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Artist......: Hafez Modirzadeh
Album.......: Facets
Label.......: Pi Recordings
Genre.......: Jazz
Catnr.......: PI87
Source......: CD
Rip.date....: 2021-03-05
Str.date....: 2021-03-05
Quality.....: 461 kbps avg / 44.1kHz / 2 channels
Url.........: http://hafezmodirzadeh.bandcamp.com
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\ / # title time \ /
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1. Facet Taborn 2:13
2. Dawn Facet 1:55
3. Facet 27 Light 3:05
4. Facet 28 Nora 1:54
5. Facet 29 Night 3:35
6. Facet 34 Defracted 3:45
7. Ask Me Now 3:50
8. Facet Sorey 5:12
9. Facet 31 Woke 7:13
10. Ebb Facet 3:53
11. Facet 33 Tides 3:27
12. Flow Facet 2:46
13. Pannonica 3:49
14. Facet BB 4:27
15. Facet 35 Ode B'kongofon 3:05
16. Facet 32 Black Pearl 1:44
17. Facet 39 Mato Paha 5:05
18. Ode Reprise 1:52
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\ / ________ Runtime 62:50
,\ /... . . .... .... \ / ' Size 218.39______
:\/ ', \ / , \ /
' '... ..\ /.. .. .....:. .. .... .. . ..\ /.
: Release Notes: \/ , \/ ,
' '
,: Facets is saxophonist/composer Hafez ModirzadehÆs latest radical :,
: entreaty against the cultural hegemony of the Western notion of :
:' equal temperament and his argument that musicians should be ':
,: free to explore a variety of tonal possibilities, even on piano. :,
: His 2012 release Post-Chromodal Out! was the first documentation :
:' of this concept, where the piano was tuned to a variety of ':
,: temperaments. Performed with pianist Vijay Iyer, The New York :,
: Times called that album ôDauntlessà ThereÆs heady discipline at :
:' work here, along with the stirrings of a hard-fought ':
,: individualism.ö With his new release, Modirzadeh has distilled :,
: the idea to a single re-tuning, which is performed in duets with :
:' three towering musicians in contemporary improvised music: Kris ':
,: Davis, Tyshawn Sorey and Craig Taborn, each interrogating the :,
: pianoÆs new possibilities with imagination and ingenuity. :
:' Modirzadeh himself utilizes alternate fingerings and embouchure ':
,: adjustments on his instrument to achieve intervals between major :,
: and minor, and the pieces sway with an elasticity reminiscent of :
:' Persian poetic meter. With eight keys re-tuned and the ':
,: remainder left in equal temperament, the music explores the :,
: coexistence of familiar with unfamiliar, and in the process, :
:' discovers new logic and mysterious beauty within. ':
,: :,
: Modirzadeh, who the San Jose Mercury News has called :
:' ôvisionary,ö described the imperative to re-tune the piano this ':
,: way: ôThe standardized temperament for piano, as beautiful as it :,
: is, carries an unbalanced weight of influence over players and :
:' listeners, leading many to believe that there is no other ':
,: resonance to work with but this one. This creates a value system :,
: that is unjust and ultimately limits the discovery of other, :
:' more personal tuning possibilities. By retuning the piano û the ':
,: one instrument that imposes a dominant influence on the worldÆs :,
: music û the musician is freed to explore all tonal :
:' possibilities.ö This urge is the culmination of a system he ':
,: originally called ôchromodality,ö which he developed to explore :,
: the harmonic possibilities of integrating Persian tones with :
:' Western equal temperament. The concept has since evolved to ':
,: allow all intervals to co-exist, which empowers each musician to :,
: use their own distinctive voice to explore music from a full :
:' palette of tonal possibilities, irrespective of cultural ':
,: background. The tuning Modirzadeh has chosen for this program :,
: was one that spoke to him personally after much testing and :
:' tweaking. Vijay Iyer says of Modirzadeh: ôThe scope of HafezÆs ':
,: synthesis of concepts across cultures is staggering. There is :,
: great detail in his critical engagement with traditional :
