This unique oud was originally made for a left hand oudist (right hand on the fingerboard), so the first peg is left out to allow space for
conventional first position play, (left hand on the fingerboard). The location information says "Dar Es Salam" (Place of Peace). This a another name
for Bagdad. The rose design is identical to those used by some of the Nahhat builders of the same period. A unique feature is the end grain
herringbone fingerboard. It shows no sign of wear, and adds a 3 dimensional element to the front. The face does have 2 knots, but the sound is superb,
rivaling many Nahhats. String length is 624m.
The only location information says "Dar Es Salam" (Place of Peace).
Every Arabic country has a city called Dar Es Salam, so it could have come from anywhere.
Sorry Richard ! This is not true.
The most popular Dar Essalam ( دار السلام = Abode/House of Peace) in the Arab world is
Baghdad, as it was first called by its founder, the Abbasid Caliph Abu Ja'afar Al-Mansur, (712-775). Later on, he
called it Madinat Almansour (Mansour city), but the name Baghdad overshadowed and prevailed, since it was the name of an ancient Iraqi village built
there, some 2.5 centuries earlier. This name is no longer in use in Iraq nor in the Arab world for Baghdad, except maybe in poetry and literature.
There are some more other Dar Essalam villages in upper Egypt. Besides, it's the name of the previous Tanzanian capital and Brunei Darussalam
Sultanate's official name, but I tend to exclude those sites from the oud issue!
More known Dar Essalam name is a Quarter in Cairo, near Ma'adi, after which a Cairo Metro station nearby was named Dar Essalam. But
is it an Egyptain oud ? I doubt it. It looks more Syrian to me: the rose, the pickguard, the bridge ...
I haven't found a world in Arabic about this maker. As has been written lately: we don't cease hearing new names we've never heard of before. So
here's another one.
Yours indeed
Alfaraby Dr. Oud - 8-16-2013 at 07:27 AM
Dear Jamil, Yes you are correct, I have learned more about the use of Dar Essalam, and agree that is was Bagdad. I misspoke that "Every Arabic country
has a city called Dar Es Salam", I should have said "some others". The style of the oud is Syrian I agree, the rose design is a common one used in
Damascus by Abdo George Nahhat , (with the addition of the center monogram). It is a large oud and not very light, but has a powerful projection,
perfect balance across the strings, and the clearest trebles I've ever heard on an Arabic oud, even among the finest Nahhats. This is despite the
knots in the soundboard. It just goes to show, a soundboard that is not cosmetically ideal can produce great sound.
As for the maker's name, there was a Mahmood Haddad in Damascus ( I have 2 of his ouds, 1958 & 1966).Who knows if they were related? Mahmood's
ouds look very much like the Abdo George Nahhat & Sons' in size, and decorative style. They also can hold their mud for tone as well. They are
very thin and light and have MOP and Abalone fingerboards, with star patterns using red abalone accents - just gorgeous!
There is currently for sale a later 1983 model from a maker with the same name. I have seen this 1983 Haddad here in S.F. and it does not resemble
either the Suliman or the early Mahmood. It is a high quality oud, however, in a different design style. Dr. Oud - 9-10-2013 at 09:58 AM
Caravan Arabic oud strings
inquiry
saad - 7-3-2015 at 07:03 PM
Hi Dr. Oud and Alfaraby,
I am kind of interested in this oud, it looks unique, especially that the maker is unknown, so there is no other oud in its category to compare with.
But I am a bit concerned about two things:
1) the fact that it was designed for left hand playing, and why does that mean that pegs must be shifted?
2) that no one has shown interest in buying it yet
Dr. Oud, can you comment on comparing this oud with others that you had/have. I would also appreciate Alfaraby's opinion on acquiring such an
instrument that does not belong to any of the big names in oud making. Any help is appreciated... I have been reading some of the old posts on this
forum for some time, and I have determined that you, Alfaraby, have provided great insight on many occasions... With all due respect to both...
Many thanks... Dr. Oud - 7-6-2015 at 09:26 AM
1. In order to play in the first position, the first peg in the pegbox is at the left side (r top)for a standard oud, played "right-handed". This is
with the left hand on the fingerboard and plucked with the right hand. This Haddad had the first peg on the right side, to allow fingering first
position with the right hand, ("left-and"). In order to play "right hand", the first peg (on the right side of the pegbox) is omitted. The pegbox had
12 pegs so a standard set of 11 strings can be used. The pegs are original, unique and work very good, so there's no reason to redrill and replace the
pegs for a right hand player.
2. I have had some interest in the Haddad, but not a buyer yet. I also have several Nahhat ouds that have not found buyers either. The market for
these vintage ouds is small, only professional or experienced players appreciate the tonal quality that can be found only on these old ouds. There are
makers today that can produce high quality, but it takes many years to develop the unique tone of these vintage instruments, the older the better.
