Ali Akbar Moradi - The Ritual Maqam of the Yarsan

IRANIAN KURDISTAN - The Ritual Maqam of the Yarsan (INEDIT, 2002)

Ali Akbar Moradi: chanting, tanbur

This publication is devoted to the 72 ritual maqam of the Yarsan, a Kurdish religious current which was established around the 11th century and which developed more substantially
starting in the 14th century in the provinces of Kermanshah and Lorestan. Until now, these
vocal and instrumental pieces for lute tanbur were reserved for initiates and thus unknown to
the general public. Ali Akbar Moradi was aware that in the near future these pieces might be presented by musicians of debatable skill and thus decided to record them and publish them after receiving the authorization of the Yarsan spiritual authorities of the region of Guran.

CD1 (91mb)
1. Ghatar............................................7’25”
2. Baria...............................................4’45”
3. Tarz Yari..........................................2’14”
4. Hay Lava ........................................4’52”
5. Tshi Vashan Yar...............................3’04”
6. Hagh Haghu Hu Hu........................2’36”
7. Soltan Dina ....................................2’46”
8. Har Va Buav Har Va Dabé ...............2’59”
9. Bayan Uyari ....................................4’30”
10. Lav Hay Lav ....................................5’00”
11. Agha Yar Davud .............................1’53”
12. Hagh Davud...................................3’04”
13. Hana Faryad Ras Davud..................1’53”
14. Sahari ...........................................10’38”
15. Hu Hu Yar.......................................3’21”
16. Ali Ali Hu ........................................3’08”
17. Hay Duss ........................................3’19”

CD2 (88mb)
1. Shaykh Amiri I ................................3’44”
2. Shaykh Amiri II ...............................3’23”
3. Lami Lami ......................................4’01”
4. Yar Davud ......................................2’58”
5. Ali Ali..............................................2’10”
6. Hay Gian Hay Gian.........................3’19”
7. Shah Khoshin .................................3’28”
8. Hay Dayar Dayar ............................3’17”
9. Imanm Yar......................................1’40”
10. Dassi Vet Vla...................................3’22”
11. Ali Gorz Vish...................................4’28”
12. Jam Nian Dussan Avyana................2’44”
13. Sayyed Mohammad Barav Divani ...3’31”
14. Tala Svaran .....................................3’49”
15. Blé Ha ............................................2’39”
16. Rajian Dalahu .................................3’53”
17. Yaran Jam Nian...............................3’41”
18. Shah Mayu.....................................3’13”
19. Yar Didakani Benyamin Pira ............2’58”
20. Sahl Ay Sahl ...................................2’40”

CD3 (78mb)
1. Tanamiri .........................................3’22”
2. Baba Nawusi I ................................3’47”
3. Baba Nawusi II ...............................3’13”
4. Baba Nawusi III ..............................3’24”
5. Khas Bajana....................................2’30”
6. Sar Khi Vi........................................3’13”
7. Pishravi Pardivar .............................2’46”
8. Khayla Massa..................................2’01”
9. Hay Imanm Yar...............................2’21”
10. Ha Ha I...........................................2’12”
11. Ha Ha II..........................................1’27”
12. Soltana Dina...................................2’35”
13. Khoyjay Gholaman .........................2’36”
14. Chehel-Tan Chlanan I .....................2’28”
15. Chehel-Tan Chlanan II ....................2’30”
16. Sayyed Khamush ............................4’20”
17. Davud Na Kura...............................3’30”
18. Shah Khoshin .................................3’34”
19. Hay Gyan Hay Gyan .......................3’03”
20. Haghn Haghn.................................2’33”

CD4 (86mb)

1. Sar Tarz ..........................................7’32”
2. Yaran Va Batn .................................2’23”
3. Abdina ...........................................2’52”
4. Gharibi ...........................................3’36”
5. Do Vala ..........................................5’18”
6. Sarukhani .......................................7’14”
7. Hejrani ...........................................6’10”
8. Majnuni..........................................3’27”
9. Tarzé Russam..................................3’57”
10. Pavamouri I ....................................2’46”
11. Pavamouri II ...................................2’10”
12. Gel Va Dara ....................................5’06”
13. Alvan..............................................3’03”
14. Gol Va Khak....................................3’41”
15. Fani Fani Vin...................................3’16”

