The term Arabic music is somewhat misleading. A catch-all that attempts to wrap up the music of 325 million Arabic people originating from 22 countries spread over two continents.
When Brian Jones of the Rolling Stones explored Moroccan music with his recording made in Tangier of the Master Musicians Of Joujouka in the late sixties he all but opened a door to what has been termed ‘World Music’. It was a flavour that has been re-visited and drawn upon many times subsequently. The list includes many such as the Stones themselves, and Jimmy Page and Robert Plant of Led Zeppelin who also explored many similar influences.
This, of course, is merely scratching the surface and ‘Arabic’ influences can be heard within many styles and genres. As part of their promotion of ‘world music’ Putumayo have released Acoustic Arabia. It follows smoothly from earlier releases Arabic Groove, North African Groove, and Sahara Lounge.
Acoustic Arabia is a collection of music from many sources and artists who appear together within a nicely packaged presentation. The Arabic countries are renowned for their richly poetic and flowing languages. These languages transcend deeply into the melody and rhythms of the music. It literally flows throughout creating an absorbing atmosphere in the process.
Traditional instruments complete the overall style and blend together to produce entrancing, rich, and spicy flavours within the music. There is something deeply magical and enchanting that stimulates visions of minarets, souks, and the vibrancy of a people rich in tradition and heritage.
The album includes selections from Lebanon, Algeria, Sudan, Syria, North Africa, and other exotic places. The detailed and fascinating album notes are not only informative they are educational.
Included on the album are Algerian performer Souad Massi whose socially aware lyrics have in the past caused her to be dismissed from her position working for her Government. Also appearing is Maurice El Medioni a world renowned Jewish pianist, now in his eighties, whose long and illustrious career goes back many decades to the 1940’s.
Tiris, a group named after Western Sahara region between Morocco and Mauritania, perform “Tiris Nibreeha”. The cover notes inform me that it is sung in Sahrawi Arabic a rare dialect and is translated as “We Love Her”. They also explain that it ‘echoes the mournful call that one would send out across the Sahara Desert’.
Les Orientales, consisting of three females, take us back to the Algerian music of the post World War II era. Meanwhile Zein Al-Jundi who was born and raised in Syria, now lives in Austin, Texas, where she teaches and performs ‘rags sharqi’, or ‘oriental dance’, better known still as ‘bellydance’ music. Her song of love “Wijjak Ma’ii” closes the album beautifully.
Putumayo have done it again and succeeded in presenting a tantalizing appetizer that will satisfy, inform, and inspire further exploration. As loose as the term actually is Acoustic Arabia takes us on a journey of discovery through the various countries and their musical traditions.
In a world full of misunderstanding it is often music that helps to blur both the borders and the cultural boundaries. Such is its enduring power.
Please also read fellow Blogcritic Jon Sobel's excellent review.
Visit the Putumayo website to explore their other releases.
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