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SHEIKH AHMAD AL-TUNI Live au théâtre de la Ville 1999

SHEIKH AHMAD AL-TUNI Live au théâtre de la Ville 1999 The Sultan of all Munshidin From High-Egypt

Between old poetry soufie and popular expressions called in the slang “its' îdi (of High-Egypt), the munshid, of village in village, sings Inshâd (hymn) and directs to its manner the dhikr or will hadra it, the ritual soufi which, in Egypt, is opened with all and with all. Ahmad Al-Tûni is originating in the village of Hawatka close to Assiout. At 70 years, it is one of largest the munshids of Egypt with Sheikh Yasîn Al-Tuhâmi and Sheikh Ahmad Barrayn At the time of spangled nights soufies, Ahmad Al-Tûni fascine a public which dedicates an admiration without terminals to him. It is necessary to have tasted with the tumult of the one of its evenings (layâli) to include/understand the impact of this singer. On the place of the village, a rudimentary scene was drawn up, some wood benches coupled or superimposed, of the garlands of electric bulbs as a lighting, an anarchistic sound system will be the center of this surge extatic. Will hadra public is open, creative, impromptu and can be as “chaotic” as our great masses rock'n'roll. Us here contrary to the rites closed of the brotherhood soufie (tariqa will hadra), them, more rigid and organized: public division spontaneously the divine joy with all and all will hadra. Thanks to constant vocal effects, an intelligent sequence of the poetic topics and rhythmic sequences (qafla-s), effects of scenes a little show-offs, Ahmad Al-Tûni jubilee. The irradiated face, it makes turn these heads and these bodies in the search of multiple fright. The voice which was spent to cause the extase at the time of thousands of evenings at the same time limpid and is erraillée. Ahmad Al-Tûni sings the inshad dini (Islamic hymn): this song includes/understands four different kinds: the ibtihalat (a supplication only sung by the soloist), the tawashih diniyya (religious poetry based on a melody exchange enters the soloist and the chorus), the qisas diniyya (sung and told religious stories) and especially the inshad Sufi containing the topics of the Islamic mystic. Musicalement, the hymn of today is in general like the fact notices Michael Friskoff (Sheikh Yasin CD length-distance) a reminiscence of the urban Arab music of before the Thirties. A small heterogeneous unit (takht) makes it possible each musician to maintain his own individuality with a flexibility which supports tasty modulations, sailing with ease of a mode to another. Thus, little by little, the munshid packed its unit. At the sides of instruments originally related to this song like the dûff, the naqrazân (copper percussion-drinking cup struck by rods), the reqq (small tambourine with cymbalettes) or the qawwâl (the flute), instruments as counted it Egyptian, the kamanga (Eastern violin), the oud or even sometimes the qanun made a timid appearance. The musicians who play these instruments are not inevitably of large virtuosos in the traditional direction of the term, more than one simple technique, one feels of their share a kind of devotion to carry and serve the voice of the singer. Old commoner of poetry, Ahmad Al-Tûni déclame as well the texts of old as of popular poetries, his only goal is to develop the emotional and aesthetic power tarab: a feeling, nowadays, if rare in the Arab music. Of his house of Hawatka, Ahmad Al-Tûni traverses Egypt and occurs more than 200 nights per annum at the time of organized gatherings soufis Aswan in Alexandria. Its charisma made of him one of the last large singers, of those of another time, where lyricism, the pleasure of the words had a direction, where the mystic love, the desire, the passion and the feeling of abandonment of the body, could be caused by the voice.
Press “White Turban and sipa (Moslem chain) with the hand (...), Sheikh Ahmad Al Tuni sings the devotion chocolate éclair with a voluptuseuse slowness, like a lament of love despaired, then déclame solemnly some stanzas before playing with the words, like a launched ball, caught up with, which one makes claquer and to whirl. Suddenly, it is let go to a sardonqiue burst of laughter and launches of the “Hey! Hey! ” or of the “Aïe! Aïe! ” which leads it to fright. With an impressive direction of the theatre and setting in scene, it captivates the listener, giving him in turn desire for crying or for dancing. ” E. AZOULAY - Télérama
Concerning the Vengo film of Tony Gatlif “(...) one will revive the scene of opening, a fantastic meeting between the guitar of Tomatito and the song soufi of the Egyptian Sheikh Ahmad Al Tuni. …” FX GOMEZ - Release
| MP3 128 kbps | Incl. Covers | 110 MB | Ahmad Touny Soliman : Chant Mohamed Ahmed Touny Soliman : Reqq Rashidi Khamis Rashidi Abdelbary : Duff Yousri Mourad Fawzi Danial : Derbouka Moustafa Abdelhadi Abdelrehman : Qawal Fatih Abbas Hashem Ahmed : Kamanga Mohamed Ahmed Hassan : Oud TRACK LISTINGS DISC 1 [01]. Qulub Al Ashoine, Les Coeurs des Amants, The Hearts of Lovers 36:07 [02]. Al Qalima Al Qadima, La Parole Originelle, The Original Word 28:46 DISC 2 [01]. Allah Mahabba, Dieu Est Amour, God Is Love 34:38 [02]. Alam, Le Nom du Createur, The Name of the Creator 19:52 Download Part One Download Part Two PW : WeLove-music --------------------- mirror


al-Rawi said...

would it be possible for you to repost this? i would very much like to hear it, i am a big fan.

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