Wednesday, November 28, 2007

In Review--The Vahdat Sisters and a Persian Garden


Mahsa & Marjan Vahdat  
Songs From a Persian Garden  
Kirkelig Kulturverksted

In 2004 an intriguing CD with the ironic title, Lullabies from the Axis of Evil arrived in my mailbox. Produced by Erik Hillestad for the Norwegian label, Kirkelig Kulturverksted, the recording married the voices of western women with the voices of women from the "Axis of Evil" countries (as dubbed by President Bush in a State of the Union address). The women sang lullabies from their respective countries and while the women such as Lila Downs, Eddi Reader, Sarah Jane Morris, Nina Hagen and Kari Bremnes were the famous names at the time, the vocalists from some of the East countries appear to be gaining international recognition.

KKV also released recordings by the Palestine vocalist and composer, Rim Banna to critical acclaim and now two sisters, vocalists from Iran debut in the West. Similar to Banna, Mahsa and Marjan Vahdat sang lullabies on the Axis of Evil CD and in fact, they led off the CD with their collaboration, Sad Sol--You My Destiny with English vocalist Sarah Jane Morris. Now, you can hear the sisters singing a blend of contemporary and traditional Persian songs on Song From a Persian Garden.

Again, Hillestad comments in the liner notes that the media has acted irresponsibly by turning Iran into a villain country without giving any consideration to the beauty of Iranian arts, spirituality and culture. For someone who has watched my share of Iranian cinema, (most of them banned in Iran due to strict government policies), and who has enjoyed reading the work of Persian poets and listening to traditional Persian music, I embrace the Vahdat sisters' recording. And I believe that we must separate the governments from the everyday people. And if you are seeking a bit of tranquility, you might just enjoy entering this Persian garden, ripe with poetry by Persian masters (Rumi, Hafez) and other gems.

Silk Road instruments such as setar (lute), daf (frame drum), and ney (reed flute), appear along side bass, guitars, drums and keyboards. Again, we have a tasteful marriage between music of the East and the West. Norwegian bluesman and master guitarist Knut Reiersrud lends a gentle hand here with his atmospheric guitar. He even sings, a feminine version of the African spiritual, "She's Got The Whole World in Her Hands," along with the sisters' Gole Laleh. The end result is a moody set of songs performed live in Tehran, during a time when it is against Iranian law for women to sing in public. The sisters broke the ban on public performances by women.

Songs From a Persian Garden promises to delight its Western audiences with its poetic charm, lavish instrumentation and exquisite traditional vocals. The album could lend itself towards cultural awareness, building bridges, or just act as a musical respite for someone seeking something more exotic. And in the realm of global music, let us welcome two more superb women vocalists to the table. These sisters are always welcome at my table.

For more information on this recording and other gems, go to KKV.

Tuesday, November 27, 2007

In Review---Terence Blanchard's Requiem for Katrina


Terence Blanchard A Tale of God's Will (A Requiem for Katrina)
Blue Note


So many natural disasters have occurred after the wake of Hurricane Katrina. Yet, with each storm, each flood, each drought or other catastrophic event, we have the opportunity to further awaken ourselves. We can ask ourselves what we can do to live in balance with the planet. And we also need to ask ourselves what we are willing to sacrifice or jettison in order to live in balance? One thing we don't want to do is to turn our backs to musicians with messages about what went wrong and what could go wrong.

Musically, New Orleans presents us with so many musical legends. The birth of jazz in the hands of Jelly Roll Morton happened in New Orleans. A variety of musical styles hail from New Orleans and when people visit the city, music is one of the main attractions that grabs their attention. But, now the Crescent City has become the focus of dialogues about racism, earth climate changes, poverty, inequities and changes unforeseen by so many. And we are talking about the people still in conversation about the wake of Hurricane Katrina. Others have silently walked away, perhaps shrugging their shoulders or sighing, "oh, what can be done? Anyway, it is in God's hands now." And my response to these people, "you are God's hands."

