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The Kâmkârs

The Kamkars are perhaps one of the most active yet accessible ensembles in Middle Eastern music. They fuse components off their Kurdish folk music traditions with conventions from Persian traditional music, using musical instruments from both. At nine music artists they are huge more than enough to constitute an orchestra, with the specifications of their area, and they’re unusual for the reason that their music generally adaptations of Kurdish like tracks using a few lullabies and patriotic tracks tossed in – is made up completely. This means you can find no interludes where a lot of the ensemble halts playing while a couple of members take part in an extended improvisation. The effect can be compact, dramatic tracks, frequently between four and eight mins, that are structurally similar to Western traditional music, with origins, climaxes and endings that American ears can easily enjoy. The Kamkars can be a family group ensemble, comprising seven brothers, one sister, and her boy from Samandaj, in northwest Iran. The eight siblings received their initial musical training off their dad Hassan Kamkar (1923-1991), a multi-instrumentalist, composer, collector of folk music and instructor. Hooshang (b. 1947) may be the musical movie director and analyzed music in Rome and SAN FRANCISCO BAY AREA. Bijan (b. 1949) may be the lead vocalist and generally takes on the daf, which may be the huge frame drum from the Kurds. Because of Bijan’s attempts, the daf is currently trusted in Persian music. Pashang (b. 1951) takes on the santur, which may be the Persian hammer dulcimer, and conducts the group in concert. Ghashang (b. 1953), the main one female in the ensemble, takes on the setar, which really is a long-necked lute. Arjang (b. 1956) takes on the tiny drum referred to as the tombak. Arsalan (b. 1960) takes on the oud (the precursor towards the lute ubiquitous in the Muslim globe), was initially violin in the Tehran Symphony Orchestra, and like the majority of of his brothers, is usually a composer in his personal correct. Ardeshir (b. 1962) takes on the kamancheh or spike fiddle. Ardavan (b. 1968), like Pashang, takes on the santur, that he is rolling out a fresh technique, located in part around the piano, and which he offers demonstrated in various original items. The youngest person in the ensemble is usually Omid Lotfi (b. 1977), who’s the child of Ghashang Kamkar and her spouse, the fantastic Persian musician, Mohammad Reza Lotfi. Omid takes on the tar, which really is a Persian lute. Due to range and diplomatic complications, a lot of the Kamkars’ music is usually difficult to acquire in the Western world. They released one record each with Lengthy Distance Information and RealWorld before putting your signature on with Kereshmeh Information, a California-based expert in Persian music. In 1999 they released on Kereshmeh not just a collection of tracks within their customary design known as Kani Sepi, but an record of music constructed by Hooshang Kamkar known as Chant of Drums specialized in an exploration of the heavilyrhythmic dervish music from the Sufis. Also in 1999 the group continued its initial American tour.

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