Safa Safa
Alight (Songlines)
Safa (Farsi): means inner purity, sincerity and sincere affection. The Vancouver
ensemble Safa comprised of Puerto Rican
percussionist Sal Ferreras, Quebecois jazz clarinetist Francois Houle and
Iranian vocalist and tar/setar player Amir Koushkani compose music that would bring delight to the master Persian Poet Jelaluddin
Rumi's ears. The bulk of Safa's recording, Alight focuses on Persian classical music, often recalling the California based Persian
musical group, Axiom of Choice. The tangy sound
of the tar (lute) marries an emotive, throaty clarinet that is accompanied by a
vibrant palette of rhythmic textures and topped off with Koushkani's stunning
vocals. Safa with its varying musical influences, passion for Persian music and
improvisational jazz creates a multicultural and spiritual space where anything
can happen and usually does. Listeners will immerse themselves in Persian poetry
that speaks of various kinds of intoxication as well as, dissonant elements
found in experimental music. The whimsical Turkish Nihawend Lunga, masterful
traditional Persian Chahar Mezrab and the Judeo-Arabic Ninavae promise to
intoxicate listeners' ears.
The music on Alight breaks through cultural and language barriers, despite the
multicultural musicians' origins. According to the CD liner notes, speaks about
the origins of Safa. "After several years of study and work in Persian music,
fate took me far away from my homeland and roots of my music. I found myself in
a country where various cultures and traditions come together and I was given
the opportunity to perhaps communicate with others through the language of music."
Fate also played a part when Ferreras, Houle and Koushkani met and blended
elements of improvisational jazz, Latin and Persian musical traditions. And all
three musicians have released several recordings, performing with other musical
artists.
This trio of master musicians honor the Persian tradition, but you can also find
tracks on the CD that feature a duo with clarinet and a variety of percussive
instruments (Peruvian cajon, udu, bata drums, and Philippine kulintang). The
compositions, Aurora and
Shadi fall on the dissonant side of the tracks and aren't too pleasing to the
ears. Epilogue showcases Ferreras percussion performing along side Koushkani's tar and this track feels less experimental
than Aurora and Shadi. However, I favor the Persian compositions, especially the opener, Chahar Mezrab and also, Sufinameh,
Saghinameh, Drunk and Whisper of Love.
In honor of the Iranian new year. Compliments of
Cranky Crow World Music.
World Music Central
http://worldmusiccentral.org/article.php/2004031720252211