Trumpeter Terence Blanchard, who hails from New Orleans, and who designed the music that appears on Spike Lee's HBO documentary, When the Levees Broke, is still engaged in conversation about the hurricane aftermath. And in fact, when some of the shock of the event faded, the composer-musician found himself expanding upon his musical themes from the soundtrack which gave birth to his latest recording on Blue Note, A Tale of God's Will (A Requiem for Katrina).

However, Blanchard did not just expand upon a few themes and leave it at that. He invited members of his band to share their Katrina-inspired compositions. And then, in the recording sessions which took place in Los Angeles and at Bastyr University Chapel in Seattle, more magic transpired in the form of, the Latin explosion, Ghost of Congo Square, the beboppin' Ghost of Betsy (another hurricane that struck New Orleans), and the snappy Ghost of 1927, (another hurricane). These short interludes act as the string that holds the pearls, the longer compositions.

And those luscious pearls ripe with human emotions running the gamut between an outpouring of rage, mercy, resignation, compassion, and willingness (to rebuild), present us with some extraordinary musicianship. Blanchard whose horn becomes a treasure chest of the above emotions is joined by Brice Winston on tenor and soprano sax, Aaron Parks on piano, Derrick Hodge on acoustic and electric bass, Kendrick Scott on drums and Zack Harmon on tabla (on Mantra Intro and Mantra). Then an orchestra is brought in to add more color to this vibrant palette.

The recording starts out with Ghost of Congo Square which teases its listeners with images of happier times from New Orleans' past. Levees follows with its heartbreaking and sultry tones. Blanchard's crystal clear notes pierce through any veils of denial. Blanchard's horn playing, ripe with emotion and technically brilliant, recall Miles Davis' work of the late 50s and early 60s. The chamber strings which also add their stinging tears to the mix, join Blanchard's weeping horn. We are now long past nostalgia and into a gut wrenching reality.

But Blanchard does not come across as a cloud of despair nor heavy-handed. He offers up condolences and respect to the residents of New Orleans, while burying the dead on Funeral Dirge. And the album ends with another respectful tribute to the trumpeter's mother who lost her home in the hurricane. She is shown returning to her damaged home in Spike Lee's documentary, (which I have not seen yet).

And while I have taken notes for every track on this recording, I would just like to say, that Blanchard captures on this audio disc, what reporters and cameras cannot capture with their images and verbal narration. As an insider and as a top-flight musician, Blanchard uses a wide range of human emotions that take his listeners deep into the experience of loss, of redemption, and compassion. After all, musical expression is one of the only forms of communication that touches deeply the heart and soul of all creatures. So stay in conversation about how we can live in balance and how we can help in rebuilding a city, while never forgetting to honor the ghosts and lessons of the past.

For more information visit Terence Blanchard's site

In Conversation--Archival Interview with Axiom of Choice



Freedom of Expression: A Conversation with Axiom of Choice vocalist, Mamak Khadem


(This interview was originally published on Cranky Crow Whole Music in 2002. It is one of the articles that led me on the path to exploring the consciousness of music).


For many years I have harbored a growing interest in the healing qualities of music. I had read many articles about the healing properties of Mozart and Beethoven and I had read about music from the celestial spheres, but reading expert opinions is one thing and experiencing the healing effects of music even for something as simple as a cold is another story.

 
I sat in a crowded theatre at Meany Hall at the University of Washington campus fighting off chills and certainly not wanting to deal with a crowd, music enthusiasts or not. However, when the members of Axiom of Choice, a group that blends Persian classical music with Western influences hit the stage, I felt my fever abating somewhat as I absorbed the music that emanated from their ancient instruments. The group started the set with Mystic and Fools from their latest release, Unfolding then continued through a set of hypnotic drum beats and flowing, exotic melodies. The audience responded with clapping to the exotic beat on one song and appeared memorized by the performance in general.
 
I spoke with vocalist Mamak Khadem during the group's intricate sound check. Duduk player-clarinetist Ruben Haratoonian's musical gift eddied throughout the green room while Mamak and I discussed the musician's role in achieving world peace and planetary harmony. While it's comforting to know that some people have heard celestial music, many of us have experienced the healing effects of music from various cultures here on earth. And by the way, the next day when I awoke, my cold had left my body and music had replaced it. If music can cure a cold, can it also bring peace to the planet? I believe that it can and so Mamak and I discussed the healing effects of music and the magic of cinema as a way of transcending the chaos of contemporary times.
 
