Um Kalthoum / Oum Kalsoum - Anthologie de la Musique Arabe 1933-35, Volume 6
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Genre: World Ethnic / Arabic
Virtually every culture has its divas. The Arab world has Umm Kalthoum. With a devoted audience stretching from North Africa to the Levant and hailing from all parts of Arab society, this Egyptian born singer is regarded as the most gifted female voice of the twentieth century. Over twenty years after her death, Umm Kalthoums popularity is as phenomenal as the voice she was blessed with. Her expressive voice, her cries of despair, and her ability to convey the meaning and mood of her lyrics still manages to profoundly effect her audience. Whether they are national songs, religious chants, or love ballads, Umm Kalthoums voice touches the Arab soul.
Yet Umm Kalthoum's popularity is without boundaries in time or geography. For decades she performed live not only in her native country, but throughtout the Arab world, as well as Europe. Having reached world renown status, her albums can be found today at most American music distributors as well; something unique to only a few Arab performers. What is most amazing about Umm Kalthoum, however, is that it is not necessary to understand Arabic well or to have lived in the Middle East to appreciate the feeling behind the words. Some of her most avid admirers are young Arab-Americans who grew up in a completely different time and place than the Arab audience of the 1930’s to 1960’s. Celebrating the miracle of Arabs and the Muslim faith through song, she has come to represent everything Arab. Not surprisingly, she has been given the honorable titles of “Star of the East”, “Empress of Arab Tunes”, “Ambassadress of Arabic Arts” and the “Voice of Egypt.”
furious.com/perfect/oumkalthoum:
Some of you may have noticed the name Oum Kalthoum, in one of its many possible transliterations from the Arabic, haunting the periphery of your musical awareness. Performers as diverse as Bob Dylan, Diamanda Galas and Michael Doucet (of Beausoleil) have expressed admiration for her music. She is mentioned in the WIRE from time to time, but you aren't likely to find much more there beyond vague allusions to Oum Kalthoum, "the legendary Egyptian singer," accompanied by speculations that she smoked a lot of hashish. Maybe you have begun to nod your head when you see it, but nevertheless have little or no idea what her music sounds like.
Oum Kalthoum's recording career began in the 1920's and ended in the '70's. Not all of her authorized recordings are currently in print. Most of her work is known primarily through live recordings, and in fact only a small number of her songs appear to be readily available in studio versions, though a studio version was recorded and broadcast before her live debut of most songs, starting in the mid-1950's. Since Arabic singing is traditionally an improvisatory art in which the singer responds to the audience's reactions, including requests to repeat certain passages, the live recordings generally provide the most complete and satisfying realizations of her songs. In some cases, hearing the audience's responses is part of the enjoyment of listening to these recordings.
While many of her songs are sad, something which is obvious even without a glance at translations of the lyrics, one of the main goals of her performances was to bring her audience into a state of tarab, a state of musical ecstasy. Habib Hassan Touma explains: "The intensity of tarab depends primarily on the voice and performance style of the singer, as exemplified by Umm Kulthum. Her performances often only approximately followed the fixed rhythmic-temporal organization of the melody. She would strip some melodic passages of their strict rhythmic form in order to repeat, vary, and paraphrase individual sections in an improvisatory way or transform the musical material more dramatically within the framework of traditional modal principles. Her presentation thus hovered between that which she performed and that which she created herself. The musical contrast between the familiar and fixed on the one side and the new, freely structured though related on the other creates, in general, a tension whose up and down evokes tarab in the listener. The emphasis of this contrast represents the most striking stylistic element of Umm Kulthum's artistry." (Music of the Arabs, p.149)
The earliest work, from 1924 to some point in the 1930's, while worthy of attention, is not the work for which she is best known, and probably not the best entree into her career. Mohammed el-Qasabji, who also wrote for the singer Asmahan (Oum Kalthoum's most serious artistic competition until her untimely death in the 1940's under mysterious circumstances) is said to be the most important composer from this period. These early years have been documented in an eight-volume series put out by Club du Disque Arabe, in France.
This CD is the sixth volume of that series.
Tracks:
01. Yalli Techki Melhawa (Ahmed Rami - Zakaria Ahmed)
02. Fine Elouyoun (Ahmed Rami - Mohamed Kassabgi)
03. Leh Ya Zaman (du film WIDAD (1935)(Ahmed Rami - M.Kassabgi)
04. Ala Balad Elmahboub..du film WIDAD (Abdou Sarrouji - Riad Sombati)
05. Ya Tir Ya Ayech Assir..du film WIDAD (Ahmed Rami - M.Kassabgi)
06. Yalli Widadek Safa Li du film WIDAD (Ahmed Rami - M.Kassabgi)
07. Ya Bachir Elouns..du film WIDAD (Ahmed Rami - M.Kassabgi)
08. Ayouha Arraïhou..du film WIDAD (Charif Erradi - Zakaria Ahmed)
09. Ya Lil Nougoumek..du film WIDAD (Ahmd Rami - Zakaria Ahmed)
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