There was another Haddad, Mahmood who made very fine ouds in the 1940-1960 era. There are many makers who are masters but not known to us because of
cultural and historical omission. I consider the Suliman Haddad equal to and better than many any Nahhat in design, workmanship, playability and
sound. Brian Prunka - 7-6-2015 at 11:29 AM
The market for these vintage ouds is small, only professional or experienced players appreciate the tonal quality that can be found only on these old
ouds.
Well, it is not necessarily the recognition and appreciation that limits the market for these ouds, but the combination of appreciation and financial
resources . . . the two are not often found together. saad - 7-8-2015 at 09:43 AM
Thank you Dr. Oud for your reply, and Brian for your input. Upon more careful examination of the pictures, I found two features that I am curious
about.
1) The fingerboard look different in the two pictures. In the first picture, there is a dark rectangular strip separating it from the face. In the
other picture, it looks continuous.
2) What is the reason that the bridge is not centered on the face of the oud?
Thanks,
saad. Dr. Oud - 7-8-2015 at 10:39 AM
1. I don't have two pictures of the neck, perhaps you are seeing another oud. There is a separation bar at the end of the neck.
2. The bridge is in alignment with the neck. If the neck is only sightly off center with the face centerline, then the bridge will have to be located
off center. Whether this is intentional I can't say, but the result is only cosmetic, the volume is well balanced across the strings, and very strong
and with excellent sustain. Brian Prunka - 7-8-2015 at 10:45 AM
There is a picture of the whole front (including the fingerboard), and a close-up picture of the fingerboard. Those are the two pictures Saad is
talking about. The neck-body joint is different in those two pictures. It would be helpful to see a close-up of the joint, since the first picture is
too small to see what's happening there.
saad - 7-8-2015 at 12:01 PM
Hi Dr. Oud, you are right about the bridge, I think it's the pickguard that is not centered, giving this illusion. Alfaraby - 7-9-2015 at 01:44 PM
I would also appreciate Alfaraby's opinion on acquiring such an instrument that does not belong to any of the big names in oud making.
I have determined that you, Alfaraby, have provided great insight on many occasions... With all due respect to both...
Thank you Saad for giving me the credit. Much obliged
Addicted to antique ouds smell, I'd promptly jump on every other offered oud. Was it not a matter of budget, I would have acquired every one possible.
I admit !
Therefore it's a matter of finance > against < value.
The value of an antique oud is not derived only from being old. Age alone does not mean the oud is valuable and does not add to what the aged oud
hadn't have in the first place.
An antique oud is considered good subject to various criteria: age, maintenance, woods, craftsmanship, rarity, sound, playability, general looking,
strength, maker's experience, who was the maker, how many pieces did this maker make in his career, in what year of his career was it made, whose oud
was it, how many hands did it know, how many years was active, was it hidden in an attic, in what climate, humidity, dryness, heat, and hundred more
questions like such.
I can't judge from afar. Was it closer, I'd give it a "smell", hold it, caress, fondle, embrace, hug, touch, play, listen, feel, inhale the odors of
its interior, feel what does this old bastard have to pass to me ...
Excuse me for being drifted a bit, but your question like caught me with the pants down. It's more like asking an old driver what car to buy ! "Well,
it depends .." the old guy would mumble.
I don't want to interfere in Richard's pricing considerations or making him upset by saying this, but I don't know how he prices his items, what
reasons has he to support his figures, how come a Nahat's and a Haddad's (who is he anyway) oud worth about the same, etc ..
I have to point out that there were some makers in the past century who had made a couple of trial ouds and quit. There were some who made their own
oud or two. There are some antique ouds out there that no one is buying for a couple of whatever. Who wants these makers ouds: Razouq, Turk, Abrass,
Hallaq, Orfali, or believe it or not: GHN, Hamawy, Qadamany, or even Mulqi .. and so forth. No one is buying antique ouds, at least on this side of
the Mediterranean. On the other hand, nothing much is really left on this side. The most have crossed the Med or even the ocean.
To make the long story short, if you can afford it, go ahead and negotiate it with the owner.
BTW: Saad = Good luck !
Excuse me for writing this much.
Yours indeed
Alfarabysaad - 7-10-2015 at 11:39 PM
Dear Alfaraby,
Thank you so much for your advice. I will keep in mind the points you mentioned.
... how come a Nahat's and a Haddad's (whol is he anyway) oud worth about the same, etc ..
The Haddad is priced according to its quality, condition, sound and playability. It is equal in every way to any Nahhat I've seen. If it were made by
a Nahhat, the price would be much higher than the other Nahhats I have available. If this maker is unknown, it's not because he didn't make quality
instruments. The level of workmanship in this oud is as good as it gets and the condition is perfect. I will negotiate the price for a reasonable
offer.
