In the Name of the Rose

As one of the most innovative and prolific contemporary Iranian classical music ensembles to emerge since the early 90s, Dastan has a keen following both in Iran and abroad. Over the years, Dastan has worked with many of the best-known Iranian classical singers; this is their second album with relative newcomer Salar Aghili and was recorded in Tehran. The music is set to poetry by contemporary writer Shafi’i Kadkani, and comprises both traditional improvised avaz music and group compositions by Dastan co-founder Hamid Motebassem. Lyrics lie at the heart of Iranian classical music and, with the scene dominated by a few vocal giants, it can be hard for new singers to make their mark without being compared directly with the likes of Mohammed Reza Shajarian and Shahram Nazeri. Aghili is without doubt one of the most talented singers to emerge in recent years; as this album shows, his voice is powerful without losing the subtle fluidity of the ornamental tahrir (a “cracking” of the voice, similar to a trill) that is so important to this music; combined with the usual stunning musicianship and tight ensemble work, the result is yet another wonderful Dastan experience.

In an attempt to keep the music fresh and innovative, the five core Dastan members are joined by guest musicians Pouya Sarai on santur (hammered dulcimer) and, more strikingly, Siddharth Kishna on Indian sitar and Reza Abaee on gheichak (bowed lute). The latter two instruments are rarely found in Iranian classical music and purists might baulk at their inclusion. But I was pleasantly surprised at how right the sitar sounded; and the wonderful guttural sound of the gheichak blended perfectly with the other instruments. It wouldn’t surprise me if other classical groups start adopting these instruments before long.