Tag Archives: Azam Ali

Artist Profiles: Azam Ali

Azam Ali

Azam Ali is internationally recognized for her work with Vas and Niyaz. Vas was the critically-acclaimed, best selling, world music duo she co-founded in 1996 with percussionist Greg Ellis. From 1997- 2004 Vas released four albums on the Narada label. Their music, which they described as “alternative world,” focused mainly on the ancient relationship between the drum and voice.

Their distinct cinematic sound blended influences of Indian, Persian, Western and other musical styles into a unique configuration that transcended categorization and cultural specificity. Though in their early days Vas drew many comparisons to Dead Can Dance, they patiently surpassed that comparison with each album they released, earning them their place in the musical hierarchy of bands whose innovation set a standard to which others to aspire.

In 2002 Azam released her first self produced highly successful solo album, Portals of Grace, which featured her singing renditions of ancient Western European medieval songs. Azam?s exceptional voice and emotive performances on this album earned her much critical acclaim and once and for all solidified her place as a highly respected singer in the World music scene.

Azam Ali, who resided in Los Angeles for several years, was born in Tehran, Iran and grew up in India from the age of four in the small town of Panchgani, a beautiful hill station in the state of Maharashtra. There she attended an international co-educational boarding school for eleven years, all the while absorbing India’s rich music and culture throughout her formative years.

The course Azam would eventually choose in her life would be very much influenced by her fortuitous upbringing in a school that emphasized the importance of the arts and spirituality, and aimed through moral and academic excellence, to produce promoters of social transformation imbued with the spirit of service to humanity. It is this objective that would take shape in Azam’s music in the coming years.

The Iranian revolution of 1979 changed the course of Azam’s life as it did for many other Iranians. Unwilling to bring her daughter back to a country filled with uncertainty, her mother decided to give up her home, and together they moved to America in 1985 when Azam was just a teenager.

Shortly after moving to the United States, Azam fell in love with the Persian santur (hammered dulcimer) and it became clear to Azam that she wanted to pursue a career in music.

Though she had an innate gift for singing since she was a child and sang often at home and school functions, Azam had no particular interest in becoming a vocalist. She had her heart set on becoming an instrumentalist and so began studying the santur under the guidance of Persian master Manoocher Sadeghi.

During the eight years of her extensive studies with Ustad Sadeghi in which she became an accomplished hammered dulcimer player, Azam began to realize that she was unable to express the full range of emotions she experienced through her instrument. It was during one of these lessons that her teacher heard her sing for the first time. Completely taken, he told her that her voice had a rare emotional quality about it which should be cultivated and nurtured. It was through his encouragement that Azam began to explore her voice as the vehicle through which she would finally be able to fully express herself.

While pursuing formal training in various vocal traditions like Western classical, Indian, Persian, and Eastern European, Azam’s true passion has been to explore the immense potential of the human voice, specifically its capability to transcend language, cultural, and spiritual barriers when expressing pure emotion. When asked about her approach to singing Azam explains, “What intrigues me most about the human voice is its ability to make all things transparent through its power of transformation. The voice is not just a conduit for words. For me it is like an abstract dream in which everything makes perfect sense.”

I am pertinacious in my need to expand. By nature, I am not one who can physically remain in one place for too long. I imagine that is the case because I have been transplanted enough times in my life that I am well aware of the influence the external environment has on the inner one, and how that can affect perception. So naturally, my music is going to reflect this inability to remain static, and this inability to identify myself with just one specific culture.

I think of all the different music that I have done and will continue to do almost as photographs of my evolution, and just like photographs, in some I may look great and in some I may not. What matters to me is that I risk, I, trust, I strive, and let things unfold as they may.”

The following is Azam Ali’s description of her solo work, Portals of Grace.

Having been born in Iran and grown up in India, my introduction to the music of Medieval Europe came a little after 1985 when I arrived in the United States. What initially struck me about the music was how similar the melodic sensibility was to the music of my heritage. I could not help but feel the same shudder of awe when I first heard the music of Hildegard Von Bingen as I did when I was a child walking by temples in India and hearing prayers and chants sung through the sound of ringing bells. I felt that even though the musical approach was quite different due to cultural differences, the root desire of the music, to commune with God and sing his praises, evoked the same sentiments. At times I feel this music strikes a chord within me that is as old as my soul itself and transcends the confines and myths of illusory time and space.

