Bandari, Bandari : )

 

Mahmoud Jahan 

& 

Bandar Neshinan
Sabz-E Ghaba
Instrumental

Tracks:

01. Joome Narenji - 5:07
02. Kaj Kola Khan - 4:36
03. Kam Bia Donbale Man - 5:35
04. Goli Joon - 6:35
05. Bide Majnoon - 6:45
06. Bandari - 6:35
07. Mano Davat Kon - 5:31
08. Ghasedak Bandar - 4:50
09. Dokhtar Siah - 4:40
10. Kako Soleimani - 5:30
11. Bandari, Pt. 2 - 6:16

Arrangement: Mahmoud Jahan

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.·.ღ•:*´♥`*:•ღ.·.

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 Bandari music of southern Iran was first made famous by Aghassi some three decades ago with his now classic song "Ameneh". These days we often hear of the group "Sandy" and their hit "Dokhtar Ahvazi" which is probably played more often at parties than any other dance tune.

But the Bandari tunes played in the small towns and villages of Khuzestan, Bushehr and Hormozgan sound very different. What the locals sing is not as polished and not always easy to dance to if you are, say, at a wedding in Tehran or Tehrangeles.

Nevertheless Bandari is one of the most upbeat Iranian musical styles. 

source

Bagpipes - Bahram Mehrbakhsh (?)

Bandari Dance

Bandari is often referred to as "Persian Bellydance". Bandari dance is a chain dance that often involves multiple people dancing and often perform this at parties, traveling around in a circle and sometimes stepping into the center for a solo with encouragement from other dancers, the only variations are in the arm movements. It's a Persian dance that prevails in the South of Iran next to Persian Gulf and has been influenced by the African and Arabic music and dance. It is a combination of rhythmic movements in various directions according to the beat of the song. The distinct feature of this dance is the way performers wave their hands in a unique manner that resembles the cooperation of a group of fishermen at the sea...

*** 

 

Bonjour Mon Ami : )

Mehrdad Lajevardi

Arash Farhangfar
Spring of Kindness 

Bahar-e-Mehr
2011

Tracks:

01. Daramad Afshari - 3:45
02. Bahar - 3:09
03. Gharai - 6:24
04. Chaharmezrab - 3:52
05. Forood - 3:08
06. Reng e Afshari - 4:19
07. Daramad Rast Panjgah - 1:59
08. Naghmeh - 5:00
09. Raha - 3:20
10. Hejaz - 6:56
11. Mehr - 4:34

Mehrdad Lajevardi - Setar
Arash Farhangfar - Tonbak

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.·.ღ•:*´♥`*:•ღ.·.

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Mehrdad Lajevardi was born in 1978

in Tehran.

from the booklet:

One of Setar's specialities, since old days till present, is its potential to comply the expectation of its own audience and of the one who plays it. Various tunes of sound and the sufficiency of being played with different techniques bring novelty and grace to both players and listeners with various tastes and desires, this is, one might say, why Setar's of different players have not much in common; a quality which is not found in every musical instrument.

The tranquillity, delicacy and peace which lie in the sound of the Setar quench the needs of the contemporary human in this high tension style of life nowadays.

 ♥

 ♥

 ♥

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

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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

~♥~

Freedom's just another word ...

    

Tali'eh Kamran

Yadgar-e Habib

 

 Tracks:

01.Dastgah-e Homayoun — Talieh Kamran, Hoseyn Tehrani - 9:20
02.Zarbi-Khani In Bayat-e Esfahan, Dashti & Shushtari — Talieh Kamran, Hoseyn Tehrani - 9:41
03.Avaz-e Abou'ata — Talieh Kamran - 10:36
04.Zarbi-e Abou'ata — Talieh Kamran - 2:34
05.Chaharmezrab-e Dashti — Talieh Kamran - 2:37
06.Avaz-e Dashti — Talieh Kamran - 1:38
07.Dastgah-e Segah — Talieh Kamran - 8:48
08.Dastgah-e Homayoun — Talieh Kamran - 9:36

 

 ♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.·.ღ•:*´♥`*:•ღ.·.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

 Talieh Kamran (1930-2017), prominent Iranian female artist, poet and one of the first academic female musicians.

 

 Talieh Kamran & Maestro Hoseyn Tehrani

 

There is no Wiki about Talieh Kamran yet.

If you come across a page about her and her art

please let us know...

 
 *♥*

  *♥*

  *♥*

  

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. 

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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.

 

♥

&

♥

 

Persian Piano

  

Hooshyar Khayam
Thousand Acacias

2009

Tracks:

Sonnet I - XII
    
Performed by the composer Hooshyar Khayam (piano) 

plus Amir Minoo-Sepehr (violin) on track 12.

