Tag Archives: Liberation Music

The “Prayers For Palmyra, Music Revives Ancient Ruins” Concert Was True Mouqawamah Music

by Jonathan Azaziah

The concert in liberated Palmyra was truly marvelous and heartwarming, wasn’t it? As I’ve grown fond of saying–because of its veracity not because it sounds pretty–music is the most powerful vibrational force on the planet. And when it comes to the advancement of a political-cultural objective, there is nothing which penetrates the hearts, minds, souls and beings of an oppressed, liberation-hungry people quite like music. The messages contained in the simple but potent strings of a violin, the softness of a flute, the sheer rage of an electric guitar or the relentless bars of a fierce MC ripping into a classic, soul-sampled beat with boom-bap drums, will always be more awe-inspiring and hope-instilling than any article, radio broadcast, post or book. Just the way it is. Continue reading The “Prayers For Palmyra, Music Revives Ancient Ruins” Concert Was True Mouqawamah Music

Review of Gilad Atzmon and the Orient House Ensemble’s “The Whistle Blower”

by Trevor LaBonte, The Ugly Truth

Musician/author Gilad Atzmon and The Orient House Ensemble have returned with their eighth album to date, a delightful offering entitled “The Whistle Blower.”

ATZMON’S BACKGROUND:

Atzmon is a former Israeli, former Jew, who underwent a spiritual awakening as a result of hearing the great bebop masters. He was taught his whole life as an Israeli Jew that Jewish artists and thinkers are superior to all else, but he knew he had been lied to, by virtue of the fact that Charlie Parker and many other great jazz artists were black and not Jewish.

Atzmon cut all ties with the Jewish state over twenty years ago, expatriated to London and completed a Master’s degree in Philosophy there. His solidarity to the Palestinian cause is evidenced by his choice to name his band after the Palestine Liberation Organizations former headquarters in Jerusalem, called, “Orient House.”

His criticisms of his own former Jewish ideological collective are brutally honest and hard-hitting. Let it suffice to say that his mission to liberate the discourse has led him far, far from the world of “political correctness,” yet he somehow balances all this with a successful career in jazz. Continue reading Review of Gilad Atzmon and the Orient House Ensemble’s “The Whistle Blower”