Lars Buka
Rhythms from the Middle East


Introduction

When I first came to Cairo dec. –88 I did not know my destiny was connected to a distinguished old master of Arabian tabla : Prf. Mahmoud Hamoda. Since our first meeting I became both his friend and devoted pupil.
All what I have composed and played on this CD is because of my great and now late teacher
Prf. Mahmoud Hamoda.
He taught me the way of playing tabla with soft and very classical but sovereign technique.
He taught me to be humble and believe that the best of you always will win !

This CD is dedicated to Prf. Mahmoud Hamoda.

Since that time I made at least 20 travels to Egypt – to discover an incredible world of rhythm and music I still see as one of the most important ones – in my universe. Through my meeting with Mahmoud Hamoda a new and beautiful world of music opened my mind. Until now I still wonder
how it was possible for me to be that lucky !

Concerning my background I started as a rock and fusion drummer back in the 80ies. Since that time I went through Gypsy-music from Balkan and Turkey – and met the Darbuka in 1980.
During a lot of travels to Macedonia and Turkey in the middle 80ies I finally realized that I should go to Cairo. Here I would find the origin of the darbuka – which I discovered had another name : Tabla. From Arabian language : darb means beat – and they called the Tabla “Tempo” as well.

In 1992 I made a book and MC called “Oriental Percussion” – a book of how to play Middle Eastern rhythms on tabla, req, def, davul, saqqath etc. This was a good reason to teach all over Denmark and Scandinavia with my subject “Oriental Percussion”. It became popular – and in the years from 1993-1996 I arranged percussion and oriental dance workshops in Cairo – and took my tabla-pupils to my teacher Mahmoud Hamoda. In 1998 I presented Mahmoud Hamoda in Denmark at a great workshop called “East in West”.

Since 1992 I played with my own band “Oriental Mood” that – ilhamdulilah – still exists !
In 2002 one of my compositions “Gediid” got included in a Danish music award best clubhit – in a dancehit called “Muzaik” made by “Infernal” in Denmark. Beside the latest CD of Oriental Mood : “Visits” got a Danish Worldmusic Award for the CD of the year 2002 !!

This release you can use as a performing dancer who want some different rhythm compositions that you normal find– or to learn both Arabian basic as well as some classical rhythms.
I play the qanoon and percussion in the song to Oum Khaltoum “Alf leil i leil” by Mohammed Abdl Wahab.


Playlist

1.Stambulusul
Is a piece I wrote back in 1992 when I was in Istanbul. It’s a mix between my ideas of western funky drumming and eastern rhythms.
2.Req-solo
Here I present the sovereign rhythmic instrument of Middle East : Req – An improvisation of different Arabian patterns
3.Yallah Bina
Come on ! is a composition from –92 with a touch of Arabian and Turkish spices.
4.Tabla to Mahmoud
is an improvisation to my late master Mahmoud Hamoda – may his soul be blessed….
5.Alatool
A composition from 90 that I wrote to the dancer Maria Torstensson
6.Bukra
Is from 91 inspired of my work with Maria Torstensson.
7.Badeen
I made in Cairo 1992 in one of my many beautiful travels to Egypt.
8. 1001 night – Alf Leyl I Leyl
Made of Mohammed Abdl Wahab – and was sung by the late diva Oum Khaltoum. Here I present the Qanoon – the Arabian piano without a keyboard but plectres.
Here I present a selection of common as well as rare rhythms from Egypt and the Middle East:
9. Masmudi 8/4 the basic figure of what I call the family of Masmudi/Maksum and Fallahi
2/4+4/4 and 8/4.
10. Maksum 4/4 one of the most common basic Arabian rhythms.
11. Fallahi 2/4 the farmers rhythm – fast and good for the finale in a folklore or cabaretmelody
12 Wahda 4/4 the universal 3+3+2 rhythm in the Arabian way.
13. Melfuf 2/4 the Arabian rumba – like in flamenco or caribian rhytms –
a double up of Wahda !!
14 Zaidi 4/4 very close to Maksum but with 2 dums in the middle at and 3.
15 Sambarab 8/4 – a name I invented – its a rhytm played a lot in Libanon – but with a very
Brazilian figure : Samba
16 Zafar 8/4 - The Arabian rhythm for weddings.

Here I present a selection of Classical Arabian rhythms. Many of them are today used in the style of Muashahad :

17 Semai Thaqiil 10/4
18 Ragah 10/4
19 Nahr 10/8
20 Tunsi 15/4
21 Mohammadi 19/4
22 El Masrih 19/4
23. Mdawr 12/8
24 Mugammal 12/8
























1.Stambulusul
Is a piece I wrote back in 1992 when I was in Istanbul. It’s a mix between my ideas of western funky drumming and eastern rhythms.
2.Req-solo
Here I present the sovereign rhythmic instrument of Middle East : Req – An improvisation of different Arabian patterns
3.Yallah Bina
Come on ! is a composition from –92 with a touch of Arabian and Turkish spices.
4.Tabla to Mahmoud
is an improvisation to my late master Mahmoud Hamoda – may his soul be blessed….
5.Alatool
A composition from 90 that I wrote to the dancer Maria Torstensson
6.Bukra
Is from 91 inspired of my work with Maria Torstensson.
7.Badeen
I made in Cairo 1992 in one of my many beautiful travels to Egypt.
8. 1001 night – Alf Leyl I Leyl
Made of Mohammed Abdl Wahab – and was sung by the late diva Oum Khaltoum. Here I present the Qanoon – the Arabian piano without a keyboard but plectres.
Here I present a selection of common as well as rare rhythms from Egypt and the Middle East:
9. Masmudi 8/4 the basic figure of what I call the family of Masmudi/Maksum and Fallahi
2/4+4/4 and 8/4.
10. Maksum 4/4 one of the most common basic Arabian rhythms.
11. Fallahi 2/4 the farmers rhythm – fast and good for the finale in a folklore or cabaretmelody
12 Wahda 4/4 the universal 3+3+2 rhythm in the Arabian way.
13. Melfuf 2/4 the Arabian rumba – like in flamenco or caribian rhytms –
a double up of Wahda !!
14 Zaidi 4/4 very close to Maksum but with 2 dums in the middle at and 3.
14 Sambarab 8/4 – a name I invented – its a rhytm played a lot in Libanon – but with a very
Brazilian figure : Samba
15 Zafar 8/4 - The Arabian rhythm for weddings.

Here I present a selection of Classical Arabian rhythms. Many of them are today used in the style of Muashahad :

16 Semai Thaqiil 10/4
17 Ragah 10/4
18 Nahr 10/8
19 Tunsi 15/4
20 Mohammadi 19/4
21 El Masrih 19/4
22. Mdawr 12/8
23 Mugammal 12/8





Here is a poem of one of my idols Hazrati Mevlana Jelaluddin Rumi from the 12 century.

Don't worry about saving
these songs!
And if one of our instruments breaks,
it doesn't matter.
We have fallen into the place
where everything is music..
The strumming and the flute notes
rise into the atmosphere
and even if the whole world's harp
should burn up, there will still be
hidden instruments playing.
So the candle flickers and goes out.
We have a piece of flint, and a spark
This singing art is sea foam.
The graceful movements
come from a pearl
somewhere on the ocean floor.

Lars Bo Kujahn plays all instruments :
Tabla, Doholla, Duf, Saqqath, Req, Davul, and Qanoon

Recorded at Fostex VFO( with AKG 535
Mixed and finalized at Clean Sound Studio in Copenhagen with Peter Forsberg.
Fotos : Anders Helmer