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CD Review
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Afropop Worldwide, CD Review >>
The Chicago Classical Oriental Ensemble (CCOE) tackles the work of one of Egypt's most prolific composers, Sayyed Darweesh, on a disc that includes all the passion and none of the musical academia attached to other reinterpretations of the Afro-Arab classical canon. Perhaps this rebellion from stringency was encoded in Darweesh's very being, resulting in these resplendent songs. While only composing for seven years (and dying of a drug overdose at 31), Darweesh produced hundreds of songs, including, among many important works, Egypt's national anthem.
That's no small feat for a young man supporting his family as a bricklayer and furniture store clerk. What's constantly reiterated, however, is Darweesh's abundant sense of humor. To be exceptional in any artistic endeavor requires a certain lightness of heart and being, and these 10 excellent translations are proof of the visionary composer's confidence. Reared to recite Muslim prayer, Darweesh was to go on to forge his own spiritual path through music, fusing the Middle Eastern and Eastern modalities inherent in Egyptian classical sounds and injecting Western influence. In fact, he was in Italy studying Verdi's opera when he died.
Most notable throughout Soul of a People is the "swing," a rhythmic, embedded groove fueled by the riqq (Arabic tambourine) and darbuka. The play between the qanun (zither), oud and violins is true to Egyptian art music, highly energetic and large in scale, with epic fortissimos unafraid to drop suddenly into melancholic violin or cello sections. The lyrical segments remind one of Sufi tales, citing the divine through human love and offering safe passages on inward journeys. Inherent throughout the record, and therefore Darweesh's work, is a strong sense of solidarity with higher powers.
Employing six vocalists, CCOE does an exceptional job at keeping this rich poetry alive. Their revisions come to life as, we would hope, Darweesh envisioned them. They've found the perfect balance between the rhythmic force and lightness, using the nay (flute) and lilting violins to punctuate the more atmospheric sections. Overall, however, one cannot escape the welcome weightiness of these rhythms. While Darweesh is remembered as an exceptional joker, this tribute also reminds us how serious an artist the man was.
--- by Derek Beres for www.afropop.org 06/07/06 >> go there
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