Laurel Gray review: Beard of the Camel

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The Beard of the Camel

A music review by Laurel Victoria Gray

(published in Habibi, Winter 1996 (vol. 15, no 1), page 41-42)

"The Beard of the Camel" marks the first Western release by Uzbekistan's Yalla Ensemble, the most popular group from the Central Asian republics. As a long time fan and friend of the group – and the official project consultant for this album – my opinions are admittedly biased. Still, it has been a cherished dream of mine to share this music with Western dancers and now, thanks to Imagina Productions of Seattle, Washington, that dream has come true.

Yalla's ethno-pop approach to traditional melodies and themes dates back to long before the present popularity of "world beat" music; in 1996 the group celebrated its 25th anniversary. Most of the songs on the album date from the late 1980's; Yalla's other CD album,"Jinouni", features more recent compositions with a broader Middle Eastern flavor. What ties together selections from The Beard of the Camel is the Central Asian thematic material, making the album a musical caravan through Uzbek customs and traditions; the inside CD cover even includes a map for orientation purposes.

Quite appropriately, the opening cut is "My Uzbekistan", an upbeat, patriotic piece composed to celebrate the republic's independence. Although a hymn to Uzbekistan, the melody and rhythm both lend themselves wonderfully to Arabic dance, tempting listeners to belly dance to what is the Central Asian equivalent of "America, the Beautiful". Performers will have to resolve this ethical dilemma on their own.

"Tubiteika" takes it's name from the Russian word for the gorgeous, embroidered skullcaps worn by Central Asian men and women. (The Uzdek term is dupi). With the steel drum sound and the lively rhythm, the song's unabashedly "twist and shout" feel may be a little too ''"cute" for some, but give it another listen – it just may grow on you. The famous, long-lived plane tree or chinara provides the inspiration for the next selection, a lyrical love song. The first really folksy sounding piece is "Abdullah", the bridegroom's song. The 6/8 rhythm and synthesized surnai (an Uzbek zurna) add an ethnic touch and conjure up scenes of raucous, outdoor Uzbek wedding celebrations.

One of the oldest songs on the album, "Shakhrisabz", stands as a classic. The opening measure feature a unique clapping and finger-snapping combination which leads into a pleasant melody extolling the beauties of Uzbekistan's famous "green city" – Shakhrisabz.

Those familiar with the tale of Leili and Majnun – the Romeo and Juliet of the Middle East – will fall for the haunting rock ballad, "Leili". With words by the late Uzbek singer and poet Batir Zakirov, the melody's wistful longing mirrors the lyricist's personal search for his own "Leili", for whom he search without success all his life. This poignant song, beautifully rendered by Batir's brother Farrukh (Yalla's lead singer and Artistic Director) can inspire a dance filled with dramatic veil work and eloquent arm movements.

While not as convenient as an American mall, Uzdekistan's bazaars offer a much more colorful shopping experience, complete with street performers. A distinctive drum rhythm announces from afar that the tightrope walkers have begun their show, inviting one and all to take a break from their errands to watch. "Baka-bang" recreates the rhythms and excitement of these outdoor performances.

The theme-song of an album released during Soviet times, "The Musical Chaikhona", tells of the important place of the chaikhona , or teahouse, throughout the East. While the harmonies are Western, the piece has enough of an Oriental flavor to work for a fusion dance piece.(I saw one particularly charming choreography to it in Tashkent, complete with dancers holding Uzbek teacups).

Another distinctively Eastern tradition, the folk-hero Mulla Nasreddin provides the subject matter for a song in his name. The tune is an old Uzbek melody used everywhere as the witty Nasreddin's "signature tune". With its wonderful dance quality, this song served as the basis of the choreography which I performed in 1988 with Delilah, in honor of the dedication of Seattle's Peace Park in Tashkent; other dancers may also find it inspiring for a playful dance.

A lovely waltz rhythm was used in the arrangement of the traditional Uzbek song "Gaira, Gaira", a tune once popularized by the legendary dancer and singer Tamara Khanum. My students have been touched by the bittersweet melody, perhaps sensing that it is, after all, a lover's serenade. But lest anyone turn morose, the following piece, "Hammom" (Turkish Bath), will force a smile. Dedicated to the institution of the Turkish bathhouse, this piece features a throbbing but all-too-short drum section. So grab a Turkish Towel, turn up the volume, and shimmy yourself dry after you next bath.

"The Carefree Beauty" may leave folks scratching their heads and wondering if their Central Asian caravan made a wrong turn at Samarkand; the sound here is almost definitely Country Western but, hey, turnabout is fair play. The musical mirage soon disappears in a sandstorm with the beginning of the next piece – "Uch Kuduk". "Amon-Yor" takes listeners to the Ferghana Valley with a lively Uzbek folk tune which is great for dancing. The arrangement features the unusual percussion instrument known as kairoki. These Central Asian castanets are flat river stones, Uzbekistan's original "rock music".

The final piece and the album's title track is "The Beard of the Camel" and thereby hangs a tale. The camel in question is, of course, the two-humped Bactrian variety which has a beard – except when it sheds for summer as I discovered last April in Tashkent when "scouting" camels for a photo shoot for this CD's cover!!! Warm weather had caused our chosen camel to lose his beard and launched me on an expedition to meet every one of Tashkent's camels-in-residence. Not all of the camels had begun to shed, but many of these were not tame. (And even trained camel can be full of surprises as we found out when the fellow in the photos unexpectedly expectorated). Finally, after a visit to the circus and the zoo, I settled on the very photogenic Tobol who posed rather patiently for pictures and even managed to look as if he, too, were singing.

The sinuous vocals at the beginning of "The Beard of the Camel" are just about guaranteed to get you undulating across your living room. In just a few measures, Yalla has created a desert landscape with a rock'n roll soul; you can even hear the camel driver's whip. Imagina Productions promises that a Yalla music video is on the planning board. On the eve of a new millennium, the mystique of the ancient Silk Road may soon meet MTV. What a world!

'The Beard of the Camel" can be ordered from your local record store or Tower Records. Or you can order directly from Imagina Productions.

About Laurel Victoria Gray...

Ms. Gray is an internationally reknowned teacher, professional dancer and choreographer specializing in Uzbek and Central Asian styles. In 1992 and 1993, Gray studied Uzbek dance and culture in Tashkent, Uzbekistan at the invitation of the Alisher Navoi State Academic Bolshoi Theater of Opera and Ballet, working with professional ensembles and teaching at the Choreographic Institute. She is the founder of the Uzbek Dance and Culture Society, located in Washington, DC, and the Silk Road Dance Company. Ms. Gray is the author of numerous articles in publications in the United States, Europe and Australia, including the International Encyclopedia of Dance and Dance magazine.

Beard of the Camel album
"Труд" newspaper interview (in Russian)
more about Ensemble Yalla
Imagina's Central Asian Collection

revised: 21 Dec 2006