Kosrof Malool first Assyrian singer and his 78rpm records خسروف ملول

First Assyrian singer with the oldest record, but no songs in Assyrian.

 

Khosroff Malool, was born ca.1884 in Diyarbakır (Amid)-Turkey, and after a long arduous journey escaping the looming troubles in Anatolia, he arrived in America in 1904, and in 1908 his wife Madam Hrepsme Malool and his two sons, Anton and Edward joined him. He settled in New Jersey, and at one time had opened a fruit shop.

His first noted role within the Assyrian community in diaspora was being elected as the president of the Assyrian National School Association (Taw Mim Semkat) for the years between 1913-1915

Also known as Kosrof Effendi, was an accomplished singer, he released a number of records both in Turkish and Kurdish, and it has been documented that he is the first singer to officially release a Kurdish song in America. Khosroff passed away in America in 1971. He is the first ethnically Assyrian singer to release a record dating back to 1912.

As far as we know, he never recorded songs in Assyrian, perhaps by adhering to church decree of Anastasius in 502 forbidding Songs and dances?! Some years later the known Church father Jacob of Serug (ca. 451-521) stated that “the blessed city of Edessa became clean from weeds”.

Bar Salibi’s statement about singing and dancing, from 1183 manuscript states “To Pagans belong festivities, songs, dances, banquets and drink, and to Christians fasting”.

So in conclusion, church hymns were allowed, but usually without accompanying music, while all other types of music and festivities were forbidden at one time by the Church.

 

His name variations: Kosroff Eff., Kosrof Malool, Khosrow Malool, Kosroff Mallool, Khusrev Effendi, Khosroff Malool, Khoursoff Malool, خسروف مالول ,خسرو افندي

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Discography of his records:

 

 

 

Technical Notes:
Performer: Kosrof Malool,
Label: Oriental Record,
Issue Number.101,
Matrix Number: 2001,
Dated to 1920s,
Track titles:

Anadol Kourd Hevasi, (2001A)

Anadol Hevasi Shirvani, (2002B)

 

 

 

 

 

 

 

 

 


 

Technical Notes:
Performer: Kosrof Malool & Karekin Proodian,
Label: Columbia,
Issue Number: E1132,
Matrix Number: 38304,
Dated to 1912,
Track titles:

Meshreb Avaramy -Hijaz Charky (Matrix No.38304)

Hijaz Gazal (Matrix No.38313)

 

 

 

 

 

 

 


 

Technical Notes:
Performer: Kosrof Eff,
Label: Columbia,
Issue Number: E1201,
Matrix Number: 38370,
Dated to 1912,
Track title:

Rast Gazal (Matrix No.38370) Turkish.

 

 

 

 

 

 

 

 

 


 

Technical Notes:
Performer: Kosrof Eff,
Label: Columbia,
Issue Number: E2788,
Matrix Number: 43704,
Date unknown,
Track title:

Saba Gazel (Matrix No.43704) Turkish.

Nihavand Gazal (Matrix No.43721) Turkish.

 

 

 

 

 

 

 

 

 


 

Technical Notes:
Performer: Kosroff Eff,
Label: Columbia,
Issue Number: E 2841,
Matrix Number: 43710,
Dated to 1916,
Track titles:

Navrooz (Matrix No.43706)
Kurd Havasy, Part II (Matrix No.43710)

 

 

 

 

 

 

 

 

 

 


 

Technical Notes: (*Same as above but different press)
Performer: Kosrof Eff,
Label: Columbia,
Issue Number: E2843,
Matrix Number: 43706,
Dated to 1916,
Track titles:

Navrooz (Matrix No.43706)
Kurd Havasy, Part II (Matrix No.43710)

 

 

 

 

 

 

 

 

 

Compiled by Moneer Cherie 2020

Sources:

Abboud Zeitoune – Music collector and Author.

“To what Strange Place” Ian Nagoski – Music collector and producer.

My personal collection, and international private collections.

 

 

 

 

 

 

Albert Ruel Tamras – Life And Music by Moneer Cherie

Born in the iraqi city of Habbaniya in 1944, to father Ruel Tamras and mother Madam Khanna, he was married to Madam Yolia David, had one son Yousip and two daughters Nahrain and Nurra.

Albert began singing officially in 1960s, he wrote the lyrics to all of his songs, and composed some of the music too, the music of other songs were adopted.

He recalls in an old interview that his beginning with music was in 1958 while liveing in the city of Nineveh, he obtained a record by the Assyrian singer Oshana Youel Mirza and listen to it over and over, and picked up his Tanbur and practiced playing and singing just like his idol.

Albert became one of the most famous Assyrian folk singers, he had his own genre, he was the “voice of the people” also nicknamed the “voice of the Mountain”. In those early years when Albert began singing, you had to have a powerful voice, you couldn’t rely too much on sound-technology to help you manipulate your voice, as we do today! Most of his early singing was done live on stage without microphones or speakers.

Albert became known for playing on the traditional string instrument, the Tanbur, his band had two members only, himself singing and playing on the Tanbur, accompanied by a traditional drummer (Tabla/Dahola), some of his drummers were, Mr. William Benjamin (US), Mr. Esho Warda (AUS) and later his son Mr. Yousip Ruel who took that position permanently.

In the 1970s many of Albert’s songs were broadcasted on Iraqi Radio & TV’s Assyrian segment in Baghdad as well as Kirkuk. In 1976 Albert together with Iraqi singer Afifa Eskander were invited to sing in the United States of America for a month. Afifa (a famed Arabic-Iraqi female singer), then returned to Iraq, but Albert extended his stay for another two months by popular demand, in which he sung in other US states and traveled to Canada. Assyrians in Diaspora could not get enough of his music.

Albert Ruel is perhaps the only Assyrian singer to be featured on an official Iraqi record, released in 1982, it was a publication of the Ministry of Culture and information, Musical Arts Department. Albert Ruel, recorded 13 songs, starting from 1966 (until 1971) at the famous Assyrian recording studio of Jamil Bashir, in Baghdad Iraq. And those songs were pressed on 45rpm single-vinyl in Greece for the Bashirphone label. Perhaps few of those vinyl were also copied and released in Iran (one such example has been located, shown below).

In 1975 Albert released two separate cassettes, each containing 6 songs, which were later both reissued on one cassette, and then on a CD in 2003. You could hear the voices of Sargon Gabriel and late Biba singing as backup vocals on some of those early Albert songs.

