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The Scent of Persia

Arezoo Rezvani, Farid Sheek & Maya Fridman

TTK 0018

Each season of the year brings with it a feeling of nostalgia and separation. Fasle Deltangi is something that comes back every year and overtake us with these feelings. With this music, we try to bring forth these emotions.

(1 customer review)

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About the album

Khazan means “Autumn” in Persian. Khazan symbolizes the beauty and dreamy colors of the season, which are played on the Persian santoor, the daf, and the cello.

Shur (Dastgāh-e Šur) is one of the seven “Dastgah” in traditional Persian music, and maybe the most important one. Dastgah is a system of modes, like scales in Western music. Many pieces of folk music from all around Persia use Shur or a related mode.

Each season of the year brings with it a feeling of nostalgia and separation. Fasle Deltangi is something that comes back every year and overtake us with these feelings. With this music, we try to bring forth these emotions.

The santoor is an Indo-Persian instrument with a rich cultural history. The oldest predecessor of the santoor was played in Mesopotamia (the current Iraq and north-east of Syria) between 1600 and 911 BC. In its history, the santoor and its family of instruments were also named “Shatha Tantri Veena” in ancient Sanskrit, meaning “100-string Vina”. Nowadays, the santoor is not just a traditional instrument in the cities of Jammu and Kashmir but is also the national instrument of Iran. In Kashmir, the santoor was used to accompany folk music, but also Sufi hymns. The instrument is made of walnut or maple and has a characteristic shape that slightly differs between the Persian and the Indian variant. The Persian santoor has 72 strings and a trapezoid body. The Indian santoor has a more rectangular body and sometimes more strings. In this EP, Arezoo Rezvani plays the Persian santoor.

The Daf is a frame drum from the Middle-East, that was used in popular and classical Middle-Eastern music. Daf means “to hit” in Hebrew. The instrument is made from hardwood with many metal ringlets. The membrane is usually made from fish skin, but sometimes also from that of the cow, goat, or horse. The daf belongs to one of the oldest and most influential Persian/Kurdish percussion instruments and usually accompanies the tanbur, violin, oud, saz, or singers. The oldest predecessor of the daf goes back to the dynasty of the Sassanides in Iran, long before the rise of Islam in the area. It is used in many different cultures and regions for different reasons. Some cultures use it in religious music, whereas others play the daf on festive occasions or in times of mourning.

Tracklist

  1. Khazan Arezoo Rezvani, Farid Sheek & Maya Fridman 08:31
  2. Improvisation - Shur Arezoo Rezvani 06:01
  3. Fasle Deltangi Arezoo Rezvani, Farid Sheek & Maya Fridman 05:04

click to play/pause

“Track one is a knockout. Clear and transparent with no ugly harmonics that 44.1 sampling tends to produce. I loved the music and will buy the album.”

Listener

Artist(s)

Arezoo Rezvani
Farid Sheek
Maya Fridman

Composer(s)

Aidin Olianasab
Arezoo Rezvani
Parviz Meshkatian

Genre(s)

World – Middle East

Label

TRPTK Sessions

Recording resolution

PCM 352.8 kHz 32 bits

Recording date(s)

18 January 2018

Recording location

TRPTK Studios
Utrecht, The Netherlands

Recording engineer

Brendon Heinst

Mastering engineer

Brendon Heinst

  1. Lyle Crawford

    4.5 stars
    I bought the DXD stereo download. Would love to hear the multichannel version but my audio system is high-end two-channel (Meitner, Pass Labs, Bryston, Magico).

    I have most of the decently recorded Persian classical music that I’ve been able to find, and several other world music recordings that feature these instruments, and I know of none that captures the santur and daf as well as this EP does. The daf (on the right) is startling. Its physical presence, and the space around it, is superbly conveyed. The santur (on the left) can be slightly grating and spatially jumbled in recordings, but here it’s a wonderful mesmerizing sound. The metallic edge of the hammered strings comes through in an exciting, highly realistic presentation. I might have expected a kamancheh rather than a cello, but the lower register of the cello, and Fridman’s commitment to finding a playing style that compliments the Persian instruments, work well. It’s more recessed in the sound field. The three performers feel relaxed with one another (when they all play together in tracks 1 and 3) and take the listener on a short but enjoyable musical journey.

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