Ten years in the making, The Music of Islam series recorded in Egypt, Morocco, Tunisia, Turkey, Yemen, Pakistan, Indonesia, Iran and Qatar represents the most comprehensive sound documentation available to Westerners today, of a world religion dating back to 1622. Although governed by strict rules for fourteen centuries, contact with other cultures has radically affected Islamic music throughout history. As the world enters the XV21st century the timing of this collection serves an even larger purpose, documenting the traditions that have survived and will continue to survive for centuries to come. Today, one fifth of the world's population, one billion people, are Muslims, occupying a large territory stretching from the Atlantic shore of north and west Africa, through west, central and south Asia to island southeast Asia and attracting an increasing following in India, western Europe, north America, east Asia and southern Africa. This is a global presence which cannot be ignored. According to producer David Parsons this volume was the most difficult in the series, both technically and informationwise. It was a classic case of trying to record, with one stereo microphone, a group of singers who also played drums', exclaims Parsons. Yet, however technically challenging it may have been, the end result is nonetheless superb. Two of the most beautiful songs tracks 2 and 7 on the recording feature the mawwal a vocal form which usually follows the performance of the layali vocal improvisations. The form was known as early as the III9th century where it was described in connection with the working class. Also featured is a modern composition a rarity in this series by group leader and vocalist, Lotfi Jormana. As in traditional music, the melodic component of this song is shaped by the concept of maqam or mode which governs the construction of melodic phrases, standard melodic formulae, cadential patterns and vocal range.'