 

 

Albert Ruel participated in a number of early Assyrian song festivals held in Baghdad. The Assyrian Social Club was established in 1970 in Baghdad, and the second song festival was held at the Club in 1974, unfortunately we have very little information or materials from these events, they were held on perhaps four occasions, one of them is when this picture was taken in 1974.
People from right are:

1) Esho Warda
2) David Esha
3) Alfred George
4) Albert Ruel Tamras
5) Biba
6) Shawel Malko
7) Janet Poles
8) Khawa Esho
9) Bernadet Shamasha Yowel.

 

How many albums did Albert have? We are still trying to determine that, Albert was “singer of the people”, he always sang live, whenever he sang people would “field-record” his songs, and we have a number of those live-recordings, but I am sure many singing sessions were not recorded as well, and are lost forever. He usually sang original songs or the same songs but with different lyrics or versions. Today we have perhaps 8 such albums, not counting the 6 vinyl and official releases.

 

Albert was interviewed for Khabour.com website in 2008 by Robert Audisho, and here are few excerpts from that interview translated from Arabic:

Albert:
One of my favorite singers that I liked and respected has been the (late) Oshana Youil Mirza, he had a magical voice, I listened and memorized all his songs. He was the most famous singer in Iraq, only when he migrated to Kuwait I was able to take his place in Iraq and become a known young singer.

When Albert was asked, what advice would you give to our new singers? He said…”I wish them all the success, I have one request. If they want to leave an everlasting and positive imprint on the Assyrian music filed, first they have to make sure they have a qualified singing voice, then to work very hard on their songs (ie: lyrics & melody) before releasing them, they have to be honest with themselves and with their audience. They have to target the heart and soul of the Assyrian audiences before their ears”.

He also commented on his unforgettable trip he made to the Assyrians of Syria, “my trip to Syria in 1974 is a part of my life that I will never forget, when I arrived in Syria many people didn’t know about my visit, there was no media or promotion as we have today, and no transportation. But as soon as they knew, every single Assyrian village in Syria invited me to sing, and many walked for miles to see me and hear my songs. I sang in weddings, engagements, parties, concerts, and private homes”.

Robert: I still remember the party that you performed on the roof of Dr. Ewan Ewan’s house, people came from Hasaka and Qamishli and all the surrounding Assyrian towns and villages. You sung until sunrise, that party was recorded on tape, although it was not clear, but still the tape was “sold out’, and recopied and sold over and over many times.

What is the song that is most dear to you, and that you composed?

Albert: The most beautiful melody that I composed is for the song; “Hal Eman Ya Moghebti”, as for the most important melody that I borrowed is for the song; “Ktawe Kharaya” which is a Turkish melody. I also composed a national song; “Atouraya Dmikha Bshenta Yaqorta”.

I have 5 Buzuq (Tambura) but the most dear to me is the one I designed in 1963 and took with me to Syria, I still have it and play on it every day. It has been my friend on my singing journey.

I never made money from my career, when I recorded and released my songs, almost immediately illegal copies (bootleg) were made and sold all over the Assyrian diaspora world, I was not able to even recover the cost of my albums. And we have no support from our media. They only confined to the modern songs, but they must also play songs that are related to our ancient Assyrian culture and heritage, which play an important role in preserving our culture and language…(end of interview).

 

In 1990 Albert came to Australia and participated in two parties at Nineveh club to packed audience, one of his parties was filmed and later released on VHS tape.

I hope anyone that has his old tapes or old videos, to digitize them, so we may one day have our own “Assyrian Audio Archive”, and we can preserve those and other rare materials for future generations.

 

We have lost another Assyrian music legend, he was planning on releasing a new album, but it was not to be. May his soul rest in peace, and may our lord grant him a place in heaven.

 

 

Compiled: by Moneer Cherie

Discography:

As stated above, around 1966 Jamil Bashir produced at least six single 45″ records for Albert Ruel. The songs have all been identified, as they were later remastered and reissued on a compact disk. However to my knowledge not all six original vinyl records have been located. All six records had the same photo-sleeve covers (as shown below, left):

The Bashirphone records I have documented are the four numbered below:

 

JB 607

Track A: Hemanta
Track B: Shaperta Min Jaldeh Chertela

 

JB 608

Track A: Youmani Sammaneh
Track B: Zeega Mkheeleh (Mospertewan)

 

JB 609

Track A: Brata Sourta
Track B: Ktawi Kharaya

 

JB 610

Track A: Asmar Asmar
Track B: Kapoorta Weeli

 

 

This is a single vinyl which was pressed in Iran, not sure if this was a bootleg or done with permission, but songs were the same as those on Bashirphone press, it has a Royal label record number:

RT 1801 with two songs:
Track A: Asmar Asmar (featuring Sargon Gabriel & Biba as backup vocals). audio track below:
Track B: Brata Sourta

 

 

In 1982 The Ministry of Culture and information, Musical Arts Department in Iraq released a box set, containing three vinyls, on one of them was a song by Albert Ruel titled Qamo (Why?), I believe its the only example of an Assyrian song officially released by an Iraqi government department on a record.

 

 

Volume 5 & 6

These volumes were originally released on two Tapes (6 tracks in each Cassette), then in 1975 released on one Cassette (12 Tracks), and in 2003 were released on a CD (12 tracks):

#1 – Asmar Asmar
Lyrics by: Albert Ruel Tamras

#2 – Qaiakh Khlita
Lyrics by: Albert Ruel Tamras

#3 – Hal Eman
Lyrics by: Albert Ruel Tamras

#4 – Ghazala
Lyrics by: Albert Ruel Tamras

#5 – Lenwa Khizya
Lyrics by: Albert Ruel Tamras

#6 – Ya Khuba
Lyrics by: Albert Ruel Tamras

#7 – Miryewen Rikhqa
Lyrics by: Albert Ruel Tamras

#8 – Hal Quedamta
Lyrics by: Albert Ruel Tamras

#9 – Mooghbeweb Kha Brata
Lyrics by: Albert Ruel Tamras

#10 – Atin Shimsha
Lyrics by: Albert Ruel Tamras

#11 – Haly Juwab
Lyrics by: Albert Ruel Tamras

#12 – Qa Dan Aynatakh
Lyrics by: Albert Ruel Tamras

 

Track #8

 

This is an advertisement for the Cassette which was released in USA in 1975 image taken from “Assyrian Star” Magazine published in 1976. The album was also released on an 8-Track Cartridge but no hard copy of the cartridge has been located so far.

