venerdì 16 giugno 2017

Ahmed Malek أحمد مالك









Ahmed Malek was one of the most prolific Algerian composers of movie music.
He has produced soundtracks for a number of films (most popular are Les Vacances de l'Inspecteur Tahar, Omar Gatlato and Aziza), television shows and documentaries.


Born on March 6, 1931 in Bordj el-Kiffan, a town belonging to the Dar El Beida district in Algiers, Ahmed Malek, the eldest son of a nucleus of three brothers and a sister, started working at the factory very young To help her father in family livelihood.

His mother died when he was only twelve years old, and at that moment he made the choice to devote himself to the study of music.After graduating from the Conservatory of Algiers in flute and Musical theory, he became part of symphonic orchestra of RTA , the Algerian radio television born after independence.

From the end of the 1960s Ahmed Malek will sign the music of many soundtracks for films of different scenery. His music, able to create a very special mood: melancholic and thoughtful, emotional and touching, but never depressing, will draw on an incredible variety of styles and will move smoothly between modal jazz and funk, between tradition, Bossa Nova and electronic music , providing the basics of what will become modern Algerian music. Always elegant, huddled between grace and transgression, the sound of Ahmed Malek will leave an indelible mark over the years.

For decades, this great composer will lead the orchestra into which he has entered as a simple musician in his youth and will represent his country in international events in Japan, Canada, Cuba and Spain, obtaining several awards. As a composer he will be active until the end of the 1980s, then, as a result of health problems, he will retire to private life. He will die on July 24, 2008 in his home in El-Mouradia, on the heights of Algiers, and his body will be inhaled at the Sidi-M'hamed cemetery in Bordj el-Kiffan, his hometown.


For many years, the only chance to listen to his compositions, as well as enjoy watching movies, was offered by a double album titled "Ahmed Malek - Musique Originale de Films" made by the Algerian Ministry of Information and Culture in 1978. The hard discovery of the record made the work of this great author remain in the shadow of the western audience.

The gap was filled in 1995 by the French label "Club Du Disque Arabe" , which produced a CD dedicated to the compositions of Ahmed Malek entitled "Musique De Films En Algerie", but this production has also become virtually unavailable.

In May 2016, the emerging German label Habibi Funk Records, in collaboration with the artist's family, produced an album that includes 14 compositions by the Algerian composer and we will always be grateful for this fact to Jannis Stuertz 
thinking mind of the label.
 
In February 2017, a new Habibi Funk Records production was carried out, which collects Ahmed Malek's unpublished material from the experiments conducted in the early 1980s with synthesizers and electronic music.







 


Ahmed Malek è stato uno dei più prolifici compositori algerini di musica da film.
Ha realizzato colonne sonore per svariati di film ( tra i più popolari figurano “Les Vacances de l'Inspecteur Tahar” , “Omar Gatlato” e “Aziza “ ) , spettacoli televisivi e documentari.

Nato il 6 Marzo 1931 a Bordj el-Kiffan , una cittadina appartenente al distretto di Dar El Beïda, nella provincia di Algeri, Ahmed Malek , figlio primogenito di un nucleo composto da tre fratelli e una sorella, ha iniziato precocemente il lavoro in fabbrica per aiutare il padre nel sostentamento della famiglia. Sua madre morì quando lui aveva solo 12 anni è in quel momento fece la scelta di dedicarsi allo studio della musica. Dopo essersi diplomato presso il conservatorio di Algeri in flauto traverso e solfeggio è riuscito ad entrare a far parte dell’orchestra sinfonica della RTA , la radio televisione algerina nata dopo l’indipendenza. A partire dalla fine degli anni ‘60 Ahmed Malek firmerà la musica di molte colonne sonore per pellicole di diversa ambientazione. La sua musica , capace di creare un umore molto speciale: melanconico e riflessivo, emotivo e toccante, ma mai deprimente, attingerà ad un incredibile varietà di stili e si muoverà agevolmente tra il jazz modale e il funk, tra la tradizione ,la Bossa Nova e la musica elettronica fornendo le basi di quella che diverrà la moderna musica algerina. Sempre elegante , in bilico tra grazia e trasgressione , il suono di Ahmed Malek lascerà nel corso degli anni un segno indelebile.

Per decenni questo grandissimo compositore dirigerà quell’orchestra nella quale era entrato come semplice musicista in gioventù e rappresenterà il proprio paese in eventi internazionali in Giappone , Canada, Cuba e Spagna ottenendo svariati riconoscimenti . Come compositore sarà attivo sino alla fine degli anni ‘80 poi, in seguito a problemi di salute, si ritirerà a vita privata. Morirà il il 24 luglio 2008 nella sua abitazione di El-Mouradia , sulle alture di Algeri , e la sua salma sarà inumata presso il cimitero Sidi-M'hamed di Bordj el-Kiffan , sua città natale.

Per molti anni l’unica possibilità di ascoltare le sue composizioni , oltre che gustarsele visionando i vari film , è stata offerta da un doppio album intitolato “Ahmed Malek ‎– Musique Originale de Films “realizzato dal ministero dell’informazione e della cultura algerino nel 1978 . La difficile reperibilità del disco ha fatto si che il lavoro di questo grande autore rimanesse nell’ombra presso il pubblico occidentale.

La lacuna è stata colmata nel 1995 dall’etichetta francese Club Du Disque Arabe che ha realizzato un CD dedicato alle composizioni di Ahmed Malek intitolato “ Musique De Films En Algerie “ ma anche questa produzione è divenuta praticamente irreperibile.

Nel maggio del 2016 l’etichetta emergente tedesca Habibi Funk Records , in collaborazione con la famiglia dell’artista, ha dato alle stampe un album che raccoglie 14 brani  del compositore algerino e di questo saremo sempre grati a Jannis Stuertz mente pensante  dell’etichetta .

Nel febbraio del 2017 ha visto la luce una nuova produzione targata Habibi Funk Records che raccoglie materiale inedito di Ahmed Malek frutto delle sue sperimentazioni (datate primi anni’80) con i sintetizzatori e la musica elettronica. 