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.ღ•:*´♥`*:•ღ. 

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 The instrumental sonnets in this album are ghazals for solo piano resembling a long poem ("The Scent of Petunias and the Acacias That Flow Through Them") by distinguished Iranian contemporary poet Ahmadreza Ahmadi. 

Hooshyar belongs to the new movement of composer-performers in Iran.

He is active as pianist, as composer, and as improvisor and collaborator in the realm of world music. His music has been performed by Hossein Alizadeh, Aram Talalyan, Wayne Foster-Smith, Todd Palmer, and Stephen Prutsman among other artists. His works include music for solo piano, large symphonic ensembles, string orchestra, improvisational works, vocal works, music for film and for theater, and arrangements/revisions of traditional music of Iran.

He has been performed at Lincoln Center, University of Cambridge, University of London, Spoleto, Stefaniensaal Graz, and has hold concerts in Moscow, Tbilisi, Kiev, Berlin, New York, Charleston, Florence, Yerevan, and Tehran. His compositions have been premiered by Naregatsi Chamber Orchestra, Ukraine National Symphony Orchestra, Tehran Philharmonic, and Tehran Youth Symphony Orchestra.

He is the first prize award winner of "Franz Schubert and Modern Music International Composition Competition 2011" for his trio "I Waited for You in Rain".

He holds a doctoral degree from the University of Cincinnati, College-Conservatory of Music, and is currently an independent musician.

Hooshyar-Home

 *♥*

And the new one is... :-)

Masoud Shaari (Setar)

Arash Mitooic (Electric Guitar)

Hamsaz Ensemble

 In The Shade of The Wind
2007

Tracks:

01 - Hamsaz
02 - Ashin
03 - Hasti
04 - Dar Sayeye Bad

Personnel:

 Masoud Shaari (Setar)

Anthony Ardin (Saxófono)
Darshan Aanand (Tabla)
Arash Mitooic (Guitarra Eléctrica)
Pajham Ajavas (Tombak, Damam)
Mohamad Ali Sajadi (Barbat)
Sina Shaari (Guitarra Acústica)
Tahmineh Shahsavari (Setar)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 In the year 1127, the artist {Abbot Suger} began reconstructing his Abbey Basilica of St. Denis in Paris. Suger's architectural ideas resulted in something never seen before, a "new look" neither classically Greek nor Roman or Romanesque. Eventually Suger's pioneer work led to an influential architectural style known as "gothic." Not knowing what to call Suger's work at the time, the society relied on a Latin name, "opus modernum." Today in the 21st century, in the context of Iranian society, {Masoud Shaari}'s interpretation of the ancient Persian Radiff allows for an "opus modernum" manifestation to occur in Persian classical music. His ground-breaking work, In the Shade of the Wind, intertwines the ancient with the modern age, marrying instruments such as setar to electric guitar, ney to saxophone. Each of the four tracks in this album are a journey to distant lands, where one can imagine Persian merchants offering the world their melodies and rhythms in exchange for nothing else but a sense of mutual understanding.

Shaari has unlocked the dusty box of the Radiff, letting ancient Iranian melodies play catch with the world. In 1978, the band ANCIENT FUTURE was the first ever to coin the term "world fusion music," defining their new style. Shaari’s album In the Shade of the Wind can fall under this category of music as well, where many cultures and sub-cultural musical styles are audibly interacting: classical North Hindustani rhythms and ragas are incorporated, 1950’s American pop-rock comes in and out of improvisatory segments, American Blue-Grass Country guitar is surprising to hear at times, jazz chord progressions harmonize in the background of a massive setar chorus, and psychedelic trance movements create an atmosphere close to that of the Sufi sama' ecstasy. Many of the trance-like sections in Shaari’s music is seriously influenced by the repetitiveness of Indian music and rock music. Through this conglomeration of musical styles and the process of fusion, Shaari unknowingly creates a new musical language that is nevertheless rooted in a Persian accent. The Radiff is still holds amidst the chaos of this fusion, exhibiting to the Western listener a sense of tradition. To Iranians, Masoud Shaari re-energizes the setar, revamping a tradition to adapt and still remain capable and applicable in the 21st century. The new generation of post-modern intellectuals is a movement towards globalization, and in Iran we are beginning to see this global influence in their music.

It must also be mentioned that other artists in Tehran are exhibiting the same ideological tendencies. A musician like {Mohsen Namjoo} has remained loyal to the emotional spirit within the Radiff, while creatively uplifting their Iranian musical heritage. In the case of In the Shade of the Wind, Shaari bears the weight of his artistic creation on developing the mastery of the Iranian setar. For example, in track one, "Hamsaz," one can not only hear but feel the many different new techniques Shaari has incorporated in his style of playing. Besides technique, his melody in the Nava modality still abides by bare structural laws of the Radiff, but the actual melody is something unheard of. This compromise between abiding by the structure of the Radiff but not the Radiff melodies set’s Shaari completely free in the creating process of melody, and distinguishes his musicianship from other fusion artists.

