Upper Egypt

Upper Egypt

ASIN: B000040JD5

Editorial Reviews
Amazon.com
Keyboardist Wayne Horvitz kicks off Upper Egypt with Pharoah Sanders's tune of the same name, citing it in the liner notes as a pivotal piece for his own musical development. Here it's transmogrified into Zony Mash's swamp jazz but remains recognizable via palpable echoes of guitarist Sonny Sharrock (who played it originally on Sanders's Tauhid) in Tim Young's playing. It's an homage that sounds at once pristine and totally Zony--such is the sound of this band that it's easily identifiable and very memorable. Horvitz has found a studied, smoking mix. Young's guitar and Keith Lowe's electric bass have that funny, shadowy character of being frontally grabbing yet subtle in their depths. On Hammond B-3, Horvitz touches both the blocky front parts and the keyboard's background details, making grainy clouds on the big organ that alternate between atmosphere ("The End of Time") and heavy riffing ("FYI"). --Andrew Bartlett

Tracks:

Nugumi - From The Aswan Region
Allah - From The Aswan Region
The Bride - From The Aswan Region
The Groom - From The Aswan Region
Ya Rab Toba - From Sa'ed Oena
Manami (My Dream) - From Sa'ed Oena

Customer Reviews:

Authenic rural Egyptian grooves.......2007-04-15

The cd is about the closest that Westeners minus the plane tripe will get to rural Egyptian music. Most of the songs comes from parts of extreme southern Egypt[that is Luxor and Aswan] but some tracks are a little further north in places like Qena which border Middle Egypt. The previous reviewers have unfairly branded this as unauthenic. Such criticism does not suprise be due to lack of understanding or knowledge that some have of rural Egypt. I would argue that this cd is more Egyptian than most sha'abi due to the lack of western influence.

Anybody that is into anthropology or field recordings is for a musical treat. All the music is supervised by the late Nubian ethnomusicology/oud player,Hamaza el Din. The only thing missing from a otherwise wonderful cd is funeral laments from Luxor and fallahin music from the Delta. Buy this Cd if you are into rural Egyptian music or a anthropology buff.

What a surprise!!!.......2002-03-03

I love Hossam Ramzy's work, but this cd is a disaster. It sounds like the songs wanted to be Egyptian, but failed. Trust me on this, I am from that country and there is no way that this music or the people singing on it have anything to do with Egypt. More like Noubian trying for Upper Egyptian rethyms, goodluck. The drumm beat is too fast and everything is off, I am really surprised that Hossam has his name on this piece of you know what....

A Very Good CD.......2002-01-08

Its somewhat unfortunate that this CD has gotten so many bad reviews. It really is an excellent CD. It is all very authentic recordings of tradtional music. I get the feeling that alot of people came to this CD expecting belly dance or Rai type music. Now I am a huge fan of Rai music myself, but I also have a deep interest in traditional music as well. This CD didn't disappoint me. It is all very traditional music, with little modern or western impact on it. The great majority of the music on this CD focuses in on the music of Upper Egypt, with the accompanying Sudanese and Nubian influences. If you enjoy African (well, sub-saharan African) music, the you will certainly get a kick out of this CD. Its a side of Egypt that you rarely hear much of. The rest of the music goes further towards the Nile delta, but interestingly enough focuses in on the classical and folk music of that region, rather than the more "exotic" music that some people look for. However, the music of Upper Egypt was excellent and takes a prominent place in my mind whenever I think of this CD. If you have an interest in historical and cultural music, especially that of Africa buy this CD. It may very well represent the closest music to that of ancient Egypt outside of the Copts. However, if you are looking for belly dance music, you may be somewhat disappointed. I just wish I could find more music from around the Sudan...

real down to earth fellahi music.......2000-09-05

To be able to hear real fellahi music recorded on the spot is a rare opportunity. You can actually hear the closness to the African (Sudan) border. I love it! If only I could find more of this. But, if you are after modern belly dance music you sure are in the wrong place.

The Music of Upper & Lower Egypt.......2000-08-11

I guess I'll be the one to wander off the beaten path in terms of of the music on this CD. I LOVE IT! It's primitiveness is what makes it so wonderful. I listen to it and feel as though I am part of the celebration! This is music made with what is naturally given to us, our voice and hands. Music in it's purest and most beautiful form. The basic-ness of the music is a valued part of my collection of music of the Middle East. Don't get me wrong, I dig George Abdo and Hossam Ramzy as much as the next person, and Natacha Atlas makes me shimmy with delight. But for me to truly understand and enjoy the music of the Middle East, and be a well-rounded student of Danse Orientale, I feel I must embrace the earthy, as well as the ethereal.

Average customer rating:

Upper Egypt
Zony Mash
Manufacturer: Knitting Factory
ProductGroup: Music
Binding: Audio CD

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ASIN: B000040JD5
Release Date: 2000-02-08

Tracks:

Upper Egypt
Spice Rack
The End Of Time
Big Shoe
FYI
Forever
Goes Round And Round
I'm Sorry
Snakebite
Second Time Around
The Blue Rose

Amazon.com

Keyboardist Wayne Horvitz kicks off Upper Egypt with Pharoah Sanders's tune of the same name, citing it in the liner notes as a pivotal piece for his own musical development. Here it's transmogrified into Zony Mash's swamp jazz but remains recognizable via palpable echoes of guitarist Sonny Sharrock (who played it originally on Sanders's Tauhid) in Tim Young's playing. It's an homage that sounds at once pristine and totally Zony--such is the sound of this band that it's easily identifiable and very memorable. Horvitz has found a studied, smoking mix. Young's guitar and Keith Lowe's electric bass have that funny, shadowy character of being frontally grabbing yet subtle in their depths. On Hammond B-3, Horvitz touches both the blocky front parts and the keyboard's background details, making grainy clouds on the big organ that alternate between atmosphere ("The End of Time") and heavy riffing ("FYI"). --Andrew Bartlett

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