Canadian banjo explorer Jayme Stone is a musician straddling bluegrass, jazz, old time and African music.
Jayme Stone picked up a passion for music from an eccentric uncle who listened to records endlessly, placing his ashtray on the speaker so Stone could join him in watching how the cigarette smoke swirled to the music.
An unlikely set of circumstances has lent Stone a broader set of reference points than most banjoists and those early beginnings have influenced his sound, choice of material, and collaborations. It started with the architecture of the banjo, led to a mysterious librarian who stocked his local public library with a vast trove of banjo recordings, and landed him long-lasting lessons with a series of maestros, from Bela Fleck and Tony Trischka, to Dave Douglas and Bill Frisell.
His CD titled The Utmost (2007), was co-produced by David Travers-Smith, was made possible through assistance from the Music Section of the Canada Council for the Arts.
Jayme spent several weeks in Mali in 2007, where he sought out the roots of the banjo. His exploits included sitting in at Toumani Diabate’s Hogon nightclub with Toumani’s twenty piece Symmetric Orchestra.
Jayme Stone now leads 2 quartets – the eponymous JSQ and the Africa to Appalachia project.
JSQ’s repertoire is diverse, ranging from a twelve-part composition in eleven, a dirge for Ray Charles, and a medley of Appalachian fiddle tunes all in the same set. They travel from bluegrass hoedowns to jazz festivals.
The Africa to Appalachia project evolved from Jayme’s travels to West Africa to learn the history of his instrument, the banjo. Although Stone’s mission was to uncover common musical ground between Africa and Appalachia – like the shared affinity for sustaining culture and the similar open-string styles – he found the differences between two continents just as intriguing. This is the sound of traditional music re-imagined.
In 2015, Stone released Jayme Stone’s Lomax Project, a collaboration with several acclaimed musicians, including Tim O’Brien, Bruce Molsky, Margaret Glaspy, Moira Smiley, Brittany Haas, Julian Lage and others.
Jay Begaye is a Dine (Navajo) singer, songwriter, painter, sculptor and a former rodeo contestant. He was born and raised on the Navajo Reservation in the small town of Steamboat Canyon, Arizona.
Jay attended his first pow-wow in Salt Lake City, Utah and that is where he heard the Snake River Singers. This experience left him with an irresistible urge to compose and sing his own songs.
From 1982 to 1986, Jay began singing with a noted drum group, the White Eagle Singers and later moved to Canada in 1987. There he formed his own group, the Cathedral Lake Singers. He lived in Keremeos on the Chopaka reserve in British Columbia, Canada for the next 16 years. Today Jay makes his home in Ganado, Arizona with his wife Loretta and young son, Sonsiila.
Several of his recordings have earned both critical and popular acclaim. His recording Round Dance In Beauty was a 2001 AFIM India Awards finalist and it earned him Best Male Artist and Best Traditional Recording nominations at the 2001 Native American Music Awards. His album, Song of Colors also earned a nomination at the 2004 Indian Summer Music Awards.
When not touring and making public appearances, Jay donates a great deal of his time to helping today’s youth on the Navajo Reservation.
Norwegian saxophonist Jan Garbarek adopted the sounds of jazz, classical and world music at a very early age. He has collaborated with artists from various folk traditions, including India and Brazil, as well as age-old European traditions, including his remarkable partnership with the Hilliard Ensemble.
Jan Garbarek was born March 4, 1947, in Mysen, Norway. At the age of 14, he heard John Coltrane on the radio and experienced a kind of epiphany. He immediately bought himself a saxophone instruction book and learned fingering positions, even before he had bought a horn.
Knowledge of Coltrane’s interest in Ravi Shankar, brought Garbarek to an awareness of Indian music as early as 1963. From the Coltrane Quartet, the young Norwegian learned about the dynamics of the band, and the internal relationship of the instruments. Coltrane’s endorsement of the freest spirits of the New Thing fired Garbarek’s appreciation of Pharoah Sanders, Archie Shepp and especially Albert Ayler.