Selected Filmography





A selection of movie titles for which Ahmed Malek composed the soundtrack



Le Charbonnier ( Mohamed Bouamari - 1972)

Les Vacances de l’inspecteur Tahar ( Moussa Haddad -1972)

Zone interdite (Ahmed Lallem - 1972)

L’Héritage (Mohamed Bouamari  - 1974)

Les Enfants de novembre (Moussa Haddad - 1975)

Omar Gatlato (Merzak Allouache - 1976)

Les Déracinés (Lamine Merbah - 1976)

Le Silence des cendres (Youcef Sahraoui - 1976)

Barrières (Ahmed Lallem - 1977)

Leïla et les autres (Sid-Ali Mazif - 1977)

Les Aventures d’un héros
( Merzak Allouache - 1978)

Kahla ou beida (Abderrahmane Bouguermouh - 1980)


Aziza (Abdellatif Ben Ammar - 1980)

Un toit, une famille (Rabah Laradji - 1982)

Bouamama
(Benamar Bakhti - 1983)

L’Homme qui regardait les fenêtres
(Merzak Allouache 1986)


 Hassan Niya (Ghaouti Ben Dedouche - 1989)





For those interested in cinema at this address, you can find an exhaustive list of Algerian production between the end of the 1950s and the first decade of the 2000s









Ahmed Malek أحمد مالك ‎– Musique De Films En Algerie







Club Du Disque Arabe ‎– CDA 401 1995


01 Bir DJebbah
02 Barrières
03 Les Vacances De L'inspecteur Tahar
04 Traces Sur Le Sable
05 Atlassi
06 La Ville
07 Leïla Et Les Autres
08 Lila

09 Casbah
10 Bossa
11 Aziza
12 Tikjda
13 Les Oiseaux De L'été
14 Maya

15 Taghout
16 Maghreb
17 La Côte
18 La La La

19 Hoggar


BONUS TRACKS


In this folder you can find as bonus tracks some songs taken from the album of 1978   "Musique Originale de Films " 
 
Ahmed Malek Aller Simple

Hassen Terro
Hira
Les Aventures D'un Heros
Les Déracinés
Le Suicide
Mehdi
Zina


HERE 





Ahmed Malek أحمد مالك ‎– Musique Originale De Films





 Habibi Funk Records ‎– Habibi 003 2016


A1  Omar gatlatou (unreleased longer version)
A2  Tikjda
A3  La ville
A4  La ville part 2 ( unreleased)
A5  Halla
A6  Maya
A7  Les vacances de l'inspecteur tahar
B1  La silence des cendres
B2  Autopsie d'un complot
B3  La côte
B4  Henya
B5  Bolero
B6  Un toit et une famille (unreleased)
B7  Omar gatlatou (alt. version)


 HERE




 Ahmed Malek أحمد مالك ‎– Themes  from some movies





 Themes from :   Autopsie d'Un Complot, Familia Ki nass, Kahla Ou Baïda, Les Aventures d'Un Héros and Les Déracinés

 HERE





Ahmed Malek / fLako ‎– The Electronic Tapes 

  


 
Habibi Funk Records ‎– Habibi 005 2017

A1 Tape 22 Track 2
A2 Tape 23 Track 4
A3 Tape 23 Track 3 (part 1)
A4 Tape 23 Track 5
A5 Tape 27 Track 3 (part 1)
A6 Tape 9 (part 1)
A7 Tape 23 Track 3 (part 2)
A8 Tape 3 Track 4
A9 Tape 9 (part 3)
B1 Tape 12 Track 1
B2 Tape 9 (part 4)
B3 Tape 27 Track 1
B4 Tape 27 Track 3 (part 2)
B5 Tape 9 (part 2)
B6 Tape 23 Track 6
B7 Tape 16 Track 3
B8 Tape 27 Track 5


 HERE


giovedì 18 maggio 2017

The Musical Heritage of Morocco : Souad Ahmed سعاد أحمد




Souad Ahmed سعاد أحمد - Shufu Habibi شوفو حبيبي - Ana Ma'ak انا معاك




Casaphone CSP 1061

Side A  Shufu Habibi شوفو حبيبي
Side B  Ana Ma'ak  انا معاك 

HERE



Souad Ahmed سعاد أحمد - Arjana fa li'aly ارجانا فا لعالي - Mansakshy مانساكشي




                                      


Casaphone CSP1078

Side A   Arjana fa li'aly  ارجانا فا لعالي
Side B   Mansakshy  مانساكشي 

HERE


Souad Ahmed سعاد أحمد - Hub al roumman حب الرمال - Shuini fik شويني فيك





Casaphone CSP 1184

Side A  Hub al roumman  حب الرمال
Side B  Shuini fik   شويني فيك

HERE

 


Souad Ahmed سعاد أحمد - 'adhabni ez zine عذبني الزين - Ez za'araya الزعرية




Casaphone CSP 1197


Side A    'adhabni ez zine  عذبني الزين
Side B    Ez za'araya  الزعرية

HERE

lunedì 15 maggio 2017

The Musical Heritage of Morocco : Fatima Kobass فاطمة كوباص




Fatima Kobass فاطمة كوباص - Libgha Habibou اللي بغا حبيبو - La Tansani لا تنساني




Sawt Agadir SA18128 Standard


Side A Libgha Habibou اللي بغا حبيبو
Side B La Tansani لا تنساني


HERE





Fatima Kobass فاطمة كوباص - Al Chaykha Fatima Kobass الشيخة فاطمة كوباص



                             


TCK 674

A1 Fine Lahbab فين لحباب
A2 Ya Bidaoua يا بيضاوا
B1 Hajaj al Madina حجاج المدينة 

B2 Madha Jrite ماذا جريت

HERE


The Musical Heritage of Morocco : Fatima Zahafa فاطمة الزحافة






Fatima Zahafa was a great Moroccan singer originally from Settat. Her fame is to be attributed, in ddition to the numerous songs engraved during her career, to the great success obtained by the song "Zaoiua" made in 1965. The Zouia (a Muslim religious building) to which the song refers is that of the town Of Sidi Smaïl located not far from Settat.
Though suffering from a serious disability, the singer did not spare and has been constantly performing during her life at celebrations, weddings and official events in her hometown.
As has often happened to other Moroccan artists she died in a state of extreme poverty in complete denial of the great artistic contribution she has given to her country