:' intervallic systems, tuning systems, and modes, and there is ':
,: also a grand sweep to his vision across disciplines and :,
: historical eras. In spite of its technical complications, there :
:' is genuine heart to this music and a real spiritual clarity. ':
,: Modirzadeh is not simply a æscholarÆ or æmusicologist,Æ but a :,
: genuine artist, with a profound, lifelong stake in the :
:' unification of research, creative work, and personal inner ':
,: quest that is expressed in his music.ö :,
: :
:' Interested in hearing the different approaches that each ':
,: musician will bring to the concept, Modirzadeh has been inviting :,
: pianists from various disciplines to engage with this music. For :
:' the recording of Facets, Modirzadeh chose three of the most ':
,: acclaimed musicians in improvised music: Kris Davis is :,
: recognized as one of the foremost pianists in jazz. Her release :
:' Diatom Ribbons (2019) topped most year-end lists as best album ':
,: of the year. For a quarter century, Craig Taborn has been :,
: similarly recognized as a master of sheer invention on the :
:' piano. Tyshawn Sorey, who is a stalwart with Pi Recordings, has ':
,: won recent praise for the premiere for his new works with the :,
: Seattle Symphony and Detroit Symphony Orchestra. Primarily known :
:' as a drummer, he brings the same sensitivity and openness to ':
,: discovery as the other pianists. They were sent the scores in :,
: advance, but their first encounter with the actual re-tuned :
:' piano was at their respective recording sessions. Each musician ':
,: works from the same set of pieces, spending time exploring the :,
: novel resonances, before running through the entire book of :
:' compositions. Modirzadeh gave minimal instructions, preferring ':
,: to allow each musician to shape the music as they imagine it. As :,
: Modirzadeh said in an interview: ôIt takes more heart than head, :
:' with the intention of something beautiful.ö He subsequently ':
,: chose what he felt to be the most magical of these performances :,
: for this release. :
:' ':
,: The program unfolds with ôFacet Taborn,ö which was improvised by :,
: the pianist at the very end of his session after intense focus :
:' on the compositions. The otherworldly resonances are ':
,: introduced, opening the door to further mysteries within. ôDawn :,
: Facetö and ôFacet 27 Lightö are interpretations of the same :
:' composition, first by Sorey, then by Davis. ModirzadehÆs ':
,: saxophone is gentle, vulnerable, as if opening himself to all :,
: possibilities from his partners. Modirzadeh calls ôFacet 28 :
:' Noraö ôthe cornerstone melody of all Facets.ö His playing is ':
,: delicate and loving, tender and haunting. ôFacet 34 Defractedö :,
: is DavisÆs radical mash-up of Thelonious MonkÆs ôPannonicaö and :
:' ôAsk Me Now,ö compositions that Modirzadeh separately ':
,: interprets in duet with Taborn. For Davis, ôIt all made sense :,
: when we started playing the Monk tunes. Monk had this effect :
:' where he would try to æbendÆ the note on the piano by adding a ':
,: note below the melody subtly for a moment, and I heard that :,
: connection right away between HafezÆs tuning system and the Monk :
:' tunes he chose. ItÆs like living in those bends that Monk was ':
,: creating, committing fully to the microtones he was trying to :,
: achieve in that effect. I believe that if he heard these :
:' versions of his compositions, he would consider re-tuning his ':
,: piano for good!ö :,
: :
:' As Iyer notes: ôThis album signals that we are entering a ':
,: crucial new phase in this journey: a collective meditation, an :,
: unlocking of forms and truths. I can hardly imagine a clearer :
:' monument, to our cataclysmic year than this set of stark, ':
,: intimate, heartfelt jewels by these four singular :,
: truth-seekers.ö :
:' ':
: '
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