Fared Shafinury - TehranAvenue.com

   

♥♥♥

  

 Yes, Massoud Shaari again ... :-)

In recent years he has dedicated himself to opening musical dialogue with different cultures, playing with various non-Iranian musical instruments to experiment new feelings and expressions in music, while keeping the main essence of Iranian music.

   

 ♥

Maestro of Setaar

Ostad Sa’id Hormozi
Setar (2)
Persian Music Heritage 

2003

Tracks:

01. Dastgah-e-Shur - 7:44
02. Avaz-e-Dashti - 16:15
03. Avaz-e-Bayat Tork - 15:09
04. Avaz-e-Abuata - 11:31
05. Avaz-e-Afshari - 8:54
06. Avaz-e-Shooshtari - 10:33 

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Saeed Hormozi 

(1897-1976) the prominent Iranian musician, the great radif master and virtuoso tar and setar player, the son of Mirza Hoseyn Khan Seqat-ol-Saltaneh, was born in Sangalaj quarter of Tehran. He showed his interest in music from an early age and grasped playing music despite the objections made by his family. He first began to play and practice music by himself and from 16 he learned tar from his brother Abolfatah Mirza who was a direct pupil of Aqa Hoseyn-Qoli. Afterwards he went to a pupil of Darvish Khan, Mahmud Ruhbakhsh, and then for a while he was accepted by Darvish Khan himself to study tar and setar and also the radif of Persian classical music. Soon Darvish Khan awarded him with the medal of the "Golden Hatchet," which he used to give to his prominent pupils. After the death of his great master, Hormozi studied the version of radif of Aqa Hoseyn-Qoli and Ali-Akbar Khan Shahnazi and also a repertoire of precomposed pieces with the latter. In 1928 he began his teaching career by founding a school of music in Shapur street in Tehran. However, because of his major responsibilities in Sepah Bank - where he had been employed - he had to abandon the teaching career for a certain period of time. Upon the foundation of the Center for Preservation and Propagation of Persian Music, he cooperated there as an ostad of setar and radif and trained numerous pupils. Sa`id Hormozi was a committed musician who was fervently engaged in teaching and preserving the tradition of Persian music. On December 27, 1976 while teaching at the "Center" Hormozi slipped into a deep coma and did never come back. He died at the same night in Tehran.

  

Saeed Hormozi a very great master of Persian setar.
 Some invaluable recordings have been preserved of him. In terms of performance techniques one can find traces of his ostad Darvish Khan in Hormozi’s style. His phrasing is mostly influenced by that of Aqa Hossein-Qoli.
 Two of his most important students are Mohammad Reza Lotfi and Hossein Alizadeh.
 

 ♥

Master of Setar

 

Massoud Shaari

Shabahang
Setar & Tombak 

2010

Tracks:

01. Pishdaramad Esfahan - 4:34
02. Daramad - 2:27
03. Jame Daran - 1:51
04. Chaharmezrab Saba - 3:21
05. Bayat Raje - 1:45
06. Ouj - 0:38
07. Chaharmezrab Hormozi - 4:08
08. Sooz O Godaz - 1:52
09. Masnavi - 2:12
10. Chahar Mezrab - 3:44
11. Pishdaramad Segah - 3:56
12. Daramad - 0:54
13. Kereshmeh - 2:01
14. Zang E Shotor - 1:20
15. Zabol - 0:54
16. Chaharmezrab Zobol - 0:58
17. Mooyeh - 1:13
18. Mokhalef - 2:58
19. Zarbi Mokhalef - 1:46
20. Maqloob - 0:30
21. Naghmeh Maghloob - 0:41
22. Zarbi Maghloob - 3:39
23. Hazin - 1:05
24. Mooyeh - 1:10
25. Zang E Shotor - 2:24
26. Samani - 1:32
27. Bahar Mast - 1:02

Setar: Massoud Shaari
Tonbak: Kushan Yaghmaee

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Massoud Shaari

Massoud Shaari was born in 1961 in Tehran , Iran. From the very childhood, he was deeply attached to Iranian music and started learning Santur at the age of thirteen, taught by the lost artist Manijeh Ali-pour.  After a while, he turned to learn Setar, monitored by Dariush Talai and has continued playing it ever since. In 1982, he begun learning Tar, taught by Mohammad Reza Lotfi, through  whom he became acquainted with the art of Iranian traditional music systems (Radif) and its mysteries. In the meantime, he was honored to be trained by master Bahari and spent a while playing old pieces with him.

