other VIVO RECORDS releases___________________________________________________________


nasime saba MP3
shure baran
daryaie golfeshan
sufiane qalandar
mozhde sheida
emamzadeh hashem
halate saghi
sukhte balha
chashme mahtab
yade deldar

A beautiful album of unusual Middle Eastern ethno/electonica/field recordings from Iranian sound explorer AMIR BAGHIRI. Even more innovative than Yalda - his previous successful release published on VIVO Records in 2003. Some instruments used are khaliji drums, persian tumbak, egyptian dumbak, liquid drums, bendirs, azerbaijan frame drum, surdo, mahogany pro djembes, tamborin and persian zarb & dohol drums. rababa, ouds, saz, kamancheh,  panjab clay flute, native iranian ney and sipsi stone flute and various chimes, shakers, rainstick... No one plays like Amir Baghiri !!!
Tri fold digipack

Amir Baghiri, iranski artysta mieszkajcy obecnie w Niemczech, jest weteranem elektroniczno-ambientowych brzmien. Nagral ponad 30 albumów oraz wiele filmowych soundtracków. Jest stawiany w jednym rzedzie z  tuzami ambient music jak Steve Roach, Vidna Obmana, Robert Rich i in.. 
 "Ghazal" to druga plyta Amira Baghiri wydana w polskim Vivo Records.
Album prezentuje zupelnie niespotykane polaczenie muzyki elektronicznej i etnicznej. Imponujacy arsenal unikalnych instrumentów Persji doskonale wspólbrzmi z nowymi technikami generowania dzwieku.
Piekna, ambitna muzyka Bliskiego Wschodu dla ludzi zachodniej cywilizacji.



zamawiam 29 zl+poczta

credit card payment - ask for details info@vivo.pl

  dedicated to: ali asghar bahari the master of iranian radif and kamancheh

all music copyrights amir baghiri 2004
all music composed, performed and produced by amir baghiri 2003-2004.
recorded, edited and mixed at the bluebox- lemgo-germany by amir baghiri.
concept  by amir baghiri & janusz leszczynski.

final editing and digital mastering by amir baghiri, fritz dalbke and jeremy
arenberg at ambience 1, bielefeld-nrw-germany june 2004.
artwork & complete design by krzysztof slaby & janusz leszczynski

amir baghiri played:
unplugged instruments creations by using :lead vocals, khaliji drums,persian
tumbak, egyptian dumbak, liquid drums, bendirs, azerbaijan
frame drum, surdo, mahogany pro djembes, tamborin and persian zarb & dohol
drums. rababa, ouds, saz, kamancheh,  panjab clay flute, native iranian ney
and sipsi stone flute and various chimes, shakers, rainstick and some other
forgotten objects.

electronic soundworlds creation by using :additive,fm and analog
synthesizers, processors & subliminal nature sound programming, groove
programming & multidimensional ambient creations.

guest artists:
reza ardalani (addtional zarb and ney),
malek halime ( distant azan,nohe khani and  and spoken words),
zhale mikhaili (tar,setar,additional spoken vocals as sample foods),
rob newgarden & farideh farraokhian additional editing on pro tools session
at the bluebox-lemgo-germany.

soundworlds by using: near eastern desert ambience and nature atmos, all
recorded by amir baghiri on a sony dat station at the different places in
asia & north africa between 2000-2004, edited at the bluebox by using sony
sound forge in june 2004 by amir baghiri.

technical support:emu &ensoniq germany,behringer germany,sonic foundry
usa,native-instruments usa,eventide and lexicon usa and digidesign germany.

special thanks to:janusz, farhad, joerg zdarsky, alexa.hoeber&brita, mike
scheibinger,stefano gentile,nic&joke, max corbacho, mantu, johnny kim, jerry
andrews, steve piper, vanessa lowe and werner&gabriele for their ongoing
friendship, inspirations, support and creative inputs during this recording!


