About the Genesis World Music Ensemble
Continuing in Genesis at the Crossroads’ signature style of bridging cultures in conflict through the arts, Founder & Executive Director, Wendy Sternberg sought to pair two artists unbeknownst to one another, from the Moslem and Jewish communities somewhere in the world. Having been introduced to Haj Youness last year, Youness was a logical choice for the Moslem virtuoso, for one, because of his renowned talent, and two, because Genesis’ concert last August was compromised by an inability to secure a visa for him to enter the US. For this extraordinary pairing, Jewish American (Greek-born) Alberto Mizrahi was chosen for his brilliant range of talent (also an unparalleled virtuoso,) and his connection to the Mediterranean by birth, and by personal exploration in vocal music. He was not only already a performing artist with Genesis twice over (in 2000 & 2005,) but also was the Cantor of Sternberg’s synagogue, where she belonged for 14 years. Howard Levy, with whom Genesis has loved working in the past (2000, 2004 & 2005,) who brings to the table an inimitable musicianship, not to mention quarter tones on a harmonica, became next in line as Genesis’ featured guest artist.
Following this, came the seemingly daunting task of hand picking musicians from as wide a range of cultural backgrounds that could, at once, bring a uniqueness to go beyond fusion music to a whole new sound, yet still blend together. Iranian guitarist, Shahin Shahida, the very first headliner for our Genesis debut program in 2000, (also performed in 2005) came on board and brought with him his colleague, Humayun Khan, representing Afghanistan and its rich musical heritage, but also that of Indian masters. Levy and percussionist Jean-Christophe Leroy had also collaborated with Cuban bass player Victor Miranda, who Leroy suggested be brought into the fold to round out another part of the world and its ethnic traditions. Kader Rhanime brought his friend Mohcine, his Brother Anis, and Hicham… and they brought their respective instruments... and, for the last ten months, we already have been making history. Rhanime took the interim role of Music Director for the first few concerts and Ensemble Founder, Wendy Sternberg, took the Executive Producer role. The musicians were reorganized to include Santana’s drummer, Horacio “El Negro” Hernandez, now woven into the fold as a permanent ensemble member, and Howard Levy has assumed the role of our esteemed Musical Director.
Below you will find one of the most unique collections of musicians ever found together, with a range of talent as wide as it is wonderful - all committed to bridging humankind through art and serving up an engaging model for others to follow. It is the art of their forefathers and mothers centuries old, the stirring sounds of their childhoods, and the ethnic music of their people. They have not all met one another in person, although they have shared their music, creative genius and their hearts with the greatest of 21st century technology. (Their biographies are below.)
The story of their coming together, and the mysterious connections that bind us, will be told for years to come…especially now, as we tour our own very own Genesis ensemble around the world, and weave in other talent, along the mystical and serendipitous way…
SOUNDWAVES TRAVEL – Our Opening Piece
Genesis at the Crossroads is humbly honored to have Maitre Said El Azizi El Alaoui compose our opening piece, Soundwaves Travel. The core of this piece is taken from Haj Youness’ signature opening concerto, a rendering of Aranjuez, brilliantly composed by him at the suggestion of the late King of Morocco to blend Aranjuez, con tu amor with a Middle Eastern quarter-toned scale. Over time, this concerto became Youness’ signature piece, governed solely by his virtuosity and particular state of mind at the time of each concert, rendering it a truly original work each time he performed it. Youness normally plays it as a solo, but for our Genesis World Music Ensemble, he has re-configured it to showcase the collective talents of our ensemble musicians.
A remarkably collaborative effort, with El Alaoui taking the lead, Youness suggested additional movements for the opening and closing segments, as well as arrangements in the middle sections to be used as a framework. El Alaoui then created and recorded this musical scaffold. In studio, Youness built upon it and recorded the oud parts. Organically, this piece took shape as El Alaoui rearranged the musical layering to accommodate and highlight the individual talents of our other nine ensemble members. Cross-culturally, Mizrahi and Youness take the lead as headliners, peppered with Howard Levy’s jazz solo line. After the first movement, the introduction, Youness hands Aranjuez over to Mizrahi and Levy, musically retreating before Mizrahi again, deftly hands it back for the next Arabic/Spanish-styled movement. The closing movement, in Tzigane style, is taken from Oum Kelthoum, the Egyptian Diva who passed away in the late 70’s. Mizrahi sings Aranjuez while Levy plays the original classical chart for it.