Great interest in Setar lead him to Hossein Alizadeh, and in fact his artistic promotion is indebted to this valuable master of Iranian music. As to the fact that, in his childhood, he had also been trained by some outstanding masters such as Hormozi and Forutan, managed to become fully familiar and accustomed to Iranian classical music and discovered its delicacies and beauties. Shaari has always tried to reconstruct the works of the pioneer masters of music and this high goal resulted in creation of two albums, "Shabahang" and "Karevan-saba".

In Shabahang we can see improvisation in Radif (Iranian traditional  music systems), and also reconstruction the works of some masters as Roknneddin Mokhtary, Saba, Hormozi, and Forutan. In Karevan-Saba, the chief goal is interpretation of some pieces of music for setar, originally composed by master Saba for violin.

Shaari has always endeavored to teach Iranian classical music and has been involved in Setar tuition since 1981 in art centers directed by private and public sectors. In this connection, he has trained many apprentices following his artistic school. Now, he teaches privately, as well as in Azad University, and artistic center of Kamkars Ensemble. He follows his special teaching method (which is under publish.)

Massoud Shaari, with his complete control over traditional Persian music, has tried to restore the almost forgotten melodies and rhythms of traditional Persian music, and confront it with contemporary music and modes of interpretation.

It seems that his insight of music is absolutely free, and he tries to restore the lost elements of Iranian music such as forgotten rhythms and melodies, and mix them with modern music.
     For the past ten years, he has been teaching Setar and theory of traditional Persian music in different places: Azad University, “Kamkar” musical center, and in various other musical centers in the private and public sectors..

home

  

♥

All together now...

Massoud Shaari

Christophe Rezai
Journey

2001

Tracks:

01 Presence 10:44
02 Journey 15:47
03 Fervor Of Love 08:50
04 Complaint 14:23
05 Rejoicing 09:1

Personnel:

Massoud Shaari - Setar
Christophe Rezaï - Composer

Darshan Jot Singh Anand - Tabla
Manu Codjia - Electric Guitar

and Reza Asgarzadeh

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

    

Journey is the fruit of collaboration between two musicians, Massoud Shaari, a traditional Iranian musician and a virtuoso of Persian setar and Christophe Rezaï, a French-Iranian composer of European culture.

Journey is introduced under the form of five pieces for Setar evoking four different modalities and therefore four different ambiences of traditional Persian music.

The Indian tabla (played by the Indian Darshan Jotsingh Anand), closely linked to the setar, takes us further to the east towards Indian tradition, which has many common points with Persian music.

Furthermore the accompaniment by classical or contemporary orchestral formations such as Strings, Electric Jazz Guitar, Sound Effects... takes us to the west towards the "European musical tradition" of the 21st century.

Journey is based on five pieces for setar evoking different modalities and ambiences of traditional Persian music. The Indian tabla, closely linked to the setar, takes us further east while classical and contemporary orchestral formations such as strings, electric jazz guitar, sound effects... pay tribute to European musical traditions of the present day.
  

 

Massoud Shaari

Born in 1961 (Tehran, Iran), started playing Santur at the age of 13 and soon his tendency to Setar led him to master Dariush Talai. In 1982 he started practicing Tar with masters Mohammad Reza Lotfi and Bahari, but his vocation for playing Setar became most apparent under the mentorship of master Hossein Alizadeh.

Since the mid 90s and parallel to his musical creation, he is actively teaching Setar and theory of traditional Persian music at the Open University Tehran and his self-established Hamsaz musical center.

So far he has recorded four albums (solos snd duo for setar and tabla). Shaari has also assisted Christophe Rezai in the composition of the Persian part of the "Peace Anthem for the 3rd Millenium" in June 200

link 

 Christophe Rezai

Born in Toulouse, France in 1966, Christophe Rezai studied music (theory, piano and vocals) alongside his college education in hydraulic engineering and marketing. As a composer, he has written the scores of a number of French and Iranian films and documentaries.

A tenor, he co-founded Aria Musica, a group that staged numerous concerts in Iran and India. He further established the Nour Ensemble, whose repertoire focuses on medieval, baroque, Kurdish and Persian vocal music. The Nour Ensemble has been featured in a documentary produced by Arte in 2002 and has performed in numerous concerts in France, Iran, Belgium, the Netherlands, South Korea and Austria. In the summer of 2004, Nour appeared in a second musical documentary, this time filmed at the Babakan Castle in Firouzabad. The arrangements of Journey (2001, Hermes Records) is also among Christophe's musical activities.

