Abdel Hazim | Fusion Bellydance

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World: Bollywood World: Belly Dancing Moods: Solo Instrumental
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Fusion Bellydance

by Abdel Hazim

Middle Eastern Fusion, belly-jazz and oriental tribal style.
Genre: World: Bollywood
Release Date: 

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Tracks

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1. Bait El Hob
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2:40 $0.99
2. Dar Al Maqamah
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1:14 $0.99
3. Traveling in Bellywood
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3:25 $0.99
4. Rakkasa Hacha Mia
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1:19 $0.99
5. Raqs Shaabi
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3:19 $0.99
6. Hbj Dance for the Pharao
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3:05 $0.99
7. Axum
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3:18 $0.99
8. Sahara Dance
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3:34 $0.99
9. Turns and Transitions
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3:28 $0.99
10. Mata Hari
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3:54 $0.99
11. Yalla Hawwa Yalla
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2:42 $0.99
12. Saffi-saffi
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2:53 $0.99
13. March of the Haradrim
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2:25 $0.99
14. Sistrum
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0:40 $0.99
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ABOUT THIS ALBUM


Album Notes
A touch of jazz, a big snuff of Bollywood, a good dose of tribal, spiced up with pungent bellydance beats and some spoons of chaabi. Taste and Enjoy this bellywood fusion CD.
From tribal fusion to bollywood. You are invited to try new belly-moves.

With the help of Zahdee and Abed on ud and derboukka.

Some quotes: "Definitely different from anything I heard before, I can do lots of dance moves to it"

Opening track "Bait el hob" (house of love) develops as a daring fusion between bollywood, jazz and oriental music. A passionate, delicate ud melody, playing with microtones on a hunting fusion rhythm and arrangement. Reserved for inventive dancers...

Dar al Maqamah is another arabic name of paradise, the place where we all come from and are destined to return. (the Home)
It moves towards "Traveling in Bellywood", a bollywood jazz fusion.

Tribal belly dance track "Sahara dance" sounds just tribal where it's second part "Turn and transitions" is more oriental tribal style with it's kinda cabaret rhythm structure mixed with tribal mizmar. "Sahara dance" sounds just tribal where it's second part "Turn and transitions" . "Sahara dance" can be perfectly glued together with "Turn and transitions" forlonger performance purposes.

"Hbj dance for the pharao" or Hatshepsut part III is entirely different from the other tracks, recorded in Dakar, Senegal with help of the young promising Senegalese kora player Touba. The inspiration for this track came when Abdel Hazim was studying the history of the Serèr people who's origin was according their oral traditions in Ancient Egypt and migrated during the late Pharaonic dynasties towards West-Africa.

The strange Mata Hari melody sounds like Indonesian gamelan, the country where Mara Hari developed her act. The song transforms to a masmoudi beat to end with a darabukka solo.


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