Fatima Zahafa è stata una grandissima cantante marocchina originaria della città di Settat. La sua fama è da imputarsi, oltre che alle numerose canzoni incise nel corso della sua carriera, al grande successo ottenuto dal brano “ Zaoiua” realizzato nel 1965. La Zouia ( un edificio religioso musulmano) a cui fa riferimento il brano è quella della cittadina di Sidi Smaïl situata non lontano da Settat.
Pur se affetta da una grave disabilità la cantante non si risparmiata e si è esibita costantemente nel corso della sua vita in feste, matrimoni ed eventi ufficiali della sua città natale.
Come molto spesso è capitato ad altri artisti marocchini è deceduta in una condizione di estrema povertà in totale spregio al grande contributo artistico che ha dato alla sua terra.





Fatma Zahafa فاطمة الزحافة - Khaïfa Nablik خايفة نبليك / Sidi Habibi سيدي حبيبي




Koutoubiaphone KTP 1421A/B


Side A Khaïfa Nablik خايفة نبليك

Side B Sidi Habibi سيدي حبيبي

HERE



Fatma Zahafa فاطمة الزحافة - Ben Achir بن عاشير / Moulay Amer مولاي اعمر




Koutoubiaphone KTP 1351



Side A Ben Achir بن عاشير
Side B Moulay Amer مولاي اعمر


HERE




Fatma Zahafa فاطمة الزحافة - Fine Ayamou فين ايامو




Koutoubiaphone  KTP 1369 A/B


Side A Fine Ayamou فين ايامو
Side B Fine Ayamou فين ايامو

HERE




Fatma Zahafa فاطمة الزحافة - Habibi ana حبيبي أنا





Koutoubiaphone KTP 1370 A/B


Side A Habibi ana حبيبي أنا

Side B Habibi ana حبيبي أنا 

HERE




Fatma Zahafa فاطمة الزحافة - Saidi السعدي




Orikaphone OK 45. 432 A/B


Side A Saidi السعدي
Side B Saidi السعدي
HERE




Fatma Zahafa فاطمة الزحافة - Zaouia الزاوية




Side A Zaouia الزاوية
Side B Zaouia الزاوية

 HERE

lunedì 1 maggio 2017

The Nile Project








Nile Project is, as the name suggests, a project that brings together various artists from various African countries such as Burundi, Egypt, Ethiopia, Kenya, Rwanda, Sudan and Uganda.

Through an innovative approach combining music and education, the Nile Project addresses the cultural and environmental challenges that are at the root of conflicts along the banks of the Nile. It is not therefore a simple musical group, but a real active collective for the safeguarding and the human and cultural development of the interested populations which, according to the group's words, "inspires, educates and exhorts Nile citizens to work together To promote the sustainability of their river's ecosystem. "

On their beautiful site (
http://nileproject.org), you can find detailed information about the project's goals and the results already achieved as well as all the details about the music group.

From the strictly musical point of view, the group produced in 2013 a first live album entitled "Aswan", followed by a second album titled "Jinja" in 2017. For some time, the third album is expected to be "Tana".

The project for the album "Jinja" was attended by:



Dawit Seyoum ( Ethiopia )
Dina El Wedidi /( Egypt )
Hany Bedair (Egypt )
Jorga Mesfin /(Ethiopia)
Kasiva Mutua (Kenya )
Meklit Hadero (Ethiopia )
Micheal Bazibu (Uganda )
Mohamed Abozekry (Egypt )
Nader Elshaer ( Egypt )
Sarah Abunama-Elgadi (Sudan )
Selamnesh Zemene (Ethiopia )
Sophie Nzayisenga (Rwanda )
Steven Sogo (Burundi ) 















Nile Project è , come afferma il nome, un progetto che riunisce   artisti provenienti da vari paesi africani quali Burundi, Egitto, Etiopia, Kenya, Ruanda, Sudan e Uganda.


Attraverso un approccio innovativo che unisce musica e istruzione il Nile Project affronta le sfide culturali e ambientali che sono alla alla radice dei conflitti lungo le sponde del Nilo. Non si tratta quindi di un semplice gruppo musicale ma di un vero e proprio collettivo attivo per la salvaguardia e lo sviluppo umano e culturale delle popolazioni interessate che , secondo le parole del gruppo, “ ispira, istruisce ed esorta i cittadini del Nilo a lavorare insieme per promuovere la sostenibilità dell'ecosistema del loro fiume”.

Sul loro bel sito ( http://nileproject.org) si possono trovare informazioni dettagliate circa i propositi del progetto e i risultati già raggiunti oltre che tutti i dettagli inerenti il gruppo musicale.

Sotto il profilo strettamente musicale il gruppo ha realizzato nel 2013 un primo album registrato dal vivo intitolato “Aswan “ al quale è seguito nel 2017 un secondo album intitolato “ Jinja” . Da qualche tempo è attesa la realizzazione del terzo album il cui ttolo sarà “ Tana”.