In 2003, Rezai won the first prize of the Avignon Film Festival for the best Film Music. Since then, he has concentrated on writing music for films and on developing the Nour Ensemble.

link

 rickdog says:

I absolutely love this recording.  This is contemporary Persian music, simple in orchestration but cinematic in sound.  The main instruments are the setar ... the tabla ...  These ... instruments are accompanied in parts by modern string orchestra, electric guitar and sound effects.  The result is sonically sensual and multi-textured.  For those not familiar with the fantastic contemporary music coming out of Iran then please check out the Hermes record label for consistently high quality releases.

 ♥

  

Following the Tracks...

 

Mehrdad Torabi

Siyavosh Akbari
Chaharpareh

2009

Tracks:

01. Chahargah - 17:28
02. Abu Ata - 13:32
03. Araq, Qarai - 15:08
04. Bayat-e-Esfahan - 17:42    

Setar: Mehrdad Torabi

Tonbak: Siyavosh Akbari

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Mehrdad Torabi is a famous teacher of Tar and Setar who has written instructional books on Setar. He himself was one of the top students of Jalal Zolfonoun

 Siyavosh Akbari & Mehrdad Torabi

 Setar (Persian: سه‌تار‎, from seh, meaning "three" and tār, meaning "string") is a Persian musical instrument used across Greater Iran and Central asia. It is a member of the lute family, which is played with index finger of the right hand. Two and a half centuries ago, a fourth string was added to the setar. it has 25 - 27 moveable frets which are usually made of animal intestines or silk. It originated in Persia before the spread of Islam.

 

wiki

 ♥

The musician is a tool...

 

Davod Azad
Nabil Yousof Sharidavi
Give Wine Unto Those That Be Of Mystics

2013

Tracks:

01 - Unless you come
02 - O'epherma
03 - Avaz-e Bayat Turk
04 - What is beyond Adoration?
05 - You are all in my Essence
06 - O' Eternity Realm
07 - Avaz-e Afshari
08 - Ecstatic
09 - Salute to Saints salute to Ecstatics
10 - Avaz-e Homayoun
11 - Be aware

Musicians:

Davoud Azad, 
Javid Ebrahimpour, 
Amin Heydari, 
Nabil Yousef, 
Ghazi Aska.

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

 His official website [http://www.Davoodazad.com/en] tells us that his “music speaks the universal language of Love and Unity for all mankind.”

 

Davod Azad is a prominent master of Iranian music who is based in Tehran , Iran . A vocalist , composer & instrumental musician, he is a virtuoso in playing Tar, Setar, Tanbour, Oud, Daf & Robab. Davod was born in Orumieh , Iran in 1963. He began playing music at the age of 19 & began performing & teaching at 21 . His first CD was released when was 25 years old & this CD called "Maktab e Tar e Tabriz" became a classic & a standard for Tar playing.

His musical source is the classical Iranian model system ( Dastgah ) & the Tradition (regional ) Maqam musical form . He is  admired for his unique singing style , which integrates classical & modern spiritual elements, and for his improvisation , which brings a contemporary sensibility to a traditional musical format. For the last 30 years Davod has performed in sufi gatherings around the world , and his compositions to the poems of Rumi are known for their healing & uplifting effect.

Few musicians form Iran have traveled & played before such diverse audiences as Davod. he has performed extensively over the last two decades in Europe,North America the Caribbean,Australia, India,Japan & recently in Bhutan,as well as throughout Iran whit over 300 performances worldwide .He has performed at international festivals ,including the Istanbul international Music festival ,BBc Proms ,Music village (Sacred Voices ) ,Sir John Taverners festival ,the folk festival of Hungary , World in Nord festival in Norway ,Art In Action festival in Oxford England , The Edinburg Spiritual festival Scotland and the institute de Monde Arabe festival in France . Davod is the first Iranian lecturer invited to Oxford University to lecture about Iranian music & its forms. His " The Divan of Rumi & Bach " albums is the first Iranian fusion with Western classical music. The music was performed at many international venues & was played on many Radio stations in Europe Kulture House in Vienna Austria . Davod has also performed for BBC television & for TV network in India & Bhutan.

Davod adds his contemporary vision to the classic Persian musical format to spread a message of human unity. Harmony & peace among nations. His music is universal & appeals people of all religions & backgrounds. 

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Ancient Sufi love poems inspire these sacred Islamic sounds

Bruce Elder writes:
   
Davod Azad is a physically striking person and a remarkable musician.

In live performance he sits on beautiful Persian carpets accompanied by Shahram Gholami (oud) and Pezhham Akhavass (tambour and daf) and weaves a special kind of Sufi musical magic. Azad's grey-flecked, long hair and wispy beard seem perfectly in tune with the ancient Sufi love poems which he sings in a warm tenor voice accompanying himself on the intricate tar (a Persian stringed instrument) and daf (a frame drum).

