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01. Mbote Ya Pamba
02. Dido
03. Mandze Mandze
04. Baninga
05. Elembetele Lala
06. Massamour
07. Pinzoli Ya Africa
08. Kubola
09. Patenge
10. Gina
11. Kaka Ngai
12. Success Ya Grand Kalle
13. Otage Ya Bolingo
14. Likambo

Tracklist:

01 - Gulda _ For Rico
02 - Gulda _ Minuet
03 - Mozart _ Fantasia D, K.397
04 - Gulda _ Aria (Solo)
05 - Gulda _ Prelude + Fugue
06 - Debussy _ La Puerta Del Vino ( Pr Ludes_ II, #3)
07 - Debussy _ La Fille Aux Cheveux De Lin (Pr L._ I, #8)
08 - Chopin _ Tude #c, Op.25#7
09 - Chopin _ Barcarolle #F, Op.60
10 - Chopin _ Nocturne #F, Op.15#2
11 - Schubert _ Impromptu BG, D899, Op.90#3
12 - Strauss Jr. _ Ich Lade Gerne Gäste Ein
13 - Strauss Jr. _ Brüderlein Und Schwesterlein
14 - Traditional _ Fiakerlied

Friedrich Gulda - piano

Hamza's debut recording swept the music world off its feet, and it's still clear why: his distinctive oud style was unlike anything else that came before, the songs are works of astonishing beauty, and the spirituality that pervades his music is evident from the first note of the oud.

Hamza El Din, the celebrated Nubian musician whose rich fusion of Arabic and Nubian sounds entranced audiences worldwide and inspired colleagues like the Grateful Dead and Kronos Quartet, died Monday, May 22nd, at a Berkeley hospital from a gallbladder infection. He was 76. A longtime Oakland resident, Mr. El Din was a subtle master of the oud, the Arabic precursor of the lute, and the tar, the single-skinned drum that originated in Nubia, the ancient upper Nile land that was largely submerged after the Aswan Dam was built in the 1960s. Mr. El Din sought to preserve his native culture, singing Nubian songs and stories in a warm, reedy voice that merged with his instrumental overtones to create music of quiet intensity and beauty.

"It was mesmerizing. Hypnotic and trancelike,'' said Grateful Dead drummer Mickey Hart. "Hamza taught me about the romancing of the drum. His music was very subtle and multilayered.

"He was a deep listener,'' added Hart, who practiced daily for six years to master the tar Mr. El Din gave him. Sometimes the music they played together was so soft "we could hardly hear ourselves. He'd just suck you into this vortex, and all of a sudden what was quiet seemed loud in its intensity. He suspended time."

Almost 4 decades have elapsed since Hamza El Din started his sacred mission of promoting, developing and presenting the Nubian Culture to the world. He was one of the many thousands suffering in the Nubian Diaspora resulting from the loss of hometowns and villages after inundation by the waters of the Aswan High Dam. His sentiments are deeply expressed through his songs, in which his longing is expressed by calling Nubia, the daughter of mother earth. His name remains synonymous with Nubia, Nubian Music and culture. His long and cumbersome journey was accompanied by his oud (lute) and tar (the traditional Nubian instrument). His style is simple and majestically powerful. With a charismatic voice, and only a few taps on the tar along with tender play on the oud he can make all Nubians hear themselves.

Hamza El Din - voice, oud, and tar
Ahmed Abdul Malik - acoustic bass
Sandy Bull - bongos

Song Titles:
1. Fegir Nedan (Call to Worship) - comp. Hamza El Din
2. Desse Barama (Peace) - comp. Hamza El Din, lyrics Mohi El Din Sherif
3. Aiga Denos Ailanga (Give Back My Heart) - comp. Hamza El Din, lyrics Mohi El Din Sherif
4. Hoi To Irkil Fagiu (The Message Bearer) - comp. Hamza El Din
5. Kuto Fa Pattaroni (Children's Songs) - comp. Hamza El Din, lyrics Mohi El Din Sherif
6. Shahadag Og (Believe) - comp. Hamza El Din
7. Nabra (Raw Gold) - comp. Hamza El Din, lyrics Mohi El Din Sherif
8. Nubala (Nubiana) - comp. Hamza El Din, lyrics Mohi El Din Sherif

Arabian Waltz is the pinnacle of Rabih Abou-Khalil's achievement as a composer and arranger. It is a sublime fusion of jazz, Middle Eastern traditional music, and Western classical. In addition to Abou -Khalil on oud (the Arabic lute), Michel Godard on the tuba and the serpent (the tuba's antique kinsman), and Nabil Khaiat on frame drums, the album also features the Balanescu String Quartet instead of the usual trumpet or sax. The presence of the Balanescu might seem to pose a dilemma for the composer: traditional Middle Eastern music uses no harmony but a string quartet is all about harmony. Abou-Khalil achieves a compromise by generally writing the string parts in unison (or in octaves), in effect using the quartet as a single voice, but also letting the quartet split up to play parts in unison with the other instruments or to provide ornamentation. Without surrendering jazziness at all, the presence of the strings makes possible a wondrous atmosphere, almost as if one is listening to the soundtrack of a classy movie set in Beirut or Damascus during the '40s. This feeling is greatest on "Dreams of a Dying City" with its brooding tuba and cello motifs and grave, repeated rhythms. "The Pain After" starts with an impressive tuba solo that turns into a long interlude for tuba and string quartet; sad, slow music that sounds like one of Beethoven's late quartets. Then Abou-Khalil finally enters on oud, bringing a sustained note of wistfulness. Fortunately, beside the darker numbers lie the propulsive drama of "Arabian Waltz" and the bobbing and weaving quirkiness of "Ornette Never Sleeps." Abou-Khalil is known for experimenting with the possibilities his guest musicians bring to his style. In this case, the guests have inspired the host to reach a new height and maybe even a new style. This recording suits every fan of world music, jazz, classical, or just good music. ~ Kurt Keefner, All Music Guide

Tracks:
01. Arabian Waltz
02. Dreams of a Dying City
03. Ornette Never Sleeps
04. Georgina
05. No Visa
06. The Pain After