It is hard for me to regard this body of work as a solo debut, given that these are all traditional pieces which have been around since before my lifetime and have been interpreted or recorded by numerous musical theorists and performers. I think of this album rather as a small detour from my work with Vas, not only to pay tribute to some of the music and composers that have inspired me on my musical journey, but to explore through these compositions the correlation between the music of Medieval Europe and the music of the Arab world.

Although any evidence as to the influence of Arabic music on the music of Medieval Europe proves to be highly ambiguous, there are many that believe the influence was great. Albeit, there are many purists who dispute this theory thus shying away from introducing any Arabic elements into their work. All this having been said, it is important to note that the evidence with respect to the true performances of some of these pieces, is veiled in the mystery of that time thus leaving much room for the numerous interpretations and theories that exist.

My intent was to give this music a contemporary feel in hopes of exposing its beauty to people who with absolutely no reference point may find the more purist, academic approach to be too austere or inaccessible. However, having a vast collection of Medieval music myself, I highly encourage anyone who responds to the works here to seek out the source of where this music comes from and to discover this magnificent treasure trove of our human legacy. It is for this reason I decided to show the many colors of Medieval music by uniting the works of various regions and composers on one canvas.

But mainly my desire to do this project was born of a need to communicate with this music in my own way; to honor the memory and echo the sentiments of all the magnificent voices that have sung these songs throughout the ages and kept them alive for all of us. I have abandoned all rules and restrictions in order to interpret these songs and chants in a way most natural to me and have sung them as honestly as possible, given that I do not speak the languages represented.

I believe that all artistic creation is a direct response to an innate call each artist receives. Sometimes that call comes in the form of nature, love, an experience etc., but for me that call has most often come in the form of music. I am constantly interacting with the music that I discover and love. I see this interplay as an ongoing dialogue and a longing in our quest for the divine. In Medieval times the voice was regarded in the highest esteem, above all other instruments, for it reflected the purest image of God. I share this sentiment in that for me singing and praying are one in the same.

I see the human voice as a reflection of our truest self that is within us, through which we can mirror forth, either through prayer or song, the beauty and the Grace of God.”

Azam’s immense talent and ability to adapt her voice to any musical style have drawn the attention of many diverse artists and film composers. Azam has collaborated in the studio and on stage with numerous artists: Serj Tankian of System of a Down, The Crystal Method, Pat Mastellato and Trey Gunn of King Crimson, Dredg, Chris Vrenna formerly of Nine Inch Nails, Ben Watkins of Juno Reactor, Buckethead, Steve Stevens, film composer Tyler Bates, Mercan Dede, the world renowned Japanese group Kodo, Zakir Hussain, Omar Faruk Tekbilek, and Mickey Hart with whom she also toured for two years as a lead singer in his group Bembe Orisha.

Loga Ramin Torkian and Carmen Rizzo were Azam’s original collaborators in her latest musical venture, Niyaz. Released on Six Degrees Records, the debut album Niyaz blended ancient Persian and Urdu Sufi poetry, rich acoustic instrumentation, and modern electronics.

Although originally formed in California in 2004, Niyaz is currently based in Montreal, Canada. The most recent version of Niyaz features Loga Ramin Torkian and Azam Ali.

Azam’s distinctive voice can also be heard on numerous film and television scores among which include Matrix Revolutions, Godsend, Papparazi, 300, Children of Dune, Earthsea, Dawn of the Dead, Alias, and The Agency.

Discography:

Solo albums

Portals of Grace (Narada, 2002)
Elysium for the Brave (Six Degrees, 2006)
Green Memories (Lilasound, 2008)
From Night to the Edge of Day (Six Degrees, 2011)
Lamentation of Swans – A Journey Towards Silence (Terrestrial Lane Productions, 2013)

With Vas

Sunyata (Narada World, 1997)
Offerings (Narada World, 1998)
In the Garden of Souls (Narada World, 2000)
Feast of Silence (Narada World, 2004)

With Niyaz

Niyaz (Six Degrees, 2005)
Nine Heavens (Six Degrees, 2008)
Sumud (Six Degrees, 2012)
Sumud Acoustic EP (Six Degrees, 2013)
The Fourth Light (Six Degrees, 2015)

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Artist Profiles: Vas

Vas

Vas the Latin word for vessel was a collaboration between Persian born vocalist Azam Ali and American percussionist Greg Ellis. They met at a Master Musicians of Jajouka concert at the University of California-Los Angeles (UCLA) in 1995 and at an impromptu gathering afterward they heard each other perform for the first time. There was instant recognition of a shared vision and they began creating music together the very next day. Within a year they signed to the Narada label and went on to release five acclaimed albums three as Vas and two solo projects.

