I’m a drum soloist…?

Jon Silpayamanant with Raks Makam, Sabah (director of the Bellydance Superstars) and members of Crescent Moon Dance after our performance in Louisville during the Club Bellydance tour

So I’ve technically done my first drum solo now.  Sure I’ve drummed for dancers for years and have played for who knows how many dancers, but tonight (or technically, last night) I’ve performed my first honest to goodness drum solo.  Sure, I’ve been in settings where I’ve played back up for another drum soloist (and I understand that the idea of a ‘drum solo’ can be confusing when it can include more than one musician and/or dancers, but indulge me for a bit) and have drummed ‘solo’ in workshop settings for dancers playing rhythms as a teaching tool for workshop attendees.

But never as a soloist in a performative setting.

The biggest irony here is that the many years of playing drums included mainly playing Egyptian tabla or other Middle Eastern drums for mostly bellydancers (the occasional gig playing with Greek bands or my Balkan band, Kermes for Greek folk dancers and Balkan folk dancers notwithstanding).  What is ironic is that my first drum solo happened to be on the doira, for Uzbek dance.  And it looks like most of my drum soloing will include many more Central Asian styles–the next piece that Raks Makam will be working on is a Bukharan doira solo.  I’m stoked for this and so looking forward to learning more about all this wonderful Central Asian music!

Most importantly, I just love working so closely with dancers.  Really I love working with any collaborators in general, but especially non-musicians, and most especially with artists in an art form that is so closely tied to music as dance is.

Being a soloist (musician) means a couple of obvious things.  No one else is responsible for learning the music but me, which means that while I have no one getting in the way of picking up a new tune.  The other thing is I also have no one else to rely on if things go awry musically.  I’ll trade the one pressure for the other in a heartbeat!

Ok, I must get some sleep before heading up to Chicago to play some Klingon music!

on playing music from Central Asia…

Jessica and Taletha of Raks Makam dancing a Persian Dance at WorldFest in Louisville with the Crescent Moon Dancers (September 5, 2009). photo by Jon Silpayamanant

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.

Continue reading “on playing music from Central Asia…”