MARVELOUS

Music expresses that which cannot be said and on which it is impossible to be silent. ~ Victor Hugo

Namâd Ensemble is once again touring, delivering commendable performances at each venue [See Photo Essay]. If you are already familiar with them, you understand what makes them worthy of praise. If, these musicians are unknown to you, however, you may wonder what genre their music falls under and what exactly sets them apart. Mentioning that these five men collectively play Tombak, Frame Drums, Daf, Udu, Kamanche, Queychak, Setar and Shourangiz, may automatically invoke images of a traditional Iranian group; but Namâd is more than that. Before we jump to labels, perhaps we should pause to consider that while a performance is a transitory experience for the audience, for the musicians it is the culmination of months and years of struggle to render the extract of their essence into the language of composition. Instruments known to create one space can speak an entirely different message played at the hands of a different musician; so looks can be deceiving.

A clear self-image helps to strengthen the significance of the artists’ message as well as its expression; irrespective of the latter’s format. To understand Namâd and its music, it becomes vital to understand its members and their incredible bond. As five Iranian men in their forties, they share a common language and culture, life in the Diaspora, as well over twenty individual years of experience composing and performing. Watching them on stage, it is evident that their connection, beyond talent and achievements, rests upon decades of friendship. The group bears a resemblance to storytellers capable of reading each other’s minds and finishing each other’s sentences; not out of habit or repetition but rather trust in the same legend.

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Sitting far off on stage right is Mehrdad Arabi. With his frame drums at his sides and the tombak cradled on his lap Mehrdad carries a confidence warranted of a seasoned musician with a lengthy, diverse and impressive resume. He has trained and performed with the greatest masters of Persian music [Hassan Kasai, Jalil Shanaz, M.R. Lotfi, etc…], gaining international acclaim for his performances as well as compositions. In 2006-2007, he was presented with the Durfee Master Musician Fellowship, which holds special significance for him. He has also recorded sound tracks for Hollywood films including The Passion of Christ, Hidalgo and Helen of Troy and composed the score and played a full orchestra for the cartoon, Babak’s First Norooz. His experience has given him an insight that his fellow group-members credit him most for; “Mehrdad is wise and forward-thinking. He has a strong artistic sense and understands the long-term objective, making his advice particularly valuable.” His unique perspective on Iranian music makes him a visionary. “To convert material into reality requires foresight; Mehrdad’s suggestions and decisions help the group bridge that gap”. Inside Namâd, Mehrdad is the rhythmic backbone, providing structure. His signature crisp and clear sound cascades off his fingers with ease, and the expression on his face reveals just how enveloped he is in the rhythm.

Saeed Kamjoo sits next to Mehrdad Arabi. Saeed and Mehrdad completed their military service in Iran together and have maintained their friendship ever since. Saeed plays Kamanche and Queychak and enjoys composing. A graduate of music from the University of Tehran, Saeed has trained in instrumental and vocal techniques and repertoires of Persian classical music with renowned masters such as Ardeshir Kamkar, Ali Akbar Shekarchi and Ustad Asghar Bahari. He speaks passionately about the raison d’être of Namâd’s compositions and artistic aim; “Boundaries in music are fluid, and disentangling classical music from the rest is not as obvious a task as it may first appear.” Listening to Ossyan (album), the structure emerges, like a story from beginning to end. The tuning of the instruments is not classical and neither is the contrasting style of certain accompaniments to the singer’s voice. In “Bolanda”, composed by Saeed, we find a Neyshaburak arrangement stemming from the 13th century, which unconventional as it may sound is authentically Persian. “The musicians in Namâd share common roots in the classical training form we all received from traditional masters in Persian music, enabling us to communicate with one another in the same language. Our lives, however, differ greatly from our mentors’ and we cannot deny that we also derive inspiration from our current environment. This places us within the natural progression of music’s evolution though we will always retain connection with our roots.” When discussing the future of the group, he expresses interest in innovation while insisting that it accompany reason. “We could always incorporate a few South American drummers into the group, creating aesthetic appeal and perhaps even an interesting mix, and call it fusion; but we have to ask ourselves why? There has to exist some substantive reasoning”. Personally drawn to film, Saeed derives much of his inspiration from cinematic frames. When playing with shut-eyes, one can only wonder the imagery he must travels through.