Scandinavia at that time was a haven for American musicians. Garbarek grasped opportunities to hear, and learn from, Dexter Gordon, Ben Webster and Johnny Griffin. In 1964, he had a chance to play with Don Cherry, whose embracing of world folk traditions in his unique variety of free jazz was another significant influence. Most important in this formative period was the association with American composer and pianist George Russell.
In 1967 he joined the Scandinavian orchestra led by US avant-garde composer George Russell, and in 1970 worked in the USA for a while under such leaders as Keith Jarrett and Don Cherry.
In 1969 Manfred Eicher, in the process of establishing ECM Records, invited Garbarek to record for his new label. The album Afric Pepperbird was taped in Oslo in 1970 and effectively put the young saxophonist on the map, along with his fellow band members. This was the start of a exceptional relationship between Garbarek and ECM which continues to this day.
Afric Pepperbird was the first of many ECM recordings to be produced in Oslo. It was the beginning of the creative alliance between Eicher and sound engineer Jan Erik Kongshaug.
In the 1980s Garbarek created several groups, which included bassist Eberhard Weber, John Abercrombie and at various times guitarists Bill Frisell and David Torn. During that decade he began a series of world music collaborations. In 1984, Garbarek recorded with Ravi Shankar on Song For Everyone.
The landmark album Rosensfole came out in 1991. This now legendary ECM album features Garbarek together with Norwegian folk singer Agnes Buen Garn?s. The international collaborations continued with Ragas & Sagas (1993), where Garbarek collaborated with the Pakistani Qawwali singer, Nusrat Fateh Ali Khan. That same year, Garbarek recorded Twelve Moons, which focused, yet again on Scandinavian folk melodies.
Officium, released in 1993, features Jan Garbarek and the Hilliard Ensemble, with a musical concept that simultaneously reached up into the Jazz, Classical, and Pop charts. In 1998, five years after the recording of “Officium”, the Hilliard Ensemble and Jan Garbarek returned to the monastery of St Gerold to renew, in the words of singer John Potter, their “encounter with the unknown.”
The result was a very beautiful double album, Mnemosyne. It was wider in scope than its predecessor, and the improvised component of the music was expanded. The repertoire spanned 22 centuries, from the “Delphic Paean” of Athenaeus to the “Estonian Lullaby” of Veljo Tormis, via folk song fragments from North and South America and Spain, freely developed, as well as pieces by Tallis, Dufay, Brumel, Hildegard von Bingen, Jan Garbarek, a Russian psalm, a Scottish ballad of the 16th century, and much more. “We did it for each other in the absence of an audience, and these are complete one-off performances which will never sound the same again.”
In 1998 Jan Garbarek released another double album entitled Rites. It suggested initiations, rituals, the archaic, the magical, but also “rites of passage”, and the Norwegian saxophonist reflected, in his choice of material, upon pivotal episodes and influences in his own life and those of his associates.
Pieces included a tribute to Don Cherry and reworkings of the Garbarek classics “It’s OK to listen to the gray voice” and “So mild the wind, so meek the water”. There were abundant references to scattered musics of the world, from Norway to India, as well as a setting – for voices and saxophone – of a Native American poem, and the surprise inclusion of Jansug Kakhidze’s “The moon over Mtatsminda”, sung by its composer with the Tbilisi Symphony Orchestra. In total, this was the most comprehensive recording Jan Garbarek had made to date.
Garbarek compiled a double album of Selected Recordings for ECM’s :rarum anthology series in 2001. “This retrospective compilation represents 30 wonderful years of my life…. I hope as you listen that you will, in some measure, hear the joy I’ve had making each of these recordings.”
Garbarek’s double album traces the growth of his own groups, his collaborations with a wide range of musicians – from Keith Jarrett to the Hilliard Ensemble – and his investigations of Nordic and other folk traditions.
In 2003 Garbarek appeared, alongside Chick Corea, Jack DeJohnette and John McLaughlin, on Miroslav Vitous’s widely-acclaimed Universal Syncopations.
