Russell!

By any measure, Niyaz has come very far, very fast. The trio's 2005 debut featured a convincing blend of Sufi mysticism and trance electronica, and quickly established them as a standout ensemble in a very crowded world music field. A worldwide tour followed. Now, Niyaz returns with Nine Heavens, which doesn't just cross cultural and stylistic boundaries, but the centuries as well. Drawing on medieval Persian poetry and 300-year old Persian folk songs, Niyaz has created a 21st century global trance tradition.
This may seem like a tall order for a band that's barely three years old - until you realize who these musicians are. Vocalist Azam Ali co-founded the best-selling world music duo Vas in 1996; her unmistakable voice has graced numerous recordings and major film scores. Loga Ramin Torkian is a multi-instrumentalist whose group Axiom of Choice brought the ancient sounds of Persian classical music to Western listeners in the 1990s. And producer Carmen Rizzo, a multiple Grammy nominee, has worked with Coldplay, Seal, Ryuichi Sakamoto, and many others. Small wonder then that the trio hit the ground running with its self-titled debut. Now, with Nine Heavens, Niyaz breaks new ground in a two-disc format: the first is an adventurous, spiritual exploration of the ties that bind Persian, Indian, Turkish, and Western dance music. The second disc showcases 8 out of the 9 songs in a purely acoustic setting.
Nine Heavens begins with the irresistible "Beni Beni," which marries an 18th century Turkish Sufi poem to a traditional Turkish folk song and some beautifully integrated electronics and programming. "It's a modern kind of Sufi music," Azam explains. "Both Loga and I are influenced by Turkish music, and there are many connections between Turkey and Iran." The steady, trance rhythms support layers of Turkish and Persian lutes, all topped by a new instrument known as the kamman, a larger, lower-pitched version of the traditional Persian fiddle.
Niyaz draws even more connections between Iran and India. The word niyaz means "yearning" in both Farsi, the language of Iran, and Urdu, a major language of northern India and Pakistan. Over the centuries, the cultures of Persia and India have shared not only words, but musical and spiritual traditions - and people. Azam Ali is one of them, born in Iran and raised in India; and two of the songs on Nine Heavens are by Amir Khosrau Dehlavi, a 13th-century Persian mystic and poet who was also raised in India. (The album title comes from his "Song of Nine Heavens.") Amir Khosrau founded the style of Sufi music known as Qawwali, made famous in the recent past by the great Pakistani singer Nusrat Fateh Ali Khan, and some claim he invented the Indian tabla drums as well. But his poems, including "Molk-e-Divan" and "Sadrang," are in the great tradition of Persian mystics like Rumi. "'Molk-e-Divan' was the first song we wrote for the new album," Azam says. "Loga and I found the poem and wrote the music together; he did the main melody and I did the vocal line." Then, the whole thing was shipped off for Carmen to work his magic, which in this case consists of some highly processed drum programming and a rich tapestry of Near Eastern lutes and electronics.
Both Amir Khosrau texts can be read either as love poetry or as devotional songs to God. Of course, an English-speaking audience may be more likely to respond to the songs' earthy, throbbing rhythms. That's fine with Niyaz; Azam Ali points out that the sacred nature of the texts makes them a surprisingly good fit for Western dance music. "The common thread is putting yourself in a higher state. Even with club music, I think that's what people go to it for. The only problem was that it was void of "soul," the spirit of acoustic trance music. We always felt there was a way to bring the two together that blurs the line between the acoustic and the electronic." A good example is the song "Tamana," an 18th century Urdu poem that unfolds over a slow opening - much like the slow alap section of a raga performance. The electronic drones give way to the silvery tone of the Turkish cumbus, a type of lute, and as with a raga performance, the energy builds with the addition of percussion - in this case, both tabla and programmed beats. "We've been working so long now that this sort of fusion happens on a more intuitive level," Loga adds. "The steady rhythm of the tabla blends naturally with the dance grooves - it just makes sense."
So what about that "unplugged" disc? "It wasn't intentional," Azam recalls. "As it was coming together, we felt we had a real gem with the acoustic sessions. After we finished mixing both versions, we realized it would be a shame not to let people hear them." The result is a rare opportunity to get inside the music, as the acoustic versions reflect the songwriting talents and mystical leanings that Azam and Loga bring; then the "final" versions showcase the organic way Carmen's electronics fit both the rhythms and the mood of these deeply-rooted works.
Other highlights of Nine Heavens include "Iman," a lullaby written by Loga and Azam for their infant son. Essentially a musical prayer, it offers a pause in the album's rush of rhythmic excitement. And "Feraghi - Song of Exile" is close to the hearts of the two Persian émigrés, now living in California. At a time when most Americans have a distorted view of Iran and Iranian culture, Niyaz have been doing workshops to raise awareness of the contributions of Iranians in the US and of Persian culture in general. "Our Iranian identity is important," Loga says. "On the first Niyaz album, we were just trying to find our place here. Now, with this second record, the Persian elements are used with more confidence." For example, "Feraghi" uses a Persian 5-beat rhythm, which most Americans would find difficult to dance to -- but the blend of traditional and programmed beats is so persuasive that many would try.
Dance or trance - the music that Niyaz makes on Nine Heavens can serve either purpose. "The function of music in society has changed," Loga points out. "It's very different from one or two decades ago; people now listen on iPods, or in their cars; music is not their primary focus. There's not as much sitting and listening to music. So the goal is for the music to stand on its own in different contexts."
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Hmmm came across this in my internet travels:
"ONE"

OMAR FARUK TEKBILEK, Yair Dalal, Azam Ali, Rabbi Haim Louk, Nabil Azzam, Pejman Hadadi and the New Hampshire string orchestra.

