I like the sound of that. Amidst all the hustle and bustle surrounding recent events with the Louisville Orchestra and Kentucky Opera (which likely won’t have an orchestra for their next production) and with the Louisville Bach Society‘s finally closing shop this past May, things are looking grim for large scale music/arts organizations.
But this isn’t going to be a post about the doom and gloom locally, but one about something I’ve been thinking about for some time: a large scale non-Western organization. I don’t know if I would want to end up calling this an “Arabic Orchestra” and solely focusing on art music from that region, but it’s a placeholder for now. What Id ideally like to see is a truly international ensemble which focuses on art musics from all around the world. Similar to the Vancouver Intercultural Orchestra or the MESTO Orchestra I’ve talked about in past posts (though on an even bigger scale).
An Arabic Orchestra seems natural given most of my association with folks throughout the US who are interested in music from that part of the world but also because of how quickly ensembles like this are growing and emerging throughout the US. But mostly because I’ve recently tapped into a local population of musicians who might be able to populate such a group.
Sadly, organizations like the League of American Orchestras and the infrastructure of the arts in the US is generally Eurocentric (for good and ill) which makes almost all such endeavors rely on very local and grassroots level. But seeing how much the Michigan Arab Orchestra and the New York Arabic Orchestra have expanded their reach and/or shifted their operational models on how the typically Eurocentric ensembles work, it is encouraging to see that some of that infrastructure can also be useful.
Of course, a full scale orchestra is a discussion for later. Right now I and some of my cohorts in Ahel El Nagam want to get a regular Middle Eastern music meetup going where we can start to draw in the local musicians who already play in these traditions or just musicians that would love to learn more about it. While this picks up I will be sorting through different logistic/economic factors and talking and reseraching A LOT with the folks who are currently running ensembles/orchestras like this in the US (e.g. Bassam Saba, Michael Ibrahim, George Boolos, Scott Marcus, Ali Jihad Racy) or educational resources for this music, and connecting with the more local/regional talent (e.g. Members of Salaam in Bloomington, IN; George Wakim in Lexington, KY) in ways so that we can maximize potential.
Until then, all I can do is watch what is happening here and help how little I can with the resources I do have.
So last night I had the opportunity to perform with the Eastern Caravan Group in Bloomington, Indiana. I was sent a handful of sheet music to work with just a couple days ago, but ironically I ended up using practically none of them. I was initially just invited to perform whatever I was comfortable with from the music sent but as soon as I heard a tune announced that I knew (albeit, in a completely different key) I reached for my cello and looked at Shahyar Daneshgar (the de facto leader of the esnemble) and he just nodded and smiled.
So what was supposed to be a small guest appearance with the group by me ended up with me playing the whole evening (minus the first couple of tunes) with the group. And it was an absolute blast. The two or three tunes the group played that I did know were all in different key areas than I had learned or performed and the arrangements were completely different but that hardly mattered to me, apparently, as I seemed to have no problems transposing the melodies to the new tonal areas without much effort (which actually surprised me, even). And as Shahyar Müellim had, in our initial correspondence, wanted me to play more in the bass range, I was also transposing down two octaves.
The whole evening was like that with the exception of a popular Azeri dance tune we played for one of my partners in Raks Makam who happened to be able to make the show. I was alternating between playing bass function (when chordal harmonies were somewhat implied) and playing the melodies (by ear and in real time) down two or three octaves. The gel holding the two alternating functions together were improvisational transitions or elaboration/ornamentation of the bass or melody line.
Last night I was meeting and rehearsing with my Central Asian music and dance project, Raks Makam, and tonight I get to meet and rehearse with my String Quartet. The previous night (Tuesday) I rehearsed with the IUS Orchestra which, as I said I do in alternation with the Klezmer group, The River City Klezmer Band, every Tuesday. Tomorrow night I meet with my Arabic band, Ahel El Nagam, and the bellydancers we’re playing for this Sunday to run through things.