De woorden raar, vaag en vreemd maar ook interessant komen in me op bij het beluisteren van deze cd.
Op Ghazal, van de ambient componist Amir Baghiri, wordt muziek uit het Midden-Oosten gecombineerd met electronica. Het resultaat is een mooi werkje waarbij traditionele muziek op perfecte wijze wordt versmolten met moderne invloeden.
Het is knap hoe ritmes gespeeld op traditionele instrumenten en ritmes uit synthesizers harmonieus samen worden gebracht en één structuur gaan vormen. De traditionele melodieën geven de muziek een mystiek en mysterieus sfeertje mee. Hoewel de muziek levendig is en een redelijk tempo heeft, is het alles behalve stampmuziek. Subtiliteit is in alle nummers bewaard gebleven. Dansbaar is het wel vaak maar geen dance dus. Een wezenlijk verschil.
Ghazal is één van de betere etno-digitale platen die ik de laatste tijd gehoord heb.
Martijn van Gessel, waardering: 8,5
  Being the Western, Eurocentric fellow I am, I don't have a great familiarity with genres of music that commonly find their way into the "ethnic" category.  I would contest the implication that white Europeans do not constitute an ethnicity, but that's another matter that will not be discussed here.  Curiosity got the best of me, however, and my interest
in Middle Eastern music materialized in the acquisition of this record.   Though infused with a healthy dose of electronics, Ghazal sounds as I imagined it would, based on my prior experience: heavily percussive, usually fast, and repetitive.  It must be kept in mind that "ethnic" music, like a lot of underground fare here in the West, goes beyond mere entertainment.  It's not merely meant to be something "with a good beat" that you jam out to in your car, but an agent that takes you somewhere else in your head.  It's sometimes meant to accompany some kind of religious ritual, involving altered states of consciousness, hence its repetitive, trance-like nature.   This intention will serve as a good standard against which to judge this collection of recordings.  How well does Amir Baghiri, a musician hailing from Iran, do his job?  It starts with "Nasime Saba," one of the highlights.  I don't know exactly what it is that happens here, but I liked it.  "Mozhde Sheida" only needs a kick drum and a few voice samples to be a Jungle/Techno song, and "Chashme Mahtab," my favourite pick of the bunch, puts a bit more instrumentation in the mix without losing the feel.   Like Trance music, Ghazal tends to be ethereal and very conducive to specific actions . and, like Trance music, can be boring in its repetition if only listened to.  Therefore, I think judgment of this album should be withheld until you listen to it while doing something else, such as meditating or working on a creative endeavour.  If I could draw or paint, I would probably listen to Ghazal or something like it while painting or drawing.   If you like experimental electronic music (or if you paint or draw), pick up this album and experience the pleasure of a journey through the mystical land of Iranian music.
Jason Van Kemseke /
  Amir Baghiri - "Ghazal" CD - Moving beyond his more ambient previous work, the prolific Baghiri here produces a highly percussive collection of instrumental sound pieces that range from trance-inducing tribal dance to mysterious fusions of ancient middle-eastern instrumentation and exotic location recordings (from Asia and North African deserts and natural environs). 'Ghazal' is quite the journey, presenting the listener with a rich travelogue of moods and surreal atmospheres, from distant ambient to positive dub to energetic drumwork to electronically-enhanced world music, 'Ghazal' is a world-class recording from an unheralded master. Recommendations.
A sterling piece of work from Germany based Iranian Amir Baghiri, a proliftic Ambient composer. For this release on Polish label Vivo, Baghiri plays a shopful of Middle Eastern instruments: oud and saz lutes, flutes and the Turkish sipsi reed pipe. But it's in the drums that his heart lies, and a panoply of percussion from Egypt to Azerbaijan is pressed into service to create dense, danceworthy workouds. Like a warmer version of the late Muslimgauze, Baghiri layers and manipulates textures, drones and fragments of voice in his dark-hued, mesmerising tracks. Often it's like listening to the crackle of a beach bonfire laid over drumming. Baghiri's trump card is his deployment of field recordings to thicken the mix, especially a heady desert wind that seems to blow straight out of a Paul Bowles novel set in Morocco. The whole of "Emamzadeh Hashem" is a soup of wind, street noise and distant music, while on "Eshragh"  a pondful of frogs get involved with the beats. Baghiri's musical vision is impressive, and by dedicating the album to Ali Asghar Bahari, an early 20th century master of the bowed kemancheh, he unexpectedly underlines his music's place in the Iranian tradition.
Clive Bell / The Wire [252]  
