"Armenian Romances"

Mastery implies complete and undivided devotion. The term, too often abused and misused, denotes something rare, a total completion of a vision. Indeed, when musicians become masters it is because there is no longer separation between their physical form and the sounds they create; they have manifested a ceaseless ritual through the music they make. So while a number of artists tag on such surnames, when you encounter a true master you instantly know.  With Endless Vision, we find two such people. 

If there were ever any rifts of sonic distinction between the classical traditions of Iran and Armenia, those walls have tumbled. Hossein Alizadeh, one of the most well known Persian instrumentalists in the world, performing on the shurangiz (a new Iranian plucked lute borrowing from the setar and tambur), sits aside Djivan Gasparyan, Armenia¹s infamous duduk player.  Between the two, the accolades run deep: Alizadeh and his Grammy-nominated Masters of Persian Music, while Gasparyan has performed on soundtracks to “The Last Temptation of Christ” and “Gladiator,” as well as creating the excellent Black Rock with Canadian guitarist/producer Michael Brook. Both men have allowed minor variation and true innovation in their careers, though remaining committed to exploring their native folk musics. 

This particular exploration, recorded live in September 2003 at the garden of Tehran¹s Niavaran Palace, reveals the subtle and intricate latticework formed by two men weaving one vision. Joined by a backing ensemble of nine musicians (including two other Gasparynans, Armen and Vazgen, on duduk and bass duduk), there is no weakness throughout; if there are two masters, all others deserve major titles. Ali Samadpour’s performance on the koozeh (clay drum) and Afsaneh Rasaei’s cherubic vocals merit equal attention. 

Yet when Gasparyan’s mournful, plaintive tones rise from his flute, that dangerously melancholic tone, there is no denying the depth of his sincerity. If “master” had one synonym here, it would be “grace.”  On the opening “Birds,” a 22-minute spiral featuring numerous solos, quietude, shrieking vocals and a melodious rapture, the true intent of both traditions emerges: this is a music of devotion. If there is to be no space between player and played, the provider of music and the provider these musicians claim their highest, the music must remain in a state of purity. If any innovations arise, it is by extension of their faith.  

This comes across most clearly in the solo outings: Alizadeh on “Shurangiz Improvisation,” Gasparyan with “Armenian Romances.” This is where the soul of each shines forth, intimate meditations on the spiral. When the ensemble reconvenes, the circles continue, and within these cycles a sound ancient and familiar is born. As the final chimes of “Tasnif Parvaneh Sho…” conclude, you realize you’ve lived through an epic poem stretched over one hour of sheer brilliance.

Contributed by: Derek Beres for www.afropop.org