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Úvodní stránka » RECORDS » Karim Baggili
Karim Baggili — Kali City [2013]

 Karim Baggili — Kali City  [November 15, 2013]

Karim Baggili — Kali City

The official logo by B.T. Amundssen´s Harvest Prize & 7th Tais Awards for Nominated Artists
Born in 1976
Location: Brussels, Belgium
Album release: November 15, 2013
Record Label: Homerecords.be
Duration:     50:35
Tracks:
01. Down Town      (4:58)
02. Ella & Jad      (5:31)
03. Dawn At Sea      (1:00)
04. Big Fish      (4:30)
05. Silent Stories      (4:35)
06. Fly To      (1:13)
07. Kali City      (4:46)
08. Toummaï      (3:18)
09. Arabic Circus      (4:53)
10. Kalimaat      (3:14)
11. Nuit Obelaetis      (5:30)
12. La Tinsini      (2:56)
13. Amar      (4:11)
feat. Le Trio Joubran
2013 homerecords.be
CREDITS:
Musicians:
Karim BaggiliGuitar, Ud, Bass, Guitar — electric, Slide bass, Voice, Composition, Arrangements
Samir Joubran — Ud
Wissam Joubran — Ud
Adnan Joubran — Ud
Houssem Ben Elkadhi — Kawala
Mohamed Al Mokhlis — Violin
Ahmed Khaili — Daf, Darbuka, Riq
Etienne Serck — Cajon, Floor Tom
Vivian Ladrière — Udu, Cymballes, Floor Tom
Boris Tchango — Drums
Youri Nanaï — Bass
Karoline De La Serna — Voice
Samia Sabri — Voice
Production:
Johann Spitz — Recording, Mix
Karim Baggili — Mix, Production
Michel Van Achter — Mastering, Production
Yasmina Baggili — Photography
Corentin Aussems — Layout

  Karim Baggili’s fourth album merges together new compositions and unique musical sounds. Music critics have said that his music “is captivating and vivid with precise and elegant arrangements”.
  The album merges Flamenco guitar, Arabian, South American and classical music, and unique sounds, creating a sense of dreaming and imagination, making his music a beautiful marriage of culture, a universe which belongs only to Karim Baggili, a music which is powerful, modern, full of emotion and energy.
  The group has welcomed two new members : a (female) singer, in duet with Karim and a percussionist. Both of them bring depth and dimension to the music.
  In his music, Karim Baggili seeks images which remind him of surroundings, strange (or foreign) stories, dreams and encounters, a vital need to create and progress music.
  Belgian, of Jordanian — Yugoslavian origin, Karim Baggili, born in 1976 is a young self-taught guitarist, ud player and composer. Starting with the electric guitar at the age of 16, his performance continued to develop while working with different techniques of flamenco guitar and the Arabian Oud which he acquired from Jordan.
  In 2000, Karim won the first prize at the “Open String Festival” in Osnabrück, Germany.
  Since then, he participated in many groups such as Dazibao, Turdus Philomelos, Nathalie Loriers, Traces and has worked on many projects as composer and arranger for several albums, documentaries and short films.
  Karim has also diversified his musical taste with the creation of Aton Lua, his world rock music project where he sings in several languages and plays different personalities on stage.
  After his two recent albums, Douar and Cuatro con Cuatro issued by homerecords.be, Karim is releasing his fourth album “Lea & Kash”, which blends together worldly compositions in novel techniques.
 
  Karim Bagilli est un Belge d'origine jordano-yougoslave. Il a découvert l'oud assez tardivement, mais a été rapidement conquis par cet instrument, au point d'en devenir un joueur virtuose. Cet album, à dominante instrumentale mais assez varié,  propose 4 titres composés à l'intention du Trio Joubran et enregistrés avec eux, le cinquième titre est une musique composée pour un documentaire et le restant est plus personnel. A découvrir.
Website: www.karimbaggili.com
Facebook: https://www.facebook.com/KarimBaggili
Press: Catherine Grenier — 0032 (0) 477.47.17.90 — reniercath@gmail.com
Agent: Yasmina Baggiliyasmina.baggili@gmail.com