  Amir Baghiri is an Iranian artist who explores the boundries between world music, electronic music and field recordings in a matter that results very similar to the style of Muslimgauze. After his 2003 "Yalda", Vivo puts out his new album, which turn out to be very percussion-focused overall. Some instruments used are: khaliji drums, persian tumbak, egyptian dumbak, liquid drums, bendirs, azerbaijan frame drum, surdo, mahogany pro djembes, tamborin and persian zarb & dohol drums. rababa, ouds, saz, kamancheh, panjab clay flute, native iranian ney and sipsi stone flute and various chimes, shakers, rainstick and some other forgotten objects. To that you'll have to add additive fm and analog synthesizers, processors & subliminal nature sound programming, groove programming & multidimensional ambient creations. The use of electronics in this album is remarkable becase it is mixed in subtly and yet makes for a fundamental element of the mixture. The balance between the percussive grooves and the digital rhythmical structures is so skillfully achieved that sometimes it's actually hard to tell whether or not it is in and in what percentage. The field recordings come from near eastern desert ambience and nature atmos, all recorded by amir baghiri on a sony DAT recorder in different places around asia & north africa. More technical info (such as software, hardware etc) can be found in the beautifully packaged trifold digipack. Vocals are to be found as well, but mostly as added ear candies or quasi-sampled recursive patterns, rather than lead parts. The middle eastern flavours are strong and intense in this record, you can almost smell it. Overall its grooves are pretty uptempo, which makes it easy to listen to and enjoyable.
Finally the album features some guests, including: Reza Ardalani (addtional zarb and ney), Malek Halime (distant azan, nohe khani and spoken words) and zhale mikhaili (tar, setar, additional spoken vocals as sample foods).
  Po takiej bombie jak zeszloroczna "Yalda" szalenie trudno byloby powtórnie wprawic w stany ekstatyczne milosników rdzennego bebniarskiego transu. Amir Baghiri postawil wiec na taktyke szoku i nagral zadziwiajaca plyte. O co chodzi? Juz wyjasniam: wyglada na to, ze jako staly mieszkaniec Niemiec, kompozytor spedzil sporo czasu w tamtejszych klubach z muzyka taneczna. Jaki tego skutek? Wyobrazcie sobie czlowieka z Bliskiego Wschodu, który zafascynowany dokonaniami Europejczyków w dziedzinie takich gatunków jak drum'n'bass, house, acid trance, czy minimal, postanowil zinterpretowac je calkiem po swojemu. Niemozliwe? A jednak... Zeby nie bylo, na poczatek cos bardziej "swojskiego", czyli banghra (jak by Wam to wytlumaczyc... ragga z bliskowschodnia wokaliza? zlosliwi natychmiast dodadza: "eee, taka bardziej egzotyczna Macarena...") z rozbrajajacym zawodzeniem naszego multiinstrumentalisty - cóz, zostalem rozlozony na lopatki i dlugo nie moglem sie podniesc... Pózniej juz z górki: Amir wlacza znane z poprzednich dokonan "pustynne" tla, zapetla pracowicie ulozone rytmiczne frazy, dogrywa dalsze partie perkusjonaliów, okrasza dyskretnie sosem analogowych syntezatorów i... hajda na parkiet. A my szalejemy do utraty tchu, tudziez polamania nóg. Jest lekko, melodyjnie i jakby bardziej przyswajalnie, a zatem istnieje duze niebezpieczenstwo przegrzania organizmu - plyta trwa bite 70 minut! Na szczescie sa chwile wytchnienia w postaci spokojnych, bezbeatowych utworów utrzymanych w konwencji poprzedniego albumu, gdzie przed oczyma przesuwaly sie nam sceny rodzajowe z kraju pochodzenia muzyka. Co do odwazniejszego komputerowego programowania sekwencji, to czasami rytmiczny "loop" nie zgra sie perfekcyjnie z reszta, co z zalozenia czyni calosc bardziej swieza i egzotyczna - prosze, oto nowe technologie w rekach "nieoswojonego" artysty. Majstersztyk...
hi-fi i muzyka  
  Le rapprochement entre les musiques traditionnelles et électroniques n'a pas toujours donné de bons résultats. Lorsque cet assemblage se veut exigeant, il est encore moins évident. On connaît le rare génie de Muslimgauze, aujourd'hui les labels souterrains tentent de raviver la flamme. Amir Baghiri peut se voir comme un héritier de Bryn Jones (Muslimgauze) époque Zul'm, mais aussi dans sa gestion de la répétition, meme si son travail est plus . Les roulements percussifs sont bien présents, mais les voix et les instruments a vent aériens leur disputent plus souvent les premiers rôles. La production est plus propre. Plus construite donc plus prévisible, la musique de Baghiri est aussi plus émotive. Mais elle sait se faire sombre aussi. Ce qui surprend sur ce disque captivant, c'est l'énergie qui soutient chaque morceau, peut-etre due au fait que Baghiri joue de tant d'instruments. A la croisée d'une musique filmique et d'une electronica colorée, la musique d'Amir Baghiri est un véritable voyage immobile.