In a new CD by Yuval Ron



Manufactured and distributed by Magda Records. www.magda.co.il



With the world on the verge of war in Iraq, this new release presents a stunning reminder of the inter-cultural connection between all people of the Middle East. Most of this supremely evocative album originated from chants and traditional melodies of the three religions of the Middle East. The title track, unprecedented, brings together a Jewish Rabbi and a Muslim priest (Imam) alternating an Islamic call to prayer, Jewish chanting of the Psalms, and an Armenian Christian chant.



This stirring recording has been in the creative process for the past five years, under the wing of noted composer Yuval Ron. His collaboration with Turkish virtuoso Omar Faruk Tekbilek was first noted in the 1999 release of "One Truth" on the Hearts of Space label. A year earlier, Yuval Ron had invited Omar Faruk to record a soundtrack ("Love in the First Degree"), which was composed by Yuval. Months later, the favor was returned when Yuval was invited by Omar Faruk to compose the score for a film called "Inshallah", on which he performed all the instruments after Yuval composed the music. These unique collaborations led to the creation of the album "One" - a musical and spiritual journey combining the musical themes of both films. Recorded in the sound studios of Hollywood with string orchestra featuring soloists Omar Faruk Tekbilek, Rabbi Haim Louk, singer Azam Ali, of the group Vas, duduk and oboe player Chris Bleth, violinist Nabil Azzam and percussion virtuoso Pejman Hadadi.

Then violin and oud player Yair Dalal was recorded in the dunes of the Sinai desert, where additional field recordings were done, capturing Bedouin's voices and all the desert ambient sounds that accompany the work from its opening notes to its finale on the shores of the Red Sea. The artists that came together for this project represent a wide range of the ethnic groups of the area, and the countless musical layers, artistry and chants of the different religions create a fascinating testimony of a desert voyage to the experience of oneness.



Omar Faruk Tekbilek is one of the finest Middle Eastern musicians living in the United States. Faruk is a virtuoso performer of the Middle Eastern bamboo flute (Ney) as well as the zurna (double-reed oboe like instrument), the baglama (long-necked lute), percussion, and dozens more instruments. Faruk has widely toured the Middle East, Europe, and the United States. In 1976, he came to settle in the U.S., and since then, he has collaborated with musicians of inter-national repute including Nusrat Fateh Ali Khan, Ofra Haza, Simon Shaheen, Don Cherry, Karl Berger, Trilok Gurtu, Jai Uttal, and Ginger Baker. But perhaps he is best known for his collaborative work with guitarist/producer Brian Keane. Faruk's music is rooted in tradition, but has been influenced by contemporary sounds. Faruk is often seen as a peace messenger and he believes in collaborating with musicians of different cultures. "Music is the universal bond, our common language. I represent no nationality when I play", he says. "Through music and dance we can reach each other, face to face. We have no differences."



Based in Los Angeles, Yuval Ron is an international composer and record producer. He has composed music for numerous films and TV programs including "Someone To Die For," "Turbo - Power Rangers II," "Susie Q," "The Spiral Staircase" and "Oliver Twist". His dance scores include commissions from choreographers Daniel Ezralow, Paula Josa-Jones, and Butoh master Oguri. A recipient of multiple grants from National Endowment for the Arts, the Rockefeller Foundation, the American Composers Forum and the California Council for the Humanities, Yuval has worked with the Moscow Symphony, the LAJS Symphony, and the New Hampshire Philharmonic. In 1998 he released his first solo recording "In Between the Heartbeat" on Simulacra Records, followed by the CD "In the Shallows", from a Getty Center site-specific commission. He performed at the World Festival of Sacred Music 2002 and was musical arranger for the festival's "Circle of Friends for the Spirit of Peace". Yuval is the musical director and oud player for The Yuval Ron Ensemble, dedicated to fostering an understanding of Middle Eastern cultures and religions. He is an affiliated artist with The Center of Jewish Culture & Creativity. He is a noted lecturer and leader of workshops and master classes at numerous schools and universities in the US and abroad, including MIT, Berklee College of Music, UCSD, SCUN, Boston Center for the Arts and the Sam Spiegel Jerusalem Film School.

Samples are on this page
http://cdbaby.com/cd/yuval2

Sounds pretty cool, iTunes has it, think I shall grab it.
 
There is little to see anyways. The reality of doing it did not live up to the excitement. I spent a week or so helping out in the search for Alexander's tomb with some people from the British School. Alas, nothing.
 
Without looking it up, I think it's 72. He's almost certainly buried somewhere in this one, though. It's just finding where.