音に導かれる旅 エジプト 土に埋もれた大いなる遺産 7

journeys guided by Sound

土に埋もれた大いなる遺産 7

A Great Heritage Buried in the Earth 7

June 9-28, 2013


As I wrote in the last issue, I have gradually come to understand the use of traditional instruments and the tension and vibe of performances in the region.
After all, no matter how much imagination I have, there is no way I can catch up with CDs, records, and accompanying photos and drawings.

There is no way to know the size and movements of the performers, the audience, the staff working there, or the atmosphere around the venue unless you go there.


The world that I thought was “ancient” in my mind is properly performed on the streets of today, and there are audiences who are excited by it.
It is not something that can be put away as a selfish fantasy, and I respect it as a “living culture” and do not think it is good to distort it.


But I am not a journalist or a music critic or an investigator (although I suppose there is an
element of that). I am only here to create music, or more specifically, to make music that has never been listened to before, and to record that instrument.

これは毎回旅が始まった時に、『あれ、俺って何しにきたんだっけ?』と惑わされる事が多い(笑)。Every time this happens, at the beginning of every trip, I’m like, ‘Hey, what am I doing here?’ and I often get confused lol


Especially in a place like Egypt, where traditional and ethnic instruments are well established as
current music, I doubt the need for my intervention.

Is it necessary to “destroy” an already established situation in order to “create” it?


However, after a week or so, I begin to feel the differences between the culture that exists only
there and the culture I was born into, and my imagination and creativity are recharged when I
question the bigger picture, especially if I can share this culture with the people I have visited in
other parts of the world.

It sounds contradictory, but from the point of doubting and denying something, ‘Then what can you do?’ incite myself to do the same.

Nothing can begin if we are satisfied with the status quo.


So, feeling full of energy, we visited the home of Mimo, an Egyptian who was introduced to us by
Takseema, an Egyptologist and a well-known player of darabukka (a popular drum in Egypt and
other Middle Eastern countries) in Japan.


His wife is Japanese, and is also a performer. We invited experts in ethnic instruments, including Mr.Mimo, to our home to teach us, a situation similar to calling a private tutor in Japan.

But it is typical of Egypt that they are players of such instruments, not pianos or violins!


The daughter is cute in the mix, and this alone is a great time, but we immediately started recording.


It is the melody of the trumpet of what is called “charmera” in Japan.
I don’t think young people these days would know this, but I remember when I was still a child, tofu vendors with what looked like water tanks on carts would parade through residential areas.


More to the point, I think that melody of “Yakiimoya(Japanese baked sweet potato vendor)”, which barely exists even today, also clearly has an Arabic feel to it, but what kind of causality is there?


With this fantasy in mind, I asked them to listen to a basic orchestral track I had created and
improvise to it.


The costumes and the local feeling, or the moment when fantasy and reality intersected, were all very exciting.

He then asked them to play his various flute-type instruments.


Obviously, the musicians must have had some hesitation or concern when asked to improvise on
a track like this and to music they had never heard before, but when they saw the payment,
which was not small in the local sense, they said to themselves, “We’ve got to do it! You can do it! I can do it!” There is a good sense of tension in the situation where both parties, including myself, are bluffing each other.

In Japan, you can find these instruments at Koizumi Gakki in Kyoto, but the sound played by those who play them on a daily basis is exceptional.

Different teachers and performers also appeared at different periods of time.

Although the instruments are the same, the mood is sure to change depending on the performer.


The instrument is only a tool, and the sound itself naturally comes from within the performer.
Where does it come from?
If it is a breath instrument like this, it comes from the heart…something that moves the heart,
something deep in the brainstem that directs consciousness.
There it is…


Anyway, the trance is heightened by a tone that probably hasn’t changed for thousands of years:
What is a human being? What is the universe?
Such a state of consciousness is also brought about, but in reality, I ask Mimo to arabicize the sound with my poor English and convey to them the image of the performance I want to see.

I’m not entirely sure what the situation is, but anyway, another different teacher? A performer visits.

I was told that he can also play this bowed instrument, so I asked him to play it for me, and he said it had an “ancient” feel to it, and it was fantastic.

With Mimo’s tutoring duties interspersed along the way lol

Anyway, I was able to record a variety of instruments that are not available in Japan.

You can listen to those recordings below.

And this time, the Egyptian imam Keiko Oikawa’s performance will also be authentic? to record in Cairo.


Before the performance, we were treated to a local molokheiya soup at Zeinab’s house, where
she is a regular guest!
Authentic taste! And very powerful!
There are many vegetables native to Egypt, such as aloe and this molokheiya, but all of them are so powerful that they grow strong even in the harshest of conditions!