Al progetto per l’album “ Jinja” hanno partecipato :


Dawit Seyoum ( Etiopia )
Dina El Wedidi ( Egitto )
Hany Bedair (Egitto )
Jorga Mesfin /(Ethiopia)
Kasiva Mutua (Kenya )
Meklit Hadero ( Etiopia )
Micheal Bazibu (Uganda )
Mohamed Abozekry (Egitto )
Nader Elshaer ( Egitto )
Sarah Abunama-Elgadi (Sudan )
Selamnesh Zemene ( Etiopia )
Sophie Nzayisenga (Ruanda )
Steven Sogo (Burundi )










 The Nile Project - Aswan



01 Shagwab
02 Salaam Nubia
03 Ami ya Gamal
04 Tezeta
05 Zegiewh06 Omha
07 Aysh
08 Neel
09 St Yared of Axum
10 Kulina Wahed
11 Sematimba ne Kikwabanga
12 Takasim Oud
13 Ya Ganouby
14 Sekota
15 Guyala

 HERE




 The Nile Project - Jinja



01 Inganji
02 Allah Baqy
03 Ya Abai Wuha
04 Omwiga
05 Uruzi Nil
06 Dil Mahbuby
07 Tenseo
08 Marigarita
09 Biwelewele 

10 Mulunge Munange

HERE

domenica 30 aprile 2017

Baligh Hamdi بليغ حمدي






Baligh Hamdi (7 October 1931 – 17 September 1993) was an Egyptian composer who created hit songs for many prominent Arabic singers, especially during the 1960s and 1970s

Born Baligh Abdel Hamid Hamdi Morsi on 7 October 1931 Shubra district of Cairo. His father was a professor of physics at King Fuad I University (now Cairo University). He learned to play the violin at age nine, and the oud two or three years later. He took music lessons with a variety of teachers throughout childhood and teenage years. He became a professional musician in 1954 at age 22. Immediately prior to that, he had been a law student, and he chose to not complete the studies for the law degree.

He started his musician career as singer. But very soon he turned to composing, and his compositions got good acceptance in the mid-1950s. In the late 1950s, the then-famous Oum Kalthoum sang his composition "Hob Eih" and it was a hit. Some other of Baligh Hamdi's early compositional successes include "Why no", sung by Faydah Kamel, the song "Ma Thbinish Be Al Shakl Dah (Don't love me like that)" by Fayza Ahmed and the song "Tkhounoh ([How do you] Betray [my heart])" by Abdel Halim Hafez. For the next two decades he was one of the most popular, successful, and productive composers in the Arab world.

Baligh Hamdi frequently said that he drew upon musical ideas and aesthetics in Egyptian folk melodies and rhythms in composing his songs. He also drew on ideas that were floating around in the contemporary music of his time. His sound has a classical flavor due to the heavy use of the string orchestra. But he also made some use of electronic keyboards and guitars in harmony with the strings, or alternating with the strings, in many songs.

His best work is published as recordings under the name of the singer. The singers include Oum Kalthoum, Abdel Halim Hafez, Shadia, Layla Murad, Najat Al Saghira, Fayza Ahmed, Warda (he was married to Warda for about a decade), Sabah (Sabah married seven times, and he was one of her husbands), and other singers.


Presented to Abdel Halim Hafez some of the finest music since the end of the sixties and even the mid-seventies of them (Gana El Howa/ El Toba / Mououd / Sawah / Tkhounoh / Habibaty Man Takon / Maddah El Kamar / Zay El Howa / Hawel Teftikerni / Ay demat Hozn / Ada El Nahar / Fedai / Ash Elly Kal).

Presented to singer Warda Al-Jazairia, including the Ghent (Khaleek Hena / Low Salok / Black Eyes / Mali / Dandanah / Ashtrony / Hekaity ma el zaman).

Baligh Hamdi contributed in one way or another the development and revival of the musical theater provided most of the work: Operetta "Egypt Bride," and the operetta "Tmarahnp", "Yassin, I have," also wrote several songs, including: (Love that was - I Bahqk of Mayada Al Henawy), and "Bawadaak" rose to as defined by discovering many of the singers and the singers, especially from Arab countries.

Hamdi eloquent cooperation with Abdel Rahman el-Abnudi and Mohamed Rushdie introduced in the early sixties with all types of Egyptian folklore providing a set number of songs together, including (Adaweya / Baladiat / Wasai Llnoor), also provid to Mohammed Rushdie others (METI Ashofak/Ala el Ramla / Moghram Sabiah/ Tayer Ya-hwa).

He was the discoverer of Afaf Radi.

He produced music for many films, plays and television soap operas and radio mention the film (Something of Fear / Sons of Silence / Old Time / Ah Ya Leil Ya Zaman / City Lights) and dramas (RIA and Sekina / Almedk Alley) and sitcoms (gate-Halawani ).

He was one of the most frequent composer for songs for Egypt and his love to it, even he sang some of it personally (Uday El Nahar / El Bondokia Atkelmt / Law Aadit / Abarna El Hazimah / Fedai / Besm El Lah / Ya Habibty Ya Masr / Ash Elly Kal ).



(Source : Wikipedia)




 


ولد بليغ عبد الحميد حمدي مرسي في حى شبرا – من جذور تمتد لصعيد مصر – فى 7 أكتوبر 1932 ، و كان والده يعمل أستاذا للفيزياء فى كليه العلوم بجامعه فؤادالأول ( جامعه القاهرة حاليا) 

بدأ شغفه بالموسيقى يظهر منذ الصغر ، حيث أتقن العزف على العود ، ولم يكن يتعدى التاسعة من العمر ، وفى سن الثانية عشر حاول الالتحاق بمعهد فؤاد الأول للموسيقى ، إلا أن سنه الصغير حال دون ذلك

التحق بمدرسه شبرا الثانوية ، فى الوقت الذي كان يدرس فيه أصول الموسيقى فى مدرسه عبد الحفيظ إمام للموسيقى الشرقية ، ثم تتلمذ بعد ذلك على يد درويش الحريري و تعرف من خلاله على الموشحات العربية

بعدانتهاء الدراسة الثانوية، التحق بليغ بكلية الحقوق و درس – فى نفس الوقت - الموسيقى بشكل أكاديمى في معهد فؤاد الأول للموسيقى ( معهد الموسيقى العربية حاليا)

كان السيد ( محمد حسن الشجاعى) مستشار الإذاعة المصرية في ذلك الوقت يرى أن بليغ يصلح لأن يكون مغنيا ،وأقنعه بترك دراسة الحقوق ومحاوله احتراف الغناء ، وعهد إليه بالغناء في بعض برامج الإذاعة وبالفعل سجل بليغ أربع أغنيات للإذاعة من ألحان عبد العظيم محمد / رؤوف ذهني/ محمد عمر و فؤاد حلمي

