Track List
01.Sama'i Shat araban - Tanbouri
02.Longa HijazKar - Saboukh Efendi
03.Zawalif - Ahmad Al-Khatib
04.Silk Road - Ahmad Al-Khatib
05.Sama'i Muhhayer Kurdi - Sai’di Ishillay
06.Zeina - Mohammad Abdul Wahhab
07.Once upon a time - Jamil Bashir
08.Zar - Ahmad Al-Khatib
09.Kelmet Atab - Ahmad Al-Khatib
10.The Flying Bird - Mounir Bashir
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MP3 320 Kbps [140 MB]
Part 1
Part 2
Track List
01 My Olive Tree
02 Don't Leave!
03 Oh, The Way He Walks
04 Dialogue
05 Fetching Water
06 Rain Prayer
07 The Meadow Smiled
08 Dignity
09 Alli Narak
10 Her Eyes!
11 Layya w Layya
12 Dal'onet Issimsim
13 Palm Branch
14 Haifa to Jenin
15 Ouf Mash'al'
16 The Sun Danced
17 Funouniyyat
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Adnan Joubran :Oud
Wissam Joubran : Oud
Samir Joubran : Oud
Yousef Hbeisch : Percussions
Mp3 256 Kbps
1. Masar
2. Roubbama
3. Laytana
4. Tanasim 1
5. Majaz
6. Shajan
7. Tanasim 2
8. Sama-Sounovnov
9. Min Zaman
10. Tanasim 3
11. Hawana
Nazareth-born Samir Jubran is not afraid to say his ‘oud (the Oriental luth) is his weapon, used to counter Israeli prejudice, racism and occupation. The articulate Palestinian artist, now between France and his home town of Ramallah,
has been forging acoustic compositions for as long as he knows. Indeed, he was originally nurtured on the ‘oud at the bosom of one of Palestine’s best-known musical families. In 2005, Samir brought in his brothers, Wissam and Adnan,
to form a unique trio. That same year their album “Randana” marked the inauguration of what Samir claims is Palestine’s first record label, of the same name.
Mp3 192 Kbps
Tracks :
1. Hawas
2. Misage
3. Shagaf
4. Safar
5. Ahwak [Live]
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Samir Joubran was born in Nazareth, Israel in 1973 in to a musical family - his father is a well-known oud maker and his mother is a singer. His father began to teach him the oud at the age of five, and at the age of nine he went on to study
at the Music Institute in Nazareth. Samir later graduated from the Mohamed Abdul Wahab Conservatory in Cairo. He has performed throughout the Arab world, Europe and America, and is often accompanied on oud by his brother Wissam.
Samir Joubran would desperately like to be just an artist, with his music as his only passport. But Samir Joubran is also Palestinian. And in spite of himself he is more than ever Palestinian when he is an artist.
Thus he has to testify as an artist, but testifing for his people and for the ones who are far away, so far from the Middle East. If we have to play, we must abandon the virtuoso, the beautiful, the flattering, to let the pure emotions
speak.It is not by accident that he invites his brother, the one with whom words are useless, the one who feels sisterly emotions in his flesh , to build a silent and fragile defence against the shrilling of the F16’s.
It was for the Nuits Atypiques in Langon, August 2002 that Samir Joubran chose to perform his unique recent European concert.His wife and his daughter stayed in Ramallah. Every hour, he listened out for the news on the radio. Without any words
but the singing of the Ouds, the public, deeply moved by the intensity, the despair, warmly parel homage to the two brothers.
At the end of the recording, in Eastern Jerusalem, Samir apologized for not having been able to set aside his country's current events, for having talked about the war, which goes on and on...Then why are we so much affected by the serenity which irradiates from this record ?Could it be that the artist, when he talks about war, is in fact advocating peace ?
Amazon.com reviewer:
Track 2 travels in a musical caravan across space and time into an inner world of meditation and reflection. Like the words of Jesus, Tamaas-track 2 of this rising music star of Nazareth, speaks of human resilience which is larger than life. It speaks of the passage of time during a 3-week Israeli military siege of Ramallah under which this music was born. You can feel the waiting inside this piece, the danger, wondering, contemplation, reflection.The music in this album is music of meditation with great depth...highly recommended to everyone.
Samir Joubran’s first album, Sou’fahm, symbolizes the musician’s bewilderment with the political situation. The notes, the silences and the melody join together to ask Why?
This premier production was born of pain, and, more importantly still, the desire to understand.
Taqaseem
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