As I mentioned earlier, I was healed because I had been eating only the food of bearded old men!
After all, rice cooked by a woman is delicious! I groaned and was deeply moved…


まさにLove From Far East.

Ms. Oikawa has visited Tunisia and Egypt several times, where she studied Arabic and Oriental
violin, so in a sense, this place is her musical home.
It is truly Love From Far East.


One of Ms. Oikawa’s teachers in Egypt was the aforementioned Dr. Saad, and another teacher was this man Dr. Dargel.

Visit the lessons at home.

The house and the person with a solemn air.

It’s hard boiled or dandy, and the mood and looks are quite cool.

I imagine he must have been very handsome when he was young.


Although he is not much older than the aforementioned Dr. Saad, Dr. Dargel does not feel like an “old man.
He has a sense of ” bad boy” in the air.

The way he plays with a cigarette in his mouth.
The fragrant aroma wafting from the smoke.

I am sure that I would have been a delinquent in the past, as my sense of smell/radar of delinquents detects lol

He agreed to let me just listen to the lesson that day and record it at a later date.


On the way home, Ms. Oikawa told me what she knew about Mr. Dargel. She told me that he grew up with a father who was in the music business, a music store or something, and he loved music, but his father would not allow he will be musician.
He ran away from home when he was about 15 years old and came to Cairo to fulfill his love for
music that was burning inside him that he could not suppress.


In other words, he is a violinist who did not receive any particular musical education, but learned it by beating it up on the streets.
He has been called the “Mozart of the Arab world” and was even featured in a one-hour special on the Middle Eastern news program “Al Jazeera” but to his surprise, he cannot read any scores!

That story alone is too cool for me personally to fall in love with lol

Then, the next day, I came back with my equipment.

Below is the piece performed by Dr. Dargel.


This performance was the first time he heard the track, understood it in less than a minute, and
immediately said, ‘Record it.
That one shot, that one improvisation, and this is it…


Too amazing.
Listening to it again now, I can see that talent ……
to be able to play this immediately in such a situation.

Regrettably, he passed away two years ago.


I don’t think my ability to express myself and my skills have caught up with the skill and sense of the teacher…
I feel sorry…

And the reality of not being able to retry is sad.

曲名がNight Sailという意味深なタイトルなのだが、それが完全に表現されている。
The song’s title is Night Sail, a meaningful title, but it is perfectly expressed.

In the darkness of the sea, the boat is driven forward toward its goal.
The only light that illuminates it is moonlight.

And this piece will be completed in Aswan, a sacred place in Nubia, which I will write about in the next episode.

I was only able to record two songs with Dr.Dargel, but here is the other one.


This song was likewise recorded in one shot after listening to it for less than a minute.
Graceful, aesthetic.
I always feel that his playing is somehow sexy.
And sadness.


Ms. Oikawa said that he had a son of whom he was very proud, and that just as he was making a
name for himself in the Egyptian entertainment industry as an actor, someone killed him.

The story is like a movie.

But the quaintness of the teacher convinces even such a bluesy story.


Mr. Saad and Mr. Dargel are two great musicians in Ms. Oikawa’s mind, and now that I have met both of them and heard their sounds in such a short period of time, as a man and as someone involved in music, I think it was an interesting encounter to see, hear, and feel the two performers again.

First of all, Dr. Saad is currently a university professor.
He is in a clean situation, adored by his students, and his position and performance are truly
sublime as a kind of orthodoxy.

On the other hand, Dr. Dargel has made it with his street-smart taste and skills, and his status as an artist is fully respected in a certain world, but his life is probably not stable.

They are also both fully Muslim and use the violin as their main weapon and tool for sustenance.


It is impossible to measure by which one is better, or has better sense, or is more religious, and one can’t help but feel a high level of ‘thinking’ from their sound.
Anyway, both of them are “deep”.
Or is it “high”?


The height of the universe and the depth of the deep sea.
Space is high but solitary, and the deep sea is dark but full of microorganisms, the cradle of true
I don’t know which is which, but they are black
and white, or rather, the exact opposite, yet truly

Dr. Saad’s supreme world that transcends gender.

Dr. Dargel’s world is sexy and evocative of the depths of human consciousness, such as ‘melancholy’ and ‘yin’.


In any case, I personally had never heard such a high level of violin performance, and I am grateful to have heard one of the highest peak performances that evolved in the Arab world and
Egypt, perhaps in a way that is clearly different from the violin in Europe, and I am grateful again
for this opportunity. I would like to thank you again for this opportunity.

Below is the information on Dr. Dargel that Ms.Oikawa recently summarized.

Abdu Dagher
عدب ه دا غر



Born in 1936.
Died on May 10, 2021.