Ali Akbar Moradi - Fire of Passion

ALI AKBAR MORADI - FIRE OF PASSION (7/8 Music Productions, 1999)

Ali Akbar Moradi: tanbur
Pejman Hadadi: daf

01-Introduction (Prayer)
02-Songs of Nostalgia
03-Magham Allahwaisy And Hejrani
04-Sema Of Tanbur
05-Continuation Of Magham Allahwaisy
06-Intimate Dialog
07-The Caravan
08-Magham Of Ghatar And Tarz
09-Sejar
10-Gallop

“Teheran-based Ali-Akbar Moradi is considered a virtuoso on the tanbur, a plucked string instrument with a pear–shaped belly fashioned from a single piece of mulberry wood. The tanbur has always been considered a sacred instrument associated with the Kurdish Sufi music of Western Iran. Moradi is accompanied by Pejman Hadadi, the finest Irnanian percussionist living in America, who plays the daf, a large frame drum covered with goat skin with rows of metal rings jangling about on the inside. He also plays the tombak, which is similar to a dumbek but made also from solid mulberry wood. Its warm tone complements the rapid strumming and plucking on the banjo-like tanbur. This recording was made during a 1999 U.S. tour and, in a word, these duets are extraordinary. Having performed together only three times previously, Moradi and Hadadi play entirely improvisational Kurdish music on this date, presenting their amazing skills as one triumphant spirit. Together they soar into wild molten riffs, and then return to earth to deppict the sad reality of a people without an independent state of their own.”

William Bloomhuff, “Rhythm”, May 2001

HERE

Kayhan Kalhor & Ali Akbar Moradi - In the Mirror of the Sky

Kayhan Kalhor & Ali Akbar Moradi - In the Mirror of the Sky (World Village, 2004)

Kayhan Kalhor: kamanchech
Ali Akbar Moradi: tanbur, vocal
Pejman Hadadi: tombak

01-Sar Aghaz (Introduction)
02-Showgh (Joyful Anticipation)
03-Maqam-E Gel-E Wa Darreh-Avaz (Brings Him Back Maqam-Vocal)
04-Gol Wa Khuk-Mogadameh (Flower and Earth-Introduction)
05-Maqam-E Gol Wa Khuk (Flower and Earth Maqam)
06-Gel-E Wa Darreh-Foroud (Brings Him Back-Landing)
07-Majnooni-Bedaah-E Bar Asaas-E Naghmeh Panj Zarbi
08-Maqam-E Alwand-Avaz (Alwand Maqam-Vocal)
09-Foroud (Landing)
10-Choopi (Dance)

The Persian and Kurdish musical traditions are neighbors, but rarely meet. But in this case they've come together spectacularly in the hands of two Iranians. Kayhan Kalhor (Ghazal, Master of Persian Music) is a remarkable performer on the kamancheh, or traditional spike fiddle, while Ali Akbar Moradi is a master of the lute-like tanbur. While the tanbur has long been associated with the Yarsan people of Western Iran, and its Ahl-e Haqq faith, Moradi has given it secular exposure. Here, in fact, with Kalhor, he explores the traditional tanbur repertoire of the Yarsan, the two (along with drummer Pejman Hadadi) fashioning wonderful improvisations on Yanbur themes. There's an instinctive communication between the musicians that creates a tension and a palpable magic (just listen to the filigree that's "Gel-e Darreh-foroud," for example). Both have the technique and imagination to carry this off in style. It's more than full of Eastern promise; it's an absolute delight to the ears to hear these two playing off each other, or tackling pieces like "Maqam-eAlwand-Avaz," where Kalhor plays around Moradi's vocal before they take off for the instrumental stratosphere. Essentially, there's nothing exotic about this except the sound of the instruments themselves. It's simply a gorgeous piece of work, very accessible, the sound of two virtuosos collaborating. (from AMG)

HERE