Around this time last year I first started playing with the Klezmer group and my Balkan band, Kermes (now on hiatus) as well as intermittently with the IUS Orchestra. I started a new project with Celeste–a “Vintage Experimental Goth Music and Dance duo” called Secondhand. Raks Makam had been on hiatus for a bit since Taletha, my then partner, relocated to Colorado but is not back into the full swing of things with new collaborative partners.
My solo experimental noise act, Noiseman433, which had been on hiatus four a few years, was resurrected last year for a show opening for The Enigma last year and has been performing pretty regularly since. Reminds me that I have to update the website!
As I mentioned in my last post, I had a meeting with my partner, Jessica, for Raks Makam. This comes on the tail end of me performing a fully fleshed out version of Kor Arab (otherwise known as Kor Ərəbin Mahnısı). I had performed an excerpt of this within the context of a longer collage piece with one of my other dance/music duets, Secondhand, but had only worked out a version for solo cello and voice for Friday’s Terrabeat Cultural Showcase.
I’ve done a number of tunes from Central Asia with il Troubadore and Ahel El Nagam, but in those cases the tunes were either as an extension of Middle Eastern tunes for bellydancers, or Persian Pop (e.g. Googoosh). Since Raks Makam is a project that focuses specifically on music and dance from Central Asia and the Silk Road, the material will be focusing more specifically on traditional and art music from those regions.
Kor Arab fits in very nicely for a number of reasons. First, it is a song written by Fikret Amirov, an Azerbaijani composer who was trained in the Soviet tradition as well as in the indigenous tradition of Mugham. Second, the tune is, for all intents and purposes, a Mugham song. The most recent recording of it (and the first I had the chance to hear several years ago) was by Yo-Yo Ma and his Silk Road Project. It was sung by Alim Qasimov who is a master within the Mugham tradition in Azerbaijan. The liner notes for the CD, “Silk Road Journeys: Beyond the Horizon,” says:
For the Silk Road Ensemble musicians, hearing the ethereal voice of Azerbaijani mugham singer Alim Qasimov put their years of conservatory training into serious question. As they delved into the mugham, they each wondered, “If this is how music should be played what have I been doing all these years?”
Really, that’s a question I ask of myself when I hear music from anywhere!
The obvious difficulty with working up solo versions of this music is distilling the music into two voices (voice/melody or voice/drum) rather than having at least three (voice/melody/drum). One of the reasons for meeting with Jessica was to talk about our options.
As I mentioned in a previous post(s), I’ve finally done a solo show. No, not my first–I’ve played plenty of solo shows before as a noise artist or as a solo cellist, but last Friday’s Terrabeat Cultural Showcase was the first as a singer/cellist. I’ve been posting videos from Friday night like crazy and am still going through the hundreds of photos I’ve taken. So many wonderful immigrant artists in the Louisville area–it was a veritable mini-World Fest (which I’ll also be playing this year with my Arabic band, Ahel El Nagam)!
Bollywood Dance; Kathak Dance; Nepali BhutaneseDance; Kenyan Dance; music from Somalia; Sudan Vietnam; Burma; and so many others–this barely captures all that happened in those 7 hours on Friday night!
What was a great night was also a celebration of my late brother–who died exactly one year ago last Friday. I think it was fitting that I helped celebrate the local diversity of the area that Joe and I grew up in and I hope that he would have enjoyed it had he been there.
The next day I had an artistic meeting with one of the projects that I’ve been really looking forward to the most since it’s inception nearly two years ago, Raks Makam. Jessica and I had a great talk (she was also at the Friday show) and it looks like we finally have a much more solid plan for working up a presentation that we should be showing by the year’s end. Likely we’ll have portions of it pop up here and there as we develop certain pieces. I so love some of this Central Asian music and dance–I did manage to sing one of my all time favorite tunes, ‘Kor Arab’ (from Azerbaijan), last Friday and I think folks were really struck by it-the bartender thought it was some call to prayer (since it was the beginning of Ramadan an a room was set aside for the Muslims in the audience to pray) and was astonished to realize it was just the Thai guy with the cello–hah! Continue reading “What a weekend!!”→