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Yunus Hussain Khan (1927-1991) - Doyen of Agra Gharana - In Concert - Double Cassette published in India in 1992

August 16, 2016, 10:19 am
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After the two double CDs by the great Vilayat Hussain Khan here a double cassette by his son.









Cassette 1 & Scans - wave
Cassette 2 - wave

Cassette 1 & Scans - mp3
Cassette 2 - mp3

"Born on November 15th 1927 at Agra, Yunus Hussain Khan, the eleventh direct descendent of the Agra gharana, received intensive training from an early age from his illustrious father the late Ustad Vilayat Hussain Khan. He also studied under other great masters like the Late Ustad Faiyaz Khan and his maternal uncle, Ustad Azmat Hussain Khan of Atrauli. His innate talent for music coupled with the rigorous training he received gave him full command over the great heritage of the Agra Gharana.
Possessed with a rich voice and superb musicianship, he sang the Agra gayakee in his own individual style: varied in music, rich in ideas and full of colour. He was prominent in the Hindustani Musical scene for more than five decades and gave numerous recitals both in India and abroad.
Khan Saheb was not only a sensitive vocalist but also noted for his versatility as an erudite scholar, gifted composer and teacher of music. He was a Professor of Music at University of Delhi, Viswa Bharti University of Shantiniketan and was also a guru at the ITC Sangeet Research Academy at Kolkata. During 1985-86, he taught at the University of Washington in the Ethnomusicology Programme and also gave lectures and demonstrations in the University of British Culombia, Canada. During his association with Delhi University, he was Director, Composer and Conductor of Sargam Choir, Delhi Youth Choral Group and his own Darpan Choir.
Associated with the All India Radio between 1962 and 1964 as Music Composer, he was a composer of distinction, and has left as a legacy, a valuable collection of his compositions under the nom-de-plume “Darpan” and several ragas, like Sujani malhar, Devyani, Nat Deepak, Husaini Bhairav, Nohar Todi, Ahiri Bihag, Lalita Sohini, Jogwanti etc. 
As a musicologist, he had to his credit many articles, books and papers on music. He has been recorded by Sangeet Natak Akademi and Unesco and has featured on European documentary films.
Yunus Hussain Khan died of a heart attack on September 29,1991, in New Delhi."
From: http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_shiyshyaguru/popup/yunus_hussain_khan.htm

There exists also a beautiful double CD by him. It can be obtained from: info@raga-maqam-dastgah.com


Yunus Hussain Khan (1927-1991) (Vocal) & Ramzan Khan (Sarangi) & Hidayat Khan/Zamir Ahmed (Tabla) - Darpan - Khyal, Classical Vocal Music of North India, 2 CD-Set, CD 1:  Raga Bihag: Vilambit (24:32) & Drut (10:25), Raga Chandini Kedar: Vilambit (27:19) & Drut (9:21), CD 2: Raga Rageshri: Vilambit (31:22), Drut (7:38), Tarana (10:14) & Hori Dhamar (10:10), Raga Lalita Sohini (12:34), PAN RECORDS, 4006/07 KCD
„Items selected from live concert recordings made in August 1973 in Amsterdam, when vocalist Yunus Husain Khan (†1991) made his European debut. This registration has become a historical document. Besides a gifted singer Yunus Husain Khan also was a composer of rare distinction. Under the nom de plume ‘Darpan’ he has composed numerous bandishes in various ragas. Today his compositions in well-known ragas are sung all over India. Digipack with 12-p. booklet.”
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Ravi Shankar - Ragas Kameshwari, Gangeshwari & Rangeshwari - LP published in India in 1972

August 21, 2016, 1:48 am
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Our colleague from the beautiful blog Flat, Black and Classical: Indian Classical Music on Vinyl and Cassette posted two days ago his copy of the same LP and apparently had to do a lot of work to get a good sound quality. Here my copy, which I bought in the mid 1970s in Southall near London, which sounds, to me, perfect. I had prepared this LP already in July 2013 for posting. As always I did no editing at all.




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Ravi Shankar (1920-2012) - Two concerts at WDR, Cologne, Germany in 1985 & 1991

August 28, 2016, 12:11 am
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Baluchestan Music - The Local Iranian Music, vol. 11 - An Album of 6 cassettes published in Iran in the late 1980s or early 1990s

September 3, 2016, 10:31 am
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"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 (Donali & 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 1 - wave & scans
cassette 1 - mp3 & scans

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 2 - wave
cassette 2 - mp3

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 3 - wave
cassette 3 - mp3

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 4 - wave
cassette 4 - mp3

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 5 - wave
cassette 5 - mp3

Links for the remaining cassette will follow soon.

