Intense Paradigm-Shifting Sounds from Salim Ghazi Saeedi
One important rising composer who's doing genuinely visionary work in microtonal music, helping to integrate sounds from the Middle East into jazz and rock, is Tehran-based multi-instrumentalist Salim Ghazi Saeedi. His latest album namoWoman is an often otherworldly creation. It's considerably more raw and roughhewn than, say, recent albums by David Fiuczynski and Hafez Modirzadeh, both artists to which he compares favorably. Aside from the fact that Saeedi plays all the instruments on the album – guitars, keys, basses and drums – what's most amazing about it is how through-composed it is. Thematic variations recur frequently but always change shape, melodically and dynamically. It's a dark, bracing, uneasy roller-coaster ride.
Saeedi's main axe is the guitar, which he multitracks using two basic tones: a ringing, watery timbre that he typically uses to deliver plaintive, judiciously picked microtonal phrases and ringing sustained lines, along with a gritty, crunchy, distorted tone that often takes centerstage with a sneering, occasionally comedic flair. That tone, and its bombastic allusions and head-on assaults, poses the question of whether this is heavy metal, or jazz, or Persian art-rock. Ultimately, the answer is all of the above.
Saeedi's unorthodox use of both piano and bass is also extremely clever. Saeedi leans heavily on the piano's lowest keys, whether to anchor the music in a murky, overtone-spiced ambience, or for basslines. By contrast, Saeedi utilizes the bass's entire sonic spectrum, frequently bowing eerily elegant viola melodies in the upper registers. A few of the tracks have trebly-toned, judiciously played electric bass along with the occasional electronic keyboard motif. All this contrasts with the savage, distorted guitar lines: whether or not that dichotomy is deliberate or not (two sides of the same coin, maybe, one profound and the other profane?), it's inescapable.
Throughout the nine-part suite, Saeedi establishes individual voices within the arrangements, with all kinds of melodic interweaving and conversations: piano ripples respond to bass bubbles, cello-flavored lines hand off to the guitar, or to the drums. Without knowing it, you wouldn't necessarily guess that guitar is Saeedi's primary axe, considering how graceful, dexterous and propulsive his bass work is; his piano lines are terse, imaginative and serve an important part of the musical backbone. If there's any criticism of this, it's that Saeedi swings on the guitar and especially the bass but not the drums: a percussionist with a proficiency equal to Saeedi's on those two instruments could have been useful here. Then again, percussionists capable of playing such eclectic compositions are hard to find anywhere, let alone in traditional Persian music.
Bluesy allusions give way to suspenseful not-quite-minor, not-exactly major Persian intervals; rhythms tend to be straight-up but not always, one interlude bouncing along on a tricky groove that would be perfectly at home in Macedonia or Greece. Pensive, moody guitar echoes until it's bludgeoned out of the picture as the distorted roar takes over, and then recedes, a constant game of good cop vs. bad cop with an occasional exchange of roles. There's simple, insistent staccato guitar riffage straight out of the Pantera playbook, and also spacious, distantly anguished David Gilmour-inflected phrasing. The High Romantic, the gothic, the gypsy and the jazz – think Cecil Taylor in extreme deep space mode – mingle and echo and at their most cohesive, haunt the hell out of you. Little flourishes like a jaunty melodica vamp, hints of surf rock and Mediterranean psychedelia lighten the darkness while enhancing the surrealism of it all. Who is the audience for this? Middle Eastern metalheads; fans of Persian music who need a jolt of energy, and any fan of loud, dark sounds laced with fearless humor. There is no one in the world who sounds anything like Salim Ghazi Saeedi: where he takes these ideas in the future promises to be a pretty wild place.
January 10, 2013 Posted by delarue | jazz, middle eastern music, Music, review, Reviews, rock music	| album review, art-rock, classical rock, heavy metal, iranian music, jazz rock, metal music, metal rock, middle eastern jazz, middle eastern music, Music, music review, orchestrated rock, persian music, prog rock, progressive rock, rock music, Salim Ghazi Saeedi, Salim Ghazi Saeedi namowoman, Salim Ghazi Saeedi namowoman review, Salim Ghazi Saeedi review, symphonic rock, world music | Leave a comment