Iraq: The Maqams of Baghdad

Here is another stellar recording in the series issued by Ocora, the label of Radio France, featuring amazing music from around the world.  Recorded in the Iraqi capital and ancient city of immense historical importance in 1972, The Maqams of Baghdad, runs not too far over 50 minutes and features three compositions in this traditional style, including the Husseini, Hleilawi and Seigah, with the first and last lasting just over 20 minutes each and the middle about half that length.

The hypnotic performances by vocalist Yusuf Omar and the Al Tchaighi Al Baghdadi ensemble, including Abdallah Ali on the santur, Sha-ubi Ibrahim and Hassan Ali on djoze, Abdul Razzak Madjid on tabla, Kan'an Mohamed Salih and Dia' Mahmoud Ahmad on deff are just spectacular.  Important with any recordings of music from other lands, the liner notes by Professor Scheherazade Qassim Hassan, who taught at the University of Baghdad from 1967-1982, established that city's Center for Traditional Music, and later taught in London, Paris and Prague written nearly a quarter century later, are very information and enlightening.

Dr. Hassan wrote that the maqam vocal tradition likely dates back to as far back as the 8th century and, with deep connections to other parts of the Islamic world, given Baghdad's central location, necessarily evolved.  She added, as is the case throughout the world, that intensive modernization and Westernization, not to mention economic, political and social conflict, led to a dramatic loss of performers and a simplification of the form.  Moreover, she emphasized the fact that the maqam in Iraq, of which there were some 50 examples, was differentiated from the maqam of other Arab countries in that it specifically concerned vocalization.

These three pieces are remarkable and indicative of what often happens to the traditional music of countries around the world when conditions change dramatically.  In Iraq, Saddam Hussein took control of the nation seven years after his recording and the terrible war with Iran followed, during which Professor Hassan left for Europe.  Hussein's ouster by the United States in the Second Gulf War involved more turmoil in the nation and Middle Eastern politics is, of course, incredibly turbulent and dangerous currently.  This recording, however, is a reminder of the amazing musical history of this ancient society and its culture.

China: Uyghur Music

One of the great tragedies of our time is the terrible treatment of the Uyghur people of the province of Xinjiang at the furthest western edge of China, with the government engaging in horrific efforts to suppress their culture and "reeducate" and indoctrinate them into Han Chinese society.  We can only hope that, ultimately, the cultural and social practices of the Uyghur will persevere in the face of such tyrannical actions, including the music.  

This recording from 2011 and released seven years on the incredible Ocora label of Radio France presents a dozen pieces, including the Chong Näghmä and the Dastan Näghmä, multi-movement works, and a Mäshräp vocal based on a Sufi poem.  Given the long history of these Muslim people, the musical ties extend throughout central and eastern Asia, including to Persia, Tajikistan, Turkey and Uzbekistan and other areas.

Vocals by men and women and instrumentation on frame drums and percussion, lutes and fiddles reflect a long tradition of complex and compelling music that is truly intoxicating to hear.  Hearing this music is a direct experience of how the famed Silk Road from Persia to China manifested its influences, just as music from India and the Middle East traveled, through the lute instruments from the sitar to the guitar, southwest through the northern portions of Africa to Spain via the incredibly rapid Muslim spread and then made the leap to the New World.

The muqam. or system of melodies based on arrangements of pitches, uses scales on which improvisation is developed and refers to these motifs during pieces that can often be quite lengthy.  So, on this October 2011 recording, the Chong Näghmä takes up well over a half hour and the Dastan Näghmä is just more than 23 minutes in length.  The mäshräp is a specifically male performance for social occasions typically one of significance for bonding Uyghur men.

Sadly, the repression of the Muslim Uyghurs threatens all aspects of their society, including their music, though one hopes that resilience will keep this remarkable tradition going in the face of oppression.

Simon Shaheen/Vishwa Mohan Bhatt: Saltanah

This summit of two musical masters from traditions that have common roots but also noted differences is aptly subtitled in the very helpful notes by Dr. Habib Hassan Touma of the International Institute for Traditional Music in Berlin as where "The rag and the maqam meet."

In other words, Bhatt comes from the Indian world of the rag, or raga, while Shaheen is from that of the Arabic maqam.  Both forms of music rely on a modal system and are heavily improvisatory after the performing of a melody line from which to develop the improvisation.

The word saltanah essentially refers to the mastery with which the two men play their instruments.  Bhatt, actually, plays something unique--a mohan vina, which a guitar-like instrument of his design which has sixteen strings, four of which play, by strumming, the drone so typical of Indian music and the remaining constituting the melody strings, which are struck with a pick.  Moreover, this instrument is played on the lap much like a steel guitar.  As explained by Dr. Touman, the mohan vina matches the tonal dimensions of the sitar, one of the mainstays of the raga.

As for Shaheen, he has been highlighted in this blog already through his amazing duet album with Ali Jihad Racy called Taqasim and is a virtuoso on the violin and the oud, the lute that is the core of much of Arabic music.  Shaheen has helped to popularize the oud and the maqam in the West.

This remarkable album consists of five pieces that bring together a rag and a maqam with the players alternating in a stunning display of technique, but also of feeling.  They are given simple titles like "Dawn," ""Dusk," and "Mists,"as well as "Saltanah" and "Ghazal."  The leaders are joined by Ronu Majumdar on two tracks playing the bansuri and Sangeeta Shankar on the violin on "Ghazal."

