Kurdish Sound Artist: New Singers Are Jeopardizing Our Music

[Piling]

STOCKHOLM, Sweden - The songs recorded at Bahman Qambari’s music studio in Sweden have topped local and European music charts, and now this aspiring Kurdish entrepreneur is building one of Europe’s largest music studios.

Qambari’s studio, built in 1990, has hosted many international musicians and ensembles, but is expected to rise in fame after he finishes the soundtrack for Johan Falk, a Swedish film, on which he is working with two renowned Hollywood artists,

His already large studio is being expanded to become among the largest in Europe, “allowing major concerts and large ensembles to play and record music in the studio,” Qambari told Rudaw.

The musician and composer, who manages a musical band and has been asked by “European singers and a number of American and international singers to work with them,” was born in the Altash refugee camp in Iraq and hails from a family from eastern Kurdistan,

His love for Kurdish music and lyrics drove him to learn the language, although he spent his childhood in Sweden, where it was difficult to learn his mother tongue.

But despite his love for the music of his roots, Qambari said he has worked with only a few Kurdish musicians, because “Kurdish singers have a closed fist and do not want to spend money on this aspect (sound engineering) of their music. “

He said inattention by Kurdish musicians about the importance of sound engineering was the reason that fans were attracted to Arabic and Turkish songs. “Kurdish listeners are not naturally fond of Turkish and Arabic music,” he explained.

“It is quality work in sound engineering that has made a singer like Zakaria Abdulla remain alive in the music world. Even foreigners listen to him,” Qambari said.

He said that new Kurdish singers could not compare to old ones like Hassan Zirak and Mazhar Khaliqi.

“Zirak and Khaliqi had a very well-toned voice. They did not need what the current singers need in sound engineering, and spend thousands of dollars on.” Together with Tayar Tofiq, these three singers are Qambari’s idols.

“They were mythical singers, and will never be replaced by any other singers,” he added. “All of the struggle by singers today is for becoming the new-age Zirak.”

For Qambari, whose dream is to return to Kurdistan and start an art project in Erbil, a modern studio in Kurdistan will help preserve traditional Kurdish music and folklore.

“Often songs are recorded abroad, and this will detach them from Kurdish culture and flavors,” he observed. “This is jeopardizing Kurdish music and culture.”

“What we see today in the depressing Kurdish songs is imitation of Turkish, Arabic, and Persian music,” he said, explaning that Kurdish music traditionally has had faster rhythms and joyful beats.

“Now there are attempts to mix Kurdish music with Turkish music,” he added. “Actually, Turkish music has taken much from the Kurdish Kurmanji music, but now our singers adopt the Turkish parts of Turkish music and ignore the parts that have been derived from Kurmanji.”

Qambari believes it is a mistake for Kurdish artists to imitate Turkish singers and “see Turkish music as their door to European music.”

He advises Kurdish singers to, “Look directly at Europe, and avoid adopting the culture and music of neighboring countries.”
http://www.rudaw.net/english/culture_art/5651.html

[Anthea]

But despite his love for the music of his roots, Qambari said he has worked with only a few Kurdish musicians, because “Kurdish singers have a closed fist and do not want to spend money on this aspect (sound engineering) of their music. “

He said inattention by Kurdish musicians about the importance of sound engineering was the reason that fans were attracted to Arabic and Turkish songs. “Kurdish listeners are not naturally fond of Turkish and Arabic music,” he explained.

“It is quality work in sound engineering that has made a singer like Zakaria Abdulla remain alive in the music world. Even foreigners listen to him,” Qambari said.

A friend of mine owns a recording and is also one of the top sound engineers in UK. I could never stress strongly enough the importance of a good sound engineer and good equipment. Surprisingly, some of the best equipment is NOT the most expensive.

Qambari needs to find the best sound engineer he can, and have him help design the studio. By the BEST I do not mean the most expensive engineer who uses the most expensive equipment. I mean a man who can produce miracles and is aware of the importance of preserving Kurdish music

He said that new Kurdish singers could not compare to old ones like Hassan Zirak and Mazhar Khaliqi.

“Zirak and Khaliqi had a very well-toned voice. They did not need what the current singers need in sound engineering, and spend thousands of dollars on.” Together with Tayar Tofiq, these three singers are Qambari’s idols.

Wonderful singers

“Often songs are recorded abroad, and this will detach them from Kurdish culture and flavors,” he observed. “This is jeopardizing Kurdish music and culture.” ...Kurdish music traditionally has had faster rhythms and joyful beats.

I LOVE TRUE KURDISH MUSIC AND SONGS, the voices are softer and sweeter than Turks. Turkish music sounds and cold and unsophisticated, the singing sound rough and harsh. Turks themselves are rough and hash people, very unlike the sweet gentle Kurdish people I LOVE.

It always distresses me greatly that any Kurd would ever want to emulate a Turk or Turkish culture or by choice speak the rough, almost violent sounding, Turkish language. Kurdish is a gentle language, sweetly spoken and soft on the ears [/quote]

“Now there are attempts to mix Kurdish music with Turkish music,” he added. “Actually, Turkish music has taken much from the Kurdish Kurmanji music, but now our singers adopt the Turkish parts of Turkish music and ignore the parts that have been derived from Kurmanji.”

Qambari believes it is a mistake for Kurdish artists to imitate Turkish singers and “see Turkish music as their door to European music.”

He advises Kurdish singers to, “Look directly at Europe, and avoid adopting the culture and music of neighboring countries.”
http://www.rudaw.net/english/culture_art/5651.html

An extremely exciting project PLEASE keep us informed