logo homerecords.be
Description from label:
  Kali City, something that Karim Baggili has dreamt of for a long time. With this album he puts down his guitar and picks up his oud. A lute inseparable from an arabian music that the artist has always carried in his heart and to which he pays a homage whose secret he has. As he summarises "It rocks me, it pierces me, I adore it".
  During the course of two parts, the first with the three Joubran brothers ("graceful, generous and talented") and the second surrounded by his "Arabic Band" with its traditional instruments (kawala, ud darbuka), Karim Baggili invites us on a journey to the east and this Jordan of which he keeps so many memories.
  Without simply offering traditional airs, he opens the door to modern and offbeat compositions, taking inspiration from what makes up his identity, adding his personal touches in order to finally recall that music can and must sometimes go beyond frontiers to provide other sensations and open horizons. (http://homerecords.be/)
REVIEW
Gerald Van Waes — psychedelicfolk.com
  No doubt the ud is a wonderful instrument, but if you desire to look for music that is recorded with it, one mostly come to find solo ud recordings, which on a full release, this still starts to bore easily after a while, when showing just the moody traditional exercises, but rarely ideas that truly reconsider the creative process on the moment, like guitar music does much more easily. On occasion, such approaches still fit with the moment perfectly but then you also better ought to be present. Most ud-based records are either completely traditional, Arab styled, or show an attempt of jazz-fusion, but so far I never was completely satisfied with nearly any record that I have heard before in which the ud dominates. But Karim Bagilli in this record succeeds to surpass the necessity of a temporally occasion, the tradition-bound approach and the, from memorised patterns-based repetition or overly attachment to tunes. Karim shows his own personal quest, and vision, fed by nearly anything from anywhere. Even though it is so that for this album he travelled to Jordan to enrich his own feeling for music and the ud, and has met the France-based Palestine brothers called Le Trio Joubran, who come from a family of ud makers and players, people who might have brought him even closer to the ud sound itself, with the help of this trio he also shows an enriched vision for arrangements with the ud, creating a rich and more full sound with it.
  Especially the earliest tracks show almost flamenco-like rhythms, which seems to come cleverly forward from the rhythms the hands and fingers play on the ud. From these tracks, it is unclear how much ud has been played on it, because it sounds as if it also has been combined with acoustic guitar pickings (-something which I cannot check that for the moment-). This whole arranged sound of combinations of pickings driven by its own rhythm, and the true inspiration by new compositions convinces very well.   There’s a certain sensitivity for song-like melody, which does not fall back on something from which I have the feeling that I have heard it a bit too many times before, except for recognising this flamenco tension, which in fact never ceases to succeed with its effect. Those early tracks are arranged like a suite.
  The sixth track has an intro on what sounds a bit like a Turkish flute. This is followed by the main track, which also features drums and flute besides ud, so also a wider, enriched and strong band sound. Also “Arabic Circus” features, besides, drums, bass, ud and Middle Eastern percussion and flute, some extra contributions from electric rhythm guitar and violin. It has one of the more complex compositions, divided in a few sections. It swings and builds up to a part with additional electric zither pickings (?) that create an almost filmic effect (-a sound that brings the band closer to the sound of bands like Secret Chiefs 3 for instance, one of my favourite bands to interpret Middle Eastern music amongst other eclectic style mixtures-).
  The last couple of tracks somewhat keep that filmic mood, as if this is part of a movie soundtrack, with a story to tell with songs and instrumentals, hanging well together. “Kalimaat” with Persian percussion, rubbing rhythms on guitar and Arab singing on convincing female vocals is different too, and fits into that section. Unless its Arab singing, it still could fit into any culture’s taste, like music for the "Whole-World" and not for just one separate part of it. The theme that can be heard on “Nuits Obelaetis” gives me again this filmic expression, (once more like SC3 perhaps ?). “La Tinsini” followed after this is played by electrified pickings with bowed and swollen sounds and again with this female vocalist, continuing with this now somewhat melancholic and still filmic sensitivity. The last track that is sung in Arab, with a sad voice, shows all instruments at once and one more last time, like with electric pickings, drums, bass and ud and flute, which direct the album towards a powerful ending.
  Used additional instruments mentioned on the album cover include darbuka, drums, daf, bass, kawala and violin.
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Karim Baggili — Kali City [2013]

 

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