Like many Sufi musicians Azad is committed to performing around the world, as he explains in near-perfect English.

"I was born in Tabriz in the Iranian part of Azerbaijan," he says. "I came to Tehran when I was 28. For the last three years I have lived in London and Austria. I have been performing internationally since 1991. I have performed around 200 concerts outside Iran in that time."

His first concert tour of Australia offers local audiences an important extra dimension to their understanding of Sufi music. Until now the only contact Australian audiences have had with this style of mystic music has been through the performances of the Pakistani qawwali singers, the late Nusrat Fateh Ali Khan (who performed at WOMADelaide and in Sydney) and The Sabri Brothers.

Pakistan is only a very small part of the vast Sufi community. Sufism, a deeply spiritual-mystical branch of Islam, which emphasises the divine love of God and the unity of all things, started in the eighth century in Basra (at the time part of Persia), found its spiritual centre in Mesopotamia and Persia, and slowly spread south and west, so that by the 11th century it was well established in the Indian subcontinent and as far west as Morocco.

For Sufis, music and poetry are absolutely integral to worship and, not surprisingly, Sufi music varies according to the culture in which it is created. Thus Nusrat and the Sabris play in a distinctive Pakistani style.

The sacred texts they sing may be shared but their modes of expression are dramatically different from Davod Azad's, which are steeped in a mixture of Iranian classical music, Azeri folk music and an ancient style of Persian Sufi music which has been neither modified nor diluted by Western influences.

In simple terms Pakistani qawwali singers rely on droning harmoniums, dramatic singing and rich harmonies, while Azad's Iranian musical emphasis is more on the intricate plucked interplay between oud and tar, the exuberant complexity of the daf, and quietly beautiful renditions of spiritual poetry.

"I was initiated into Sufism when I was 19 years old," says Azad. "I was not born into a Sufi family. I was really interested in Sufism and mysticism since my childhood. So my music has developed in Sufi sessions."

"I haven't had a teacher in Iranian music. I have learnt by myself. This was the way the music was learnt in ancient times. It was learnt from the masters. I have researched Iranian music and learnt a specific way of playing and singing."

"I have seen all the masters but I have not had them as teachers. I have tried to copy their way of playing. Mostly I have researched old Iranian music."

So is Sufi music essentially religious music?

"We can't say religious," says Azad. "The texts that we sing are about love and truth. All the melodies I compose are based on traditional music because Iranian traditional music is Sufi music. All arts in Iran have been influenced by the philosophy of mysticism. We can't separate them. We need knowledge of traditional music to be able to play Sufi music."

"But that is not enough. After acquiring this musical knowledge the musician needs to be a real Sufi. You must not make a show of yourself on stage. You must not show yourself as: 'I am playing. I am a musician.' "

"The aim is to transfer the feeling to the audience. You should lose yourself inside the music. Otherwise your music will leave people cold."

"The musician is a tool."

source

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Tar Sweet Tar

  

Ata Jangouk & Farid Mozaffarzadeh

Navaye BiNahoft

15 tracks

Ata Jangouk - tar
Farid Mozaffarzadeh - tombak

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

 

 

Ata Jangouk

Short Description

    مــردن عـاشـق نمي ميــرانـدش / در چراغي تازه مي گيرانـدش

Personal Information

    عطا جنگوک، نوازندهٔ ایرانی تار و سه‌تار و پژوهش گر و مدرس موسیقی در پاییز 1327 در شهرستان لار متولد شد.

    با علاقه وافری که به موسیقی داشت از 16 سالگی مشق موسیقی را با تار آغاز نمود و برای آموختن اين ساز چند صباحی به تبریز رفت و نزد استاد محمد حسن عذاری_ از شاگردان درویش خان _ به یادگیری تار پرداخت.
    وی تا مقطع دیپلم را در زادگاهش سپری نمود و در سال 1351 وارد دانشکدهء هنرهاي زيباي دانشگاه تهران گردید. در سال هاي دانشکده از محضر اساتید بزرگ ردیف، همچون نور علی خان برومند و دكتر صفوت بهره برد.

    شاگردی مکتب علی اکبر خان شهنازي_ ردیف دان و استاد بی همتای تار _همواره آرزوی او بود.با راه یافتن به مکتب استاد حدود 10 سال به فراگیری راز و رمز موسیقی ایرانی پرداخته و به واسطهء تلاش بی وقفه اش، همزمان به تدریس سایر شاگردان استاد زیر نظر ایشان پرداخت و خليفهء كلاس شد .

