Eqbâl Âzar Ensemble: Âvâ-ye Homâyun (Persian Classical Music)

Eqbâl Âzar Ensemble:

Karim Sâleh Azimi, vocals
Hamid Sokuti, târ and setâr
Farid Mozaffarzâdeh, tombak
Esmâ‘il Safari, santur
Shahrâm Sâremi, kamâncheh
Kerâmat Aslâni, ney

Eqbâl Âzar Ensemble, headed by Karim Sâleh Azimi, has largely contributed to the preservation of the style presented by the late Ostâd Eqbâl Âzar in recent concerts. Ostâd Karim Sâleh Azimi after succeeding in numerous musical competitions in Iran as well as abroad has decided to perform dastgâh-e Homâyun for this release. As a disciple of Eqbâl Âzar and Abdollâh Davâmi, he has tried to use the melismatic figurations called tahrir in Persian classical music, and the concept of form and expressiveness of his masters in combination with his individual style.

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Karim Sâleh Azimi (Tabriz, 1946) From an early age he was interested in Persian classical music and especially in the art of singing. He was rewarded with a very beautiful voice and many connoisseurs including the late Ostâd Mahmud Franâm introduced him to the late Ostâd Eqbâl Âzar, to learn by him the vocal radif and style of singing. Sâleh Azimi is the sole representative of Âzar’s style among his contemporaries. After the death of his master he was invited to Tehran and continued his studies with Ostâd Abdollâh Davâmi. Sâleh Azimi has worked with the music center of Iranian broadcasting, the Center for Preservation and Propagation of Persian Classical Music since early 1980s and has taught numerous pupils most of them still active in this field. His many programs in Iran and also abroad have been received widely with acclaim. Kerâmat Aslâni (Tehran, 1940) He started his career by playing ney-labak (a type of small flute in Iranian music) and studied music theory and practice with Mr. Shâhsamandi. He collaborated with Shirâz Radio and Television and completed radif of Ostâd Sabâ under the leadership of Ostâd Tajvidi. Aslâni began to work with Ostâd Pâyvar. In the Center for Preservation and Propagation of Persian Classical Music he taught as well as being taught by Ostâd Safvat, Ostâd Kasâi and the late Mahmud Karimi. He has given few concerts abroad. Shahrâm Sâremi (Tehran, 1963), kamâncheh He studied basic elements of music with his brother, Jahânshâh Sâremi. Early lessons of kamâncheh with Hâdi Montazeri led him to advanced level studies with Ostâd Asqar Bahâri to finish his courses. Sâremi began his public career in 1988. He has graduated from Herat University in music and has composed pieces for the ensemble of Persian instruments. He teaches now at music schools in Iran. Hamid Sokuti (Rey, 1965), târ and setâr He began to study setâr with Atâ Janguk and was advised by Mas‘ud Sho‘âri. His other masters were Moh.-R. Lotfi, Dâryush Talâi, Majid Kiâni, Mehdi Kamâliân and, at last but not least, Hossein Alizâdeh. Sokuti teaches as well as giving concerts. Farid Mozaffarzâdeh (1954), tombak Early studies in Urumiyeh and Sâri. He was especially interested in târ and tombak and began to learn music seriously since 1980 in Tehran. He has graduated from Faculty of Fine Arts at the Tehran University and has perfected his technique with such masters as Atâ Janguk, Arshad Tahmâsbi, Hossein Alizâdeh, Dâryush Talâi and Moh.-R. Lotfi. He studied tombak for one year with the late Nâser Farhangfar. Esmâ‘il Safari (1965), santur After early music studies with Kiumars Pirgalu and Farzâneh Noshâd, he studied radif of Mirzâ Abdollâh and radif of Sabâ with Mas‘ud Shenâsâ. At the same time he spent two years studying with Ostâd Farâmarz Pâyvar. Majid Kiâni, Parviz Meshkâtian, Moh.-R. Lotfi, Moh.-R. Darvishi and Parviz Mansuri are among his other masters. He is now engaged in music performance among his other preoccupations.

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