Showing posts with label Baluchistan. Show all posts
Showing posts with label Baluchistan. Show all posts

Sunday, 2 October 2016

Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, recorded in 1994 - Cassette 16: Music from Hormozgan & Balouchestan


Side A:
Music from Minab - Hormozgan
Molud-khani

Side B:
1. Music from Beluchestan
She'r (Epic songs)
Pahlevan Boland Zangshahi (Vocal & Sorud)
accomapnied by two Tambourak players
2. seems to be a song from Mazandaran in the north of Iran




I just discovered a good website about music from Baluchestan: http://www.iranicaonline.org/articles/baluchistan-iv

Saturday, 24 September 2016

Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, recorded in 1994 - Cassette 11: Music from Baluchestan

 

Side A:
Music from Chabahar - Beluchestan
Dhikrs of Gwati ceremonies
Shahmir Baluch Maldari (Vocal & Tambourak & Leader of the ceremony)
Ali Mohammad Baluch (Ghichak (Sorud))
Eyduk Razmi (Tambourak)
Chalokparvar (Vocal - Qasidah)

Side B:
Music Gwati from Beluchestan
Ali Mohammad Beluch (Sorud (Ghichak))
 Eyduk Razmi (Tambourak)

"Music of guati ceremonies or Qalandari-Guâti music. Guati (or Qalandari-guati) music is specific to the ceremonies of healing the person who is possessed by a supernatural being, and shows symptoms of sickness. Baluchi people interpret the healing process as follows: a person (most of the time a woman) becomes sick and all the efforts of the traditional healer and mollah to cure her are in vain. Patient's relatives, after trying all the possible ways of treatment - and becoming disappointed - take her to a spirit expert (or khalife). These spirits are guats, djins and paries that disturb people for some reasons and make them sick. If someone is possessed by one of these creatures, the only solution is talking to guat and persuading him to let the possessed person alone. In order to do that, a healing ceremony must be held, where music plays an important role." 
Jean During in the booklet to: Regional Music of Iran 9 - Qalandari Music of Baluchistan, Mahoor, M.CD-181 (2005).




In 2012 there was released a double CD in Iran which contains on CD 2 the recordings of this cassette in better sound quality. On CD 1 there is more Gwati (Guati) music. The set has a detailed booklet in Farsi and English by Mohammad Reza Darvishi. As always it can be obtained from: info@raga-maqam-dastgah.com.


Wednesday, 21 September 2016

Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, recorded in 1994 - Cassette 10: Music from Baluchestan


Side A:
1. Music Sowti from Baluchestan - Iranshahr
2, Music Sowti from Baluchestan - Zahedan
Din Mohammad Zangeshahi (Vocal & Ghichak (Sorud)), 
Baloch Zangeshahi (Vocal & Tambourak)
Rahmatollah Davudi (Rabab)
and a Doholak player

Side B:
Music Sarhadi from Baluchestan - Zahedan



Tuesday, 20 September 2016

Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, recorded in 1994 - Cassette 9: Music from Baluchestan


Side A:
Music from Beluchestan - Chabahar
1. Sowt Music from Beluchestan - Chabahar
A singer accompanied by Ghichak (Sorud), Tambourak & Doholak
2. Liku by Shir-Mohammad Espandar (Doneli)

Side B:
Music from Beluchestan
1. Kurdi by Shir-Mohammad Espandar (Vocal & Doneli)
2. Sowt Music from Beluchestan - Iranshahr
Mashallah Bameri (1950-2011) (Vocal & Tambourak)
Jahangir Parvin (Ghichak (Sorud))  
and a Tambourak player, a Kuse and Tasht player and two Doholak players




By Shir-Mohammad Espandar we had already an entire cassette in the Baluchestan album we posted on third of September. There is also a wonderful CD by him which can be obtained from info@raga-maqam-dastgah.com:


By Mashallah Bameri we also had an entire cassette in the Baluchestan album we posted on third of September. There is a CD on which the bigger part is by him and his ensemble. The second part is by a Sorna ensemble.


Monday, 19 September 2016

Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, recorded in 1994 - Cassette 8: Music from Torbat-e Jam (Khorasan) & Baluchestan


On this cassette we have two Sufi rituals (Dhikrs).