وكان تفكير بليغ متجها صوب مجال موسيقى آخر ، ألا و هو مجال التلحين – و ليس الغناء – و لحن فى عام 1954– بناء على هذا التفكير– أغنيتين لفايدة كامل- زميلته السابقة في كليه الحقوق- هما ( ليه لأ – ليه فاتنى ليه ) وذلك من خلال فرقه ساعة لقلبك


توطدت علاقته بالفنان العظيم (محمد فوزي) ، الذي أعطاه فرصه التلحين لكبار المطربين والمطربات من خلال شركه (مصرفون) التي كان يملكها ، و فى عام 1957 قدم بليغ أولى ألحانه لعبد الحليم حافظ (تخونوه) والتي كان من المفترض أن تغنيها ليلى مراد فى البداية


كانت النقلة النوعية لبليغ عندما التقى بسيده الغناء العربي أم كلثوم ، التي اختارته من بين عشرين ملحن شاب على الساحة وقتها ليكون مرحله متطورة بعيدا عن السنباطى ، و كان عام 1959 هو عام فاصل فى حياه بليغ الفنية حيث قدم لكوكب الشرق أولى ألحانه ( حب إيه ) و كانت بداية مشوار طويل من الألحان الخالدة و الموسيقى الأسطورية امتدت من عام 1959 حتى عام1973 و شملت الأغنيات التالية ( حب إيه / ظلمنا الحب / أنساك يا سلام / كل ليله و كل يوم / بعيد عنك/ فات المعاد / ألف ليله وليله / الحب كله / و أخيرا حكم علينا الهوى ) إلى جانب أغنيه وطنيه وحيده بعنوان ( إنا فدائيون)

تعانقت أنغام بليغ الساحرة مع صوت حليم الشجي منذ نهاية الستينات وحتى منتصف السبعينات ليقدما معا مجموعه من أروع الأغنيات العربية نذكر منها على سبيل المثال لا الحصر ( جانا الهوى / الهوى هوايا / توبة / على حسب وداد قلبي/ موعود / مداح القمر / زى الهوى / حاول تفتكرني / أي دمعة حزن لا / حبيبتي من تكون/ سواح / تخونوه / خسارة )

التقى بليغ حمدي بالثنائي محمد رشدي و الأبنودي فى مطلع الستينات وبدأ تفكيره يتجه صوب التراث وكنوز الموسيقى الفلكلورية فعني بتقديم الفلكلور المصري بكافه أنواعه وأرتامه و جمله اللحنية الشجية في صوره عصريه بعد إدخال لمساته الساحرة عليه فقدم فى هذا الإطار لمحمد رشدي من كلمات الأبنودي ( عدويه / بلديات / وسع للنور ) و من كلمات آخرين (ميتى أشوفك / مغرم صبابة / طاير يا هوى/ على الرملة/تغريبه ) وغيرها

تزوج من الفنانة ( ورده ) بعد قصه حب عنيفة ، و قدم لها ما يزيد على الثمانين لحنا - صارت فيما بعد التاريخ الحقيقي لورده - نذكر منها ( خليك هنا / لوسألوك/ مالي / دندنة / العيون السود / اشتروني / والله يا مصر زمان / معجزه / ولاد الحلال/ حكايتي مع الزمان/ احضنوا الأيام ) وغيرها الكثير .. إلا انه تم الانفصال بينهما بعد زواج دام ما يقرب من السبع سنوات و بعد رحله فنيه هامه

تغنى بألحانه الخلابة جميع المطربين و المطربات الذين كانوا على الساحة وقتها ، و تحمل بمفرده عبء التلحين لجميع الأصوات لمده تزيد على العشر سنوات آثر فيها الملحنون الكبار الصمت و الاكتفاء بما قدموه فى مراحل سابقه

تعاون بليغ مع الفنانة شاديه في عده أعمال خالدة تنوعت ما بين أعمال فلكلورية و عاطفية و وطنيه ، نذكر منها على سبيل المثال لا الحصر (والنبي وحشتنا / اسمر و طيب يا عنب / زفه البرتقال / الحنة / قولوا لعين الشمس / عطشان يا صبايا / خلاص مسافر / و الله يازمن / حبيبتي يا مصر / أدخلوهاسالمين/ آخر ليلة/ خدني معاك/ مكسوفة) و الأغنية الأشهر في تاريخ شاديه( ياأسمراني اللون ) من الفلكلور الشامي

تعاون بليغ أيضا مع الفنانة نجاه و قدم لها عده أغاني رائعة ( أنا بستناك / كل شيء راح / الطير المسافر / سلم على / ليله من الليالي / حلاوة الحب/ نسى/ في وسط الطريق و غيرهم )

و كان للفنانة صباح نصيب كبير أيضا ، نذكر مثلا ( عاشقه و غلبانه / يانا يانا / زى العسل / جاني و طلب السماح / أمورتى الحلوة/ كل حب و انت طيب )

اهتم بليغ خلال مشواره الفني بالمسرح الغنائي و قدم عده مسرحيات غنائية و أوبريتات استعراضيه كان أهمها ( مهر العروسة / تمر حنة / ياسين ولدى ) و الملحمة الوطنية (جميله) من أشعار الشاعر المصري الكبير / كامل الشناوي

وضع بليغ الموسيقى التصويرية لكثير من الأفلام و المسرحيات والمسلسلات التلفزيونية و الإذاعية فنذكر على صعيد الأفلام الملحمة" الكورالية " (شئ من الخوف) و (أبناء الصمت / آه يا ليل يا زمن / أضواء المدينة / العمر لحظه/ الأبرياء/ الزمار / إحنا بتوع الأتوبيس / دنيا عبد الجبار) ، و من المسرحيات (ريا و سكينه / زقاق المدق) والتي قام بتلحين أغانيها أيضا، وكانت آخر أعماله الموسيقى التصويرية والألحان للمسلسل المصري الشهير (بوابه الحلواني )