Patty-Lynne Herlevi: Cranky Crow World Music is about promoting cultures and music from around the world in order to promote world peace so my first question is in regard to my site's agenda, which is to promote peace. The question that I ask musicians, "do you believe that music can sooth the beast in us and create an environment of peace within the chaotic times we are facing?"
 
Mamak Khadem: I definitely think so. Just even amongst our selves and the nature of this band includes people from different cultures that have gotten together. And there is a lot of love and respect for one another as a person and a culture, also. I think that if people can communicate musically, I think that really opens up your soul and it opens you up to other people's way of thinking. I mean for right now as Ruben plays his clarinet and just listening to it and I feel there is something in there that touches (me). And that just makes me a better human being to be honest with you.
 
PLH: I have noticed two types of musicians. I have noticed the more mature ones that have day jobs. You have a job teaching mathematics to high school students. And I have noticed that some musicians never grow up and they are stuck in a perpetual childhood. But in order to do music, you have to have a sense of child because it is about play. And it can only make you a better musician to reach that place of innocence.
 
MK: I have heard this from other people and it's exactly what I feel when I am performing. When I am with the band singing there are moments that I am absolutely in the moment. I don't even know what's going on within myself. I am in a very tranquil, peaceful place and I think just for me to experience a few moments of that is a blessing. Other people live their whole life and they don't ever experience one second of that. And that's very unfortunate. There are so many distractions around us, especially in this country. You know there is hardly any time anyone can take for them selves so for us I think it's a blessing to be able to really get present with life and in a place where everything is peaceful and nothing matters. Nothing really matters because you make that connection.
 
PLH: That's exactly what I had in mind. I know little about Persian music, I was a film journalist and the thing that I do know is Iranian cinema. And what I discovered with the music on your CD and also Iranian cinema is that in Iranian cinema you have these images that are so strong and there is all this universal storytelling that you really don't even need the dialogue to understand the story. And with the music you play it's almost that you don't need a translation of the lyrics because the moods are so strong. And you as a singer evoke different emotions so it becomes obvious and you can figure out which songs are heartbreakers and which ones are about joy.
 
MK: I am so happy to hear that because I have lived here for so many years and of course, Farsi is my first language, but every day I am using English to teach and to get by with life. And a lot of times there have been suggestions or thoughts of singing in English were made. But up until this point there hasn't been a necessity to sing in English because absolutely what you're saying is that a lot of our audiences are non-Persian. But they get the feeling and I think that is one thing because I could sing in the same language. And people could hear it and not even get the feeling of what's going on or it could be in a totally different language but the feelings and emotions are there. And I think actually I much prefer to go that way because if I can bring that emotional thing that exist in every human being no matter if you're American, Iranian or whatever because we all have that. We just have it in different places and we randomly pull it out.
 
Since you're talking about film, I have to share with you the movie that I saw by Abbas Kiarostami, Where Is My Friend's House (English title). It was made many years ago.
 
PLH: Wait a minute, I know the film. It's the one where the little boy is searching for his friend's house so he can return the friend's homework to him (and adults basically ignore the boy as he tries to locate his friend).
 
MK: Yeah. It's called khane-ye doust kodjast (Iranian title). And that's the title of one of the songs we did on our last CD, Niya Yesh. That's poetry from a late (Persian) contemporary poet, Sohrab Sepehri. I just wanted to let you know that when I saw that movie maybe ten years ago, I was sitting in the movie theatre and I was crying the whole time. I mean just absolutely crying. I am a teacher and I work with kids and you know there was a place in my heart that hadn't been touched for years. And that movie just touched it. So I was just crying and people were looking at me like woman this is just a movie.
 
PLH: Yeah, but it was the director. He has that effect on most of us.
 