・20世紀エジプトの大スター、Muhammad Abd el-WahabやOm Kalthoumの楽団で演奏していた時期も

The following are some of the notable things about Dr. Dargel’s background.
・His father was in the music business, but he did not want his son to pursue a career in music.
・He began studying the oud on his own, and was deeply impressed by a performance by David
Oistrakh, a Western classical violinist who came to Egypt when he was 10 years old. He never
received any formal musical education and did not know how to read or write Western musical
scores, but was able to acquire sounds purely from his ears, and he is the one and only performer who has sublimated these sounds to his own unique state of being.
He himself has said that the source of his music is the sound of the Holy Qur’an.
He left wonderful compositions in instrumental music, which has little weight in Arabic music, and
his improvisations (taqsim) played in them were his universe, and he was the master of that
・He played in the orchestras of Muhammad Abdel-Wahab and Om Kalthoum, the great Egyptian
stars of the 20th century, but in the end he continued his quest for his own unique sound. At
the same time, he generously taught those who came to his door who were fascinated by his
sound through the old-fashioned Arabic way of inheriting sound, and many players, both domestic and foreign, always gathered at his house.
・Despite his high reputation abroad, it is difficult to say that he was fully appreciated domestically, and it has been said that “if the Egyptian state had given him his due, his sound and name would have been known throughout the world more than half a century ago.”

A session with a young Dr. Dargel and a Tunisian singer


Dr. Dargel.
Thank you so much.

Salaam Aleikoum

To be continued

画像に alt 属性が指定されていません。ファイル名: JUZU-アー写0708.jpg


東京出身。15歳からバンドとDJの活動を並行して始め、スケートボードを通して知り合ったメンバーで結成されたバンドEvilPowersMeの音源は、結成後すぐにアメリカのイラストレイターPusheadのレーベル等からリリースされる。DJとしてもその革新的でオリジナルなスタイルが一世を風靡し、瞬く間に国内外の巨大なフェスからアンダーグランドなパーティまで活動が展開される。 ソロの楽曲制作としても米Grand RoyalからのBuffalo Daughterのリミックスを皮切りに、Boredoms等のリミックス等メジャー、インディー問わず様々なレーベルからリリースされる。2003年にキューバで現地ミュージシャンとレコーディングツアーを敢行したのを皮切りに、その後世界各地で録音を重ね、新たなWorld Musicの指針として、立ち上げたレーベルCROSSPOINTを始動。
2015年から始まった怒濤の9ヶ月連続ヴァイナルリリースは大きな話題になり、その影響でベルリン/イスラエルのレーベルMalka Tutiなどからワールドワイドにリリースされ、DJ TASAKAとのHIGHTIME Inc.、Nitro Microphone UndergroundのMACKA-CHINとPART2STYLEのMaLとのユニットZEN RYDAZ、Minilogue/Son KiteのMarcus HenrikssonとKuniyukiとのユニットMYSTICSなど、そのオリジナルなヴィジョンは、あらゆるジャンルをまたぎ、拡散し続けている。また音楽制作のみならず、映像作品、絵本や画集 のプロデュース、野外フェスOoneness Camp”縄文と再生”を企画するなど活動は多岐に渡る。

Born in Tokyo, he started playing in bands and DJing at the same time when he was 15. As a DJ, his innovative and original style and his activities have quickly expanded from huge festivals to underground parties both in Japan and abroad. In 2003, he went on a recording tour with local musicians in Cuba, and since then he has been recording all over the world, and started his own label, Crosspoint, as a new guideline for New World Music.
In music production, he has also produced video works, picture books and art books, and organized the outdoor festival “Jomon and Rebirth” in 2012.
9 consecutive months of vinyl releases in 2015 became a big topic, and his fourth album was released at the end of that year, which led to the worldwide release of his new album on the Berlin/Israeli label Malka Tuti.
HIGHTIME Inc. with DJ TASAKA in 2017, and ZEN RYDAZ, a unit with MACKA-CHIN of Nitro Microphone Underground and MaL of PART2STYLE, in 2018.
In the same year, his music under the name of J.A.K.A.M. was released in analog form on the French label HardFist, which led to a live performance at the huge 30,000-person Nuits Sonores Festival in Lyon, followed by a DJ tour of Europe and Israel.
In 2019, the production of MYSTICS, a unit with Marcus Henriksson and Kuniyuki of Minilogue/Son Kite, which has a worldwide following, will begin, and the long-awaited album will be released in 2021.
His original vision is spreading across all genres and around the world.

校正・英訳:編集部 中村、池上
Proofreading and English translation: Editorial department Nakamura, Ikegami