كانت لبليغ أياد بيضاء على صعيد الإيقاعات و الأرتام الموسيقية ، فقد استخدم خلال مشواره الفني الطويل معظم الإيقاعات المصرية و العربية المعروفة ،وكان له السبق فى ابتداع العديد من الإيقاعات المركبة و التي استخدمها آخرين بعده

كذلك اهتم بليغ بتطوير أداء الكورس و الأصوات البشرية المصاحبة للمطرب .. فأدخل - لأول مره - الأصوات البشرية في سياق الأغنية ذاتها لتعبر عن دراما النص ، وأفرد لها مساحات عده فى ألحانه الغزيرة , وكتب جملا خاصة بها بعيده عن الجمل الموسيقية التي يؤديها المطرب .. وله السبق فى إقناع كوكب الشرق أم كلثوم باستخدام الكورال فى إحدى أغنياتها العاطفية و هي أغنيه ( حكم علينا الهوى ) ، و كانت آخر أغنيه تؤديها

تميز بليغ بموهبة متدفقة في التلحين ، و ثراء لحني و موسيقى لافت للنظر ، حيث أتم ما يقرب من الألف و خمسمائة لحن من كافه الأشكال والقوالب الموسيقية التي انتشرت في عصره من أغنيات عاميه و قصائد واوبريتات و موسيقى تصويرية للأفلام و المسرحيات، و ذلك كله فى عمر فني قصير بالقياس لغزاره ألحانه

تميز بليغ أيضا من الناحية الموسيقية ، بقدرته على وضع أي صوت يلحن له فى الإطار الموسيقى الصحيح ، و الذي يبرز إمكانيات المطرب الصوتية وشخصيته الفنية على النحو السليم ، مما يصل به – وبالأغنية بالطبع – إلى وجدان و أذهان المستمعين من أقصر الطرق .. و لهذا ظلت دائما أعمال بليغ لكافه المطربين و المطربات بمثابة ( أعمالهم الخالدة ) و التي ارتبطت في أذهان الجماهير بأسمائهم

يعتبر بليغ من أكثر الفنانين المصريين وطنيه و إخلاصا و حبا إلى درجه الهيام لمصر و أهلها و نيلها ، و له مواقف وطنيه لا تنسى في أثناء فترات النكسة و الاستنزاف وحرب أكتوبر و على امتداد حياته بشكل عام ، وكان من أغزر الموسيقيين تلحينا لمصر و فى عشق مصر و وزع ألحانه هذه على جميع المطربين و غنى و كتب بعضها بنفسه ، و نذكر من هذه الألحان على سبيل المثال ( عدى النهار / البندقية اتكلمت / فدائي / عاش اللي قال / بسم الله / أنا على الربابة / عبرنا الهزيمة / يا حبيبتي يا مصر / والله يا مصر زمان / رغم البعد عنك / لو عديت ) و غيرها الكثير

تميز بليغ بموهبة شعرية رقيقه ، إضافة لعبقريته الموسيقية بالطبع وكتب العديد من الأغنيات تحت اسم ابن النيل ثم باسمه و شارك فى كتابه العديدمن الأغنيات الأخرى التي قام بتلحينها

قدم العديد من الأصوات –و هى نقطه تحسب له بشده – نذكر منهم على سبيل المثال : ( عفاف راضى / ميادة الحناوى / على الحجار / سميرة سعيد / لطيفه ) وغيرهم الكثير

كانت آخر أحلام بليغ الموسيقية ، عمل أوبرا مصريه ضخمه عن قصه (اخناتون) تقدم على مسارح وأوبرات العالم المتحضر ، وتفتح الباب للموسيقى الشرقية نحو الانطلاق لآفاق عالميه لا تحدها قيود محليه إلا أن القدر لم يمهله لتحقيق هذا العمل العظيم

توفى بليغ فى 12 سبتمبر 1993 ، عن عمر يناهز 61 عاما ، و نعته الأهرام فى صبيحة اليوم التالي بقولها ( مات ملك الموسيقى ) ، و أعلنت وزاره المالية المصرية أنها بصدد طبع عملة تذكاريه باسمه إلاأن ذلك لم يحدث حتى لحظه كتابه هذه السطور








 



 Baligh Hamdi (7 ottobre 1931 - 17 settembre 1993) è stato un compositore egiziano che ha realizzato brani di grandi successo  per i più grandi e conosciuti interpreti della canzone araba  tra gli anni  '60 e '70.

Nato   il 7 ottobre 1931, nel quartiere di  Shubra al Cairo il suo vero nome era  Baligh Abdel Hamid Hamdi Morsi . Figlio di un  professore di fisica presso l'Università del Re Fuad I (ora Università del Cairo), ha imparato a suonare il violino all'età di nove anni e l'oud due o tre anni dopo.  Durante l’infanzia e nel corso degli anni adolescenziali ha seguito  lezioni di musica  sotto la guida di vari insegnanti . Iscrittosi in un primo momento al corso di laurea di legge ha abbandonato l’idea ed è divenuto musicista professionista nel 1954 all’età di 22 anni.
Ha iniziato la sua carriera nel campo della musica  come cantante  su impulso di   Mohamed Hassan Alhjaay , consulente presso la radio nazionale egiziana , che gli permise di registrare quattro brani  composti da Abdel Azim Mohamed, Mohammad Omar e Fouad Helmy  , ma ben presto finì per dedicarsi esclusivamente alla composizione , attività che gli ha reso moltissime soddisfazioni .

Si può affermare che il consolidamento della sua carriera avvenne quando, alla fine degli anni '50,  la famosa Umm Kolthoum cantò la sua composizione "Hob Eih" che divenne immediatamente  un successo.

Per tutti gli anni ‘60 e ‘70 è stato uno dei  compositori più prodittivi e di successo  di tutto il mondo  arabo . I suoi brani sono stati interpretrati da Faydah Kamel, Fayza AhmedAbdel Halim Hafez, Umm Kolthoum,  Shadia, Layla Murad, Najat Al Saghira, Warda (con la quale è stato sposato per circa un decennio ) e Sabah ( Tra i sette mariti avuti dalla cantante figura anche Baligh Hamdi).

