Selected Improvisations from Golha, Pt. II
Morteza Mahjubi
Selected Improvisations from Golha, Pt. II
Boomkat Product Review:
Second volume of utterly transfixing recordings made in Iran between 1956-1965, featuring Morteza Mahjubi using Persian microtonal scales to play traditionally European instrumentation, primarily the piano. Incredible work that hits somewhere between Harry Partch, Moondog and Dariush Dolat-Shahi.
Morteza Mahjubi's sound was developed from his special piano tuning system - Piano-ye Sonnati - that allowed him to play Persian dastgahs, microtonal and monophonic in nature, on the usually tonal, polyphonic Western piano. This second set follows up where its predecessor left off, collecting recordings made from Iranian national radio broadcasts.
Mahjubi would improvise on his piano regularly on the Golha radio shows, which explored Persian classical music and poetry on Iranian national radio until the revolution in 1979. Mahjubi was a frequent guest until his death in 1965, and these recordings were snipped from hundreds of hours of broadcasts, highlighting his virtuoso skill on the instrument, occasionally joined by faint tombak percussion or interspersed with poetry or voice.
If you're familiar with Persian classical music the compositions themselves won't surprise you, but the piano gives them an alien quality - they're familiar yet just unusual enough for the brain to jolt, in the best way. Mahjubi's Piano-ye Sonnati system renders the compositions as unusual, ageless and beautiful, while the ferric recording dissolves the sound with the resonant intention of something like the Disintegration Loops. There's nothing else out there quite like it - we could listen to an entire box set of this stuff - if you haven't already checked the first volume, do so immediately and come back for this wonderful encore.
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Boomkat Product Review:
Second volume of utterly transfixing recordings made in Iran between 1956-1965, featuring Morteza Mahjubi using Persian microtonal scales to play traditionally European instrumentation, primarily the piano. Incredible work that hits somewhere between Harry Partch, Moondog and Dariush Dolat-Shahi.
Morteza Mahjubi's sound was developed from his special piano tuning system - Piano-ye Sonnati - that allowed him to play Persian dastgahs, microtonal and monophonic in nature, on the usually tonal, polyphonic Western piano. This second set follows up where its predecessor left off, collecting recordings made from Iranian national radio broadcasts.
Mahjubi would improvise on his piano regularly on the Golha radio shows, which explored Persian classical music and poetry on Iranian national radio until the revolution in 1979. Mahjubi was a frequent guest until his death in 1965, and these recordings were snipped from hundreds of hours of broadcasts, highlighting his virtuoso skill on the instrument, occasionally joined by faint tombak percussion or interspersed with poetry or voice.
If you're familiar with Persian classical music the compositions themselves won't surprise you, but the piano gives them an alien quality - they're familiar yet just unusual enough for the brain to jolt, in the best way. Mahjubi's Piano-ye Sonnati system renders the compositions as unusual, ageless and beautiful, while the ferric recording dissolves the sound with the resonant intention of something like the Disintegration Loops. There's nothing else out there quite like it - we could listen to an entire box set of this stuff - if you haven't already checked the first volume, do so immediately and come back for this wonderful encore.
Boomkat Product Review:
Second volume of utterly transfixing recordings made in Iran between 1956-1965, featuring Morteza Mahjubi using Persian microtonal scales to play traditionally European instrumentation, primarily the piano. Incredible work that hits somewhere between Harry Partch, Moondog and Dariush Dolat-Shahi.
Morteza Mahjubi's sound was developed from his special piano tuning system - Piano-ye Sonnati - that allowed him to play Persian dastgahs, microtonal and monophonic in nature, on the usually tonal, polyphonic Western piano. This second set follows up where its predecessor left off, collecting recordings made from Iranian national radio broadcasts.
Mahjubi would improvise on his piano regularly on the Golha radio shows, which explored Persian classical music and poetry on Iranian national radio until the revolution in 1979. Mahjubi was a frequent guest until his death in 1965, and these recordings were snipped from hundreds of hours of broadcasts, highlighting his virtuoso skill on the instrument, occasionally joined by faint tombak percussion or interspersed with poetry or voice.
If you're familiar with Persian classical music the compositions themselves won't surprise you, but the piano gives them an alien quality - they're familiar yet just unusual enough for the brain to jolt, in the best way. Mahjubi's Piano-ye Sonnati system renders the compositions as unusual, ageless and beautiful, while the ferric recording dissolves the sound with the resonant intention of something like the Disintegration Loops. There's nothing else out there quite like it - we could listen to an entire box set of this stuff - if you haven't already checked the first volume, do so immediately and come back for this wonderful encore.
Boomkat Product Review:
Second volume of utterly transfixing recordings made in Iran between 1956-1965, featuring Morteza Mahjubi using Persian microtonal scales to play traditionally European instrumentation, primarily the piano. Incredible work that hits somewhere between Harry Partch, Moondog and Dariush Dolat-Shahi.
Morteza Mahjubi's sound was developed from his special piano tuning system - Piano-ye Sonnati - that allowed him to play Persian dastgahs, microtonal and monophonic in nature, on the usually tonal, polyphonic Western piano. This second set follows up where its predecessor left off, collecting recordings made from Iranian national radio broadcasts.
