The below guest blog post is authored by Brian Unger, an American musician and music producer who led the 2010 Music Exchange Program in Damascus, Syria. This is the second of a series of posts by Mr. Unger that explores his experience in Syria. Read Part 1 here.
Following my arrival, days two through four in Syria were comprised of historical tours, acclimation to the area, and a day of press conferences and opening ceremonies for the Youth Ability Summit. Monday would be the first actual recording session. We had graciously been granted the use of the Duma concert hall by the ECHO organization, one of Open Hands Initiative’s partners.
First up was Fattet Laabet– a contemporary jazz quintet using conventional instruments with the addition of Arabic percussion. They are fronted by trumpet player Nezar Omran, with Nareg Abajian on electric piano; Khaled Omran, electric bass; Danny Shukri, drum kit; and Firas Hassan, percussion. Their first tune entitled “Nai” opens with a head (jazz jargon for the main thematic melody) somewhat reminiscent of a Chuck Mangione or Gato Barbieri. Its moderate tempo and easygoing feel could easily place it on any of the contemporary jazz playlists of today.
The second tune, entitled Balla Harwasha, is an up-tempo track with a head in two meters: one of 9/8 and two of 6/8 sequentially. This rhythmic sequence alone really speaks to the Middle Eastern musical influences these musicians were born into. There is a middle break down that allows the soloists to stretch their chops a little with a really nice bass solo by Khaled. I managed to capture a nice live feel for this ensemble with our Edirol 4 track digital field recorder, a Rane stereo microphone and two pencil condensers.
Check back again soon for more about the talented Syrian musicians who participated in the 2010 Music Exchange, or head to the Open Hands Initiative YouTube Channel to hear the musicians in action.