13/8 Mohsen Namjoo
I’ve had the pleasure of his friendship for a number of years. Being his producer is a by-product of our friendship. Mohsen Namjoo is a commanding presence in the music world. He crystalizes the pleasures, pain, heartache and joy of contemporary Iran then seamlessly fuses those with the essence of Persian poetry and music from classical, modern and ethnic traditions, and as if rising effortlessly yet uncontrollably in a hot air balloon, he transports this glowing entity into the skies of our imagination.
Namjoo is a phenomenon in many respects. He effortlessly blends his own words with those of persian icons such as Hafiz, Rumi or contemporary giants such as Shamloo. He is unabashed in jumping on the stallions of Jazz, Blues and Rock as he gallops deep into the heart of Persian folklore and ethnic traditions. He takes on the lazy elephant of Persian traditional music and transforms it into a nimble young gazelle that attracts the youngest of Iranians who are burdened by the pains of self-alienation. He does all of this as he sits humbly on a crooked stool, crosses his skinny legs and scratches away on his often aged and inexpensive Setar, a most limited and fragile of traditional instruments in Persian music.
As a vocalist, Namjoo has deep roots in tradition but the fruits of his labor of love taste fresh. As a composer he has no fear leaping into unchartered territory. As a lyricist his words surface like pearls that have been harvested through a suffocating dive deep into the darkest of emotional oceans.
In 13/8 Namjoo embraces jazz. Working with an all-American quartet of young musicians from California, he renders in the Jazz, delicate and at times audacious lyrics that are carried by traditional and ethnic Persian tunes and melodies.
Listening to 13/8 is like drinking a potent punch the ingredients of which are familiar but elusive and mysterious. Throughout the night, every time you ladle a new cup, it surprises you.
Babak Payami
Toronto, October 9, 2012
salam
test where pub this cm
mohsen namjoo fogholadast,binazire,
Salaam.
Any chances for Namjoo in Poland?
Thaaaaat will be such a pleasure. Lot of fans in here 🙂
Best regards
Robb
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Sorry for the long delay but the entire team was busy on several projects for over a year. Thank you for letting us know about the speed issue. It was infact related to a bad plugin installed on the wp site. We have fixed this problem and hopefully the site will be back to normal.
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This is tasty Flamenco Album,by a New guitarist FARHAD ZAMANI solo guitar with persian background music make this lovely album,if you Listen to the first track (Persa Flamenca)you will get what am i talking about.(Flamenco salad with persian Souse).
What happened in the last century was that, while traditional music flourished somewhat sticking to literature, new talents looked for new sounds and words from the West. There emerged two musical traditions: one which may be best represented by “golhaa”, or the traditional music supported by the ministries of Arts & Culture, and another more modern music which grew from the grass roots and was called “pop”.
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This past August, Homay and the Mastan Ensemble returned to Walt Disney Concert Hall in Downtown Los Angeles for the third year in a row. Fronted by founder and virtuoso, Parvaz Homay, the ensemble performed music from their new work entitled Soldiers. Much like their previous concerts in Los Angeles, this latest one was masterfully performed, featuring traditional Iranian sounds and instruments, with stirring and spiritually profound messages of hope, consciousness, and preserving the environment. The performance kicked-off their North American tour, which will soon be coming to an end in Vancouver in mid-October.
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Some call him a genius, a sort of Bob Dylan of Iran, and say his satirical music accurately reflects the frustrations and disillusionment of young Iranians. His critics say his music makes a mockery of Persian classical and traditional music as he constantly blends it with Western jazz, blues and rock.
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Some call him a genius, a sort of Bob Dylan of Iran, and say his satirical music accurately reflects the frustrations and disillusionment of young Iranians. His critics say his music makes a mockery of Persian classical and traditional music as he constantly blends it with Western jazz, blues and rock.
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Namjoo is a phenomenon in many respects. He effortlessly blends his own words with those of persian icons such as Hafiz, Rumi or contemporary giants such as Shamloo. He is unabashed in jumping on the stallions of Jazz, Blues and Rock as he gallops deep into the heart of Persian folklore and ethnic traditions. He takes on the lazy elephant of Persian traditional music and transforms it into a nimble young gazelle that attracts the youngest of Iranians who are burdened by the pains of self-alienation. He does all of this as he sits humbly on a crooked stool, crosses his skinny legs and scratches away on his often aged and inexpensive Setar, one of the most rare and fragile of traditional instruments in Persian music.
Sufi singer Shahram Nazeri Shahram Nazeri was born in Kermanshah province in 1949. Like Shajarian, his music career started with the help of his father at childhood. He enjoyed the classes of the Persian music masters such as Abdullah Davami, Abdol Ali Vaziri, Jalal Zolfonoun, Mohammad Reza Shajarian and others, see more here .