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I finally received my copy of this album by Iranian guitarist Pouya Mahmoudi. Boomer guests on two cuts on the record, cut one titled SI Pareh and cut six called Bamdad.
I listened to the whole album to give it a fair review. Overall, I liked the playing instrumentally but every song had vocals, which were all sung in his language. I'm not sure which one because there are several, like Farsi. While the singing was okay, it made the record less enjoyable for me. I would have liked at least one or two instrumental cuts.
From what I gather , this is pretty cutting edge stuff for that region, and it's very difficult to perform outside the traditional and religious music that area generates, so I give him kudos for coming out with a rock- oriented album. And kusos to boomer for once again exploring another musical culture for us to enjoy.
the better of the two cuts from my perspective was Si Pareh because it was in an odd time signature, which changed thruout the piece. Boomer's playing was great, as always, but there were no solos on either of the pieces.
I'm curious as to whether Boomer was actually in the studio recording with Pouya, as his parts were recorded at a studio in Switzerland. So he may have just had the parts sent to him, and then added his drums. That seems to be happening a lot nowadays.
If you're a hard core collector like me, then you have to have this CD. Otherwise it might not be worth it to you to purchase it. Peace, TED
Here's a review from the arab American News I'm adding which I just read.
Art & Culture
Cross-over music good, but lacks anger
By Ali Moossavi - The Arab American News
Friday, 04.04.2008, 04:05pm
One of the most unfortunate drawbacks of the 1979 Iranian Revolution was the suppression of creativity and artistic freedom in the name of Islamic purity, as Ayatollah Ruhollah Khomeini cemented theocratic rule over an increasingly frustrated populace. In recent years, some of the rules governing the purchase of Western pop music and specifically how young people dress and interact have relaxed and the feared Komiteh's presence on the streets has been scarce.
The theocrats still rule, and they continue to maintain their influence in all spheres of life and the frustrations of the people continue to remain at a steady simmer until the right catalyst comes along to boil things over.
Until then, Iranians, especially youth, will continue to deal with it in their own ways, and many musicians continue to create while trying to avoid the watchful eyes of the Islamic Republic. Most do their music outside of Iran, and one of those is Pouya Mahmoodi, whose debut CD, "Mehr," combines classic Persian music with Western rock and jazz.
Despite the songs being sung in Farsi, the CD booklet explains the influences and the title, which "has several meanings in Persian culture," including the Goddess Mehr, and love, sun, angel of light, guardian of pact and goddess of light.
Love, in fact, is the guiding force behind Mahmoodi's album, "love in all its forms, from intimately romantic to profoundly spiritual," according to the press release. With guest drummer Billy Cobham, co-founder of the Mahavishnu Orchestra, the music is an intricate weave of multiple genres and influences, as rock guitar moves to a Persian rhythm in an easy listening format that any fan of Michael Bolton would appreciate.
Just once, however, it would be nice to hear some angry, defiant punk rock in Farsi, railing against both the Islamic Republic and American hegemonic designs in the Middle East. Harsh music to reflect a harsh reality that doesn't care about building cultural bridges but rejecting the world with a middle finger in the air would be a nice change of pace from the usual cross-over music.
I listened to the whole album to give it a fair review. Overall, I liked the playing instrumentally but every song had vocals, which were all sung in his language. I'm not sure which one because there are several, like Farsi. While the singing was okay, it made the record less enjoyable for me. I would have liked at least one or two instrumental cuts.
From what I gather , this is pretty cutting edge stuff for that region, and it's very difficult to perform outside the traditional and religious music that area generates, so I give him kudos for coming out with a rock- oriented album. And kusos to boomer for once again exploring another musical culture for us to enjoy.
the better of the two cuts from my perspective was Si Pareh because it was in an odd time signature, which changed thruout the piece. Boomer's playing was great, as always, but there were no solos on either of the pieces.
I'm curious as to whether Boomer was actually in the studio recording with Pouya, as his parts were recorded at a studio in Switzerland. So he may have just had the parts sent to him, and then added his drums. That seems to be happening a lot nowadays.
If you're a hard core collector like me, then you have to have this CD. Otherwise it might not be worth it to you to purchase it. Peace, TED
Here's a review from the arab American News I'm adding which I just read.
Art & Culture
Cross-over music good, but lacks anger
By Ali Moossavi - The Arab American News
Friday, 04.04.2008, 04:05pm
One of the most unfortunate drawbacks of the 1979 Iranian Revolution was the suppression of creativity and artistic freedom in the name of Islamic purity, as Ayatollah Ruhollah Khomeini cemented theocratic rule over an increasingly frustrated populace. In recent years, some of the rules governing the purchase of Western pop music and specifically how young people dress and interact have relaxed and the feared Komiteh's presence on the streets has been scarce.
The theocrats still rule, and they continue to maintain their influence in all spheres of life and the frustrations of the people continue to remain at a steady simmer until the right catalyst comes along to boil things over.
Until then, Iranians, especially youth, will continue to deal with it in their own ways, and many musicians continue to create while trying to avoid the watchful eyes of the Islamic Republic. Most do their music outside of Iran, and one of those is Pouya Mahmoodi, whose debut CD, "Mehr," combines classic Persian music with Western rock and jazz.
Despite the songs being sung in Farsi, the CD booklet explains the influences and the title, which "has several meanings in Persian culture," including the Goddess Mehr, and love, sun, angel of light, guardian of pact and goddess of light.
Love, in fact, is the guiding force behind Mahmoodi's album, "love in all its forms, from intimately romantic to profoundly spiritual," according to the press release. With guest drummer Billy Cobham, co-founder of the Mahavishnu Orchestra, the music is an intricate weave of multiple genres and influences, as rock guitar moves to a Persian rhythm in an easy listening format that any fan of Michael Bolton would appreciate.
Just once, however, it would be nice to hear some angry, defiant punk rock in Farsi, railing against both the Islamic Republic and American hegemonic designs in the Middle East. Harsh music to reflect a harsh reality that doesn't care about building cultural bridges but rejecting the world with a middle finger in the air would be a nice change of pace from the usual cross-over music.
Last edited by Ted E. Bear on Fri Apr 04, 2008 10:24 pm; edited 1 time in total (Reason for editing : found more to add !)
