CD Review: Atash's 'Everything Is Music'

Atash
Everything Is Music
Ars Mundi

Everything Is Music is titled from a poem by Rumi, a Sufi poet of the 13th century, which combines swirling, Middle Eastern rhythms with hypnotic flamenco, Indian, and Mediterranean influences. The mature vocals are not too boisterous and very akin to Cheb Khaled. The band is spearheaded by Mohammad Firoozi Dashtestani, who hails from Iran. The Farsi singer aids the help of fellow musicians, Roberto Riggio on violin; Dylan Jones on bass; Abou Sylla on balafon, djembe, and conga; Jose Manuel Tejeda on acoustic guitar; Jason McKenzie on drums and tabla; John Moon on violin; and Indrajit Banerjee on sitar. The nine tracks are a global goldmine of infectious sounds and world rhythms. The Austin, Texas-based band finds no trouble getting their music across to the local crowds, as well as an international audience. The music cuts through borders and beliefs by creating organic, yet accessible, music tunes. Rumi would be proud! ~ Matthew Forss

2-CD Review: Shujaat Khan/Abhiman Kaushal/Katayou Goudarzi/Ajay Prasanna's 'Spring'

Khan/Goudarzi/Kaushal/Prasanna
Spring [2-CD]
Self-Release

The two-disc set, Spring, is a combination of Persian vocals and Indian instrumentation that promises to be an adventurous and mesmerizing ride. Both discs contain the same musicians with their respective instruments and vocals. Shujaat Husain Khan plays sitar and provides vocals, Ajay Prasanna plays flute, Katayoun Goudarzi provides vocals, and Abhiman Kaushal plays tabla. The music combines Persian vocals, Indian melodies, and South Asian rhythms that are fresh and classical. Each disc contains five different songs that follow the same musical influences. The instrumental portions are very dreamy, engaging, and vibrant. You can almost smell the incense in the air when the tracks resound with blissful notes of heaven. ~ Matthew Forss

CD Review: Shahrzad Sepanlou's 'Yek Rooz'

Shahrzad Sepanlou
Yek Rooz (One Day)
Self-Release

Born in Tehran, Iran and based in California, Shahrzad Sepanlou is a talented musician and vocalist that incorporates piano, percussion, bass, bouzouki, sax, and keyboards on her latest release, Yek Rooz. The jazzy, contemporary music is sung in Persian, but the instrumentation is top-notch throughout. There are hints of classical, jazz, and pop sounds indicative of Azerbaijan and Armenia, too. The Central Asian songstress is joined by Faramarz Aslani on "Maa." The musical arrangements of "Komakam Kon" are particularly enthralling, because the piano, emotive vocals, and ambulating percussion are classy and nostalgic with a modern twist. The music is not overly-showy, but the dance beat of "Che Konam" and electric guitar on "Ghazal Foroush" reflects a more youthful ambiance. Yek Rooz has everything for the discriminating listener--soft melodies, sensual vocals, dance beats, and reflective instrumental sections. Fans of Persian popular music should check out Yek Rooz today! ~ Matthew Forss

CD Review: Niyaz' 'Sumud'

Niyaz
Sumud
Six Degrees

The modern arrangements of the Persian group Niyaz are steeped in Persian, Kurdish, Afghani, Palestinian, and Turkish folk songs. The contemporary arrangements on keyboards, electronics, drums, and percussion are due to the talented Carmen Rizzo. Azam Ali is the vocalist, but she also plays the santoor and assorted percussion. Loga Ramin Torkian plays saz, robab, kamaan, djumbush, lafta, guitar, and viol. The stunning compositions are modernized, but not so much they are diluted with boring or cheap embellishments. Instead, the result is a catchy, moving, and ear-friendly approach to folk music. The popularized result is not devoid of folkish charm. Sumud, which means 'steadfastness' in Arabic, is appropriately-titled. Sumud will astound, amaze, and awe-inspire all who listen to it. ~ Matthew Forss

CD Review: Mahsa & Marjan Vahdat's 'Twinklings Of Hope'