Side A:
Dhikr Circle of the Naqshbandiyye Tariqat
Haj Nour Mohammad Dorpour (Vocal soloist)
Gholam Ali Pouratta'i (Dotar & Vocal)
and nine Naqshbandiyye Dervishes


Side B:
Dhikrs from Nikshahr, Baluchestan
Qaderi dervishes




NOUR MOHAMMAD DORPOUR


"Master vocalist and dotar player (lute) Nour Mohammad Dorpour is one of the most respected singers of mystical Sufi song from Southern Khorasan in the Northeast of Iran. As a bard and mystic, Dorpour has a repertoire of literally several thousand lyrics of mystic songs which he memorizes all by heart, and he is most well known for his recitations of the poetry of Jalal ad-Din Muhammad Balkhi, also known as Rumi. He accompanies himself on the dotar (lute). Dorpour, a Turkman, belongs to a branch of the the Naqshbandieh Sufi order."
Nour Mohammad Dorpour is the last master who knows the old mystical repertoire of Torbat-e Jam in Eastern Khorasan in its vast completeness. I'm not sure if he is still living. In Iran these CDs have been published:



The recordings of this cassette have been released on CD in 2015, together with a third recording from this series, with a detailed booklet in Farsi and English, written by Mohammad Reza Darvishi:


As usual, all these CDs can be obtained from: info@raga-maqam-dastgah.com
Here we had already a recording by Nour Mohammad Dorpour in Vol. 5. He is also present in several series of regional music mentioned in Vol. 1 and the three albums of music from Khorasan mentioned here, which we plan to post in the future. 

Saturday, 3 September 2016

Baluchestan Music - The Local Iranian Music, vol. 11 - An Album of 6 cassettes published in Iran in the late 1980s or early 1990s





"The Local Iranian Music" was the first big project of documenting local or regional music of Iran. It consisted of about 18 albums, each containing six cassettes and a booklet in Farsi. The volumes could be bought individually (info@raga-maqam-dastgah.com still has a few in stock) or all together in a big wooden box. Today there are several other series devoted to this subject available on CD, partly as an ongoing work in progress like the series "Regional Music of Iran", of which up to now 63 volumes have been published, partly consisting of several CDs. These were published by the label MAHOOR. Others are live recordings from festivals devoted to regional music of Iran and have up to over 20 volumes. Most of these have been published on CDs and can be obtained from: info@raga-maqam-dastgah.com. In the future we plan to post here one complete set published many years ago on 27 cassettes. The whole series was supposed to be re-published on CD a couple of years ago, but never saw the day.
One has to say that no other oriental country does such an exemplary work of documenting all aspects of their traditional music on hundreds of CDs and also in an enormous number of books, unfortunately - of course - all in Farsi. 
Iran is especially rich in different forms of often highly sophisticated regional music, due to its position between Central Asia, Asia Minor, Arabia and the Indian subcontinent which led to a high ethnic diversity. In effect many of the 31 provinces of Iran have their own ethnic, cultural and musical identity.
I still remember very vividly an amazing huge Iran Festival taking place the whole of spring 1991 in Düsseldorf, Germany, with many fantastic concerts of regional and also classical music, exhibitions, conferences and a bazar of handicrafts, cassettes and books. Through this festival I encountered for the first time music from Khorasan, Baluchestan, Bakhtiari, Kurdestan, Iranian Azerbaijan etc. etc. I was extremely touched by the beauty of the music of the great Haj Ghorban Soleimani from Northern Khorasan, an ensemble from Bakhtiari, another ensemble from Torbat-e Jam in Eastern Khorasan near the border to Afghanistan and one from Baluchestan. There were also two impressive Ashiqs from Azerbaijan. It was a dream come true which one never even dared to dream. I bought there quite a number of cassettes. Only a few years before it started that one was able to get the first cassettes from Iran in some Iranian shops in Düsseldorf and Cologne. At this festival I was also able to buy a wonderful book in the form of an album of exquisite photos in which one was invited to travel through different provinces of Iran, starting in Persepolis and Shiraz going up to Azerbaijan and then along the western border through Kurdestan down to Bushehr and then along the Gulf coast to Baluchestan in the east, from there up through Bam and Yazd to central Iran, then to Eastern Khorasan and Northern Khorasan, Iranain Turkmenistan, Mazandaran and finally to Tehran (N. Kasraian - Our Homeland Iran). So I was able to have a look at the regions from which the music came, which I had aquired. That was one of the most beautiful periods of musical discovery in my life.

