Find an artist
Hossein Alizadeh is without doubt the most important living musician in Persian classical music. As a player of the tar and the shurangiz, as a composer of countless pieces in the radif style as well as many film scores and as a teacher who has educated generations of musicians, Alizadeh has made his mark on virtually all classical music that comes out of Iran. His latest tour de force is a complete re-imagining of the Persian Classical repertoire (radif) with his Hamavayand Ensemble, which was published on a 14-volume CD box.
The Rembrandt Trio is internationally known for their artistic curiosity and innovative collaborations that constant keep moving jazz forward. Hailed as groundbreaking by the press is the album It’s Still Autumn, with Kayhan Kalhor, opening the North Sea Jazz festival in 2019. On tour mainly outside the Netherlands, a recent highlight for the trio was the double bill concert with Chick Corea at legendary jazz club Ronnie Scott’s in London. The Rembrandt Trio also plays a pioneering role in collaborating with musicians from Iran, which, besides Alizadeh, include kamancheh virtuoso Kayhan Kalhor and singer Mohammad Motamedi.
For this special ensemble Alizadeh and the trio are joined by two musicians from Alizadeh’s Hamavayand ensemble: Saba Alizadeh (the son of Hossein Alizadeh) on kamancheh and Ali Boustan on setar. This combination creates a perfect balance of European and Persian influences, which underlines the great mutual love and respect that this music embodies. This ensemble uses building blocks from Persian classical and folk music and Western jazz and classical music to look for unifying principles within the universal language that is music. In the process a whole new musical style is created, one that is full of sonic and dynamic possibilities.
The album Same Self, Same Silence received high praises in the press:
“A masterpiece of sensitive and luminous improvisation” – Songlines (UK)
“An unexpected and exemplary pact between Western and Eastern sounds” – Trouw (NL)
“This music forms its own magical category” – JazzNu.nl
“they do it well, really well, with academic attention and without orientalism, but entering into the heart of the art itself and studying its mechanics, phrasing, mode and aesthetics.” – Blogfoolk.com (IT)
“wonderfully estranging, beautifully put together, this music proves the value of the ‘outsider’s view’” – NRC (NL)