At center-stage is Khosro Ansari; his dark shirt creates a notable contrast from the others dressed in white. Born in Isfahan, Khosro was immersed in the rich culture of art and music of the city and began his training at an early age under the tutelage of master Ali Asghar Shahzeidi. Khosro is the voice of Namâd, providing the essential link between the compositions and the poetry that inspires them. His distinctiveness, however, does not end with his shirt color. A man of few words, he prefers to express himself through his vocal interpretations and compositions; is always respectful and a true friend. Since his immigration to the US in 1988, his pursuit of Iranian vocal music has led him through numerous North American performances as well as various collaborations with motion pictures and TV series. With features in Spy Game, Man on Fire, ER and Third Watch; Khosro has solidified his standing and gained recognition for his talent. As a member of Namâd, he feeds his passion for the composition and interpretation of modern Iranian poetry alongside his friends. His research of the poetry he performs gives him a truer understanding of the space and context of its conception, thus adding a much-valued tangible quality to his interpretations.

From Khosro’s left, the sound of Kourosh Taghavi’s Setar swirls off the stage. Kourosh is an active participant in the creative process of the group, which he describes as “organic”. As a student of M.R. Lotfi and Hossein Alizadeh, both renowned masters, Kourosh received the finest training as well as a unique approach to composing and teaching. If his appearance gives an initial impression of seriousness, an introduction alone is sufficient to melt the ice, showing his warm and friendly character. This is particularly helpful for his ability to relate to his students both in private sessions and at the California state universities where he has taught the Radiff of Persian classical music. Kourosh is passionate about the poetry of Forough Farokhzad and Siovosh Kasrai; the poets who inspired Namâd’s first CD, Ossyan. In particular he admires the impenetrable nature of the pain these poets both endured as well as the frankness with which they lived and shared it; emblematic of the forward thinking ways of decades beyond their passing. Although he loves classical Iranian poetry and has collaborated with foremost experts, Robert Bly and Coleman Barks, in the celebration of Rumi; Kourosh finds a special connection with Farokhzad and Kasrai’s poetry. “Their poetry is full of contradictions that speak to our sensitivities towards social issues and it fits in well with the music that we believe in”. The instant connection that audiences feel with Ossyan and Mast, both compositions of his, are prime examples of this good marriage he speaks of. Kourosh attests the group’s success to their common vision and objective, as well as the result of having truly lived with one another and shared in the exciting as well as mundane elements of life. “We all have worked and continue to work with different artists and in different projects and enjoy those experiences; however I can honestly say that the connection I find inside Namâd is unrivaled”. His sentiments are echoed by all the members and quite visible to anyone sitting in their audience.

Far on stage left, is Afshin Mehrasa, the last member joining Namâd. A native of Sanandaj, Afshin began his musical journey at the age of 9 with the study of the Santur, but soon felt drawn to his Kurdish roots and picked up the Daf. Some believe it has never left his hands ever since. Extremely talented and humble, his achievements, which include collaboration with nearly all the greatest musicians and ensembles recognizable today, are typically pointed out by others. The list includes Shahram Nazeri, Hossein Alizadeh, Ali Akbar Moradi, Dastan, and others. Afshin’s percussion style, particularly notable with the Daf, is effortless but firm. When he doesn’t have the audience mesmerized with his Daf, he may still grab their attention with the contagious smile and mischievous expressions that make up his nature. At ease on stage and with his instruments, Afshin engages the audience as well as his fellow musician friends. In fact Mehrdad is known to have requested not to be seated next to Afshin for fear that: “he will make me laugh”. They sit at opposite ends now, but the percussionists still find plenty of talk time mid-performance, improvising back and forth, countering each other’s rhythms to the delight of all.
[See Photo Essay]

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For a generation to reach its defining moment, it must first find a balance between their inherited ancestry and their current environment. When asked whether the chicken came first or the egg, Namâd members agreed: “…it was definitely the chicken”. A specific vision brought these friends together and their existing bond made the realization of that vision more congruent. The greatest expressions of art come from the heart itself, or more precisely from those who are best acquainted with the content of their hearts. Unconcerned with commercialized trends, the group seeks to convey the message that speaks true to them; the social weight and relevance of the lyrics combined with the original compositions in a new form of music, now the trademark of Namâd. There is equal synergy between the music and poetry, as with the five members of this wonderful ensemble. Discussing these variations and the evolution of Iran’s classical music, Kourosh sums up the group’s sentiments through a quote from his teacher and mentor; Mohammad Reza Lotfi: “Iranian music is not an untouchable antique incapable of variance. Change itself is the essence of art, without which there can be no creation. The stronger the foundation of music, the more modification it can endure in its structure, and performance”.

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Namad Ensemble will play at the Julia Morgan Center for the Arts, in Berkeley, California on Sunday, March 29th, 2009. Get there early, grab a good seat and prepare to enjoy yourself as much as they will enjoy performing for you.

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For more Information, visit:

namaadensemble.com