Here we start now to post the only four volumes of this first project "The Local Iranian Music" we have kept in our collection as being musically the most interesting ones: three volumes of Music from Khorasan and the one volume of Music from Baluchestan. We start with Baluchestan. 

"Balochistan, or Baluchistan, is an arid desert and mountainous region in south-western Asia. It comprises the Pakistani province of Balochistan, the Iranian province of Sistan and Baluchestan, and the southern areas of the Afghan provinces of Nimruz, Helmand, and Kandahar. Balochistan borders the Pashtun region to the north, Sindh to the east, Punjab to the northeast, and Persian regions to the west. Across its southern coastline lies the Gulf region." from Wikipedia.

"The repertoire of the music of Baluchistan could be divided into three major categories: (a) artistic music, such as sowt, nazing, etc, and the most important part of it, shervandi music, comprises of epic and zahirik music and Sufi ghazals (always in persian), that could be classified as classical music; (b) religious music inspired by Sufi doctrines, including zekrs and verds of Qaderi and Refa'i dervishes and also repertoire of Cheshti dervishes; (c) music of guati ceremonies or Qalandari-Guâti music.
Guati (or Qalandari-guati) music is specific to the ceremonies of healing the person who is possessed by a supernatural being, and shows symptoms of sickness. Baluchi people interpret the healing process as follows: a person (most of the time a woman) becomes sick and all the efforts of the traditional healer and mollah to cure her are in vain. Patient's relatives, after trying all the possible ways of treatment - and becoming disappointed - take her to a spirit expert (or khalife). These spirits are guats, djins and paries that disturb people for some reasons and make them sick. If someone is possessed by one of these creatures, the only solution is talking to guat and persuading him to let the possessed person alone. In order to do that, a healing ceremony must be held, where music plays an important role." Jean During in the booklet to: Regional Music of Iran 9 - Qalandari Music of Baluchistan, Mahoor, M.CD-181 (2005).

The music on these six cassettes here is all from the Iranian part of Baluchestan. By now there exist quite a number of CDs of this music, both from the Iranian and from the Pakistani part, most of them published in Iran. As always, they can be obtained from the link given above.

Cassette 1: Baluchestan Music - Iranshahr - Ostad Shir-Mohammad Espandar



Shir-Mohammad Espandar (Doneli & Vocal)
Jahangir Parvin (Sorud which is named Ghichak in Iran)
Mohammad Omar Sami (Benju)
Morid Zangeshahi (Tanbourak)
Nawab Rawhand (Dholak)

"Ostad Shir-Mohammad Espandar, son of Morad, was born in Bampur in 1927. His father was a Ney player and the style of Shir-Mohammad in Ney playing is obviously influenced by the style of his father. For more than fifty years he has been playing Donali and Nal (Ney). Shir-Mohammad also knows vocal Maqams as well as playing Donali; especially Kurdish song which he excels and has shown a peculiar skill in it. It must be added that presently he is the sole interpreter of Kurdish song in its original form. Shir-Mohammad immigrated to Indus (Send) Province of Pakistan and spent 15 years of his youth there. He had been familiar with Ney and played it before. In Pakistan he get acquainted with Donali and learned its playing under the tutelage of Jomal-Shah. In 1958 he returned home and since then he has resided in Bampur and spends by farming and music playing. He is the only survived Donali player in Baluchistan of Iran. His style in Donali playing is deeply affected by the great past masters, Jomal-Shah and Mersi-Khan. However, he has been able also to take advantage of traditional styles to create a unique expression in Baluchi music.
Shir-Mohammad has always been at the side of his fellow countrymen, either in their happiness or in their sorrows; He accompanies the possessed ones, those who consign their soul and their body to Gwat, and seek their freedom in the songs Shir-Mohammad sings and in the music he plays. During a performance, Shir-Mohammad reaches a trance, begins an inward journey and goes far beyond himself, so far that he can see his today from outside and respond properly to the music and to himself; Again and again he travels inward and returns back, and it is during this ingress and egress, this upward and downward traveling, that he experiences revelations, and an enchantment for reconciliation and disengagement. The music of Shir-Mohammad results from this transcendental relatedness and comes out from this connection."
from the booklet to the CD: Regional Music of Iran 23 - Music of Baluchistan - Shir-Mohammad Espandar, Mahoor, M.CD-051 (2000)