The duo spent much of 2001 and 2002 recording and releasing solo projects and doing extensive touring with Mickey Hart’s band Bembe Orisha.

Azam Ali and Greg Ellis can be heard as featured performers along with Laxmi Shankar (vocals) and Deepak Ram (bansuri flute) on the end title track by Juno Reactor’s Ben Watkins on the major motion picture release The Matrix Revolutions.

After Vas, Azam Ali later formed a new group called Niyaz.

Discography:

Sunyata (Narada World, 1997)
Offerings (Narada World, 1998)
In the Garden of Souls (Narada World, 2000)
Feast of Silence (Narada World, 2004)

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‘A World In Trance’ Music Series in New York City

‘A World In Trance’, a 3-day festival featuring the spellbinding music of Zimbabwe, Iran, Pakistan and India will take place April 29-30 in New York City at Roulette.

This year’s series includes mbira music of Zimbabwe with masterful musician Chartwell Dutiro (April 28); enthralling 21st century trance world music with Niyaz featuring captivating vocalist Azam Ali (April 29); and exhilarating interpretations of Sufi qawwali with the US-based Riyaaz Qawwali (April 30).

Friday, April 28, 2017 8:00 p.m.
Chartwell Dutiro
Voices of the Ancestors: Mbira Music of Zimbabwe

Saturday, April 29, 2017 8:00 p.m.
Niyaz featuring Azam Ali
21st Century Global Trance Music

Sunday, April 30, 2017 7:00 p.m.
Riyaaz Qawwali
Sufi Music of Pakistan & India
Roulette

509 Atlantic Ave at 3rd Ave near BAM & Barclays Center, Downtown Brooklyn
Tickets: roulette.org, 917-267-0363
More at www.aworldintrance.com

headline photo: Niyaz

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Under the Spell of Azam Ali

Azam Ali - From Night to the Edge of Day
Azam Ali

From Night to the Edge of Day (Six Degrees Records, 2011)

Azam Ali’s hauntingly lovely voice should be a familiar one considering her collaborations with Mickey Hart, System of a Down, King Crimson, Nine Inch Nails and a film score credit on the blockbuster 300. Stepping out for a solo recording from her work as part of the trio Niyaz, Ms. Ali has chosen a series of Azerbaijani, Iranian, Lebanese and Turkish lullabies for From Night to the Edge of Day. Drawing from her own experience as a new mother, Ms. Ali has delved deep into the dream world, past and present, a place where mothers’ wishes float down onto the heads of their children.

Collecting lullabies from minority communities often oppressed or conflict afflicted areas from across the Middle East, Ms. Ali explains, “You go to the Middle East, and the West is blamed for everything. However, many of our problems stem from our own way of thinking, from cultural divisions, interethnic conflict. No matter what culture you are, we are all the same at the core. Lullabies communicate this. And that perspective alone can change a lot of things.”

Expertly produced and richly worked, From Night to the Edge of Day is both soulful and mournful without any a single shred of saccharine sweetness sometimes found on other lullaby recordings. Sophisticated, lush compositions unfold through a tapestry of vocals and a lineup of first class musicians, making this From Night to Edge of Day a soothing delight for the restless baby in each of us.

Wrapped up in the brightly colored exoticism of santur, oud, violin, electric saz, drones, frame drum, riqq and bender against Ms. Ali’s stunning vocals, From Night to the Edge of Day flows both profound with meaning and sweet with expression throughout the Iranian lullaby “Noor,” the traditional Turkish lullabies “Dandini” and “Neni Desem” and the inexpressibly lovely “Shirin,” a traditional lullaby from Azerbaijan. Equally wonderful are “Mehman,” lyrics taken from a traditional Iranian text, and the Kurdish lullaby “Lai Lai” with Ms. Ali composing the music for both.

It’s impossible not to fall under the spell of Ms. Ali’s vocals or the sumptuous feel of these remarkable lullabies. Through these lullabies From Night to the Edge of Day captures the soulfulness of every mother’s love.