    عطا جنگوك در سال هاي دانشكده ، رديف هاي آقا ميرزا عبدالله و آقا ميرزا حسين قلي و هم چنين رديف و ضربي هاي استاد شهنازي را تمام مي كند و در ضمن در سال 1352 به مركز حفظ و اشاعهء موسيقي راه پيدا كرد و از اين زمان بود كه نواختن سه تار را نيز زير نظر اساتيد بزرگي چون سعيد هرمزي و يوسف فروتن آغاز نمود .او هم چنين مدت ها از محضر غلام حسين بيگجه خاني استفاده كرد .

    فعالیت وی در مرکز حفظ و اشاعه موسیقی در سالیان متمادی منجر به همکاری وی با اساتیدی چون مرحوم علی اصغر بهاری و مرحوم رضوی سروستانی شد.

    بهره مندی از محضر اساتید بزرگی که هر کدام گنجینه ای از موسیقی ایرانی بودند از یک سو و خلوص و بداعتی که در مواجهه با آواها و نواهای ایرانی در وجود او بود از سوی دیگر، منجر به پیدایش لحنی صمیمی، دلپذیر و گرم در آثار او گردید.

    وي در دو زمینه موسیقی محلی (فولکلور) و موسیقی ایرانی فعال بود و برخورداری از شخصیت ویژه هنری در هر دو گروه از آثار وی، حکایت از عمق بینش و نگاه توام با آگاهی به موسیقی این مرز و بوم دارد. آثار وی در حوزه موسیقی محلی شامل گرد آوری، ساخت و اجرای موسیقی های فارس، بختیاری، بندر عباس و به طور عمده جنوب غرب ایران است. محبوبیت دو سویه این آثار در بین مخاطبین هم زبان و غیر هم زبان نشان از تسلط او به شاخصه های موسیقی محلی دارد. چنان که ارائهء مطلوب و خلاقانهء آثار موسیقی محلی توسط وی منجر به خلق کارهایی بسیار ماندگار در این حوزه شده است. آثاری که شایستگی یافته اند که در نزد مردم زمزمه شوند و شنونده هر چند واژه ها را نمی شناسد، اما به سبب بیان روان ساده و در عین حال ژرف اثر، در جریان فضای کلی و روحیه حاکم بر آواها و ترانه های محلی ارائه شده قرار می گیرد.

    آلبوم‌های "چشم به راه" (خواننده: شهرام ناظری)، "همسایه" (خواننده: علیرضا افتخاری) و "سرو و ماه" (خواننده: بهرام باجلان) از ساخته‌های عطا جنگوک در زمینه موسیقی سنتی ایران است.
    «مال کنون» و "هی جار" در زمينهء موسيقي در ايل بختياري ، " پرستاره " در زمينهء موسيقي محلي فارس و «یار کدیم» در زمينهء موسیقی هرمزگان است.
    او هم چنن دو اثر تك نوازي سه تار به نام هاي " نوروز " و " نواي بي نهفت " دارد .

    در دو اثر "هی جار" و "مال کنون" می توان جوهره زندگی کوچ نشینان را لمس نمود. زندگی، عشق، هجران و کار، دلبستگی های قومی و احساسات ناب و ساده ایلاتی ها را تجربه کرد و صدای احساس بر انگیز و گوش نواز زنگوله ها در زمان کوچ ایل را از لا به لای مضراب های ساز شنید.

    همنشینی صمیمانه سازها در کنار هم از ویژه گی های بارز آثار جنگوک است. در گروه آثار محلی وی، سازها ضمن حفظ استقلال و هویت خویش، به هماهنگی مطلوبی می رساند و نمونه برجسته ای از اجرای ملودی های محلی با گروه سازهای ایرانی را به وجود می آورند. حزنی عمیق و شیرین در تمام آثار جنگوک موج می زند که مخاطب را آرام آرام به خود فرا می خواند و از لا به لای صداها، به شنونده رخ می نماید. آثار جنگوک در زمینه موسیقی ایرانی نیز دارای ویژه گیهای منحصر به فرد است. برخورد خلاقانه در ترکیب سازها و توجه به استقلال آنها در حین همنوازی از جمله این ویژه گیهاست. در این گروه از آثار چه به صورت گروهی و چه به صورت تکنوازی، آن چه بر کلیت اثر احاطه دارد روحیه و احساس هنرمند است که در فرم دادن به اثر حرف آخر را می زند. صریح ترین تجلی نگاه و سبک هنرمند را در "نوروز" که تنها نوازی سه تار است می توان مشاهده نمود. آثار جنگوک به واسطه صمیمیت، سادگی و خلوص به موسیق ایرانی فرصتی دوباره می بخشد تا به جایگاه اصلی خود که همانا میان مردم است بازگردد.