Dr. Touma explained the structure and performance of the pieces, while producer Kavichandran Alexander penned a concise but useful essay on the history of these musics and short biographical sketches of Bhatt and Shaheen.

These kinds of records tend to get labeled as "fusion," which calls to mind electric jazz or really disparate blending of musics, but there is actually a great deal here which is intricately tied to common historical roots, the use of modal system, and a reliance on improvisation. 

To this listener, this isn't so much as "fusion" as it is a melding of complementary musical forms played by two stellar musicians.  Saltanah is a great work and is an interest comparative record to Shaheen and Racy's Taqasim.

Anyone interested in or curious about the music of India and the Arab world would do well to search out this fantastic 1996 release on Water Lily Acoustics, a small Santa Barbara, California label.

Simon Shaheen/Vishwa Mohan Bhatt:  Saltanah (Water Lily Acoustics, 1996)

1.  Dawn (Rag Kirwani/Maqam Nahawand)  15:24
2.  Ghazal (Rag Vasant Mukhari/Maqam Hijaz)  16:05
3.  Saltanah (Rag Bagashri/Maqam 'Ajam Mu'addal)  8:23
4.  Mists (Rag Pahari/Maqam 'Ajam)  12:34
5.  Dusk (Rag Bhairavi/Maqam Kurd)  15:23

Ali Jihad Racy and Simon Shaheen: Taqasim: The Art of Improvisation in Arabic Music

Taqasim is an exceptional recording issued by Lyrichord Records of improvisations by two masterful musicians, buzuq player Ali Jihad Racy and oud performer Simon Shaheen.  This 1991 album is said to be the first instance of these two instruments paired together and the three tracks, "Magam Kurd;" "Maqam Nahawand;" and "Maqam Bayyati" feature phenomenal playing as the men alternate solos building upon a melody on their respective instruments, demonstrating both exceptional speed and control as well as wonderful melodic invention.

Generally, taqasim have been employed in supportive roles in Arabic music performances, either as introductory to a song or as a connective bridge between two parts of a larger suite.  In some cases, longer taqasim performances have been demonstrated, although the constraints of modern recording limited its availability in that format.  With this record, however, the opening "maqam" or melodic development, is 20 minutes long, while the remaining two are 13 and 9 minutes, respectively.  In any case, listening to these two masters "duel" with their exceptional soloing makes the time go by so quickly.

Of note is the way in which Racy and Shaheen build off the melodic theme, using four-note tetrachords of varying scales and pitches to modulate from one maqam or melodic mode to another.  So, while there is a defined structure with the tetrachords as established within the maqam, the skilled improviser has a great deal of freedom in creating those modulations. 

The names of the pieces are, in fact, the monikers given for tetrachords, that is, the "Kurd;" "Nahawand;" and "Bayyati" are tetrachord types which define how Racy and Shaheen craft their interpretations.   The Nahawand, for example, is roughly analogous to the first four notes of a minor scale in classical music in the West.  The "Kurd" generally corresponds to those notes in the Phrygian mode.  The Bayyati (Bayati) is the more common of the tetrachords used in Arab music.

As to the instruments, they are similar in appearance, having pear-shaped bodies with plucked lute strings, but the oud has a deeper sound and is unfretted and the buzuq has a longer neck, smaller body, frets, and a more metallic, ringing sound.

Racy, a native of Lebanon, is a long-time professor of ethnomusicology in the renowned department at the University of California, Los Angeles and has recorded two other Lyrichord albums and a collaboration with the tremendous Kronos Quartet (whose Howl, U.S.A. album has been featured on this blog.)  In addition to the  buzuq, which has a relationship to the saz, which comes from Iran and Turkey (a great Axiom Records release by Talip Ozkan is to be detailed here, as well.)  He is also a master of the nay, a reed flute that is to be noted in a later post here on the amazing music of the Whirling Dervishes.

Shaheen, who hails from Palestine, is also a dual instrumentalist of note, being also a violinist.  He performed on another featured item from the blog, Material's Hallucination Engine and his connection to that collective's leader, Bill Laswell, led to a Shaheen album, released on Laswell's fantastic Axiom label, devoted to the music of Egyptian composer Mohammed Abdel Wahab, who skillfully blended Arabic and Western styles together in rich orchestral pieces--this record will also be covered here.  Shaheen also made a complement of sorts to Taqasim, when he released Saltanah with Vishwa Mohan Bhatt, a musician from India who created his own sitar/slide guitar hybrid--another album, blending the maqam with the raga,  that will someday make an appearance here.  Recipient of a National Heritage Award from President Clinton, Shaheen has two bands, lectures, composes film soundtracks and much more.

It is hard to think of an album that has as much power, grace, skill, and art using improvisation from established structures than this--jazz improvisationis equally as thrilling.  Moreover, anyone interested in guitar music can easily see how the origins of that Western instrument can be traced back to the many impressive musical traditions of the Near and Middle East.  Finally, music is the "universal language" and examples like Taqasim show that, whatever cultural differences exist in a sometimes polarized and politicized world, music gives an opportunity to transcend those variations through something relatable and unifying.