In 2004, Garbarek played with Kim Kashkashian on Tigran Mansurian’s Monodia, a recording that also features Leonidas Kavakos, the Hilliard Ensemble, and the Munich Chamber Orchestra under Christoph Poppen.
On the album In Praise of Dreams (2004) , Garbarek emphasized his capacity as composer, orchestrator and arranger, proposing new colors and textures in its blending of acoustic and electronic elements. “I think more in terms of evolution than revolution,” Jan Garbarek says, “the changes in the music taking place slowly over time, but there are some surprises here.”
Although the trio heard on the disc is unprecedented, there is also a logic to the unorthodox line-up. In Praise of Dreams features two musicians with whom Jan Garbarek has some history – American-Armenian violist Kim Kashkashian and African-French drummer Manu Katch?.
The use of loops and samples had only occasionally appeared on earlier Garbarek albums (“All Those Born With Wings”, “Visible World”), although they are a hallmark of music Garbarek has written for film, theatre and ballet.
The most striking aspect of In Praise of Dreams, however, is the interweaving melodies of saxophone and viola. “I was really overwhelmed by the life and the depth that Kim brought to the lines that I presented to her…The way she plays the viola, the sensibility of the phrasing, all the subtleties and nuances of her sound production, it’s very close to the way I’d like to play saxophone. There seems to be a very good connection between our timbres, too, which was even more than I had hoped for. The richness in her sound brings the music to another level and gives me something to reach for, in my improvisations. It was inspiring to work with her.”
Describing Kim Kashkashian as “a very powerful new agent in my music-making“, Garbarek added that “her strong sound had come to define the viola in a new way for me. I’d had many opportunities to listen to her music on ECM recordings through the years, in chamber music or orchestral contexts.”
Jan Garbarek first became aware of African-French drummer Manu Katche after hearing his sparse, unorthodox beat propelling the most striking tracks on Robbie Robertson’s 1987 solo album. Producer Manfred Eicher put Garbarek and Katche in touch with each other.
Katche, it transpired, had long been a follower of Garbarek’s music (“his records filled my adolescence”). Manu Katche joined ECM’s 20th Anniversary concerts in Paris, played in trio with Garbarek and Indian violinist Shankar (saxophone, strings, drums – not so far from the In Praise of Dreams concept ) at La Cigale in October 1989, and joined the Jan Garbarek Group for several tours. He appeared on four subsequent albums with Jan – I Took Up The Runes, Ragas and Sagas, Twelve Moons and Visible World, prior to In Praise of Dreams.
“Manu has many qualities as a player. He can do many things, but much of his playing is pattern oriented. He’s looking for just the right drum pattern to fit a piece of music and he’ll stay with that, but vary it in minimalistic ways with dynamics and attack. Rather than breaking loose to play soloistically, he maintains the ambience he’s created. Now, I love all the old jazz drummers, like Jo Jones, for example, or Gene Krupa, and they were also more pattern oriented rather than freely expressive in the way that most contemporary jazz drummers are. And it’s something I’ve missed. Manu has that quality in his approach, but also a very elegant sophistication, a poetic sensitivity.”
Garbarek attributes the overall shape of the album to its producer. “When it comes to organizing the pieces as a whole, that’s difficult for me, because I’m bound up in the details of each individual tune. The best ideas for that usually come from Manfred Eicher. Hearing these pieces during the mix he very quickly had an idea about the dramaturgy. He sees the whole more spontaneously, and I trust him 100 % in this. I’d tried all kinds of way to put these pieces together, but once Manfred suggested an order, everything fell into place – not for the first time.”
The album’s title was borrowed from the poem “In Praise of Dreams” by Wislawa Syzmborska, which begins, in the English translation, “In my dreams/I paint like Vermeer van Delft.