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Azam Ali Records Middle Eastern Lullaby Album

Azam Ali – From Night to the Edge of Day

Iranian singer Azam Ali has recorded a new album where she explores Iranian, Turkish, Lebanese, and Kurdish lullabies. From Night to the Edge of Day will be released by Six Degrees Records on April 12, 2011.

The Iranian-born, Indian-raised vocalist makes traditional and newly composed songs smolder with dreamy longing, with the grief of exile in a conflict-riven world, and with a keen edge of hope.

The birth of my son was bittersweet,” singer Azam Ali reflects. “He would never meet a large part of his family. And he was not alone in this: So many children are born in diaspora, so innocent in all this. Yet they suffer the consequences of turmoil in the world.”

The first night of her son’s life, Azam Ali began to sing. “I was in shock, staring at this little person,” Ali recalls. “I realized singing was the best way to communicate with him, without language. There’s something profound about singing to a child, which is why women have done it for thousands of years.”

Ali has collaborated with everyone from Mickey Hart to System of a Down, with musicians from Nine Inch Nails and King Crimson. She has appeared in film scores including 2007 box office smash, 300. She has taken global sounds in new directions as part of Niyaz, with help from producer Carmen Rizzo (Seal, Coldplay).

Lullabies began coming to Ali from various sources. Friends returning from Iran brought her a collection of traditional lyrics, including texts in Farsi dialects that became tracks like “Mehman (The Guest).” Other friends from across the Middle East sang her classic favorites (the Turkish favorite “Dandini”) and obscure gems (the rarely-heard traditional Turkish song, “Neni Desem”). Her close friend, Palestinian oud player Naser Musa, spontaneously wrote a stirring lullaby for Ali’s son, after speaking with Ali about her project (“Faith”).

From Night to the Edge of Day features strings, Middle Eastern percussion, and contributions from virtuosic players like Musa.

Azam Ali – Photo by Austin Young

Ali chose lullabies from minority communities across the Middle East, such as Iraqi Kurds (“Lai Lai”) and the Azeris of Iran (“Shirin”), in a plea for peace and an end to conflict. “You go to the Middle East, and the West is blamed for everything. However, many of our problems stem from our own way of thinking, from cultural divisions, interethnic conflict,” Ali explains. “No matter what culture you are, we are all the same at the core. Lullabies communicate this. And that perspective alone can change a lot of things.”

To do this project, I worked with Kurds, Azeris, a Palestinian Christian, Iranians from all over,” recounts Ali. “You could write a book about each one of them, about their difficulties in life and their diaspora. It was a profound experience for me as person.”

From childhood, we are fed all these ideologies that end up shaping the way we view the world,” she says. “If our parents and society could feed us more enlightened ideology from childhood, it would have such an effect on how we grow up and see people.”

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Six Degrees Times Three

Jef Stott – Saracen
Jef Stott – Saracen (Six Degrees Records 657036 1146-2, 2008)

Sonantes – Sonantes (Six Degrees Records 657036 1148-2, 2008)

Niyaz – Nine Heavens (Six Degrees Records 657036 1150-2MJ, 2008)

Traditional music, roots music, indigenous music… whatever you choose to call it, it’s something to be preserved and respected. And woe to those seeking to modernize it so much that the original intent takes a back seat. San Francisco-based Six Degrees Records, while not exclusively a label specializing in releases that mix the old with the new, nonetheless has an impressive and growing roster of artists who do justice to such combinations.

Jef Stott is a name previously unknown to me, though he’s been making music for more than a decade. He certainly knows how to mess with beats, breaks, electronics and samples. Just as importantly and even more so, he plays a number of instruments and clearly understands that music is soulless without them.

Most of the players and singers he’s previously collaborated with are Middle Eastern, and his attempt to take what he gleaned from them and merge it with Bay Area-electronica succeeds smartly on Saracen. He sweetens sweeping electronic beats with Arabic and Turkish lutes, crisp percussion, fat bass and more, creating a consistently engaging flow laced with standout tracks like the Gnawa-tinged “Medina Stepper.” This Stott’s debut album, and his combination of instrumental expertise and producing prowess make it a very good one.

Sonantes – Sonantes
On the subject of debut releases, that of Brazilian vocalist CéU rightly earned much critical praise following its 2006 release. Sonantes isn’t her second album as such, though she sings on most of the tracks. Rather, the disc is an eponymously titled group effort featuring Sao Paulo music scene stalwarts Rica and Gui Amabis (both noted composers and studio tinkerers) along with Pupillo and Dengue, drums and bass team of the band Naçao Zumbi.

