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The Beard of the Camel
The Beard of the Camel
A music review by Laurel Victoria Gray
(published in Habibi, Winter 1996 (vol. 15, no 1), page 41-42)
"The Beard of the Camel" marks the first Western release by Uzbekistan's Yalla Ensemble, the most popular group from the Central Asian republics. As a long time fan and friend of the group – and the official project consultant for this album – my opinions are admittedly biased. Still, it has been a cherished dream of mine to share this music with Western dancers and now, thanks to Imagina Productions of Seattle, Washington, that dream has come true.
Yalla's ethno-pop approach to traditional melodies and themes dates back to long before the present popularity of "world beat" music; in 1996 the group celebrated its 25th anniversary. Most of the songs on the album date from the late 1980's; Yalla's other CD album,"Jinouni", features more recent compositions with a broader Middle Eastern flavor. What ties together selections from The Beard of the Camel is the Central Asian thematic material, making the album a musical caravan through Uzbek customs and traditions; the inside CD cover even includes a map for orientation purposes.
Quite appropriately, the opening cut is "My Uzbekistan", an upbeat, patriotic piece composed to celebrate the republic's independence. Although a hymn to Uzbekistan, the melody and rhythm both lend themselves wonderfully to Arabic dance, tempting listeners to belly dance to what is the Central Asian equivalent of "America, the Beautiful". Performers will have to resolve this ethical dilemma on their own.
"Tubiteika" takes it's name from the Russian word for the gorgeous, embroidered skullcaps worn by Central Asian men and women. (The Uzdek term is dupi). With the steel drum sound and the lively rhythm, the song's unabashedly "twist and shout" feel may be a little too ''"cute" for some, but give it another listen – it just may grow on you. The famous, long-lived plane tree or chinara provides the inspiration for the next selection, a lyrical love song. The first really folksy sounding piece is "Abdullah", the bridegroom's song. The 6/8 rhythm and synthesized surnai (an Uzbek zurna) add an ethnic touch and conjure up scenes of raucous, outdoor Uzbek wedding celebrations.
One of the oldest songs on the album, "Shakhrisabz", stands as a classic. The opening measure feature a unique clapping and finger-snapping combination which leads into a pleasant melody extolling the beauties of Uzbekistan's famous "green city" – Shakhrisabz.
Those familiar with the tale of Leili and Majnun – the Romeo and Juliet of the Middle East – will fall for the haunting rock ballad, "Leili". With words by the late Uzbek singer and poet Batir Zakirov, the melody's wistful longing mirrors the lyricist's personal search for his own "Leili", for whom he search without success all his life. This poignant song, beautifully rendered by Batir's brother Farrukh (Yalla's lead singer and Artistic Director) can inspire a dance filled with dramatic veil work and eloquent arm movements.
While not as convenient as an American mall, Uzdekistan's bazaars offer a much more colorful shopping experience, complete with street performers. A distinctive drum rhythm announces from afar that the tightrope walkers have begun their show, inviting one and all to take a break from their errands to watch. "Baka-bang" recreates the rhythms and excitement of these outdoor performances.
The theme-song of an album released during Soviet times, "The Musical Chaikhona", tells of the important place of the chaikhona , or teahouse, throughout the East. While the harmonies are Western, the piece has enough of an Oriental flavor to work for a fusion dance piece.(I saw one particularly charming choreography to it in Tashkent, complete with dancers holding Uzbek teacups).
continued at http://ip1.com/imagina/press/LGrayCamel.html
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