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Mahmud Karimi (Vocal) (1927-1984) & Mohammad Musavi (Ney) - Iran 3 & 4 - Anthologie de la musique traditionelle - Double LP published in France in 1981

September 9, 2016, 8:27 am
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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, probably in the second half of the 1990s - Cassette 1: Ashiq Music of Eastern Azerbaijan

September 11, 2016, 11:42 pm
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This is one of several collections of regional music produced in Iran in the last 20 years. Whereas other collections, like Gosan Parsi - Some Examples Of The Melodious Tale In Iran (15 volumes), Bakhtyari Music (15 volumes) and Iran Epic Music (23 volumes) have been republished - or directly published - on CD, this collection exists only on cassette. A couple of years ago the Iranian label Barbad had announced an edition on CD, but it never saw the day. Recently the legendary Iranian label Mahoor started to publish some of these recordings on single CDs in their "Regional Music of Iran" series, but it doesn't seem, that there ever will be the complete series on CD. 
Mirror and Song was produced and edited by Mohammad Reza Darvishi (born 1955). Mohammad Reza Darvishi is an extremely creative and productive composer of film music, music researcher, especially in the domain of regional music of Iran, and book author. He has produced dozens of excellent CDs and cassettes and written over a dozen of books on regional and classical Iranian music. He also organized several festivals of regional music, mostly in Tehran. Most of the collections on cassette or CD are recordings from these festivals. In this way he did an enormous work in making regional musical forms of Iran known to a bigger public and saving the music from extinction.
This collection is especially interesting as it contains a.o. different forms of ritual music like Sufi Dhikrs etc. of which no other recordings exist, as far as I know.
We will, step by step, post this complete collection, hopefully about one cassette per day.

Regarding the names of the musicians, I'm only able to decipher the names of musicians I know: here we have on side A in the first two tracks the wellknown Saz virtuoso Imran Haydari and on side B in the first track a famous Ashiq: Ashiq Rasul Ghorbani. The other names I'm not able to decipher completely.

Azerbaijan refers in this series to the Iranian province Azerbaijan, not the Republic of Azerbaijan.



wave
mp3

Here for the first time I'm using Dropbox to share these cassettes. If there occur any problems please let me know. Thanks.
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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, probably in the second half of the 1990s - Cassette 2: Ashiq & Mugam Music of Eastern Azerbaijan

September 13, 2016, 12:25 am
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Side A: Ashiq Music
Track 1 & 3: Ashiq Hassan Eskandari (Vocal & Saz)
accompanied by Balaban & Ghaval
Track 2: Ashiq Rasul Ghorbani (Vocal & Saz)
accompanied by Balaban & Ghaval

Side B: Mugam Music - Mugam Rast
Baha' ad-Din Khorasani (Vocal) 
Ostad Ali Salimi (Tar)
Shamin Mohammadpour (Kemencheh)
Ali-Reza Samadi (Ghaval)



wave
mp3

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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, probably in the second half of the 1990s - Cassette 3: Ashiqi, Asuri & Armeni Music of Western Azerbaijan

September 14, 2016, 12:35 am
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Side A:
Ashiq Music of Western Azerbaijan
Side B:
1. Ashiq Music of Western Azerbaijan
2. I can't decipher (must be the Asuri (Assyrian) music)
3. & 4. Armenian Music from Western Azerbaijan



wave
mp3

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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, probably in the second half of the 1990s - Cassette 4: Ashiqi and other Music of Western Azerbaijan

September 15, 2016, 12:31 am
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Side A:
Ashiq Music of Western Azerbaijan - Vocal & Saz

Side B:
Tracks 1 & 2: I can't decipher
Track 3: Asuri (Assyrian) Music - Vocal, Kemencheh & Dohol



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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, probably in the second half of the 1990s - Cassette 5: Music from Khorasan (Torbat-e Jam & Kashmar)

September 16, 2016, 12:06 am
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Side A:
Music of Torbat-e Jam - Khorasan
1. Ghulam Ali Pouratta'i (Dotar) & Karim Karimi (Vocal)
2. Haj Nur Mohammad Dorpour (Vocal) & a Ney player
3. & 4. Dotar, Vocal & Daireh 

Side B:
Music of Torbat-e Jam - Khorasan
1. Dotar & Vocal
Music of Kashmar - Khorasan
2. Vocal & Ney
3. Vocal & Daireh
4. Vocal, Dosazeh, Daireh



wave
mp3

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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, probably in the second half of the 1990s - Cassette 6: Music from Northern Khorasan

September 17, 2016, 12:05 am
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Side A:
1. Mohammad Yegane (Dotar & Vocal)
2. Ali Gholamrezai (Dotar & Vocal)
3. Wali Rahimi (Kemencheh) & Hossein 'Azizpour (Vocal)

