Walk like a Bakhtiari ...

Ali Hafezi
Ney Nal

2007 
 

  

Tracks:

 01. Rags-e-Dastmal - 5:35
02. Balal - 5:34
03. Maqam Bargardoon - 1:20
04. Pa Goshun Natay - 3:45
05. Yar Yar - 6:11
06. Choob Bazi - 3:29
07. Abolghasem Khan - 3:09
08. Dovalali - 4:07

Ali Hafezi - ney

 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.·.ღ•:*´♥`*:•ღ.·.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  
Ali Hafezi, a Bakhtiyari ney player who uses the teeth style of playing the ney.

He has been playing with Masoud Bakhtyari (Bahman Alaeedin). 

Now he only plays Bakhtiyari music.
 

  
The ney is the most common instrument in traditional societies. It is a very ancient instrument which has been played for several thousands of years. Due to the existence of various ethnicities in Iran, there are more than 30 kinds of ney in Iran with their own specific characteristic. Most regional neys are played by lip. The player puts his lip on the edge of the ney and blows into the pipe. But, in the urban style of playing the ney, the instrument is hold between the teeth of the player. Since the old times, the ney-e labi has been played by shepherds and because of this it is sometimes called the shepherd ney. Sometimes, the ney player inserts his voice into the pipe as well; therefore the ney produces a kind of mixed sound. The ney-e labi is played almost in all parts of Iran. In the recent years, some of the folk musicians have tried to use the urban musical techniques to present a new musical utterance for their old traditions. For example, a new kind of the ney playing style has emerged among the Bakhtiyari ethnicity which is influenced by the urban techniques of playing of the ney, which keeps the ney between the teeth. As a result, the new produced sound has both the folk and Persian urban music flavors. 

source

~♥~

To the Children of Iran

  

Hooshyar Khayam

Amir Eslami
All Of You

2010

Tracks:

01. Our Story - 9:17
02. Cheering - 4:07
03. Strum - 4:27
04. Mourning (Zaar) - 6:12
05. Troubadour - 5:05
06. Illusion - 3:37
07. All of You - 7:14
08. Dawn - 2:23
09. Flowerscatter - 5:29
10. Our City - 10:23

Hooshyar Khayam: Piano

Amir Eslami: Ney

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 
Music for Ney and Piano

 

 All of you (duet for piano and ney) is in its core an improvisation. Most of the pieces have been performed and recorded only once with no edits or retakes and only some use the technique of multilayer recording to achieve the desired effect. Sonorities heard are all of acoustic nature performed by the musicians and generated on their instruments 

 

 

Amir

 

Composer

 Born in 5th January 1971 in Isfahan, Iran.
Started Ney (Iranian Flute) from 1986 in Isfahan.

 

&

 

Hooshyar 

 

 Hooshyar Khayam (born 1978) is an Iranian pianist and composer. 

He was born in London into a family of artists. His father Massoud Khayam is a novelist, and his mother Pariyoush Ganji is a painter.

 

♥

&

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Day & Night

Hossein Omoumi

Kia Tabasian

Zia Tabasian
Abolhassan Sabâ

Great Mediterranean Composers

2006

Tracks:

First part (dastgah-e Segah and Nava)

01. Daramad-e Segah
02. Samani
03. Zabol
04. Bahar-mast
05. Kereshmeh and Mouyeh
06. Mokhalef
07. Masnavi-ye Segah modulated to Nava
08. Shesh zarbi-e Nahoft
09. Chahar mezrab-e Nava

Second part (Avaz-e Bayat-e Tork and Afshari)

10. Do zarbi-ye Bayat-e tork
11. Chahar Mezrab-e Bayat-e tork
12. Feyli
13. Shekasteh
14. modulated to Afshari
15. Raghs-e chupi
16. Ghara-ii
17. Daramad-e Dashti
18. Zard-e malijeh
19. Gilaki20.Karevan
21. Deylaman
22. Pacheh leyli
23. Reng-e Dashti

Ney and Vocals: Hossein Omoumi
Setar: Kiya Tabassian
Tonbak: Ziya Tabassian

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

   

Abol Hasan Sabā

 

If there are a few artists who have heavily influenced the twentieth century Persian classical music by their work and style, Abolhasan Saba is for sure one of them.

More than fifty years after his death this multi-instrumentalist, composer, researcher and master of Radif (the Persian Classical Repertoire) continues to pour vitality and freshness through his important contributions.

Saba was born in Tehran at the turn of the Century, in November 17th, 1902 into a family that had for long embraced music and literature by tradition. His familiarity with music began when learning the basics of Setar from his father Kamal ol Saltaneh and Tombak from his aunt's maid. He finished school at the American College of Tehran (later called Alborz) and let his ever growing desire of studying music to be fulfilled by attending, nothing less than the courses of the greatest masters of the Persian Classical Music of the moment: Mirza Abdollah Farahani for Setar, Darvish Khan for Tar, Hossein Esmail Zadeh for Kamancheh, Hossein Hang Afarin for Violin, Ali Akbar Shahi for Santoor and Haji Khan for Tombak.

In 1923, as Colonel Ali Naghi Vaziri founded his Superior School of Music, Saba was one of the first students attending Violin courses and even becoming part of the Vaziri Orchestra as the first Violin. But according to Sasan Sepanta (Persian Music specialist and historian) in his Perspective of Music in Iran, Vaziri had to convince young Abolhasan’s father to let him enter his School, amidst an atmosphere of fierce opposition to the foundation of the institution (Many cultivated spheres would consider Vaziri’s views as being too much of a Western style and opposed the creation of the school).