Mahjubi would improvise on his piano regularly on the Golha radio shows, which explored Persian classical music and poetry on Iranian national radio until the revolution in 1979. Mahjubi was a frequent guest until his death in 1965, and these recordings were snipped from hundreds of hours of broadcasts, highlighting his virtuoso skill on the instrument, occasionally joined by faint tombak percussion or interspersed with poetry or voice.
If you're familiar with Persian classical music the compositions themselves won't surprise you, but the piano gives them an alien quality - they're familiar yet just unusual enough for the brain to jolt, in the best way. Mahjubi's Piano-ye Sonnati system renders the compositions as unusual, ageless and beautiful, while the ferric recording dissolves the sound with the resonant intention of something like the Disintegration Loops. There's nothing else out there quite like it - we could listen to an entire box set of this stuff - if you haven't already checked the first volume, do so immediately and come back for this wonderful encore.
Back in stock
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Second volume of utterly transfixing recordings made in Iran between 1956-1965, featuring Morteza Mahjubi using Persian microtonal scales to play traditionally European instrumentation, primarily the piano. Incredible work that hits somewhere between Harry Partch, Moondog and Dariush Dolat-Shahi.
Morteza Mahjubi's sound was developed from his special piano tuning system - Piano-ye Sonnati - that allowed him to play Persian dastgahs, microtonal and monophonic in nature, on the usually tonal, polyphonic Western piano. This second set follows up where its predecessor left off, collecting recordings made from Iranian national radio broadcasts.
Mahjubi would improvise on his piano regularly on the Golha radio shows, which explored Persian classical music and poetry on Iranian national radio until the revolution in 1979. Mahjubi was a frequent guest until his death in 1965, and these recordings were snipped from hundreds of hours of broadcasts, highlighting his virtuoso skill on the instrument, occasionally joined by faint tombak percussion or interspersed with poetry or voice.
If you're familiar with Persian classical music the compositions themselves won't surprise you, but the piano gives them an alien quality - they're familiar yet just unusual enough for the brain to jolt, in the best way. Mahjubi's Piano-ye Sonnati system renders the compositions as unusual, ageless and beautiful, while the ferric recording dissolves the sound with the resonant intention of something like the Disintegration Loops. There's nothing else out there quite like it - we could listen to an entire box set of this stuff - if you haven't already checked the first volume, do so immediately and come back for this wonderful encore.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Second volume of utterly transfixing recordings made in Iran between 1956-1965, featuring Morteza Mahjubi using Persian microtonal scales to play traditionally European instrumentation, primarily the piano. Incredible work that hits somewhere between Harry Partch, Moondog and Dariush Dolat-Shahi.
Morteza Mahjubi's sound was developed from his special piano tuning system - Piano-ye Sonnati - that allowed him to play Persian dastgahs, microtonal and monophonic in nature, on the usually tonal, polyphonic Western piano. This second set follows up where its predecessor left off, collecting recordings made from Iranian national radio broadcasts.
Mahjubi would improvise on his piano regularly on the Golha radio shows, which explored Persian classical music and poetry on Iranian national radio until the revolution in 1979. Mahjubi was a frequent guest until his death in 1965, and these recordings were snipped from hundreds of hours of broadcasts, highlighting his virtuoso skill on the instrument, occasionally joined by faint tombak percussion or interspersed with poetry or voice.
If you're familiar with Persian classical music the compositions themselves won't surprise you, but the piano gives them an alien quality - they're familiar yet just unusual enough for the brain to jolt, in the best way. Mahjubi's Piano-ye Sonnati system renders the compositions as unusual, ageless and beautiful, while the ferric recording dissolves the sound with the resonant intention of something like the Disintegration Loops. There's nothing else out there quite like it - we could listen to an entire box set of this stuff - if you haven't already checked the first volume, do so immediately and come back for this wonderful encore.
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Boomkat Product Review:
Second volume of utterly transfixing recordings made in Iran between 1956-1965, featuring Morteza Mahjubi using Persian microtonal scales to play traditionally European instrumentation, primarily the piano. Incredible work that hits somewhere between Harry Partch, Moondog and Dariush Dolat-Shahi.
Morteza Mahjubi's sound was developed from his special piano tuning system - Piano-ye Sonnati - that allowed him to play Persian dastgahs, microtonal and monophonic in nature, on the usually tonal, polyphonic Western piano. This second set follows up where its predecessor left off, collecting recordings made from Iranian national radio broadcasts.
Mahjubi would improvise on his piano regularly on the Golha radio shows, which explored Persian classical music and poetry on Iranian national radio until the revolution in 1979. Mahjubi was a frequent guest until his death in 1965, and these recordings were snipped from hundreds of hours of broadcasts, highlighting his virtuoso skill on the instrument, occasionally joined by faint tombak percussion or interspersed with poetry or voice.
If you're familiar with Persian classical music the compositions themselves won't surprise you, but the piano gives them an alien quality - they're familiar yet just unusual enough for the brain to jolt, in the best way. Mahjubi's Piano-ye Sonnati system renders the compositions as unusual, ageless and beautiful, while the ferric recording dissolves the sound with the resonant intention of something like the Disintegration Loops. There's nothing else out there quite like it - we could listen to an entire box set of this stuff - if you haven't already checked the first volume, do so immediately and come back for this wonderful encore.
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