In 1981 the Assyrian Magazine in Iraq, “Qala Suryaya”, featured an interview with Albert Ruel Tamras, conducted by Shamiram and Ninos. Below is the issue cover, and the headline from the interview. He talked about his early life, his work as a carpenter and his music.

 

🎼 ♯ ♫ ♬♭ ❀ヅ ♫ ♬ ♪

 

A cassette cover of a live recording from Syria, dated to 1974 from a memorable trip to the Assyrians of Khabour, below is an audio track from the cassette.

 

A VHS tape of a party held in United States, by the late singer Albert Ruel, and accompanying on Tablah (drum), Mr. William Wardah.

 

܀܀܀܀ ܞ ܞ ܞ ܀܀܀܀

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Albert and family migrated to the United States of America in 2000 and settled in Arizona, He passed away on the 27th of July 2011 after an illness. The final message from the late Albert Ruel Tamras….

 

 

 

 

 

 

 

 

Sources: Background information gathered from personal collection, friends, CD booklets, Interview on Khabour.com and other interviews and article.

First Assyrian albums, on different formats.

This is an attempt to compile a list of our first and last albums released on different music formats.

By Moneer Cherie

 

The first known Assyrian record in the world was released in 1917 it was a Shellac 78rpm record, released in USA by Joseph and Anna Yonan.

Shellac : Is the materials discs are made from, and “78rpm” is the Speed which such discs are played back on turntables.

 

 

 

 

 

 

 

 

 

 

 

 

 

First Assyrian Reel-to-Reel album was recorded by the singers: Yusef Shamun & Evlin Dawud around the year 1958 (Home recordings) in West Assyrian dialect.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The first single 45″ vinyls were released as early as 1958, I found at least three examples with the same dates, those are by Wardiya Kako, Roosevelt Shawil and Sargon Norman. (The one on the left is by Wardiya and on the right is by Roosevelt Shawil, it was pressed in Germany and released in Iraq)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The first EP (Extended Player) vinyl record was released in 1960s by Madam Lili Oraham Taimoorazi (photo below).

 

 

 

 

 

 

 

 

 

 

The first Assyrian Solo Vinyl LP was released in 1975 by Ashur Bet Sargis. privately Pressed in USA
LP: stands for “Long Playing”, it was the first time they could include more songs/length of time on one record, longer than EP.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This is the first Assyrian group LP album, released in 1962 recorded in Iran and released in USA, among the musicians playing on this record was the famed late Sooren Alexander, this group was organized and arranged by the late Madam Lili Oraham Taimoorazi  (track: Mamyana [Pare Bidashtu & Daud Mikail]

http://www.qeenatha.com/albums/LiliOrahamTaimoorazi/AssyrianFolkDances/380/

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(8-track Tape): “commonly known as the eight-track cartridge” was popular from the mid-1960s to the late 1970s when the Compact Cassette format took over. A number of Assyrian 8-track tapes were released mainly in United States and only very few examples have survived for around 10 different singers. Many were bootleg from LP records, only few were originally released as 8-track Tapes such as that of late Albert Ruel in 1975. (Song: Sargon Gabriel & Linda George; Deer Hunter, Lyrics & Music by George Shenko).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

While it is difficult to determine which was the last produced Assyrian Cassette, I decided that this could come close as being the last one! However that could change if I find more details on other Tapes. Released by Latif Pola in 2008 produced in Iraq. (Song: Slutha d Khubba Mthumaya)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The first Assyrian CD was released in 1993 by Walter Aziz and it could even be the first CD released by an Iraqi singer in general. (Song: Rikda Dkhouyada, Lyrics: Gewargis Yoseph, Music: Walter Aziz).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Moneer Cherie

www.Qeenatha.com

 

الموسيقى والترتيل بين الامس واليوم

الموسيقى والترتيل بين الامس واليوم

لطيف پولا

 

 

 

 

 

 

 

 

 

سبق وان قلنا في تقديمنا لأنواع التراتيل مثل (اِمر لي عيتا ايكا ؤبٌيتي ابٌنكي إمر لي عيتا أيكا صويت اونيخ …) وهي من مقام البيات و ( ةًاوو سبٌوو اخًيْ ـ تاو ساو احاي ) من مقام أورفا ديواني .و(سلق لؤليبًٌا سلق لصليوا ) من مقام السيگا . و( امين امين ! آمين أمين ) من مقام الصبا و (قوم شفير قوم شَـپـير ) من مقام الحجاز,( خنين خننا حنين حنانا و گياسا وكروّا جيسا وكربًٌا) وهي ترتيلة تصور جدالاً بين الكروب ( كاروبيم وهو جنس من الملائكة حسب كتاب المقدس ) الذي يحرس باب الجنة وبين اللص الذي اراد الدخول الى الجنة .وهذه القصيدة الطويلة التي تزيد على مائة بيت من الشعر السرياني شاعرها عاش في القرن الرابع الميلادي اي قبل الف وستمائة عام !! اخترتُ منها ثمانية ابيات فقط وغنيتها مع ترتيلة ( خونين خنًًنًا ــ حونين حنانا) لأن كليهما من مقام النوى