Saba was soon to become one of Vaziri’s favorite students and assistants, learning fast the secrets of Violin and the theory of European Classical Music. Quite naturally in 1929, the Colonel appointed him as the head of the School of Fine Arts (Conservatory) in the Caspian city of Rasht. Indeed, no need to insist on the fact that this was a dreamed position for Saba, as he would have been able to resume research and collection of folkloric music and melodies of the regions of Gilan and Mazandaran. Later he composed numerous classical melodies based on those researches including famous “Zard e Malijeh”, “Koohestani”, “Deylaman” and “Tabari”, most of them in Avaz e Dashti or Avaz e Bayat e Tork modes.

read it all here

♥

...rare beauty...

   

ΔΙΟΤΙΜΑ

1996

Tracks:

01. Sound Memories
02. Awakening
03. Nostalgia  Of Orient
04. Eros
05. Dance For Three
06. Dream
07. Myths And Hymns
08. Nine Breaths
09. Quest
10. Each Moon Says

 

 Costas Hanis: marimba, vibraphone, drums, xylophone, clay pots, toubeleki, bendir,tiny percussions, voice
Lefteris Agouridakis: santuroor, vibraphone with bow, bendir, african drum, toubeleki
Costas Papapostolou: ney, flute, shepherd`s flute, pan pipes

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  
This self titled debut album, released from Salonika`s ANO KATO records, in 1996. DIOTIMA was a greek acoustic, instrumental trio who played wooden winds and various percussions. Their sound was based on traditional greek folk & art folk, recalling a long past rooted at the ancient times. One can also detects influences from contemporary era, european composers, jazz modes, oriental, minimal, ambient forms. From moonlit Mediterranean coasts to the far east tranquility...the earth traveller chooses a slower pace, discreet, meditative, esoteric, ceremonial. Between self concentration and initiation into the importance of some details, the music...flows.

   

...a job with rare beauty that constantly urges further exploration...
  
get it here

thank you for the words and for making me listen : )

and thanks to you too : )

   

 Κώστας Χανής

  

Λευτέρης Αγγουριδάκης

  

Κάθε φεγγάρι ομολογεί
κι εσύ κάνεις πως τάχα δε καταλαβαίνεις
ξέρεις ότι φορείς τον ήλιο
και ότι πριν εκείνο κατεβεί εσύ ανεβαίνεις

Οδυσσέας Ελύτης

~*~
♥
 

Ney

  

Hmaoui Abdel El Hamid

La Flute de L'Atlas
1976

 
Tracks:

01.Takadoum
02.El Golla
03.El Hanane
04.Kasbah
05.El Khaima
06.Lamarsah
07.El Manane
08.Acharbil
09.Quahdania
10.Bent Sahrah
11.Samra
12.La Noria

Personnel:

Ney – Hmaoui Abd El Hamid
Orchestra [Kemantche, Luth, Kanun, Mezoued, Darbouka, Bendir, Tar] – Unknown

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

Ney, Nay

Name: Ney or nay
Classification: aerophones
Origin: Central Asia

One of the oldest forms of flute is the ney, the endblown flute. The word ney means reed and the instrument is played from Morocco to Pakistan. To the same family belong the Kaval and the Salaam flutes which are thicker and are usually less longer than the classical nay.The oldest forms of the nai dates back to the age of the pyramids, shown on Egyptian tomb paintings as early as 3000-2500 years BC. The oldest nay found was 5000 years old, in good shape and playable. The intervals were the same in use today. These kind of ney are still used among certain Ethiopian tribes. The origin of the word comes from the early Persian "nây" which simply means flute.

It is an end-blown flute with seven holes, six fingerhholes plus a thumbhole. The Turks started to use wood, bone, horn around the 11th century and now even plastic mouthpieces, really liprests. As for playing, the fingering and lip technique remain the same. This embouchure is called bilabial blowing, upper and lower lip are used to partially close the end of the tube.

The name of the top of the ney is Baspare in Turkish. Turkish style ney's have a special mouthpiece which is called Parazvana (some kind of black cone which protects the mouthpiece). Both Arab nai and Turkish ney come in different lengths, each one being tuned to a specific pitch, simular like the irish pennywhistle.
A neyeti or ney player usually has a set of neys to use depending on the Maqam and key. The normal set consists of seven Neys. However, a competent Ney player usually uses two one being the dokah. The Neys are referred to by the name of the second note. That is the note the Ney produces when the first hole is uncovered. In the typical Ney, the note is "D". It is usually called by the Turkish name which is "Dokah". For the Docah Ney, when all the holes are covered, the basic note is 'C' or Do as most Egyptian musicians call it.  Notes are also produced by partially opening a tonehole, changing the blowing angle or a combination of the above and also by altering your blowing force. The G note in the 1st register is the same pitch as the all-holes-closed note in the 2nd, as is the C in the 2nd reg. and the closed C of the 3rd; these alternate fingerings are used for musical purposes and to check internal tuning and angle position.

Arabs play more rhythmic, reflecting the instrument used in the sheperd tradition, a good example is the use of the ney in oriental music. A classical nai is usually longer, the folk models like the kavala or kawal - which has no thumbhole - are shorter.

In Turkey the ney is a more urban classical instrument. The Turkish style is more smooth and flowing. In Turkey, the Mevlevi (Whirling Dervishes) long ago adopted the ney as their main instrument in the Sema, the spiritual service that includes the trance dancing spinning.

source :-)

Nay

some more :)

♥