Letters to a homeland

featuring: Jivan Gasparyan (Duduk), Rony Barrak (Darbouka), Morgenland Chamber Orchestra

Catalog number 21073

The Syrian trio Hewar combines traditional Arabic music with jazz, scat and classical music, breaks open traditional genre borders and unifies elements of different musical cultures into a unique and distinctive sound. Hewar is the Arabian word for dialogue and for years now these three musicians have practised this, not just among themselves, but also with varying guests.

At the Morgenland Festival Osnabrück 2011 they performed together with the legendary Armenian Duduk player Jivan Gasparyan, the Lebanese Darbouka virtuoso Rony Barrak and the Morgenland Chamber Orchestra. Andreas Müller joined the ensemble as guest on the Double Bass. The concert was one of those rare musical highlights (Ludolf Bauke). It is now available on this recording.

Letters to a homeland – this is the title the musicians gave their CD.

The recording is dedicated to those people who have lost their lives in Syria in the past year.

"No one was able to express better my anger and sadness than the voice of Dima Orsho and the oud of Issam Rafea on that October day." Kinan Azmeh

Kinan Azmeh - clarinet
Dima Orsho - vocals
Issam Rafea - oud & vocals

guest: Andreas Müller - double bass

"phenomenal" (Ludolf Baucke)




NDR Bigband & Osnabrück Symphony Orchestra
live at Morgenland Festival Osnabrück

Catalog number 21070

Works by Daniel Schnyder and Nader Mashayekhi &
arrangements of Wolf Kerschek
Kinan Azmeh (clarinet)
Ibrahim Keivo (voice)
Moslem Rahal (ney)
Perhat Khaliq (voice)
Frederik Köster (trumpet)
special guest: Rony Barrak (darbouka)
conducted by: Hermann Bäumer & Wolf Kerschek

The Morgenland Festival Osnabrück has dedicated itself since 2005 to the fascinating music of the Near East. It regards itself as a co-working space for musicians from various cultures. In 2010 a very special summit meeting took place: The NDR Bigband from Hamburg and the Osnabrück Symphony Orchestra met amazing soloists from Syria, Lebanon and the autonomous region of Xinjiang in northwest China. It was also the first time that this legendary Bigband had worked together with a symphony orchestra. Daniel Schnyder arranged some of his works especially for this event. Wolf Kerschek transcribed two songs from the repertoire of Ibrahim Keivo, an exceptional singer from the region Al Jazira in northeaster Syria.
Nader Mashayeki’s 'moulAnA' for Orchestra and improvising soloists was originally written for a traditional Persian singer and orchestra. Here the role of the singer was taken on by the young jazz trumpeter Frederik Köster. 'moulAnA' ends this recording as a ‘postlude’.

A Co-production of Dreyer.Gaido Musikproduktionen und dem Norddeutschen Rundfunk


Eastern_Voices.jpgEASTERN VOICES

catalog number 21069

Alim & Fargana Qasimov, Yulduz Turdieva
Ibrahim Keivo, Ayshemgul Memet, Salar Aghili

"A listening experience unlike any you have had before." (Fanfare magazine, US)

In 2010 Dreyer.Gaido Musikproduktionen started the new series EASTERN VOICES. The series is featuring outstanding musicians from the Middle East and Central Asia. Recordings with Alim Qasimov, Yulduz Turdieva and Ibrahim Keivo received an outstanding echo between the US and Australia. The compilation "Eastern Voices" presents highlights of the first productions. A vocal culture that is "spellbinding" (FRoots), also for lovers of classical music.


The_female_voice_of_Uyghur_muqam-jpgAyshemgul Memet

The female voice of Uyghur muqam and folk songs

Catalog number 21067

Ayshemgul Memet, vocals
Shohrat Tursun, tambur
Ilyar Ayup, percussion

Being one of the oldest cultures of Central Asia, Uyghur music has its special place among the Turkic nations of the mysterious Silk Road. Muqams, folksongs, religious songs are transmitted orally from generation to generation and have influenced (as well having been influenced by) different cultures around the area.

The Uyghurs are a Turkic ethnic group who live in North-Western China, in the region of Xinjiang which means New Territory in Chinese. The Uyghurs are Muslims (Sunnites) but Shamanism, Buddhism and Manichaeism has had a marked influence on their culture. Belonging to Central Asia (although always forgotten to be mentioned as a part of Central Asia), Uyghurs share similar linguistic and cultural heritages with other Turkic nations such as Uzbeks, Kazakh and Kyrgyz.

Xinjiang is a mountainous and barren area with oases full of life. The old Silk Road attracted thousands of adventurers and tradesmen. Many traditional songs have swayed along the endless sandy tracks on journeys.

Music is an important part of Uyghur culture and Uyghur identity. From very early times Uyghur music has been mentioned in Chinese historical sources as a highly developed art. Uyghur music from the far west was considered by Chinese royal ensembles to be the most inspiring. Some musical instruments even traveled to the Tang dynasty and have been adopted in Chinese music. After its islamization, Uyghur music adopted the great tradition of Muqam (Maqâm, Mugham) and created a powerful musical heritage.

“I was 13 years old when I heard a Muqam for the first time. It was a short fragment from muqam Panjigah. The beauty of this music magnetized me. I knew that muqam was my destiny.” Ayshemgul Memet


Salman_Gambarov_Bakusuc_Jazz.jpgSalman Gambarov
& Bakustic Jazz

Live at Morgenland Festival Osnabrück

Catalog number 21063

Salman Gambarov, piano

Emil Hasanov, bass

Vagif Aliyev, drums

Mirjavad Jafarov, oud & tar

Baku, the capital of Azerbaijan, is a fascinating musical metropolis: traditional mugham, symphonic music (the first conservatory in the Soviet Republic was built here) and a lively jazz scene have made the city a musical epicentre in the Caucasus. One of the most important exponents on the jazz scene is the pianist Salman Gambarow. Together with the ensemble Bakustic Jazz, which he founded in 1996, he gave a highly acclaimed concert in 2009 at the Morgenland Festival Osnabrück which is now available on this fantastic CD.

“… Gambarow, Hasanov and Aliyev celebrate the high art of trio playing with the aesthetics of a Keith Jarrett. However, the third piece makes it clear that these musicians are not from the USA, but from Baku: a fourth person joins them on stage, Mirjavad Jafarov, who adds the oriental colours of the string instruments Tar and Oud to the jazz idiom. What is sometimes tried out as a spontaneous ‘musical happening’ is something which is here part and parcel of the band’s structure and is therefore taken totally for granted. And so something really special happens: two completely different musical worlds merge. … high-energy jazz at its best.”

Martina Binnig in Neue Osnabrücker Zeitung

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