ان هذه التراتيل وهذه المقامات هي بالاحرى امتداد للتراتيل وللأنغام والموسيقى السومرية ـ الأكدية والاشورية ـ البابلية لانها تخضع لعلم الموسيقى, وهذا لم يتم انجازه الا في مهد الحضارة ارض الرافدين مع الإبداع المضاف في المراحل اللاحقة, واستطاعت الكنائس الشرقية بذلك ان تحافظ على ذلك الأرث والكنز الفني الذي خلقته العبقرية الرافدينية عبر الاف من السنين كشعاع من اشعة الحضارة الذي ظل يضيء قروناً رغم الدمار الذ اصاب سومر واكد وبابل واشور جراء غزو البرابرة لأرض الرافدين ومحاولة طمس كل الانجازات الحضارية ليحل محلها التخلف والانحطاط في كل جوانب الحياة ومنها الموسيقى ..ولكن من تبقى من أحفاد تلك الحضارة قد حافظوا على بعض الجوانب المشرقة من حضارة أجدادهم العظماء وبشكل خاص الجانب الموسيقي لأنهم نقلوه الى معتقداتهم وحياتهم الجديدة كميراث خالد .وبعد اعتناق شعبنا الدين المسيحي كان له خزين هائل من الالحان والتراتيل والاغاني والملاحم والالات الموسيقية التي توارثها جميعها من اجداده فلم يجد صعوبة في ادخال تلك الانغام في المعتقد الجديد بل ابد فيها منذ القرون الاولى لاعتناقه المسيحية . ومن الجدير بالذكر ان القرن الرابع والخامس والسادس الميلادي انجب شعراء سريان عباقرة اصبحوا فيما بعد مدرسة لكل الشعراء الذين جاءوا بعدهم, حتى من غير السريان . ومن هؤلاء الشعراء العظام مار افرام السرياني (306 ـ373 م)الذي كتب قصيدته الشهيرة في العلم والكتاب وقد جاء فيها ( كةبًٌا نىوٍا فةٌورك: ةسبع منى بوسًمًا كثاوا نهوِ پاثورخ تسبع منه بوساما( ليكن الكتاب مائدتك لتنال منه السعادة .. ) واظن منه اخذ ابو الطيب المتنبي بيته الشهير ( وخير جليس في الزمان كتاب )! ولا غرابة في ذلك لان هذه التراتيل والقصائد كانت ترتل وتعلم وتدرس في الكوفة وكربلاء التي كان يوجد فيها اكثر من ثلاثة وثلاثين ديرا وكنيسة لغتها وطقوسها سريانية لأنها كانت لغة كنيسة المشرق .ولما كان ابو الطيب المتنبي قد عاش في الكوفة في (915 ـ 965م ) يكون مار افرام قد سبقه بستمائة عام !! .. ومن الشعراء السريان المشهورين ايضا مار نرساي ( 399 ـ 502م ) ومار يعقوب السروجي (الذي توفي عام 521 م . وقد نشرت في صفحتي في الفيسبوك عددا من هذه التراتيل ومنها الجدال بين الملاك واللص .وهذا النوع من الحوار الشعري في القصيدة التي رتلتها على العود والذي انتشر في التراتيل الكنسية منذ القرون الاولى يمثل جنس ادبي على شكل حوارات وجدالات وعلى شكل مشاهد درامية كما في هذه الابيات الثمانية التي اخترتها من قصيدة طويلة لشاعر مجهول عاش في القرن الرابع الميلادي, وهو كما قلت حوار بين الكروب الذي يحرس باب الجنة واللص

 

أمر لي جبٌرا من شدرك :
ومن بعا انّة وايكا أةية
ايدا علةا قرةك لكا :
جلي وفشق لي من ايةيك
الكروب : قل لي يا هذا :من الذي أرسلك ؟
ما الذي تريده ,كيف وصلت الى هنا؟!
ومن الذي اتى بك الى هذا المكان؟
قف وبين لي دواعي مجيئك !
امر أنا لك دلي مشالة :
كلي لشنًنك وملي شمع
جيسااّنا ورخمٍا بعية :
ومًرك شدرني واةية لكًٌا
الكروب :سأقول لك يا سائلي :
ابعد رمحك واصغ الى ما ساقوله
انا لصً ولكنني تبتً
وسيدك هو الذي أرسلني

 

وهذه التراتيل ومئات غيرها والتي تُرتل في كنيسة المشرق منذ قرون عديدة , تشمل معظم المقامات لتثبت اصالة التراتيل السريانية وارتباطها الوثيق بالتراتيل والحان الاشورية البابلية السومرية وكونها امتدادا لها ,والتي أصبحت فيما بعد الأرضية الخصبة التي نشأ عليها ومنها المقام العراقي. ولما نشرت هذه المقدمة في صفحتي جاءتني عدة ردود, منها هذا الرد الذي ارتأيت ان اجيب عليه جوابا وافيا اوضح فيه جوانب الغموض من خلال حقائق علمية وتاريخية حسب رأي المتواضع وهو بالطبع قابل للنقاش.وهذا هو رد الصديق الفاضل : ..
(مع احترامي الفائق لك أستاذ لطيف پـولا ..لا توجد تراتيل سريانية او اشورية ..قبل 500 سنه كانت كنيستنا واحده ..وهي بالطبع كنيسه المشرق ..والمقامات هي احدى الدروس التي تقدم في المعهد الكهنوتي ببغداد ..ليس فقط التراتيل ..بل قراءه الانجيل ..والاساتذه هناك يعلمون الاداء ويهذبون الصوت ايضا ..وهذا الاداء لم اسمعه من اي ابريشيات لا الكلدانية او الاشورية او حتى من الابريشيات السريانية في سورية وبلاد الشام

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بعد التحية

هل تقصد ان هذه التراتيل وآلافا اخرى لم تكن ترتل قبل المعهد الكهنوتي ؟؟!!. إذا ماذا كان يرتل اتباع كنيسة المشرق التي وضع اساسها رسل المسيح مار أدَّي و مار ماري منذ القرن الأول الميلادي أي قبل معهد الكهنوني بالف وخمسمائة سنة ؟! . هذه التراتيل التي رتلتها على المقامات النوى والصبا والبيات والسيكا والحجاز والطوراني البخ , هي من وضع مار نرساي( 399 ـــ 502 م ) و مار أفرام السرياني ( 306 ــ 373م ) ومار يعقوب السروجي ( 401 ـ 521م ) ومار ماروثا في القرن الرابع ومار رابولا الرهاوي (435م)، ومار ماروثا التكريتي (649م)، و مار يعقوب الرهاوي (708م)، وغيرهم من الشعراء العظام وملافنة كنيسة المشرق الذين سبقوا المعهد الكهنوتي بأكثر من الف عام . ومن الجدير بالذكر ان هذه المقامات وغيرها كانت ايضا ترتل في المعابد الاشورية والبابلية والسومرية والاكدية قبل ان يعتنق شعبنا المسيحية .ويذكر علماء التاريخ ان في بلاد الرافدين كان يوجد اكثر من ثلاثة الاف معبد ولكل معبد جوقة موسيقية , وللتاكيد على ذلك قرأت يوما رسالة لشاب سومري بعثها الى امه جاء فيها مايلي : ( اماه تعبتُ من السير في شوارع اريدو بحثا عن العمل ومن شدة تعبي جلستُ لكي استريح على عتبة احدى القاعات الموسيقية في اريدو ) .. واريدو كما هو معروف هي احدى المدن السومرية .. أسمعتِ يا رابيتا ماذا قال هذا السومري ؟ فهو يقول كان يوجد قاعات موسيقية بالاضافة الى ما كان موجودا من جوقات وفرق موسيقية في المعابد للترتيل وموسيقى الاحتفالات واخرى عسكرية التي كانت ترافق الجيوش في ذهابها للقتال و استقبالها بعد انتصارها على العدو . ولعلكِ شاهدتِ لوحات العازفين على الرقيم لعدة الات موسيقية بابلية او اشورية او سومرية , اجل الذين ابتكروا العود والقيثارة والسنطور والجوزة والمزمار وانواع الايقاعات هم البابليون والاشوريون والسومريون والاكديون ولا بد ان يكونوا قد وضعوا موسيقاهم على اسس علمية خلال حضارة استمرت اكثر من سبعة الاف عام . من الذي وضع هذه المقامات التي تسمى اليوم مقامات عراقية ؟ لابد ان يكون شعبا له حضارة والالات موسيقية . الشعوب التي قدمت من الصحاري او التي لم يكن لها حضارة لم يكن لها علم الموسيقى ولا يمكن ان تكون لها مدارس موسيقية تعتمد على علم الموسيقى والمقامات . ولما كان المقام مبني على العلم فلابد لشعب الرافدين ان يكون هو صاحب هذه الثروة الموسيقية والا لماذا سمي عراقي لأن منشاه هنا من هذه الارض وحتى الموالات الشعبية كالسويحلي والتي تعني بالسريانية ( اشتقتُ) والنايل التي تعني بالسريانية ايضأ