MK: It was the director and I think that it was the fact that the kids had no idea there were cameras so it was real. I mean I get to see kids with all their fears and anxieties. So just being there in the moment with that kid, he was so innocent. I just kept crying. So when I saw the poetry by the poet that was titled Khane-ye doust kodjast which was the same title. So when I singing that song I kept remembering all the pictures and it was unbelievable. So I think that we all have different kinds of feelings and emotions and music is one of the arts that can absolutely touch that. And when it touches that it doesn't matter what language it is or where you are at or who you are. It touches it.
 
PLH: And of course, there is Persian music in Iranian films. And my first real exposure to world music was when I reviewed world cinema. I was raised as a musician so the first thing I notice with cinema is of course the music. I understand the language of music and I don't care what country it comes from because it's still going to affect me as a musician. So a lot of the times when I was watching films I became so absorbed in the music that I couldn't keep pace with the story.
 
MK: I experience the same thing.
 
PLH: I read that you had studied Bulgarian and Indian music. What other types of music are you interested in and what type of music do you listen to on a daily basis?
 
MK: To be honest with you, some times nothing. Especially when we are recording and all I am listening to is our music just to see how we can enhance it or see what's wrong with this or what's wrong with that. And unfortunately sometimes that's all I listen to because you have to go into the mode of listening to yourself. I love music from all over the world and there was a period of time when I was listening to Indian music a lot and there was a period of time when I was listening to Bulgarian music a lot. There are times when I get hooked on something, but usually I just love music all around the world. Flamenco and Spanish singing is wonderful.
 
PLH: As a vocalist are you first attracted to the vocals when you listen to music?
 
MK: Well, not really. I think the melody is the first thing that has to touch me, the melody overall. And then the instrumentation definitely a voice with this or that, the feeling of the song rather than the voice. Of course the voice is very important, but you know, I think melody is the first thing that hits me. You know if it really hits me good or not. I listen the voice critically, but when I listen to the song it's overall. Do you know what I am saying? I really want to listen the whole song and get a feeling for that instead of listening and saying, ooh, did she sing this well or not? That just kills the whole thing.
 
PLH: Some times it's the emotions that count and not the technique. Do you think that vocalist with training have a difficult time listening to other vocalists?
 
MK: I can see how the classical musicians and the traditional musicians of Iran (would affect that). I have friends who absolutely can not tolerate one off note. They are looking for perfection and perfection is more about technique and not emotion. They could be listening to something and say that's perfect and I would think what is this? Back home we have these old guys, street musicians and that would totally touch my soul even though the guy had never been to school. And (I say to my friends) "you guys are listening to this and you think this is perfect?" It's just a matter of training and in a way, I think it's good not to get hooked into being trained all the time.
 
PLH: Axiom of Choice refers to artistic freedom within your group, but in the world many people are either afraid of losing their liberties or have already lost those liberties. What type of world do you envision for our future and again, do you believe that creativity will allow us to manifest a more harmonious world?
 
MK: I think that if any human being can actually get into their true self, definitely there is harmony. I have been to places at times where it was a poetry or Rumi class and I have been around people who have been around for a long time or are special people. When I am singing poetry that is ancient, you know that the poet was able to reach that level of self. Rumi achieved a sense of self so when you get familiar with it, there are times where I have actually been one with myself. Not very many times, but now I have a taste of that and I crave that. If we could all get to that, I think the world would be in harmony.
 
PLH: I just read that if you learn to love yourself, you won't need to get love or anything from anyone else.
 
MK: That is absolutely true. I think those of in life who at least have been introduced things like that such as there is a self and there is a self love you are blessed. Even if you haven't reached it you know that's where we want to get. That gives our life a purpose and that gives us that we have something to move towards. I feel sorry for people who don't have that and I feel that there are absolutely lost. But that is their thing and that's their journey. That's what they have to go through, but anyone who has been there can think that's why we are living on this planet.
 
PLH: But some times I think we need something to trigger that response to spirit. Music is one way and poetry is another way.
 
MK: Music is definitely one way. Poetry and poets such as Rumi (can help us reach that place). The more I learn about Rumi the more I admire him because he was someone who actually lived it. When they talk about (self) you know that they were physically, spiritually and mentally there.