Mahsa & Marjan Vahdat
Twinklings Of Hope
KKV

Mahsa & Marjan Vahdat are back at it again with poems, lullabies, and folk songs from Persia and backed by the ney, setar, daf, percussion, and vocals. The Persian melodies are folkish and evocative. The end result is a classical approach to Persian sensibilities. The instrumentation works together quite well with all of the instruments showcasing their brilliant qualities equally. There are poems by Hafez, Rumi, Hooshang Ebtehaj, Mohammad Jafari, Attar, and Esfehani. There are eleven tracks in all. Fans of Azeri, Persian, Central Asian, Middle Eastern, and classical music will love the music of Mahsa & Marjan Vahdat. ~ Matthew Forss

CD Review: SoSaLa's 'Nu World Trash'

SoSaLa
Nu World Trash
DooBeeDoo Records

SoSaLa is Sohrab Saadat Ladjevardi, a native Persian, who has lived all over the world. As a composer, saxophonist, and music editor, SoSaLa incorporates Central Asian rhythms and instrumentation with free jazz elements and passionate vocals instilling a sense of peace and unity in Iran and throughout the world. Based in New York, SoSaLa seems to have not only acquired the native influences, but the North American styles of jazz, world music, and improvisation are also evident throughout the album. The music is not particularly modern, but it contains whirling rhythms of folk, jazz, and Mediterranean/Middle Eastern music. SoSaLa's primary vocal delivery is related to spoken word--mostly observed in poetic artforms. At any rate, SoSaLa's poetry fills the album with thoughtful ideas and personal observations that fit nicely amidst a backdrop of percussion, strings, and sax. ~ Matthew Forss

CD Review: Kayhan Kalhor & Ali Bahrami Fard's 'I Will Not Stand Alone'

Kayhan Kalhor & Ali Bahrami Fard
I Will Not Stand Alone
World Village

The prominent Iranian composer and musician, Kayhan Kalhor, combines meditative and adventurous compositions on a new instrument—the shah kaman—along with Ali Bahrami Fard’s bass santoor. The earthy sound of the shah kaman resembles a darker version of the kamancheh, though it is similar in appearance. The floating melodies of shah kaman and bass santoor elicit dreamy images of Persian classical music that is reinvented for a new generation. Keep in mind, only shah kaman and bass santoor instruments are included on this album. Technical wizardry and vocals are nowhere to be found. The interplay between the shah kaman and the bass santoor come to a head on “The Laziest Summer Afternoon.” At times, the music is complex and frenzied. However, it is interspersed with quieter moments that really grab the attention of listeners. The entire album is about one-hour long with tracks ranging in length from under two-minutes to fourteen-minutes. At any rate, the Persian music listener will find solace in the punchy notes of the bass santoor and the earthy gliding of the shah kaman. ~ Matthew Forss

CD Review: Bidaia's 'Agur Shiva'

Bidaia

Agur Shiva

Self-Release

The Basque regions of Spain and France are relatively underrepresented in today's global music family. Thankfully, Bidaia, which means "voyage", is out to change all that. The group is essentially Caroline Phillips and Mixel Ducau with a few additional musicians. Mixel is from the Basque region, while Caroline is a US-based singer/songwriter of Persian and Greek origin. Both musicians lend vocals on a few tracks, while others are completely instrumental. Caroline plays the ahotsa, zarrabetea, and hurdy gurdy. Mixel plays the ahotsa, guitar, albokak, bamboo clarinet, and hornpipes. The hurdy gurdy is a nice accompaniment that adds a little Scandinavian charisma to the French and Spanish-tinged songs. Almost half of the songs are purely instrumental. The vocal songs are sung in the Basque language. The driving folk rhythms are a bit Scottish, Irish, and Andalusian in tone without any direct comparisons to the aforementioned genres. Nevertheless, Agur Shiva is a lively album with folksy rhythms, traditional instrumentation, and a plethora of Basque charm to go around. ~ Matthew Forss