* Esoteric Circle, with Terje Rypdal (Freedom FLP/CD 41031, 1969)
* Afric Pepperbird (ECM 1007, 1970)
* Sart, with Stenson and Rypdal (ECM 1015, 1971)
* Triptykon, with Arild Andersen and Edward Vesala (ECM 1029, 1972)
* Red Lanta, with Art Lande (ECM 1038, 1973)
* Witchi-Tai-To, with Bobo Stenson Quartet (ECM 1041, 1973)
* Luminessence, with Keith Jarrett (ECM 1049, 1974)
* Dansere, with Bobo Stenson Quartet (ECM 1075, 1975)
* Dis (ECM 1093, 1976)
* Places (ECM 1118, 1977)
* Photo with Blue Sky, White Cloud, Wires, Windows and a Red Roof (ECM 1135, 1978)
* Magico, with Charlie Haden and Egberto Gismonti (ECM 1151, 1979)
* Aftenland, with Kjell Johnsen (ECM 1169, 1979)
* Folk Song, with Charlie Haden and Egberto Gismonti (ECM 1170, 1979)
* Eventyr (ECM 1200, 1980)
* Paths: Prints (ECM 1223, 1981)
* Wayfarer (ECM 1259, 1983)
* It’s OK To Listen To The Gray Voice (ECM 1294, 1984)
* All Those Born With Wings (ECM 1324, 1986)
* Legend of The Seven Dreams (ECM 1381, 1988)
* Rosensfole, with Agnes Buen Garnas (ECM 1402, 1988)
* I Took Up The Runes (ECM 1419, 1990)
* Ragas and Sagas, with Ustad Fateh Ali Khan and musicians from Pakistan (ECM 1442, 1990)
* Star, with Miroslav Vitous and Erskine (ECM 1444, 1991)
* Atmos, with Miroslav Vitous (ECM 1475, 1992)
* Madar (ECM 1515, 1992)
* Twelve Moons (ECM 1500, 1992)
* Officium, with The Hilliard Ensemble (ECM 1525, 1993)
* Visible World (ECM 1585, 1995)
* Rites, 2-CD (ECM 1685/86, 1998)
* Mnemosyne, with The Hilliard Ensemble, 2-CD (ECM 1700/01, 1998)
* Rarum 2: Selected Recordings (ECM, 2002)
* In Praise of Dreams (ECM, 2004)
* Dresden (ECM Records, 2009)
* Officium Novum, with the Hilliard Ensemble (2010)
* Résumé, with Eberhard Weber (ECM, 2012)
* Magico: Carta de Amor, with Charlie Haden (ECM. 2012)
* Concert in Athens, with Eleni Karaindrou (ECM, 2013)
Widely recognized as the world’s top ukulele player, Jake Shimabukuro (shee-ma-BOO-koo-roh) is internationally renowned for lightening-fast fingers and revolutionary playing techniques. He views the ukulele as an “untapped source of music with unlimited potential.” Jake’s virtuosity defies label or category. Playing jazz, blues, funk, classical music, bluegrass, folk, flamenco, and rock, Jake’s mission is to show everyone that the ukulele is capable of so much more than only the traditional Hawaiian music many associate it with.
Jake was born November 3, 1976 in Honolulu, Hawaii. At just four years of age, Jake’s mother gave him his first ukulele lesson. “When I played my first chord I was hooked,” says Jake, “I fell in love with the instrument.” That love grew into a deep passion to create and innovate. Experimenting with various techniques allows Jake to create sounds never thought possible on the tiny four-string, two-octave instrument.
A spectacular showman, his performances captivate audiences with intricate strumming and plucking, electrifying high-energy grooves and smooth, melodic ballads. His covers of tunes by The Beatles and Led Zeppelin are interpretations that have dazzled and delighted audiences worldwide.
From a modest beginning performing at a local Honolulu café, Jake has gone on to play famous venues such as the House of Blues and The Knitting Factory (Los Angeles), The Birchmere (Alexandria, VA), Tipitina’s (New Orleans), Joe’s Pub and B.B. King’s Nightclub (New York City), The Bumbershoot Festival (Seattle), The Fuji Rock Festival (Japan) and many others. Occasional tours with Jimmy Buffett since 2005 have given Jake the experience of a lifetime, regularly exposing his virtuosity and amazing stage presence to crowds of over 50,000.