In qualche modo il lavoro di Baligh Hamdi può essere visto come un evoluzione dell’opera di Mohamed Abdel Wahab.  Del grande compositore mantiene l’attitudine classica , servendosi spesso di grandi orchestre e utilizzando forme estetiche appartenenti alle melodie popolari , ma aggiunge a ciò un gusto moderno adottando  idee musicali appartenenti al suo tempo.

Nel corso degli anni ha prestato la sua opera in vari campi tra i quali il teatro, la radio, il cinema e la televisione  ed è stato scopritore di vari talenti vocali tra i quali spicca decisamente la bravissima cantante  Afaf Radi.


 





Baligh Hamdi بليغ حمدي - Le Monde Musical de Baligh Hamdi




A1  Souma
A2  Iskandarani
A3  Zamane
A4  Warda
A5  Arabesk
B1  Zouba
B2  Noussa
B3  Bambah
B4  Mizmar


HERE




Baligh Hamdi بليغ حمدي - Love Story




A1  Love Story
A2  Salamat (Dreams Of Heart)

A3  Zai Elhawa( As Love)
A4  The Beloved Date
B1  Esmaouny (Hear Me)
B2  My Love Story
B3  Chika Chiko
B4  The Wanderer


HERE





Baligh Hamdi بليغ حمدي ‎– The Baligh Hamdi's Music موسيقى بليغ حمدي




01 Gada غاده
02 Zouba زوبه
03 Amira أميره
04 Raqsat al Ghaziyya رقصه الغزيه
05 Hanam هانم
06 Tamurru Henna تمر حنه
07 Dandash دندش
08 Layali ليالي
09 Fatima فطومه
10 Sabrina صابرين
11 Sahara سحر
12 Hikayaty ma'a al Gharami حكايتي مع الغرام
13 Raqsat Sharqy رقص شرقى
14 Al shaima الشيماء
15 Al wadi al kabir الوادي الكبير


HERE






Baligh Hamdi & Magid Khan ‎– Indo-Arabic Variations





A1 Gazairia
A2 Sahara
A3 Achark
B1 Lahore
B2 Ennai
B3 Magnouna

HERE




Baligh Hamdi بليغ حمدي  - Resala men al ghorba رسالة من الغربة




01 Skoot We 3azab
02 Talet El Ghorba
03 Zy El Zaman
04 Wa7ashtiny Ya Masr


HERE




Baligh Hamdi بليغ حمدي  -  Baligh Hamdi بليغ حمدي




01 Ya Leil El Ashqeen
02 Ya Fagr Nourak
03 Law Alby Kan Khaly
04 Ya Baky Mn Asa El Ayam
05 Mazlom Ya Tir

HERE

mercoledì 5 aprile 2017

El Mahdy Jr.







Born in Sidi Bel Abbes, Algeria, El-Mahdi Rezoug aka El Mahdy Jr. is a music producer dedicated to experiments in the field of electronic music and creator of true digital collages.

At the age of ten years, while civil war rages in Algeria, he moved with his family in Turkey in Konya, a city located in Anatolia.


In Turkey began his musical education by listening to his father's records (old Algerian music, devotional songs, Rai and Jamaican Dub) and starting to get interested in turkish folk heritage, Arabesk in particular. Once started the university, aided by the laptop's roommate, he starts making music mixing jungle and dubstep with samples of old Arab and Turkish music. He is very much influenced by the turkish Serhat Koksal that with his multimedia project 2 / 5BZ has already started in 1986 to investigate the commingling between electronic and popular music.



When the political situation in Algeria is more acceptable El-Mahdi returned home and began working as a translator for a construction company to facilitate dialogue between local Turkish workers and the enterprise. Successive goes in Burkina Faso, where large his wealth of musical knowledge coming into contact with the sounds of the Sahel and the Malian music.

He bedridden after falling with Malaria spends his days working on his laptop and creates songs that will make up his first album which will be released on vinyl in 2013 for the label Boomarm Nationheadquartered in Portland, Oregon.



Titled "The Spirit Of Fucked Up Places" album is based on two specific aesthetic guidelines underlying the El Mahdy philosophy, Dub and sampling.

While many Western artists use oriental sounds like a fetish, without the slightest awareness of their socio-cultural relevance, Rezoug fully understands the traditions that are the basis of the music he sampled. Each sound used comes from a careful examination of the surrounding reality and the songs are just that, sound murals inspired from everyday life and personal experience.
The result is an album composed of songs in which are mixed synthetic sounds very 80 years, bass reverberated, Gnawa music, Ottoman devotional songs, Rai, Arabesk and digital distortion.

The feedback received from the album and the need to produce in a more stimulating environment brings El Mahdy Jr. to move steadily in Turkey, in Istanbul this time.

2014 was a prolific year for this young Algerian artist.

Will be published the 10" " Raï Dubs "(always for Boomarm Nation) containing 4 tracks made with samples of old raï songs found on YouTube and on tapes found in car hired,The'Ep "Gasba Grime", published by the Swiss label Danse Noire, where El Mahdy Jr. processes the music of North Africa (the Gasba is a traditional wind instrument of the Maghreb) to an ultra-modern processing and a 7 "containing the songs "Last Breath" and "Last Deal" for the label ZamZam Sounds.

In 2015, for the Discrepant Records released the album titled "Ghost Tapes", made up of two long songs that dig deep into the artist's personal sound space with the intention, according to the author's words, to "interpret the ghosts cultural around us to understand the differences between place and space ''

In 2016 is published the Mixtape printed on cassette from Boomarm Nation entitled "Die Before You Die".
A sort of detail behind the scenes containing sounds that will inspire the next job.

Titled "Time to Sell the Golden Teeth" , released in 2017 , is the second work on the long distance for El Mahdy Jr. The album continues his cultural discourse based on a nomadic music evolving sounds that draws inspiration from the cultural background of the author and the difficulty of living in a capitalist world increasingly loud and hostile.









