Mohammad Mostafa Heydarian: Noor-e Vojood

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From the Press Release:

“Centripetal Force (North America), Cardinal Fuzz (UK), and Radio Khiyaban (Europe) are excited to announce Mohammad Mostafa Heydarian's second album Noor-e Vojood. The album is being presented digtial;y, as well as a 500 copy vinyl pressing. The album will be made available for preorder on January 24. Its release date is March 7.”

Some of you might remember the weekly global music podcast I did for a year, The Global Elite Music Radio Podcast Supershow. Most of you have probably never heard of it. The main idea behind it was that one of the ways we can overcome Xenophobia is by listening to a culture’s music. Over the course of 52 30-minute episodes, we explored music from all over the world. My horizons expanded and my tastes deepened.

I particularly came to love many forms of non-Western classical music such as Indian and Persian. Being a psychedelic fan, I have also been drawn to what many might call psychedelic-adjacent music. This often falls under the category of ritualistic or spiritual music in. many cultures, where repetition plays a key role (think whirling dervishes, etc.). It’s not intentionally projected as “psychedelic music,” but psychedelic music fans will find much to love; particularly instrumental music that is able to communicate deep truths and emotion.

Though I was not familiar with Mohammad Mostafa Heydarian at the time, he certainly would have been featured. Playing the tanbur (or tambur) is a form of long-necked lute used in many folk traditions. While Heydarian’s first album was built largely around improvisation, his second album incorporates tighter structure while still highlighting the playing of a musician at the top of their game.

Noor-e Vojood translates as “the light of existence” and you can feel this theme throughout these six tracks. Powerful, propulsive, and meditative, and joyful. Noor-e Vojood cements Mohammad Mostafa Heydarian’s place as an artist to watch.

  • Support Mohammad Mostafa Heydarian at Bandcamp

  • Visit the Centripetal Force website

  • Visit the Cardinal Fuzz website

  • Visit the Radio Khiyaban website

Ali Akbar Khan: Live from Delhi (1981)

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Today we feature a 1981 concert from Sarod master Ali Akbar Khan in Delhi.

I originally got this recording in my tape-trading days by mistake. I was doing a big trade with a guy, like 10-12 shows. Mostly jazz/funk/groove/jam type stuff (Medeski Martin and Wood, Galactic, Greyboy Allstars, that kind of thing). When the other package arrived, there was one unmarked CDR. I e-mailed the guy and asked what it was because when I put it in my player, no information came up. The other person said they had not meant to that CDR to be in my box, it was supposed to go to someone else, but that it was a recording of Ali Akbar Khan in concert.

In all honesty, I was not ready for this music then and the CDR sat in a pile for years. Then, one day a few years ago, as my musical palette was expanding, I not only pulled out the concert but looked it up online to learn more. The fantastic Flat, Black, and Classical came to the rescue with a full-write-up! Included in their piece are the following observations and details:

The two pieces on this cassette almost sound like two different concerts (which could be the case). An alternative explanation for the differences in aural character between the two is that adjustments at the mixing desk were made during the show, which can often occur.

The first piece is an alap and jod section of Raga Miyan ki Malhar. This has a slightly dull upper end and some minimal distortion at the dynamic peaks. I would have though it was an issue with azimuth adjustment, but the fact is that the second piece sounds more full and with a crisp upper end in comparison. Because of the way cassettes are made, a cut had to be made in the longer piece so that the sides were about equal in timing. The first section of Raga Desh Malhar is on the same side of the tape as the entire alap and jod of Raga Miyan Ki Malhar, but sounds exactly like the rest of the raga on the other side of the tape. So it was not a case of one side of the tape being played with incorrect azimuth. I stitched together the longer piece in a way that is noticeable but not jarring.
Overall, it is an extremely enjoyable live performance from Ali Akbar Khan and tabla maestro Shankar Ghosh, who unfortunately died in late January of this year.


Ali Akbar Khan: Sarod
Shankar Ghosh: Tabla

Side 1: Raga Miyan Ki Malhar: alap and jod
Side 2: Raga Desh Malhar: gats in vilambit (slow) teentaal and medium

I don’t know where your musical palette is at these days, but I highly recommend serenading your Quarantine with some Sarod.