Side B:
1. Dotar & Vocal plus 2 more singers
2. Kemencheh & Vocal
3. Wali Rahimi (Kemencheh & Vocal) 
4. 'Isa Gholipour (Dotar & Vocal)



wave
mp3

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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, recorded in 1994 - Cassette 7: Music from Northern Khorasan & Torbat-e Jam

September 18, 2016, 2:41 am
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Side A:
Music from Northern Khorasan
1. Haj Ghorban Soleimani (Dotar & Vocal) 
accompanied by his son Ali Reza Soleimani (Dotar & Vocal) 
2. Sohrab Mohammadi (Dotar & Vocal) 

Side B:
Music from Northern Khorasan
1. Sohrab Mohammadi (Dotar & Vocal) 
Music from Torbat-e Jam
2. Jamshid Pouratta'i (Dotar & Vocal) 
3. Gholam Ali Pouratta'i (Dotar & Vocal) 



wave
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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

September 19, 2016, 1:15 am
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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



wave
mp3

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. 
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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

September 20, 2016, 2:43 am
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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



wave
mp3

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.


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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

September 21, 2016, 1:44 am
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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



wave
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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

September 24, 2016, 1:23 am
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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.


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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, recorded in 1994 - Cassette 12: Music from Hormozgan

September 26, 2016, 1:36 am
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Side A:
Music from Bandar Lenge - Hormozgan
Mashayekh Ritual

Side B:
1. continuation
2. Music from Bandar Lenge - Hormozgan
I read "Razif Ritual". According to the CDs below it could be either the Zar or Noban ritual.



wave
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I found the poster to the planned complete edition on CD of these 28 cassettes which never saw the day:


Last year two CDs were published in Iran which contain more complete versions of these recordings. As always they can be obtained from: info@raga-maqam-dastgah.com


Mashayekh Ritual – Ritual-Therapeutic Music – Hormozgan (Qeshm Island & Bandar Lenge) – Regional Music of Iran 51: Mashayekh Ritual (Bandar Lenge) (42:14), Mashayekh Ritual (Qeshm Island) (31:46), MAHOOR, M.CD-428
Research, compilation & accompanying notes by Mohammad-Reza Darvishi.
”Ahl-e Havâ (the people of air): the inhabitants of the southern coastal regions of Iran believe that Ahl-e Havâ is a person who is affected by mysterious and magical powers. These powers, which are known as Bâd (wind), exist everywhere and they dominate human beings. The powers enter the soul and body of (often poor and pained) people, possess them and finally disturb their physical-mental balance. No one is strong enough to fight and resist them. Ahl-e Havâ who are suffering from Bâd, have no way except coping with them, self-sacrificing and surrendering. Bâd powers mount Ahl-e Havâ. The different types of Bâd include Zâr, Nobân, Mashâyekh, Leyvâ, Govât and Jinn, to name a few. Bâds are divided into two main divisions: 1. Critical, harmful or even infidel 2. Calm, Muslim or believing in worldly rewards and punishments.
To harness, and not cure, the Bâd some special rituals and ceremonies are held in which Bâbâ and Mâmâ take the responsibility to lead and direct the participants. These Bâds either have traveled along with the African people or have nested in the Iranian seamen and poor divers’ head and have come to Iran`s beaches and islands, and for a long period of time, the poor coastal inhabitants have been affected by such powers and still believe in them; to get rid of them, they still use the same method that the African people have used for centuries. Throughout the way from Africa to Iran, these Bâds have obtained Islamic forms and shapes; for instance, their African magical spells and poems have been replaced by poems to praise the Prophet of Islam. The Bâds have been mixed with  cultures, myths and different stories and their respective customs and rules (of what is allowed and what is forbidden) have become so similar to the Islamic ones although they still have their African flashy colors. Nowadays, due to the changes in social conditions and the restrictions over performing Ahl-e Havâ rituals especially in recent decades, such ceremonies and rituals are held more briefly than before and the requirements of the ceremony have been reduced compared to the past. Besides, because of the death of known and famous Bâbâs and Mâmâs and not finding a genuine replacement for them, this unique custom and culture is in danger of dying out and being forgotten—a culture of real significance in various fields, including music, oral literature, drama, rituals, myth and even medical sciences, psychotherapy and pharmacotherapy."
Recorded 1994. Performed by solo and group singers and Dohol players. Booklet in Farsi and English. 