Jake toured with Bela Fleck & the Flecktones (2002, 2005, 2006) and recorded on the band’s Little Worlds (2003) album. Jake is also featured on Ziggy Marley’s Grammy Award winning album Love is My Religion (2006) and contributed to the soundtrack of the Jimmy Buffett-produced film, Hoot. This was a rewarding experience for Jake and gave him the confidence to score the Japanese independent film Hula Girl.
The album Travels came out in 2015. The recording featured original compositions by Jake as well as modern interpretations of cherished Hawaiian standards and two 1970s’ pop hits, “I’ll Be There” by the Jackson 5, and “Low Rider” by War.
Also in 2015, Jake returned home to Honolulu to participate in the world premiere of Campanella, the first-ever concerto written for the ukulele. The piece was composed by Dr. Byron Yasui for Jake to perform with the Hawaii Symphony Orchestra. “It was a great moment for the ukulele, because it was the first time that the ukulele was presented as a classical instrument,” said Jake. “It was, by far, the most difficult piece of music I have ever performed.”
In early 2016, Jake released Live In Japan (Hitchhike Records/eOne), a two-CD set featuring career-spanning musical pieces, including a 10-minute classic reworking of “While My Guitar Gently Weeps.”
A few months later, Jake released Nashville Sessions (2016), his first album of all original songs. what was conceived as studio jams evolved into beautifully structured compositions. The lineup incliuded Nolan Verner on bass and Evan Hutchings on drums.
Inga Juuso was born October 5, 1945, in Mosjøen, Norway. She started performing as a singer in 1972, and was one of the most experienced widely acclaimed joik performers in Norway. She mastered the traditional classical joik technique as well as more modern experimental and innovative styles.
Traditional joik operates with a pentatonic (5-note) scale, and Juuso was skilled at varying improvising within this limited range. She toured all over the world and participated in various projects as a singer and actress in the movie The Kautokeino Rebellion.
Throughout her career Inga Juuso recorded with many musicians, including Steinar Raknes, Håkon Mjåset Johansen, and Jørn Øien.
Imamyar Hasanov was born in Baku (Azerbaijan). He is a virtuoso of the kamancha, a spike fiddle that is the ancestor of the violin and one of the most important instruments in Azeri music. Hasanov started playing the kamancha at the age of seven and eventually became the youngest soloist in Azerbaijan’s National Orchestra and National Dance Ensemble. He has a Master of Music Degree in Conducting from the Azerbaijan State Conservatory. During his conservatory studies, he worked with Professor Agha Jabrayil Abasaliyev and became interested in the art of mugham.
In addition to contributing to the preservation of traditional music, Imamyar Hasanov has created a body of work which has brought this music to the forefront of both the classical and world music fields.
Hasanov now resides in the United States of America. He has performed in Canada, Iran, Kazakhstan, Kyrgyzstan, Russia, Turkey and the US and has collaborated with artists such as Chingiz Sadykhovm, Aziz Herawi, Pejman Hadadi and Hossein Omoumi.
On stage, Imamyar is a dynamic virtuoso who performs Azerbaijani and Middle Eastern traditional improvisations as well as European classics. His programs interweave acoustic music with informal talk.
Featuring one of the best classical, folk and dance music masterpieces from composers of Azerbaijan and traditional Azerbaijani mugham improvisations.
In 2013, Imamyar Hasanov taught music from Azerbaijan as a Lecturer for the San Francisco World Music Festival Lectureship in the Department of Music at Stanford University.
Recognized as a young genius, Ignacio “Nachito” Herrera stunned Cuban audiences at the age of 12, performing Rachmaninoff’s Concerto No. 2 with the Havana Symphony Orchestra. Famed Cuban pianist and Buena Vista Social Club member, Ruben Gonzalez invited the 16-year-old Nachito to join him on stage and inspired the teenager to study the traditional rhythms of Cuba. Herrera’s classical grounding, natural abilities, and enthusiasm for his subject paid off. In addition, Herrera has studied with Cuban masters; Chucho Valdes, Ruben Gonzalez & Frank Fernandez.