The music is at least partly rooted in bossa nova, though an anything-goes sonic approach makes every track different. You can hear something of the psychedelic approach that fueled Brazil’s Tropicalia movement, hints of samba, electronically-tempered funk, rock and jazz inclinations and above all a freewheeling sense of abandon stemming from the sheer joy of making music. It’s a magnificent mash of an album and my only gripe is that, at just over 35 minutes, it’s too short (possibly the result of the participants having other commitments).

I managed to miss out on Niyaz ’s 2005 first album, and given how stirring their new Nine Heavens is, perhaps I should do some backtracking. But first a few more words about Nine Heavens (to be released on June 24th): it’s rooted, as an increasing number of musical projects seem to be nowadays, in the mystical poetry of Sufism. With the great mystic poet Rumi getting his due all over the place, Niyaz (comprised of Persian-American vocalist Azam Ali, multi-instrumentalist Loga Ramin Torkian and producer/programmer/keyboard player Carmen Rizzo) instead turn their attention toward 13th century mystic Amir Khosrau Dehlavi, said to have invented the qawwali devotional music popularized by Nusrat Fateh Ali Khan, and the ghazal styled 18th century poems of Khwaja Mir Dard and Hali.

Niyaz – Nine Heavens
The source material is reflective of Niyaz ’s blending of Persian and Indian (and on this disc, a shade of Turkish) musical sensibilities, a connection apparent in cross-cultural similarities that are centuries old and here musically beautified with the same sort of passion that inspired those ancient mystics.

The most immediately striking thing about the album is Ali’s voice: her angelic, ghostly tones (which have served her well on previous solo projects and her work as half of the duo Vas) are at their strongest here and it doesn’t take long to realize how much of that strength is brought to the fore through a rich weave of string, percussion and wind instruments emboldened with cavernous modern production. It’s marvelous stuff, seeming to yearn for something just out of reach and yet grabbing hold of a spiritual clarity that’s alternately revving and calming. And the musical/cultural duality at work here is manifested in the way the songs are presented as well: there’s a second disc featuring nearly every track (minus, unfortunately, the trembling lullaby “Iman”) performed acoustically. But that doesn’t mean they’re subdued or lessened. Indeed, the acoustic versions are every bit as thunderous a combination of possessed dance rhythms and inward meditation as their plugged-in counterparts, and the seamlessness of the Persian/Indian fusion is even more striking. Highly recommended.

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Azam Ali’s Evocative Voice Graces the Big Screen and Television

Azam Ali
San Francisco (California), USA – Azam Ali has been busy lending her vocal talents to two highly anticipated films; 300 (Warner Brothers) and The Nativity Story (New Line Cinema). Ali has already built an impressive resume singing on film scores including Matrix Revolutions, Dawn of the Dead, Godsend, Paparazzi, and Children of Dune. In addition, her voice resonates on hit TV shows Alias, Prison Break, and most recently on the ABC miniseries The Path to 9/11, singing in Arabic and Urdu.

300, directed by Zach Synder (Dawn of the Dead), is based on Frank Miller’s (Sin City) acclaimed graphic novel retelling of the ancient Battle of Thermopylae in which King Leonidas (Gerard Butler) and 300 Spartans fought to the death against Xerxes and his massive Persian army. Ali worked with music composer Tyler Bates and contributed solo features, vocalization, and textural vocals throughout the film, which is due out in March 2007.

The Nativity Story, directed by Catherine Hardwicke (Lords of Dogtown, Thirteen) features Oscar nominees Keisha Castle-Hughes (Whale Rider) and Shoreh Aghdashloo (The House of Sand Fog). The plot follows the story of the Virgin Mary before the birth of Christ, and is scheduled for a December 2006 release. Award-winning composer Mychael Danna, who worked with Ali on two songs and vocalizing, is overseeing the score. Danna is recognized as one of the pioneers of combining non-Western sound sources with orchestral and electronic minimalism in the world of film music.

