke mystical love, desire, passion and the feeling of leaving the body. - Alain Weber
Tomatito with Sheikh Ahmad Al Tuni - Fusion Flamenco Soufi
1. Qulub al ashqine (The hearts of lovers)
2. Al qalima al qadima (The original word)
1. Allah mahabba (God is love)
2. Alam (The name of the creator)
Sheikh Ahmed Al-Tuni - vocals
Salah Sharawu Abdel Sayyed - vocals
Atta Mohammed Ali - kamanga
Rachidi Rjamis Rachidi - reqq
Abdel Rahuf Inrahim Ahmad - naqrazan
Sayed Abdel Zaher - oud
Masser Abdel Hmid Ahmad - tabla
320 kbps including full scans
ABIDA PARVEEN - Visal
Abida Parveen Visal - The meeting Mystic Pets from the Hind and the SindAbida Parveen is often compared to Nusrat Fateh Ali Khan for the dazzling quality of her voice and her vivd musical imagination allied to her utterly feminine sensibility, all used to tell the Beloved, the states that his love makes us endure. A real cult is now devoted to Abida, proof indeed of the way this immense artist gives herself over entirely to her public in her music; so long as they demand it, she is ready to go on giving the best of her gifts to serve the kalam (the Word) of the Sufi saints. Sometimes she will linger on a low note, sometimes she’ll rise to dizzy heights with vocal ornaments of dazzling virtuosity; she seems to be in a state of ecstatic communion with her audience, inspired by an energy coming directly from Him whose praises she sings. Poems from Hind and Sind This mystic poetry developed largely in the austerely beautiful countryside bordering the shrine route in the area known in ancient times as the Hind and the Sind that follows the modern-day border between India and Pakistan. At first these poems did not exist in written form. They were collected much later after the death of the saints and then transmitted orally from one generation to another. This explains how one singer’s version will differ from another; it has also given the bards a certain freedom of expression when weaving their tale. For example, if a singer wants to develop the theme of firaq (seperation), after a poem by Khawaja Ghulam Farid, he might find the needs to insert the verses of another poet into his own in order to underline he emotion he arouses. This is known as girah (literally « a knot », such as one finds in carpets).