The Concierto de Aranjuez was inspired and written for the gardens of the Palacio Real de Aranjuez, attempting to take the listener to sounds of nature in another place and time. According to the composer, the first movement is animated by a rhythmic spirit and vigor, interrupting its relentless pace. The second movement represents a dialogue between guitar and solo instruments, paying homage to Genesis’ mission of creating dialogue and bridging cultures through artistic expression.
Although the concerto captures the essence of the gardens, some say it was partly, especially in the second movement, inspired by the bombing of Guernica in 1937. Once again, the piece references the idea that artistic beauty not only can arise from tragedy, but also has the ability to transport us to a transformed place, a core component of Genesis’ organizational concept and work. The musically-evoked fragrance of magnolias, singing of the birds and the sound of the fountains provide an idyllic vision for the attentive listener –the highest attainable state we can all reach through cross-cultural collaboration and mutual understanding.
OUR COLLABORATIVE CONCERT
Our musical program was skillfully designed to take our audience on a world tour with an ease that transcends otherwise imposing and often inaccessible or misunderstood genres.
The ensemble will take its audience on a trip of unsurpassed spirituality by interpreting a passionate rendition of a poem by Maulana Jalal Al-Din Rumi, the 13th century Persian mystic, now, one of the best selling poets in America, world-renowned for his mystical and ecstatic verses. Known as the Axis of Love, he speaks directly into his audiences hearts.
Humayun Khan will sing Masnavi, Listen to the Sound of the Reed, which immediately casts a hypnotic spell over the listener. Its rich blend of musical poetry, slowly but masterfully, takes our listeners on a journey into love’s soul, penetrating their subconscious.
Having covered American Jazz, European Classical & Arabic Maqam, as well as Afghani qawwali, our musical world tour would be remiss without an exploration into the artistic landscape that colored so much of Africa. We will retrace the roots of Blues and Jazz back to their origins in sub-Saharan Africa and the music of Gnaoua, which is both a prayer and a celebration of life, which Genesis has creatively coupled with the expressive tones of Rai music. We will also explore the ancient and contemporary nubas typical of Andalucian music.
Mizrahi (whose very name, not coincidentally, points Eastward) has supplied us with a rich tapestry of “Eastern” Jewish music. Lecha Dodi, a hymn from the Friday evening service welcomes the Sabbath Bride/Queen as she brings us peace and happiness. He composed a new setting based on a Maqam (mode utilized in Middle Eastern music) he heard in Greece. A dance rhythm, arranged in three sections, some verses in a lower key, some in a higher one, transitions the following sections into a Latin-African beat and harmony, featuring Howard Levy, both on piano and harmonica, as well as the rest of the ensemble in an exciting climax.
Shalom Aleychem is Mizrahi’s arrangement of a tune that has circled his consciousness since the age of five, when his parents took him to Zapeion, the Royal Gardens of Athens, to hear and often sit on the knee of Nikos Gounaris, the pre-eminent troubadour of Greece (from the 20's through the early 60's.) Inspired by a recent concert tour in Cairo, once again enamored with the people and the culture, Mizrahi wrote a piece entitled, Allah, both compelling and inviting via its invigorating guitar solo entrance. Specifically for our Genesis program and tour, in the true spirit of Genesis’ model for collaboration, he asked Haj to improvise something on his oud that will evoke the memories of that solo, and thus lead Mizrahi into the first of four verses of this mystical hymn, welcoming the ministering angels of peace. This is followed by the section Mizrahi composed for the next two verses in rhythmic style, with a subsequent return to the more tranquil and introspective fourth verse in the original melody. Salaam Aleykum will be interspersed with the Hebrew, Shalom Aleychem, repeatedly as the ending fades into a soft wish for peace; Go in peace, O angels of peace, angels of the Exalted One...
Other pieces have included guest artists Horacio “El Negro” Hernandez, (Carlos Santana’s drummer,) Maestro Han Mhanna, Conductor of the Cairo Opera House, Saida Charaf, Hamid El Kasri, Arab Super Idol 2007 Saad Lamjarred, collaborating with Alberto Mizrahi and orchestras including the Casablanca Orchestra for Andalucian Music.
Past Performances:
The Rialto Theater, Casablanca, MOROCCO – December 18, 2007
The Kennedy Center for the Performing Arts, Washington, DC (USA) – August 27, 2007
HAMSA-Fest, Chicago, IL (USA) – August 26, 2007
Future Performances:
Cairo (outdoors beside the pyramids) – July, 2008
Jerusalem - July, 2008 (site TBD)
Istanbul – date and site TBD
“Sublime!”
Aaron Cohen, The Chicago Tribune
“…a flawless blend of musical styles from around the globe.”
Tim Receveur, US Department of State, USINFO
The Kennedy Center for the Performing Arts, Washington, DC