As printed in the Winter 2007 Issue of The Belly Dancer Magazine
Americanistan's -Live at Luna
as reviewed by Oberon
Some musicians are well woven into the tapestry of our regional community, and so it is with the ensemble, Americanistan. Performing for over fourteen years, their admitted focus is toward acoustic music, authentically presented - creating the spiritually rich feel of a tribal desert gathering.
Their newest collaboration, "Live at Luna", is dedicated to their friend and band member Ishaq Jud who passed over on July 28th 2006.
The cover artwork of the CD is a simple gathering of the ensemble, instruments in hand against a darkening, midnight blue sky.
Stated musicians and instruments are as follows:
* Anna Armaiti - Vocals, Chimtas, Tar and Tambourine.
* Dunyah ( Denise Gilbertson): Harmonium, Turkish Dumbek,
Tabourine, Tar and Finger Cymbals.
* Ishaq Jud: Guitar and Tar.
* Janet Naylor: Kanoon and Tar.
* John Marzicola: Flute and Percussion.
* Wayne "Omar" Gilbertson: Lead Dumbeck. Saz, Ney, Big Tar
and Turkish Dumbeck.
* Frederick Wilson: Oud, Saz and Clarinet.
Seven or so of the tracks on this CD are composed by members of this ensemble.
"Live at Luna", sets the pace with an extremely danceable piece called "Debke Oud". A joyful tempo, with instruments jumping in and out of the mix, and the soft tinkle of zills ringing throughout. A tiny drum solo and taqsim within the piece make it the perfect little bite of what is to come.
Dere is an old favorite of mine and I was drawn into the different presentation of this song. Slowed to a mystical crawl and permeated with a solid thumping 9/8 rhythm while Anna Armaiti slides her evocative voice all around the other instruments in this piece. Loved the use of flute. Very Fresh.
Track 3, the original "Ginger Tea" was light and tripping with a hint of renaissance fair. Nicely placed, a kind of spicy sherbet to cleanse the palette.
"Nassam Alayna" begins the first actual dance routine on this CD. Again, I found it had an extremely danceable rhythm with a rich, easy, country feel.
The following "Aya Zein" comes slithering out of Anna's mouth in a sensuous drawl perfect for either taqsim or veil and builds to medium tempo creating a short, yet enticing slice.
Offering an uncomplicated beginning, the drum solo develops into a playful, exuberant, agreeable exchange between musician and dancer with approachable changes allowing for entertaining expression by both performers.
Back to the joyful strains of Nassam Alayna , a piece that could complete this set or be used as an ending in other routines.
O.K. - #8 - the timeless "Bir Demet". I have to own that this was a little too lazy of a presentation for me - the vocals though still interesting - definitely had a few "live moments" to my ear. Still though, this rendition would lend intentional interest to some stretchy floor work or yearning sword.
"Golden Trinkets", an original, comfortable, tribal offering with an exciting build in tempo -leading to a rocking drum solo at the end - very enjoyable.
I loved "Turkish Coffee". Entrancing and flirty clarinet leading the dancer on a winding path over a solid 9/8 rhythm. I definitely was left wanting more - the long Sunday afternoon version where I could lay back for a long dreamy listen.
"Bahlam Beek" begins the second full dance routine on this CD. Again, performed in the relaxed, clean style that corroborates the ensembles' claim to be "dancer friendly".
Winding after with a trance like throb and a willowy, reedy warble, "Sahara", a "slithery" desert taqsim advances and retreats with "snakey style" allowing for some interesting interpretive movement.
An extremely enjoyable drum solo of the perfect approximately two minute time frame follows ,and is a perfect energetic interaction again between dancer and musician, and …
Back to Bahlam Beek and a another wonderful little gem of an exit piece.
"Samar", again has a very rollicking " country fair ", renaissance feel to me, that trips along in pretty regular style, meandering to an end - only to begin again with an extremely bright and even drum solo at the real conclusion. Good for troupe?
"Taqsim Paradisio" is a "desert- cool " Cheftitelli with a nice layering of insruments. Trilling, flowing yet solid, really useful.
So I'm captivated by the earthy, kind of raw vocals of Anna Armaiti - hint of tribal, whine of gypsy - hmmmm, such a perfect little gem of a "Rompi Rompi".
"Midnight Tsiftitelli" carries me over star soaked mountains on a winding, seamless clarinet pathway, teasing other earthbound instruments into a haunting dance of collaboration. Enjoyable!
The precious, much adored Miserlou performed in a style that brought to mind ancient mysteries and secret, perfumed alcoves. Truly - all you could hope for in this crowd pleaser.
End this CD with the classic, familiar romp of Mustapha - add some great timing and changes in the vocals - and what seems to be a rollicking good time by the whole ensemble and you have a time- tested favorite sure to bring your wide-ranging audience to their feet for a last dance.
I really felt the coming together of music and dance that could be had amidst the firelight gathering of wanderers sharing food and family. Earthy, sensual, delightful and a bit surprising in places - I liked this one - I think you will too! I turned the volume up to catch all the nuances - there's some unique instrumentation and sly accents you wouldn't want to miss.
