Moddathir Aboul Wafa - Toola

As Reviewed by Oberon

             I am unashamed to tell you that reviewing music produced by Nesma is a an intense joy that I savor for the many days it takes to truly hear this “Luxury” of complex collaboration. If ever there was a literal translation of the feeling “I’m not worthy” this is it!  If your heart doesn’t leap with joy that there is still passion like this being created in our world then I’m guessing you have no tears left to cry, no longing in your heart for the loneliness of first discovery and can no longer feel the desert sun burning a warming path along the surface of your skin. These are just morsels of moments evoked by this music!

            Firstly, let me say how grateful I am for the thoughtful intelligence with which this music is packaged. Up-market refinement as always when it comes to the cover – sophisticated simplicity of color, highlighting the featured musician, both back and front (if you know the name Nesma no more is needed).  Inside the cover, their much appreciated booklet explaining the journey and the players. Read it please – it contains valuable insight so helpful to your enjoyment.

            Explained is the choice of Moddathir Aboul Wafa, who, born in Cairo is a composer, Arranger and Oud player. A teacher at the Arabic Music Institute he also participates as performer and writer / composer for important Arabic music groups that perform in Egypt and festivals all over the world.

             I was so impressed that the musicians on this important CD quickly recognized common ground that unlike so many Arab music productions today that focus on vocals or electronic sounds – this group desired to create independent (not mainstream) music with a focus of traditional and classic Arabic music in which the “instrumental melodic performances and rich Arabic chords would once again hold a privileged position. We aspired to the majestic sound of the classically trained performers of the mid-twentieth century.”

Musicians selected for this blessed compilation are:

Oud:  Moddathir Aboul Wafa
Kanoun:  Maged Sorour
Nay:  Mohamed Fouda and Reda Bedeir
Accordian:  Farouk Mohamed Hassan and Moddathir Aboul Waffa
Violin:  Moustafa El Moogui, Mohamed El Moogui, Hazem El Kasabgi, Moustafa Abou Sheffa, Ahmed El Kasabgi, Wagdi Ghonem, Samir Rashad, Ibrahim El Radio, Moustafa Abdel Nabi, Hassan Sharara and the exsaulted Abdou Dagher in solo (#6)
Violoncell:  Emad Ashour, Yasser Taha and Hassan Moataz
Countrebass:  Beshire Awes
Doff, Bendir:  Hesham El Arabi and Khamis Henkish
Req & Trianble, Haguer:  Hesham El Arabi
Drums:  Amr Khairy
Congo/Bongos/Percussion:  Diaa Tass
and… I indulge myself in leaving this musician until last – the omnipotent Khamis Henkesh who receives special thanks in the prelude to this offering and with whom I have the astonishing “once –in–a-lifetime” memory of having danced with  - in a cramped hallway at the Ahalan Festival in Egypt – a memory I’ll jealously hoard my whole life.

            Thoughtfully, I am provided the book that expresses the musical intent of each piece:  Mawkeb El Nagham – is to the composer, a royal procession celebrating the “grandeur of the King” – the Oud, Kanoun, Violin, Violoncello among other instruments all hail and surround the Oud with great intensity and clarity of space. The music does indeed travel along a strong and winding path exploding into a moment of joyful pomposity then floating forward again –(do I hear a Spanish foot-print) – right before the Oud with rightful majesty - surrounds, teases and commands your senses - all the while the watchful violins et al, eagerly provide support and delightful contrast. 

Drawn by the propelling rhythm and sweeping conversation of the strings the listener can’t help but feel unraveled and released at the end – free to stand alone while just once again, the Oud, resonates through the silence with a distinctive Spanish finish before the procession dances forward without him.

            El  Leil Wel Nil - (The night and the Nile).  The river of Life  - a well orchestrated stroll wrapped in the evening mystique of Egypt’s legendary and royal river. The Nay we are told represents the nightingale’s song, venerating God, during flight over the Nile We are treated to a celebration in one of the luxurious venues that line the shore – we feel the night – hear the joy.  This piece ends in a classic 7/4 rhythm.

            El Qaheyra El Adima – (Old Cairo).  I am astounded by the intricate storytelling of this piece – it really holds the story of Egyptian music –education that every appreciative listener and certainly every dancer should have before attempting to understand the music.  It recreates life – in this instance a wedding in old Cairo – neighborhood where the composer was born and raised – “we are all children of our neighborhoods”.  I LOVE this piece –The accordion adds an earthy element followed by the strong percussive back-drop and I am a happy guest to the five part journey from invitation to farewell. I long for this – I am so happy to be part of it – I totally understand this as the musicians describe it with their instruments and I am at home!

            Fi Samaa Al Musika – (In Music Heaven).  The composer felt this portion reflects ”the artistic evolution of Egypt during the mid 20^th century  - the feeling of liberation and letting go”.  I can feel it in the largesse of this offering and I believe a definite feel of Egyptian films of that era that so many of us love, a more collaborative time for this world.  Thank you so much for the description of the rhythms even though I will have the pleasurable job of listening countless more times before recognizing all the changes.  Yet still – just having the explanation  - priceless.

            Samaa Hos.  An invitation to be quiet and listen as the musicians POUR their “magical poetry” like healing oil over your mind.  Performing as a modern Takht Ensemble (small – quite often in formal Western attire), the musicians “show off” if you will, their camaraderie interacting in a series of exceptional solos that hold the listener spellbound! Do you have a favorite – you might question that after hearing each performer shine.  When they come together – pure happiness for the heart!

            Samba Toola.  An excellent example of world music  – a total party, composed by Moddathir for his daughter then three years old. The playful accordion – the 30’s /40’s sound of the strings, American Jazz influence with just enough Spanish plus Middle Eastern mystery and driving percussion – an interesting tapestry of fusion. Really FABULOUS!  Masterful Recording and mixing by Ehab NabilWhat a delight for producers Julia Salmeron and Eric Godfroid.  This music was composed and mostly arranged by Moddathir Aboul Wafa. 

            A screaming triumph of unbelievably talented people, coming together for the pure ecstasy and elevation of their art. The unbelievable thrill of quiet drama that can only be achieved when artists of this caliber  (I extend that to all involved with this project), share their passion to create something completely satisfying – valuable and rare!