( عذاب , سقم ) وكذلك الأبوذية ,, كل ما هو عراقي الأصل .يعود الى الحضارة كذلك المقامات والاهازيج والمربعات بدلالة انها تغنى في العراق فقط لأنها هنا ولدت ولازال شعبها يغنيها حتى وان تبدلت لغته او معتقده فقد نقلها معه حينما اجبر على تغير لغته ومعتقده واسمه وحتى ملبسه وما التراتيل الا جانبا من تلك الالحان والانغام والمقامات من جنوب العراق وحتى شماله بل ابعد من ذلك بكثير وانتقلت الى شعوب مجاورة اخرى .. وقد اكد على ذلك العلامة المرحوم طه باقر حينما قال: ان هذه المقامات العراقية كانت موجودة في زمن الاشوريين والبابليين وكل ما حصل هو فقط غيروا أسماءها او صُحفت. وذكر العلامة المرحوم طه باقر اسماء معظم المقامات العراقية باسامئها الاشورية ـ البابلية ( الأكدية ) . ومن الجدير بالذكر ان اجدادنا الاشوريين والبابلين والسومريين قد ابتكروا السلم الموسيقي السباعي واستعملوه في موسيقاهم , غنائهم وتراتيلهم قبل غيرهم ولا يزال يستعمل في التراتيل الكنسية وعلى معظم المقامات العراقية المعروفة . في عام( 1929م ) أكتشف عالم الآثار البريطاني السير (لينارد وولي ) في مدينة أور جنوب العراق، في قبر الملكة ( بو آبي ـ شبعاد ـ 2450 ق.م) مجموعة من القيثارات وآلات موسيقية ذات أوتار متعددة ، وكانت من بين هذه القيثارات المكتشفة قيثارتان 1ـ الذهبية 2 ـ الفضية والتي يعود تاريخهما إلى (2450 ق. م ) أي قبل زهاء 4470 سنة . القيثارة الذهبية محفوظة اليوم في المتحف الوطني العراقي قسم السومريات في بغداد، اما القيثارة الفضية فهي محفوظة في المتحف البريطاني ـ لندن وكل قيثارة تحمل احد عشر وترا ً . وهذا يدل على ان السومريين كانوا قد بلغوا درجة عالية من التطور في الموسيقى ومنهم انتقلت الى الشعوب المجاورة . وقد اكتشف العلماء كثير من هذه الالات المتطورة في المقابر الملكية من هذه القيثارات تحمل ثمانية اوتار وقسم منها احد عشر وترا وأخرى ثلاثة عشر وترا . وكان السلم الموسيقي لدى السومريين سباعياً. ولما اعتنق احفاد السومريين والبابليين و الاشوريين المسيحية نقلوا معههم ذلك الميراث العظيم والتراث الخالد في الموسيقى والترتيل وكان خزيناً هائلا من الالحان والانغام وحتى الصلوات والممارسات الدينية والتقاليد الاجتماعية ,لحضارة عظيمة دامت الافا من السنين, ورثها شعبنا من اجداده , من معابدهم وشعائرهم الدينية كاعياد اكيتو وقصة الخليقة وملحمة كلكامش وقصة الطوفان وغيرها نقلها الى معتقداته الجديدة واضاف اليها اشياء اخرى من ابداعاته ولكن الاساس كان هنالك في مهد الحضارة عند اجداده . شعبنا لم ينقطع عن حضارة اجداده وتراثهم وميراثهم رغم زوال حكمه السياسي ورغم كل المأسي والدمار الذي اصابه , لآننا لا زلتا نعيش على ارض اجدادنا العظام ونتكلم لغتهم ونرتل تراتيلهم والحانهم وانغامهم . الذي تغير هو الشكل فقط . ولو سالت ياصديقي الاساتذة الأفاضل في المعهد الكهنوتي المختصين بالتراتيل والموسيقى والتاريخ سيؤكدون لك ما ذهبتُ اليه ,لأن وجودنا التاريخي والاجتماعي والديني والادبي والفني لم يبدأ قبل خمسمائة عام فقط ,كما تفضل يا صديقي الفاضل , بل منذ ان علَّم اجدادنا البشرية اسس الحضارة من القراءة والكتابة الى علوم الفلك والرياضيات والقوانين والموسيقى والترتيلكان ذلك كما ذكرنا قبل اكثر من ( 4500 ) عاماً , يوم كان كثير من الشعوب لا زالوا من سكان الكهوف والغابات لم تنضج عندهم حتى اللغة البسيطة للتعامل مع البشر

 

“Qyouda D’Libbi” – A review by Helen Talia

Assyrian Bands in Iraq

Compiled & written by Moneer Cherie.

 

Assyrian band: a small ensemble of musicians, mainly playing folk and pop songs, they usually consisted of a singer, drummer, Keyboard/organ, Guitar and Bass players.

I believe the earliest Assyrian “western instruments” bands were formed in the early 1940s in the city of Habbaniya, later on, when Assyrians dispersed all over Iraq, many bands formed in different cities including Kirkuk, Baghdad, Nuhadra, Nineveh, Basrah and anywhere which had a large Assyrian community.