Using my voice to extend emotions on film and TV is a natural fit for me,” says Azam Ali. “This medium combines a visual stimuli to my voice, which helps audiences connect to the plot.” Azam’s film work comes hot on the heels of her critically acclaimed album, Elysium for the Brave, out now on Six Degrees. In addition to Azam’s solo work, she has reached successful heights as part of the Persian electronica outfit Niyaz, consisting of Axiom of Choice’s multi-instrumentalist Loga Ramin Torkian and producer Carmen Rizzo (Seal, Alanis Morisette, Paul Oakenfold), as well as one half of the duo Vas.

Buy Elysium for the Brave and Niyaz’s CD, Niyaz.

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Persian Roots Transformed into a World of Stratospheric Sensuality

Azam Ali – Elysium for the Brave

Azam Ali

Elysium for the Brave (Six Degrees Records, 2006)

Born in Iran and raised in India and the United States, Azam Ali is familiar name in world music as the lead vocalist of Vas and Niyaz, as well as a vocalist on such film scores of Children of Dune, Earthsea and Matrix Revolutions. With her second solo CD Elysium for the Brave, Ali ventures deeper into the ethereal with a voice that is both commanding and sensual.

Heavy with electronica, Ali’s English and Farsi vocals weave a delicious spell more intricate than the trail of incense through a bazaar. “Spring Arrives,” “In Other Worlds” and “The Tryst” are steeped in Ali’s Persian roots but are transformed into a world of stratospheric sensuality with synthesizers and that wide-open feel of Ali’s soaring voice.

Making something modern out of the combination of synthesizers, hammered dulcimer, frame drums, tabla, Turkish dhol, darbuka and electric guitars might be not so successful collaboration, but in Elysium for the Brave it works – it works overtime and it’s wonderful.

With her reputation and career on firm footing, Ali was able to command some first class collaborators on Elysium, including Trey Gunn from King Crimson, Chris Venna from Nine Inch Nails, Mercan Dede, Turkish composer and DJ, and world music devotee Mickey Hart. Carmen Rizzo’s synthesizer, programming and keyboard work makes the CD meaty while allowing Ali’s vocals to shine through the musical ebb and flow of electronic and Middle Eastern influences. Ali has stirred together both east and west, ancient and modern, sultry and soulful with Elysium for the Brave.

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Vas Vocalist Azam Ali Releases Elysium for the Brave

Azam Ali – Elysium for the Brave

Elysium for the Brave (Six Degrees Records), Azam Ali’s second solo album, signals a new turn in her musical evolution. The album, her most ambitious work to date, brings together musicians from varied musical backgrounds performing in diverse permutations. Singing predominantly in English for the first time, the songs are based on lyrics written by Azam herself and reveal a poetic lyricism heard only in glimpses of her previous works.

From the new CD’s opening track, “Endless Reverie,” it becomes immediately apparent that Ali has moved into new sonic territory. The frame drum pulse is familiar but the percolating synthesizer textures and haunting vocals sung in English take the song into a darkly beautiful place that exists between the worlds of electronic rock and global fusion. This terrain is also occupied by the tracks, “In Other Worlds,” “In this Divide” and ”Forty One Ways.”While electronics and programming abound on Elysium for the Brave, they are balanced throughout the CD with traditional instrumentation. The lafta and hand drums which propel “Spring Arrives” and the insistent ney flute which lends a haunting quality to “I Am a Stranger in this World” are examples of how organic and electronic instrumentation can beautifully co-exist. Despite the mix of ancient and modern instrumentation, Elysium for the Brave is a highly coherent body of work that weaves together all of Azam’s cultural and musical influences into a tapestry of atmospheric rock, electronic, and global sounds.

Helping to bring all of these diverse sounds together is a talented cast of musicians which includes King Crimson’s rhythm section of Trey Gunn and Pat Mastellotto, Persian classical violinist Kiavash Nourai, and noted film composers Tyler Bates and Jeff Rona, the latter of whom is known for his collaborations with Dead Can Dance.

Loga Ramin Torkian and Carmen Rizzo, Azam’s collaborators in her latest musical venture, Niyaz, have also lent their talents to this project. Released on Six Degrees Records, Niyaz’s debut blends ancient Persian and Urdu Sufi poetry, rich acoustic instrumentation, and modern electronics. Their CD has been hailed by critics worldwide as one of the most groundbreaking of its time. The album debuted at #1 on iTunes world music chart and remained there for numerous weeks, and it charted on Billboard’s world music chart for four consecutive weeks, peaking at #12.

Other recordings available:

 

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