    ديگر فعاليت ها :

    _كنسرت هاي " ماهور " ، " بيات اصفهان " و " بيات ترك " با همكاري خانم " پريسا "
    _تنظيم و اجراي موسيقي به مناسبت جشن هنر شيراز با آواز مرحوم "رضوي سروستاني"
    _سرودهاي انقلابي چون "فرياد سياوش "(قيام) ، " پسر ايران " ، " گلباران " ، " جنگ و گريز " ، " بهار آزادي " ، " بيا و خرم شو " و ...
    _موزيك متن چند فيلم مستند
    _كتاب هايي چون " ترانه هاي محلي فارس " ، " سوز و ساز " ، " گشايش " و " نواي بي نهفت " و ويرايش كتاب دستور مقدماتي تار و سه تار


    جنگوك يكي از چهره هاي بي ادعا ولي بسيار قابل بحث در موسيقي است كه در تمام اين سال ها شاگردان فراواني را تربيت كرد و زحمات بسياري براي پيش رفت فرهنگ و هنر اين مرز و بوم كشيد .

    وي در تاریخ ۱ اردیبهشت ماه ۱۳۸۹ شمسی به علت سکته مغزی در تهران درگذشت. یادش همواره جاوید و گرامی
    
source

  

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Farid Mozaffarzadeh 

Born 1954, plays tombak.

Early studies in Urumiyeh and Sari. He was especially interested in tar and tombak and began to learn music seriously since 1980 in Tehran. He has graduated from Faculty of Fine Arts at the Tehran University and has perfected his technique with such masters as Ata Janguk, Arshad Tahmasbi, Hossein Alizadeh, Daryush Talai and Moh.-R. Lotfi. He studied tombak for one year with the late Naser Farhangfar.
  

  

Tar

Undoubtedly tar is the most important of our national classical instruments, for the formation, compilation, edition and inheritance of the most authentic and the most comprehensive and detailed versions of radif are all worked on this instrument. Many of the greatest of tar players have deeply influenced the general trends of Persian classical music and also the major styles and forms of it. The most prominent musicians who contributed to early musicosocial activities were also players of this instrument.

***

Tar (Persian: تار‎) is a Persian and Azerbaijani long-necked, waisted instrument, shared by many cultures and countries like Iran, Afghanistan, Armenia, Georgia, Republic of Azerbaijan, and other areas near the Caucasus region. The word tār (تار) means "string" in Persian, though it might have the same meaning in languages influenced by Persian...

wiki

wiki

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Fire On The Mountain

 

Dast-i Afshān
Improvisation on garmon, naqara & tombak
2005

Tracks:

01. Ipak (12:19)
02. Araram sani (29:30)
03. Daghlar (11:01)
04. Tombak & Naqara (15:49) ♥

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

Garmon: Khan Nar Jafarov

  

Naqara: Vahid Asadollahi

  

Tombak: Kambiz Ganjei

 

Khan-Nar Jafarov
Born in 1956 in Baku, he began learning the garmon at the age 16 through listening to performances of the contemporary masters of his time. Then, he developed his understanding of the Azeri maqams repertory under master Mirza Ebrahimov. Nowadays, he is regarded as one of the most prestigious master players on the garmon in the Republic of Azerbaijan and widely performs inside as well as outside the country. There have been published a couple of his recordings in Baku. The present collection is the result of his collaboration with two Iranian percussionists. He is currently the conductor of the Oil Company of Baku Orchestra.

Vahid Asadillahi
Born in 1960 in Tehran, he learned the qaval under his brother while being 11. Then, he switched to naqqare owing to its wider range and studied it with Hushang Zive. Being a player for over 18 years, he made a trip to the Republic of Azerbaijan and extended his technical faculty under Almas Qoliev. Along with the master Safar-Ali Javid he experienced an orchestral performance and his learning there assisted him in his journey to Baku in 1998 a lot. He has so far had various tours to Canada, the United States, Germany, Italy, and France. He has achieved the first rank at Fajr Music Festival twice and appeared in the jury of Regional Music Festival in 2001.

Kambiz Ganjei
The son of Davud Ganjei, the renowned kamanche player. He was born in 1968 in Shahr-e Rey near Tehran. In basic principle of music his first teacher was his father. Then he went for learning tombak with Mahmud Farahmand. He has played in many concerts in Iran and abroad with ensembles Sama` and Mowlana. He began his teaching courses in the Center for Preservation and propagation of Music from 1987. He has attended the class of many Iranian masters such as Naser Farhangfar and Bahman Rajabi to perfect and improve his musical knowledge.

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