During mid-1940s and until late 1950s there was a Music Band under the name of ‘Assyrian School Band’, the Band as well as the Dramatic Section were sponsored by the Assyrian School in Kirkuk. The Banjo music player and singer of the band sang in two languages Assyrian and Armenian, he was John Moses who used to entertain guests in some of the weddings and parties in Kirkuk.
Assyrian School Band consisted of these memebrs: Shaul Khzeran, Emmanuel Marcus, Ablahad Lazar, Paul Marcus, Youaw Baijan, Edward Latchen, Samando Khzeran, Napoleon Lazar, Abe Babisha, Alfred David, Shaul Khzeran, Ashour Solomon, Waltin William.

Sources for information on this subject are limited to very few interviews, articles, social media and my personal collection. I tried my best to document or highlight early active bands in Iraq, The article is “work in progress”, So please feel free to message me with any useful information, comments or pictures you may have on this subject? And your help will be appreciated and credited.

Writing about Assyrian bands in Iraq, is filled with many obstacles, for example Band’s names may have remained the same but members were frequently replaced; Bands broke up, members joined other established bands or formed their own new bands, making it harder finding out all the musicians and singer’s names for each band over the years, but I hope this would be a good introduction on this subject.

(Please note; the quality of audio in this article might not be perfect, as many of the cassettes that survived are in used condition):

 

 

 

 

Arabella Band founded in Habbaniya, performing here in 1957 in Baghdad, at the US embassy, with first Assyrian Saxophone player Zacharia Odisho.

 

 

 

 

 

 

 

 

Assyrian Band in Kirkuk (1950s)
(L-R): Walten william, Yousif, Youel Khanania, Emmanuel Benyamin.
Back (L-R): Akshirash Kambar, Veresh Karaken.

 

 

 

Andalous Band – Kirkuk

Photo dated to 1956

1- Warda Khio: Al-Daf (Raq)
2- Benyamin: Drum
3- William John: Accordion
4- Amanuel Markos: Trumpet
5- Henri Karam
6- Paul Markos: Saxophone

 

Photo dated to Mid-1960s:
William: Singing at a social party in Baghdad.
Saxophonist is his brother Wilson,
and accordionists are the late Babajan Yonan,
Avshalim Daniel (photo Ben Yalda).

The Tornadoes

The members of the Tornadoes Band changed:
Originally, they were 5 members:
William Kanoon Cheery: Lead Guitar (Band Leader),
Ben Eramia (Drums),
Wilson Hanna (Vocals),
Dimitri John (Rhythm Guitar)
Oraham Khoshaba (Bass Guitar).

Then Dimitri left the band and Wilson Hana reverted back to playing his instrument (Bass Guitar).
As well as vocals. Oraham Khoshaba became the rhythm guitarist.

Occasionally Johnson Youkhana used to join (the second band) playing the Organ and Accordion. Johnson Youkhana was a talented musician who played Trumpet, accordion, piano and organ.

Then in August 1969 and after graduating with a B.Sc. Degree in Mechanical Engineering from the Uni of Baghdad, William Kanoon, left Iraq for graduate studies in London. In 1973 William came to Australia and played with 2 groups for a few years before deciding he had enough.

At Dora Club 14.August.1968

William Kanoon Cheery on guitar
Wilson Ablakhad Shino on drums
Wilson Hana (vocals and bass guitar)

 

 

 

 

 

 

 

 

 

The Tornadoes: Performing at the University of Baghdad,
College of Engineering in 1968
From L to R:
Ben Eramia: Drums
Dimitri John: Rhythm Guitar
Wilson Hanna(vocals & bass guitar)
William Kanoon Cheery: Lead guitar
Oraham Khoshaba Gabriel: Bass Guitar

 

 

 

 

 

 

 

J. Jones Band

1. Jacob Aziz: Saxophone
2. Awesha: Guitar & Singer
3. Johnny abu Don: Guitar
4. Dawka: Drummer

 

 

 

 

 

J. Jones Band

Played on the first single record by Youaw Iskhaq, produced in Iran 1967, William Kanoon Cheery Played Guitar on record.

 

 

Shawel Malko with Buzz Band

 

The Pals Band – Awimalk Haidar

Awimalk Haidar: Singer and Musician, played with couple of band, his 2nd band was called “Pals Band”, photo below, he also released vinyl records in Iraq on Caravan label with Diamond Band (info below)

Pals Band 1966 With Awimalk Haidar on Guitar (2nd from R), and Romeo Hanna on Bass (1st R)

 

Diamond Band

William Ablahad: Guitar
Ashor Y. Nona: Violin
Moshi Youkhannan: Clarinet
George Henry: Drums
William Nicola (Dinkha): Composer/Accordionist

 

Awilamlek Haider Vinyl record released in Iraq with Diamond Band.

 

AKITU Band

From Left:
Robert: Drums
Orahim:  Guitar
Ashur Bet Sargis: Guitar & Singer
Johnson Aghajan: Saxophone

Another Akitu Band photo with Orahim on mic singing – Baghdad

Photo of Ashur Bet Sargis with Hunters Band.

 

Bat Band

David Michael Canoon, original founder of Bat Band. Iraq

Bat Band with Sami Yaqo at Assyrian Sports Club in Dora-Baghdad 1974

David M.Canon: Guitar
Odisho Paul: Organ
Sami Yaqo: Singer
Sam Canon: Drums
Dawood Sargis: Bass

 

 

Singer David Esha with Bat Band at an Assyrian picnic in Baghdad

The Bat Band with Yousif (Oce) Rasho 1986 Baghdad
Oce Rasho: Singer
David Canoon: Guitar
Robert Canoon: Drums
Nabeel Khamo: Orgen
Zaya Youkhanna: Bass

Sang by: Oce Rasho with Bat Band, Iraq 1986 party.

 

Bat Band: (US branch) released few studio albums in America with different band members, this is the 1982 cassette cover with:

Hikmat Tammo: Bass
Edward Notali: Keyboard
John Rustan: Guitar
Shimshon Michael: Drums

#1 – Yalkhto Beteh (Vocal: Edwar) produced in USA

 

Black Birds Band 1970-1972

(photo taken in Sarsank – North Iraq)

David Esha: Singer
James: Guitar (right)
George M. Lawandow: Keyboard
Menas: Bass (left)
Hikmat: Drums

 

 

Los Bravos Band

 

1967 Dora-Baghdad

1968 Dora-Baghdad

Amo Simon: Guitar and Singer (with mic)
Rennie Daniel: Guitar (2nd from left)
Robin George: Bass
Donny George: Drums

 

The Dreamers

Assyrian Club in Kirkuk, the 70’s
Alexander Yousif: Guitar

George Elias – Rose Band

His first band was named Rose Band in 1973 in Baghdad, they played at Ur Family club, with his sister Suaad Elias and the late Guitarist Oshan Chano.