Following his 1990 Masters Degree in Music from Superior Institute of Art, Havana, Cuba, Nachito Herrera began performing, directing and touring with state-sponsored orchestras and the renowned Tropicana Orchestra. In 1997, he joined Cubanismo, with whom he recorded two albums, eventually becoming the musical director.
Nachito toured Europe, the United States and the Far East with the group and while recording Mardi Gras Mambo in New Orleans, Herrera amazed the Crescent City with his local performances and was named an Honorary Citizen of New Orleans. In 1996, Herrera recorded Ula-Ula, with the renowned Cuban group, Bakuleye, of which he was musical director, producer and composer in addition to winning the Cuban Nobel Prize of the Year for Best Orchestra.
Upon leaving Cubanismo in 2001, Nachito settled in the Twin Cities (Minneapolis/St. Paul) of Minnesota, where he gained a following amongst fans of both jazz and Latin music. Now, Herrera’s own band, Puro Cubano includes saxophonist Rodolfo Gomez, bassist Jorge Bringas, veteran percussionist Shai Hayo and master drummer, Gordy Knudtson. Collectively, their credits include working, touring and recording with; Salsa Blanca and the Latin Sounds Orchestra, Celia Cruz, Albita, the Steve Miller Band, Ben Sidran and the renowned Puerto Rican Folklorico group, Proyecto La Plena.
Nachito Herrera’s affection for all types of music is apparent and he often cites the correlations between African rhythms, Cuban guajiras, American jazz, and classical composers. “I love all kinds of music, especially American music, but I love Cuban music the most….I like to combine the older Cuban styles, especially the rhythmic approaches of montunos and tumbaos, with jazz and classical themes. It’s how I see the evolution of Cuban piano,” says Herrera.
Born in Edinburgh (Scotland), Ian Hardie lived in Nairn (northeast of Inverness). Ian Hardie earned a great reputation not only as an exceptional fiddle player but also as a creative composer and bassist. He was a member of notable Scottish bands such as Jock Tamson’s Bairns and Highland Connection.
Ian was well-known as a composer with several albums and three tune books of own composition since 1986. Numerous other artists play and have recorded his tunes.
Ian Hardie was editor of The Nineties Collection, a signature volume of new traditional-style composition in Scotland in the 1990s, Ian Hardie was also integral to the two recordings featuring tunes from the Collection as well as touring the music with the five-piece version of The Ghillies.
Inspired by his exposure to Appalachian music and dance while performing at the 2003 Smithsonian Folklife Festival, Ian Hardie traveled extensively to The Blue Ridge Mountains of North Carolina and Virginia in 2005 and 2006 to immerse himself in the music and culture of the old time community. The result is an album titled Westringing that features newly composed melodies as well as tunes from Shetland, the Highland bagpipe repertoire and his own fiddle pibroch.
Westringing was a significant, new direction for Ian Hardie after over 35 years of involvement in the Scottish Folk scene.
For many years, Ian Hardie combined music with full time (then part time) practice as a lawyer but in 2001 he became exclusively involved in music and enjoyment of the many benefits of life in the Scottish Highlands from his seaside home in Nairn.
During his last years, he was mostly involved in playing for dance with top Edinburgh ceilidh band The Occasionals and Highland reels and ceilidh trio The Ghillies – with Duncan MacGillivray and Andy Thorburn – plus some duo work with Duncan.
Ian Hardie passed away in October 2012 from a brain tumor.