Cassette 2: Baluchestan Music 



Side A: Barkat Shakalzahi (Vocal & Benju)
Side B: Ustad Musa Zangeshahi (Vocal & Rabab)
accompanied by:
Din Mohammad Zangeshahi (Sorud which is named Ghichak in Iran)
and players of Benju, Rabab, Tanbourak & Dholak


Cassette 3: Sowt Music - Baluchestan - Iranshahr



Mashallah Bameri (1950-2011) (Vocal) accompanied by:
Shir-Mohammad Espandar (Donali)
Jahangir Parvin (Sorud which is named Ghichak in Iran)
Mohammad Omar Sami (Benju)
Morid Zangeshahi (Tanbourak)
Nawab Rawhand (Dholak)


Cassette 4: Baluchestan Music 



Volume 4 contains outdoor music as it is performed at festive events like weddings, circumcisions etc. It is performed on Zurnas accompanied by two Dohols in different sizes. This is a music which exists in similar forms in all the regions of Iran.


Cassette 5: Baluchestan Music 



Side A: 
Ustad Musa Zangeshahi (Vocal & Rabab)
Side B:
Tracks 1 - 3: different singers
Tracks 4 - 6:
Ustad Musa Zangeshahi (Vocal & Rabab)
On both sides accompanied by:
Din Mohammad Zangeshahi (Sorud which is named Ghichak in Iran)
and players of Benju, Rabab, Tanbourak & Dholak 


Cassette 6: Baluchestan Music



Side A: 
Ustad Musa Zangeshahi (Vocal & Rabab)
Side B:
Track 1: Faiz Mohammad ...
Track 2: Barkat Shakalzahi (Vocal & Benju)
Track 3: instrumental
On both sides accompanied by:
Din Mohammad Zangeshahi (Sorud which is named Ghichak in Iran)
and players of Benju, Rabab, Tanbourak & Dholak


Thursday, 13 June 2013

Folk Music from Zahedan, Sistan and Baluchestan province, Iran - Cassette published in Iran end of 1980s or beginning of 1990s


Chaharomin Djashnvareh Mousiqi Fajr 
(4. Fajr Music Festival) - Vol. 4

Zahedan - Mahali (Regional or Folk Music)

Beautiful recordings from Zahedan, Sistan and Baluchestan province, Iran.

Download

"Zahedan (Persian: زاهدان‎, also Romanized as Zāhedān, Zahidan, and Zaidān; also known as Zāhedān-e Yek; formerly known as Dowzdāb, Duzdāb, and Duzdāp) is a city in and the capital of Sistan and Baluchestan Province, Iran. At the 2006 census, its population was 552,706, in 109,488 families. "Zahedan" is the plural of the Arabic word zahed meaning 'pious'.
Zahedan is located near Pakistan and Afghanistan, only about 41 km south of the tripoint of the borders of the three countries, at an altitude of 1,352 meters above sea level and at a distance of 1,605 km from the Iranian capital of Tehran. The most famous tribes in Zahedan include the Keikha, Shahraki, Mir, and Birjandi.
The Demographics of Zahedan's inhabitants are largely ethnic Baluchi who speak the Baluchi language and Sistanis who speak Persian sistani and yazdi, khorasani. There are also smaller numbers of Brahuis and Pashtuns.
Zahedan lies east of the Kavir-e Loot desert. The city was part of the historic region of Sistan (Persian: سیستان), situated today on the borders of southeastern Iran and southwestern Afghanistan. One portion is part of the Iranian province of Sistan and Baluchestan. The other portion is part of the Nimruz Province of Afghanistan."
from: http://en.wikipedia.org/wiki/Zahedan