George Elias: Singer
Oshan Chano: Guitar & backup singer

 

 

Spiders Band

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Albert Oscar Baba with Spiders band in Iraq

Albert Oscar on Guitar with Spiders band – Iraq

(Al-Barak) released tape by Albert Baba with Spiders band.

 

Josef Trio Band

The band was founded in 1963 in Erbil and the band members were:

Josef Khamo: Singer & Guitar
Jan Tomas: Drums
Chopin Israil: Bass Guitar
Jaleel: Keyboards

 

 

 

 

 

 

 

 

 

 

 

 

77 Band

Band was established in Baghdad in the early 70s and it remained till late 80’s

Singer: Tony Andrews
Guitar & vocalist: Robert
Keyboard and backup vocals: Johni Younadim
Drums: James Younadim
Bass: Thaher

The band released an album with the late George Khamis in 1979 produced by Al-Baraq Music shop. album contained 11 tracks

 

Reek Band ريك باند

This photo is of the band’s singer Tony Andrews (arrow), this photo was taken in 1979 at the public Social club in Iraq, Tony is also the son of king Biba’s brother, next to him in this picture is Robert on Guitar, this photo is actually of the (77 Band).

The Pilots band

Youel Talia (marked with yellow star), was the drum player and also singer, and later was member of Why-band. He released three albums, two in Assyrian and one in Arabic.

 

Season Band

 

Season Band, named by the people of Kirkuk. The singer of the band was Edmon Season, he begun singing in 1983 with band till 1990, but later moved to Baghdad and joined “We Boxer” band in till leaving Iraq in 1994

Season Band members in Kirkuk 1983:
Singer & Guitar: Edmon Season
Shmael: Drum
Fareed: Keyboards

 

WE Band

 

Early We-band members from the 1970s

Aprim Iskhaq Barwari: Organ
Robert Iskhaq Barwari: Guitar
David Santana: Drums
Salim Esho: Bass Guitar

One of the oldest bands, and was formed in Baghdad, This photo was taken in Baghdad with Ogin Bet-Samo on Guitar next to the keyboard player. (Photo taken at the Assyrian National club – Baghdad).

Band members in above photo:
Singer: Johnson Gabriel (seated)
Keyboard: Edwar William
Guitar: Ogin Bet Samo
Drums: Sargon Daniel
Bass: Youbert Yokhanna

 

Ogin Bet Samo photo with We Band in Iraq, he was member from 1976 to 1979 (photo taken at New Year party in district-52 club)

 

 

 

 

 

 

 

 

 

 

 

Photo taken in Mosul

Singer (R) with Mic: Laith
Guitar: Faris Esho
Drums: Sufyan
Bass: Salim

We Band in 1980 at Assyrian Sports Club in Dora Baghdad. with 1980s band members

Salem: Bass
Youbert: Drums
Adwar: Keyboards
Sargon: Guitar

We Boxer Band

Later, the remaining We band members joined Boxer-band and formed a new band called “We Boxer” band.

Released an album in 1984 in Iraq

Lyrics & Music: Edwar William
Singer: Edwar William

Musicians:
Edwar William: Organ, Violin, Bass
Napoleon Zia: Guitar
Salman (Sam) Shlimon: Drums

 

Also in 1993 We Boxer band released an album with Edmon Season as the singer (Cassette cover below):

 

 

 

 

 

 

 

 

 

 

Heewi Band

Found in 1989 in Ankawa – Erbil, band members were:

Osama jameel: Singer & Keyboards
Woodman Darman: Singer & Guitar
Walten Darman: Bass Guitar
Bassam Jameel: Drums

 

 

 

 

 

 

 

 

 

 

 

 

Shamiram Band

Emmanuel Bet Younan with Shamiram Band from Kirkuk, he formed the band in 1981. This picture was taken at the “nadi muazafin” in Ankawa – Erbil.

Singer: Emmanuel Bet Younan
Guitar: Albert Youkhana
Organ: Sabah Shimon
Drums: Alfred Youkhana
Bass: James Gabriel

 

Nahren Band – Ankawa (Erbil)

Nahren Band – Ankawa 1983

Singer & Guitar: Syrop (Aziz) Kanon (star)
Drummer: Ramzi
Bass Guitar: Woodman Darman (right pic)
Keyboards: Emmanuel

 

 

Sweet Band

One of the most known bands in the 1980’s in Baghdad was SWEET BAND

From 1990 to 1992:
Salem Sefo: Singer
Joseph Isaac: Drums
Eisho George: Keyboards
Benjamin Isaac: Bass Guitar

The Band released a number of cassettes which featured Salem Sefo singing cover songs of Assyrian hit songs, with an amazing and talented band members including; Eisho George on Keyboards, the band won over the heart of Assyrians in Iraq and to this day their numerous parties are remembered fondly by their fans.

 

 

 

 

 

 

 

 

 

 

The band released a live Cassette of cover versions in 1993 in Iraq, this time the band singer was Zaya Zamara (in red), and album featured a female singer by the name of Fayrooz Francis. Keyboard players on this tape were Ebriss and Nisha. (Original tape cover on left).

 

 

 

 

 

 

 

 

 

From 1993
Zaya Zamara: Singer
Joseph Isaac: Drums
Ebriss & Nisha: Keyboards
Benjamin Isaac: Bass Guitar

 

 

 

 

 

 

 

 

 

 

 

 

Bee Band (B-Band)

An old photo of Bee Band with the late Biba just visible on the left with microphone in hand, not sure of date or location.

 

The Band released a Cassette in 1979 with vocal singer Wilson Younan in Iraq, containing these songs:

1. Khabra Samana
2. KheZyali B’Ayda
3. Yemi
4. Kmat Gashqan
5. Helane
6. Zona Kapora
7. Akh Min Donye
8. Akh Min Donye (2nd Version)
9. Kheshana
10. Qamodee Atkha
11. Jmeelan Moresha

 

Wilson Younan: Guitar & Singer
Romeal Shiba: Bass Guitar
Johnny Dinkha: Keyboard
Muayed Marogel: Drums

 

Brothers Band

1. Sahir Edwar: Solo & Rhythm Guitar (album arranger)

2. Salam: Organ/Keyboards (album arranger)

3. Esmat: Drummer

4. Sargon Shimon: Singer

5. Wisam Edwar: Bass Guitar

 

Nuhadra Band 

Established in 1972 in Nuhadra (Duhok) was one of the main Assyrian bands in north Iraq, played at the Nuhadra club, one of their singers was the famed Janan Sawa,

 

Bright Band

 

 

Sunny Band

Edward Bet Younan: Drum
Sargon El Moreno: Guitar
Yousif Yalda: Bass
Younan: Keyboards

 

Pylon Band

This photo was taken in 1983, band members are:

Pylon band 1983 standing from left me
top L: Rafael
top R: Yousif Yalda
Yousip Kamal
Loay

 

This photo was taken with Pylon Band members and Bright band members in Baghdad.