* Sandy Bells Ceilidh, with Bell’s Big Ceilidh Band (1977)
* Jock Tamson’s Bairn, with Jock Tamson’s Bairn (1980)
* The Lasses Fashion, with Jock Tamson’s Bairn (1982)
* A Breath of Fresh Airs (Greentrax, 1986)
* A Breath of Fresher Airs (Greentrax, 1992)
* Gaining Ground, with Highland Connection (Greentrax, 1994)
* A’ Jock Tamson’s Bairns (Greentrax CDTRAX 112, 1996)
* Nineties Collection Vol. 2, with The Ghillies (1997)
* http://www.amazon.com/gp/product/B0000062AK?ieUTF8&tag=musidelmund-20&linkCo=dexm2&camp1789&creativeASINB0000062AK | The Spider’s Web, with Andy Thorburn (1998)
* Live At the Music Hall, Aberdeen, with The Occasionals (1999)
* May you Never Lack a Scone, with Jock Tamson’s Bairns (2001)
* Reel of Four, with The Occasionals (2004)
* Rare, with Jock Tamson’s Bairns (2005)
* Down to the Hall, with The Occasionals (2006)
* Westringing (2007)
* Birling, with The Occasionals (2012)
* A Breath of Fresh Airs, 54 Original Tunes (1986)
* A Breath of Fresher Airs, 56 Original Tunes (1991)
* The Spider’s Web, 84 Original Tunes (1998)
* The Nineties Collection, as Editor (1995)
As one of Turkey’s leading and versatile clarinetists, Husnu Şenlendirici has worked with major stars domestically and also internationally, taking the listener on a musical journey whether he is solo or accompanied. Senlendirici combines the evocative and enticing melodies of his Anatolian heritage-particularly his Aegean homeland’s musical traditions-with the jazz sensibilities of the west.
After forming his present band, Laco Tayfa and collaborating with the famous American ensemble, Brooklyn Funk Essentials, to record their interpretations of traditional melodies and funk/acid jazz for the album, ‘In the Buzzbag’. Following that first release on Doublemoon records, Senlendirici has continued to play his snaking eastern melodies with lavish ornamentation or wild improvisations against complex drummed rhythms to release ‘Bergama Gaydasi’ and ‘Hicaz Dolap’. Working with such Turkish pop icons as Athena and Kibariye and world music master Mercan Dede to the delight of music aficionados everywhere.
His recording ‘The Joy of Clarinet’ focuses in on the instrument itself, which with a sound resembling the human voice, is the medium for expressing musically hopes and yearnings of centuries. Soothing listeners with its fusion of ancient gypsy soul and modern chillout, the album is evocative and enticing, displaying exactly why the clarinet has become a much-loved part of the Turkish musical landscape.
This recognition has afforded him the opportunity to perform internationally at concerts like EXPO-2001 in Germany, supported by the Turkish Ministry of Tourism; New York, Central Park concert within the framework of Mayfest festival 2002; and the concerts he gave, in July 2002, with his 35 member Laco Tayfa Big Band during Istanbul Jazz Festival.
Hossein Alizadeh, born in Tehran (Iran) in 1951, studied with various masters of traditional Persian music including Ali Akbar Khan Shahnazi, Nur Ali Borumand, Abdollah Davami, Mahmood Karimi, and Houshang Zarif.
He further expanded his formal education by studying composition and musicology at the University of Berlin. Alizadeh was awarded a position with the National Orchestra of Iran and later became the conductor and soloist of the Iranian National Radio and Television Orchestra.
He founded the Aref Ensemble and performed with the Shayda Ensemble, both dedicated to the promotion and advancement of Iranian classical music, and participated in the orchestra of the Bejart Ballet Company in a performance of Gulistan by Maurice Bejart.
In 2000, the Ministry of Culture in Iran declared him to be the best contemporary artist. He has composed many works of contemporary and neo-classical Iranian music and published a number of etudes for tar and setar.
Notable works include Hessar, Ney Nava and Song of Compassion, as well as film scores for Gabbeh, A Time for Drunken Horses and Turtles Can Fly. In addition, he recorded the entire body of the radif based on the interpretation of Mirza Abdollah.
He has performed extensively throughout the United States of America, Europe and Asia and taught at the University of Tehran, Tehran Music Conservatory and the California Institute of the Arts.
His album Endless Vision received a Grammy nomination for Best World Music Album of 2006.
in 2016 he toured with percussionist Pejman Hadadi.
* Nava (Mahoor Institute, 1976)
* Paykubi (Mahoor Institute, )
* Chahargah & Bayat-e Tork (Mahoor Institute, )
* Savaran-e Dasht-e Omid (Riders of the Plain of Hope)(1977)