I’ve just decided that sound of the oud is the most cello-like of the whole lute/guitar/mando family.
Except that ouds are really good at going fast, and cellos aren’t.
I love middle eastern Oud music.
I dream of learning the Oud one day.
Oud: Feyruz song, by OudProffفيروز:نسم علينا الهوى
http://www.youtube.com/watch?v=bfuoDGJN1kI
Oud: Om Kalthoum song "Hobb Eih"عزف على العود:أغنية حب إيه
http://www.youtube.com/watch?v=0dF0aZN8JoM
Fawzy Al-Aiedy is a great Oud player. I love his CD “Oud Aljazira”
http://www.fawzymusic.com/galerieaudios.php?gal=audios/e-CD%20Oud%20Aljazira
Just as much as I like the oud, I also like the Middle Eastern rhythms.
Not every day, but once in a while I’ll go into Egyptian mode.
Great stuff!
I thought this was going to be about Doctor Who.
An Ood:
this one suprised me. oud and orchestra. the musician seated on the right of the soloist appeares to be playing a qanun. the piece kind of reminds me of a concierto de aranjuez for the oud.
Let’s all hope that’s beef or lamb, because I don’t wanna know what kind of swine flu you can get from a guy who’s got raw ground pork streaming from his nostrils.
I recently found a copy of this:
AL TARAB: MUSCAT UD FESTIVAL which is a four CD set of recordings from an entire festival dedicated to the Oud, held in Oman a few years back. I have oud recordings I prefer, but I find the idea of a three-day oud festival irresistable.
The Muscat Oud Festival, held from November 29 to December 1, 2005 in Muscat, Sultanate of Oman, was the first of its kind worldwide. It was organised as part of the cultural renaissance in the Sultanate of Oman that started around 1970. For the first time in history, this festival has featured on one stage the whole Arabic world’s today’s most admired players of the oud, the Arab lute, which has been the symbol of Arabic music since ancient times. Even today the oud plays an outstanding role in the traditional education of young Arabic musicians: Playing and singing, rhythms, music theory and melodic modes are taught on this instrument. At the festival, the oud was presented both as a virtuosic solo instrument and as a singer’s instrument for self-accompaniment. Last but not least it was also presented as a concerto instrument with symphony orchestra – a very recent development, now forced by the Sultanate’s belief in cultural modernization. Beside Atiyya Sharara’s oud concerto of 1983, two more orchestral works with the oud were brought to stage, composed especially for the festival by Egyptian Ammar El-Sherei who also played the oud part along with the Royal Oman Symphony.
However, the first Muscat Oud Festival not only proves the rich possibilities of the oud but the wealth of Arabic music as a whole that has many musical genres and more than 150 melodic modes. Above all, the festival’s overwhelming performances show the irresistible power of “al tarab”, the Arabic concept of “enchantment” which means communicating joy and sadness to the audience in a deep, spontaneous, heart-gripping manner. Arabic musicians are noted for their ability to improvise in singing, playing or poetry and to move the listener by the sheer expression of the moment’s feelings. Al Tarab reveals the blues and soul of the oriental world.
I’ve noticed that of all the oil states of the gulf, Oman seems to be the one that’s most interested in doing with their money the kinds of things I find interesting. When Tim Severin built an ‘authentic’ medieval Arab Dhow to sail in to China, for example, the potential funders he approached across the middle east gave him nothing but the “why would you want to do that?” look, but the Omanis got it right away, and instead of the contribution he asked for they said they’d fund the whole thing.
Ode to an Oud.
That ood looks disturbingly like an illithid.
some drama 
Al Andaluz Project - Nassam Alaina Lhawa
http://www.youtube.com/v/xqdPuPiDfzs