Zâr & Nobân Rituals - Ritual-Therapeutic Music - Hormozgan (Bandar Lenge) - Regional Music of Iran 52: Zar Ritual (Bandar Lenge) (40:01), Noban Ritual (Bandar Lenge) (33:16), MAHOOR, M.CD-429
Research, compilation & accompanying notes by Mohammad-Reza Darvishi.
"Zâr is the most harmful and common Bâd. All types of Zâr in Iran, are critical, harmful and atheist. There are thirteen known Zârs in the southern coasts of Iran, and the famous Bâbâs and Mâmâs believe that the real number of Zârs is more than seventy two. Suffering from any type of Zâr begins with especial symptoms; for example, Bâd-e Maturi with a heart attack, Bâd-e Dingemâru with headache and sore eyes, Bâd-e Dâykatu with depression and inability to move. All types of Bâds, including Zâr, are contagious. The patient who is affected by Zâr goes to Bâbâ or Mâmâ to get rid of the pain and affliction, and through performing the ceremony (offerings, dohol playing and singing specific songs) the Bâd is tamed. Bâbâs or Mâmâs are often dark-skinned, full-blooded or hybrid. They are poor and deprived, and each of them is affected by several Bâds. Before starting the ritual, there are some steps of specific treatments, such as niyat (expressing the intention), going through the hejâb stage (for the patient), giving the patient some medicine, rubbing a particular oil on his or her body, giving the patient a particular smoke, and evicting Jinn from the patient’s body.
The next step is the phase of taming the Bâd, which may continue for hours and even several nights. The participants who are in curable nervous conditions manage to tame their Bâd in one or more sessions and will become members of Ahl-e Havâ. The nervous symptoms which frequently happened to them will be controlled and may appear only during formal ceremonies; but the patients with incurable nervous conditions, whose Bâd cannot be tamed by Bâbâs and Mâmâs, will be left alone, they are rejected by people and eventually die.
Ahl-e Havâ participate in the ritual to tame the Bâd. Some kinds of dohols, geshtesuz (censer), frankincense and various types of food, dates, sweets and the blood of the sacrificed animal requested by Zâr, are the requirements of the ritual. Usually the scarified animal is a goat and sometimes a cow or even a cock. Zȃr’s Bâbȃ starts singing with a gentle rhythm. The drums are played and Ahl-e Havȃ sing responses. Each song belongs to one Zȃr. By singing and reciting the poems, the Zȃr in the patient’s body would react. Little by little, head shaking turns into fast movements and gradually the patient starts trembling and goes into a deep trance. Most of the poems are sung in Swahili; so sometimes the meaning is not obvious even for Ahl-e Havȃ. So, in normal conditions and outside the ritual context, they do not remember the poems. As it was previously mentioned, by taming the patient’s Bȃd, the Zȃr ritual ends too."
Recorded 1994. Solo and group singers, Dohol and Tambire players. Booklet in Farsi and English. 
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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, recorded in 1994 - Cassette 13: Music from Hormozgan

September 29, 2016, 2:14 am
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Side A:
Music from Bandar Lenge - Hormozgan
Zar Ritual

Side B:
1. Music from Bandar Lenge - Hormozgan
Zar Ritual (continuation)
2. Music from Bandar Kong - Hormozgan
I read Nameh (?) Ritual



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mp3

Part of these recordings have been published last year on the two CDs which we mentioned in our post of cassette 12.
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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, recorded in 1994 - Cassette 14: Music from Hormozgan

September 30, 2016, 12:29 am
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Side A:
Music from Bandar Lenge - Hormozgan
Noban Ritual

Side B:
Music from Bandar Lenge - Hormozgan
Noban Ritual



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mp3

Part of these recordings have been published on CD in 2015. See details to the second CD in our post of cassette 12.
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Mirror and Song - A collection of 28 cassettes of regional and religious music of Iran published in Iran, recorded in 1994 - Cassette 15: Music from Khuzestan & Hormozgan

October 1, 2016, 3:18 am
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Side A:
Music from Khuzestan
Zar & Mashayekh Ritual

Side B:
1. Music from Khuzestan
Zar & Mashayekh Ritual (continuation)
2. Music from Minab - Hormozgan
Zar Ritual



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mp3

The recordings of this cassette plus an additional recording have been published on CD in 2015. The CD can be obtained from: info@raga-maqam-dastgah.com


Zar - Mashayekh & Molud-khani Rituals – Ritual-Therapeutic Music – Khuzestan & Hormozgan – Regional Music of Iran 53: Ritual-Therapeutic Music – Khuzestan - Zar & Mashayekh Ritual (51:36), Ritual-Therapeutic Music – Hormozgan, Minab – Zar Ritual (9:10), Ritual Music - Hormozgan, Minab – Molud-khani (11:03), MAHOOR, M.CD-430
The Zar & Mashayekh Ritual from Khuzestan is performed by a solo singer, response singers and players of Daf and some other percussions. The Zar Ritual and the Molud-khani from Minab in Hormozgan are performed by Qolam Samma'i (Solo singer and Samma player) and Abbas Samma'i (Samma player and response singer). Samma is a kind of Daf. Very interesting.

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