CD Review: Loga Ramin Torkian/Khosro Ansari - Mehraab

Loga Ramin Torkian with Khosro Ansari

Mehraab

Terrestrial Lane Records/Electrofone

Iranian-born composer and multi-instrumentalist Loga Ramin Torkian has worked with esteemed groups, such as Niyaz and Axiom of Choice. Loga is joined by a Persian classical singer named Khosro Ansari. Khosro's voice adds a poetic and contemplative effect to some of the tracks, including "Az Pardeh," "Golzare Ashegh," "Chashme Jadu," and "Mehraab." The album's title, Mehraab, means 'shrine' in Persian. In effect, the music is the shrine of freedom from formalities, order, and confined spaces. The music is magnificently mixed by Carmen Rizzo, whom also worked with Mongolia's Huun Huur Tu on Eternal (Electrofone, 2009). Mehraab contains modern arrangements that accentuate the traditional sounds of the local instruments. Instruments as diverse as the rubab, baglama, djura, kamaan, brush, bendir, riq, shaker, darbuka, kik, tepsi, dohol, and santoor are just some of the many instruments. As a whole, the album fluctuates between haunting vocals, light percussion, jaunty strings, and electronic processing that adds a special effect to the music. If Persian, Middle Eastern, or folk music with a modern flair is what you seek, then Mehraab is an excellent choice. ~ Matthew Forss

CD Review: Galeet Dardashti's 'The Naming'

Galeet Dardashti
The Naming
Independent Release

The Persian-Jewish musical connections are showcased on Galeet's debut release. The Naming is a nod to bold and powerful women in the Old Testament of the Bible. Galeet sings with a great deal of emotion, seemingly bringing the Bible to life in song. With a smattering of Persian chants, Middle Eastern percussion, and Biblical quotes, The Naming encapsulates Galeet's ethnic roots of Iran and Israel, while currently based in the U.S. The distinctive Persian percussion with santur, qanun, and strings, accompany Galeet's mostly Hebrew language singing. The music seems to nicely bridge the past with the present without being overtly modern or wholly traditional. Galeet Dardashti is not as experimental as U.S.-based Iranian musician, Sussan Deyhim, or as traditional as Iran's Sima Bina or the Dasten Ensemble. Regardless, The Naming is a solid release of songs with a purpose and a past. Coincidentally, another purpose is to enjoy the music for what it is worth. It is a riotous journey of Biblical proportions! ~ Matthew Forss

CD Review: Norway Meets Iran with Skruk & Mahsa Vahdat

Skruk & Mahsa Vahdat

I vinens speil (In The Mirror of Wine)

Kirkelig Kulturverksted

Norway's Skruk choir and Iran's Mahsa Vahdat create symphonic songs of poetry from Sufi poets Rumi and Hafez. The songs are presented in Persian and Norwegian. The Sufi poets often combined elements of Islam, Christianity, and Zoroastrianism in their poetic works. I vinens speil draws upon the same religious influences mentioned above and it was also recorded in a Norwegian church. The mix of light percussion, bass, and piano are a perfect companion to the beautiful choral melodies and Mahsa's voice. Mahsa's angelic voice on the opening track, "Gleden Ved Ditt Kyss", sets the stage for the rest of the album. The piano is never overtly intrusive. Anyone with an interest in hauntingly beautiful church melodies, classical music, and world jazz will find the most satisfaction with Skruk & Mahsa Vahdat. Liner notes include Norwegian and Persian song translations. ~ Matthew Forss

CD Review: Lian & Chirgilchin Ensembles on "The Window" (released May 2010)

Lian & Chirgilchin

The Window

Lian Records

The Window is what happens when two groups from different countries come together and make music for one afternoon in Los Angeles, USA. The Persian/Sufi Lian Ensemble incorporate Persian lyrics and traditional instrumentation, including the tar, kamancheh, udu and frame drum. Imagine the sounds of the ancient, Persian courts mixed with the throat-singing elements of Tuva's Chirgilchin. Chirgilchin consists of four members playing traditional fiddles and lutes, including the igil, doshpoulour, and byzaanchy. Their notable throat-singing is an excellent accompaniment with the Persian and Tuvan instruments. The eerie vocals, droning sounds, and mystical percussion are rarely heard in other recordings. One drawback with The Window is the length. There are only four songs at about 40 minutes. However, the songs were recorded in only one afternoon and the group's busy schedule only allowed a limited playing time. Still, the results are quite remarkable. English and Persian liner notes are included. The Window is perfect for Persian, Tuvan, Mongolian, Central Asian, and Sufi music fans. ~ Matthew Forss