  I've been listening to a lot of field recordings from the Middle East recently (a number of the releases on Sublime Frequencies) and have been getting lost in the way music is so readily accessible from the street in these regions. Amir Baghiri's Ghazal opens in the same way: by submerging you in a street somewhere in the Middle East. Voices float in the background, nearly drowned out by the music and the singer's voice. "Nasime Saba" is a pop song of the street, replete with hand drums, finger cymbals, flute and the undulating siren song of a itinerant musician. You are submerged in a culture thick with a constant flood of music from hidden speakers, street musicians, distant prayer calls, and the rhythmic patter of the language. The trick with Ghazal is that everything is composed, recorded, played and mixed by Baghiri himself.   Baghiri is recreating the vibrant energy of the Middle East in the studio, mixing the spontaneous rhythms of the marketplace and the city streets with carefully edited loops and field recordings. An ocean wave draws us in to "Shure Baran," a liquid wash of sound that transports us to a seaside community where a five piece percussion ensemble is banging out a rhythmic piece. It almost feels live until studio effects warp the sound, altering the rhythm and distorting the clarity of the drums. It is a Muslimgauze-like effect (a comparison which you really can't avoid when talking about Middle Eastern rhythms being distorted by authorial manipulation), but with more subtlety and less abrasiveness. The subtle field recordings wash across track divisions, lending a cohesive flow to the music as if we were sampling the ethnic music styles of the region. The ocean tide of "Shure Baran" gives way to a field of buzzing and chirping insects in "Daryaie Golfeshan," a lengthy piece that gradually winds up to a tumultuous explosion of sound before fading again into the distant burr of insect noise. "Eshragh" returns us to the street corner again and Baghiri works in cut-up loops and a persistent background crackle of insect life and whispering noise. "Sukhte Balha" builds as a duet between a water faucet and a field recording of street vendors and sing-song conversations.  
And everywhere there are drums: Khaliji drums, the Persian tumbak, the Egyptian dumbak, liquid drums, bendirs, the Azerbaijan frame drum, surdo, djembes, tamborin, the Persian zarb and Dohol drums. Ghazal is a sea of drums, beats, rhythms and percussive threads which run run run throughout the tracks. Baghiri's fingers and hands are never still on Ghazal. The more I listen to Ghazal, the more I get lost in the vibrant texture and hypnotic complexity of Baghiri's compositions. Highly recommended.
Mark Teppo /
  This new CD by Amir Baghiri, called 'Ghazal', came to me as quite a surprise. I expected to hear more of the ethnic ambient that I associated with Baghiri (like the amplexus stuff). On this CD, however, Baghiri presents some very rhythmic and danceable tracks.   The tracks sound like some sort of 'pop' music from Iran, Irak, or perhaps Syria. Uptempo drum rhythms and Iranian singing form a moody and exciting atmosphere that can perhaps best be compared to the danceable releases by Muslimgauze. 'Ghazal' certainly has the same kind of 'in your face' attitude that the Muslimgauze works are so well known for. But, admittedly, the tracks are also less industrial, and far more energetic. While real 'pop' music from the middle east tends to be way too poppy (and often downright annoying), Baghiri manages to fuse 'pop' and 'classical' elements into a perfect mix.   Surprises can be very nice, and I have to say that I'm quite stunned by this album. The overall quality and atmosphere are very impressive and the beats are simply very addictive. This album reminded me of trips in North Africa and the Middle East, and is certainly one of the best soundtracks for desert travellers.
  Na stronie Amira Baghiri przeczytac mozna, ze Iranczyk byl jednym z prekursorów dzwieków electro-tribal ambient, od roku 1980 nagral prawie 30 solowych albumów, uczestniczyl w wielu innych projektach, nagral równiez sporo muzyki do filmu. Czlowiek-instytucja wiec, niezwykle plodny i wciaz zapracowany artysta tworzacy niezwykle glebokie, pelne emocji, mistyczne brzmieniowe swiaty. Czy tak jest wlasnie na "Ghazal", ostatniej plycie Baghira, wydanej przez polskie Vivo Records?
        Poprzedni plyta Iranczyka - wydana rok temu "Yalda" - byla ostrym, elektronicznym galopem przez pustynne krajobrazy. Tym razem muzyk, za pomoca calego arsenalu wschodnich instrumentów i elektroniki, tworzy klimat bardziej miekki, przystepny. Muzyka "Ghazal" nie gna, raczej saczy sie w transowym pulsie. Calosc, nasycona klimatem wschodu, przypomina spacer przez ulice iranskiego miasta, czyli ciagle odkrywanie nowych miejsc i obyczajów. Baghiri na swej plycie uzyl sporej dawki naturalnych dzwieków, nagrywanych w latach 2000-2004 w róznych rejonach Azji i pólnocnej Afryki, i choc calosc zgrywana byla w Niemczech, to muzyka "Ghazal" pelna jest egzotycznego dla nas 'zadymienia', mimo ogólne estetyki 'easy listening' czasem niepokoi, prowadzi w rejony obcej kultury, czasem porywa bardziej tanecznym fragmentem. Slucha sie tego z jakims dziwnym zaintrygowaniem. Podobne wrazenie wywoluje okladka - dziwaczny projekt, kilka telewizyjnych obrazków, podkreslajacych dystans, jaki dzieli kultury zachodu i islamu. Muzyczne polaczenie wschodniej duchowosci z zachodnimi rozwiazaniami produkcyjnymi daje dosc ciekawy efekt.
        Jest wiec gleboki, mistyczny swiat. Nie kazdemu przypadna do gustu melodie wygrywane przez Baghira, jednak dla tych, którzy lubia wszelkiego rodzaju elektroniczne kulturowe romanse - "Ghazal" powinna sie okazac plyta przyjemna w odbiorze.
jman /