 



Nato a Sidi Bel Abbes, Algeria, El-Mahdi Rezoug in arte El Mahdy Jr. è un produttore musicale dedito a sperimentazioni nel campo della musica elettronica e creatore di veri e propri collages digitali.

All’età di dieci anni, mentre in Algeria infuria la guerra civile, si trasferisce con la famiglia in Turchia a Konya , città situata in Anatolia.

In Turchia inizia la sua formazione musicale ascoltando i dischi del padre ( vecchia musica algerina, canti devozionali , Rai e Dub Giamaicano) e attingendo al patrimonio popolare turco, Arabesk in particolare. Una volta iniziata l’università , complice il computer portatile del compagno di stanza, inizia a fare musica mescolando ritmiche jungle e dubstep con campioni di vecchie musiche arabe e turche. Viene molto influenzato dall’artista turco Serhat Koksal che con il suo progetto multimediale 2 / 5BZ ha iniziato già dal 1986 ad indagare le commistioni tra elettronica e musica popolare.

Quando in Algeria la situazione politica si fa più accettabile El-Mahdi torna in patria ed inizia a lavorare come traduttore in una società di costruzioni per facilitare il dialogo tra i lavoratori turchi locali e limpresa. Succesivamente si reca , sempre per lavoro, in Burkina Faso dove ampia il suo bagaglio di conoscenze musicali entrando in contatto con i suoni del Sahel e la musica del Mali.

Costretto a letto dopo essersi ammalato di Malaria trascorre le giornate a lavorare sul suo portatile e crea i brani che andranno a comporre il suo primo album che uscirà in vinile nel 2013 per l’etichetta Boomarm Nation
con sede a Portland, Oregon.

Intitolato “ The Spirit Of Fucked Up Places” l’album si sviluppa seguendo le due precise direttive estetiche alla base della filosofia di El Mahdy, il Dub ed il campionamento.

Mentre molti artisti occidentali utilizzano le sonorità orientali come un feticcio , senza aver la minima consapevolezza della loro rilevanza socio culturale , Rezoug comprende pienamente le tradizioni che sono alla base delle musiche da lui campionate. Ogni suono utilizzato proviene da un attento esame della realtà circostante ed i brani rappresentano proprio questo , degli affreschi sonori isprirati dalla vita quotidiana e dall’esperienza personale. 


Il risultato è un disco composto da brani nei quali sono mescolate sonorità sintetiche molto anni ‘80, bassi riverberati, musica Gnawa, canti devozionali ottomani, Rai , Arabesk e distorsioni digitali .

Il riscontro positivo ricevuto dall’album e la necessità di produrre in un ambiente più stimolante porta El Mahdy Jr. a trasferirsi stabilmente in Turchia, a Istanbul questa volta.

Il 2014 è un anno prolifico per questo giovane artista algerino . Vengono infatti pubblicati il 10” “ Raï Dubs “ ( sempre per la Boomarm Nation) contenente 4 brani realizzati con campioni di vecchie canzoni raï trovate su YouTube e su nastri rinvenuti in auto prese a noleggio, l’ Ep “Gasba Grime”, pubblicato per l’etichetta Svizzera Danse Noire , nel quale El Mahdy Jr. sottopone la musica del Nord Africa ( la Gasba è un tipico strumento a fiato dell’area del Maghreb) ad un trattamento ultramoderno e un 7” contenente i brani “Last Breath “ e “Last Deal “ per l’etichetta ZamZam Sounds.

Nel 2015 , per la Discrepant Records pubblica l’album intitolato “ Ghost Tapes”, composto da due lunghi brani che scavano nel profondo lo spazio sonoro personale dell’artista con l’intenzione, secondo le parole dell’autore , di “ interpretare i fantasmi culturali che ci circondano per capire le differenze tra luogo e spazio ''

Nel 2016 viene pubblicato il Mixtape stampato su cassetta dalla Boomarm Nation intitolato “ Die Before You Die” . Una sorta di dettagliato dietro le quinte contenente i suoni che ispireranno il successivo lavoro .


Intitolato “ Time to Sell the Golden Teeth “ esce nel 2017 il secondo lavoro sulla lunga distanza di El Mahdy Jr. che continua il suo discorso culturale basato su di una musica nomade in continua evoluzione che attinge ispirazione dai suoni della formazione culturale dell’autore e dalla fatica di vivere in un mondo capitalista sempre più forte e ostile.












El Mahdy Jr - The Spirit Of Fucked Up Places





A1 Phantomatik
A2 Gravity
A3 Coins & Diamonds
A4 Douga Douga
B1 Zalim Delay
B2 Permanent Defeat
B3 From Hate To Smoke
B4 Phantomatik (Alter Echo & E3 Remix)

HERE





El Mahdy Jr. ‎– Raï Dubs



                                           


A1 El Mahdy Jr. & Gulls Disco Maghreb
A2 Disco Maghreb - (Alter Echo Version)
B1 El Mahdy Jr. & XJ - R4 Dub
B2 El Mahdy Jr. & XJ - Peugeot 504 (Gulls Mix)

HERE





El Mahdy Jr. ‎ - Gasba Grime



                                                  


A1 Zarga .
A2 Gasba Grime
A3 Lost Bridge
B4 Crack-Addicted Bellydancer  

B5 Lost Bridge (Killing Sound Version)


HERE




El Mahdy Jr. ‎– Last Breath  / Last Deal


                                                  


A Last Breath
B Last Deal


HERE




El Mahdy Jr - Ghost Tapes

 
                                                   
Untilted A
Untilted A

HERE




 

 El Mahdy Jr. ‎– Die Before You Die Mixtape




Side A
Side B


HERE



El Mahdy Jr - Time to Sell the Golden Teeth




                                                

01 Revolt Yourself 

02 Time to Sell the Golden Teeth
03 Primitive Methods
04 Perfectly Chased
05 Baat'in - (Featuring HAMORABI 13th IMAM)
06 Eternal Here and Now
07 Perishan
08 Passenger  

09 Bare Feet 
10 Ashik


HERE
Related Posts Plugin for WordPress, Blogger...