 

Nahrain Band (Ankawa)

 

 

Snake Band

Photo taken in 1989

Meikel Michael: Bass
Ashur Sabbo
Warda Khoshaba
Zaya
Samir: Bass

 

Signal Band 1993-1994

Singer: Enwia
David Canoon: Guitar
william Wassim: Drums
Martin: Orgen
Jalil: Bass

Signal band at Damor Club, Baghdad 1993 -1994

cover song by Signal band’s singer Anweya Khamo in Iraq 1994

 

 

I would like to thank the few contributors to this article:

William Kanoon cheery, Frank Bright, James JT, Ogin Bet Samo, Mazen E. Adam, Ogin Eramia Shamoon, Osama Heewiband.

A Voice From The Eighties Echoes In ‘Ghda Gashaqta’ – Tamras Tamras Meets His Fans at Mid-Age

The year 2017 left many of us on a good note and a compilation of eight all original tracks written by some very well-known lyricists and a few new comers who graced the Assyrian pop music industry in this clever selection of dance, national and ballads.

NovaMenco: The Assyrian Guitar Brothers

 

Born in the birth place of civilization, the land that gave humanity; culture, literature, science and music. A family of five brothers born in Beth-Nahrain, modern day Iraq. Nova Menco: The international renowned five Assyrian brothers flamenco Band, based now in San Diego. This Assyrian family of musicians with their modern flamenco style fuses together Jazz, Pop, and ancient Byzantine echoes of Mesopotamia to Sevilla, Lisbon to Ibiza forming a unique blend of Jazz and soft Mediterranean grooves. Their style is similar to the Gipsy Kings.

So far releasing four albums, one released in Spain, and three in US, their Debut album was self titled “Nova Manco” (10 tracks, unknown date), then came: Gypsy Fusion 1997 (12 tracks which landed in the 1998 billboard charts), Flight to Paradise 1998 (12 tracks) both albums self-produced for Botanie Music & dedicated to their parents Mari and Paulus a fourth album released in 2002 titled Fortune Teller, but this time with only three original members.

Musicians (original Band):

Edmon: Guitar
Samoel: Guitar
Nadro: Lead Guitar
Giovanni: Drum & Percussion
Salo: Bass Guitar, Keyboards & Percussion
(Inc. a nephew: Gabriel)

They moved to San Diego in 1995, the brothers dubbed themselves NovaMenco, and set up shop to record and play across the United States and the world. With their flamenco guitars flourishing on stage, NovaMenco craft an eclectic mix of tunes harboring a growing reputation for a crowd-pleasing show. Ever since NovaMenco’s album landed in the 1998 billboard charts, NovaMenco has continued the innovations in Modern flamenco. Their unique fusion of flamenco music has enchanted audiences everywhere. And with the addition of their nephew Gabriel, NovaMenco sounds richer and fuller than ever.

Every CD of NovaMenco is a real life experience and travels around the world. The music of NovaMenco is an attention-getting production with melodies said to evoke an air of distant Mediterranean lands with rhythms that exude feelings of liberation from this earthly existence.

 

Nova Menco, release date (unknown),

copy of the hard-to-find debut self titled album, (autographed by all five members). T#5

Track Listings

1 Gypsy Caravan
2 Effeminado
3 El Rocio
4 Caprice Moro
5 La Flor Del Andaluz
6 Moriendo Cafe
7 Faena
8 Galaxiz
9 El Baile De Los Moros
10 Amor E Som

 

 

 Gypsy Fusion: Landed in the 1998 billboard charts, for 4 weeks at #21

Track Listings

1 Mediterranean Breeze
2 Tigris Palace
3 Spring in Toledo
4 Gypsy Wedding
5 Sahara
6 Alba
7 Lorca
8 Gypsy Fusion
9 El Rio
10 Emotions
11 Journey Intro
12 Journey

#2-Tigris Palace

 

 

Flight to Paradise, released in 1998

Track Listings

1 Flight to Paradise
2 Alligator Alley (played on smooth jazz stations across the USA)
3 Constantinople
4 Silent Kiss
5 When the Dead Come Alive
6 Mood for Love
7 Reckless Dance
8 Purple Meadows
9 Back to San Francisco
10 Remembering Marta
11 At Five in the Afternoon
12 Close to the Edge

#4-Silent Kiss

 

In 1999 two brothers left the band and founded another band named (Nadro John), while three remained and released another album titled “Fortune Teller in 2002 under the original band name “Nova Menco”.

Fortune Teller, released in 2002

Track Listings

1. Woman Of The Palace
2. Let’s Jazz Flamenco
3. Adriana
4. Half Moon
5. Missing You
6. Under The Olive Tree
7. Mesopotamia
8. Byzantine Woman
9. French Quarter
10. Nights In Sevilla
11. Nostalgia
12. Fortune Teller

 

 

 

Nadro John

The two brothers (Nadro & Giovanni) formed a new band called “Nadro John” based in Los Angeles USA, and so far released two solo albums, one in 1999 titled “Escape to Venice”, and the second in 2009 titled “Mediterranean Holiday”.

A fusion of Flamenco Jazz and Rumba, Nadro John combines the spirit and energy that spans from California to Italy, Montreal to Madrid. Discover the music and magic of Nadro John.

 

 

 

 

 

Track titled “When Elephants Fly”, from their “Escape to Venice”, album.

 

 

 

Sonia Odisho Pledges Eternal Love in “Taklet A Leleh”

The complexity, yet harmony, between two individuals opposite in nature united through interpersonal relationships has perhaps been best dealt with in the Symposium by Greek philosopher Plato who produced work of unparalleled influence; yet, millenniums later, the quest for identifying ourselves in another person continues.

Jajee D’Beh Nasimo, Revisited

Lucid, invigorating talent between two artists teaming up across continents will likely produce a quality outcome, but in this particular time capsule, it reprised a century of wounds pierced at the very center of the heart for the Assyrian nation, worldwide.