A fusion of Iranian poetry and jazz at CSO

ANKARA

Iranian master improviser and distinguished interpreter of the classical Persian vocal tradition, Mohammad Motamedi, is set to share the stage with the renowned Dutch jazz ensemble Rembrandt Trio on Dec. 10, at CSO Ada Ankara.

Motamedi is one of Iran's most talented artists. He is especially known for his profound knowledge of the Esfahan school of singing and the style of Seyed Hossein Taherzadeh, as well as his contributions to traditional Persian music and his international awards.

The Rembrandt Trio, with over 15 years of collaboration, is considered one of the leading jazz trios in the Netherlands. In 2017, the trio won the European Jazz Awards for “Best Jazz Group of the Year” and has been behind many projects that push the boundaries of jazz music.

The group stands out for its bold collaborations with Western classical music and Middle Eastern musical traditions while maintaining the fundamental structure of jazz music.

The concert will feature the captivating performances from their collaborative album "İntizar," which harmoniously blends elements of Iranian poetry and jazz.

"İntizar" redefines musical boundaries as a unique fusion of Western instruments and traditional Iranian poetry. The album combines Mohammad Motamedi's impressive vocal talent in traditional Persian music with the innovative and creative musical approach of the Rembrandt Trio, built upon the cornerstones of jazz. This collaboration demonstrates to music lovers how different cultures and traditions can come together in harmony.

Ahead of their concert, Motamedi and the Rembrandt Trio spoke about their music and collaboration.

What is the story behind the "Intizar" album? How did you come together with Mohammad Motamedi?

Rembrandt Trio: A Syrian mutual friend introduced us to Mohammad. After performing several concerts together, we decided to create this album. The synergy between Mohammad and the trio was so inspiring for all of us that we dedicated a lot of time and love to producing this album.

Motamedi: I met the Rembrandt Trio through my friend Tony Overwater. We first met in the kitchen of his house. After chatting for a bit, Tony took up his instrument. When he started playing, I felt that the melody emanating from his instrument gave me a sense of freedom. It was as if a bird could fly freely wherever it wanted. Since that day, every time I perform with the Rembrandt Trio, I experience the same feeling.

How was the experience of blending such a rooted musical tradition like Iranian music with jazz?

Rembrandt Trio: We don’t see this as a blending because that would dilute the originality of each style. We see it as an "intersection" where the unique qualities of both musical worlds are preserved. To truly grasp Iranian music, we needed to work for years with great artists like Mohammad, Kayhan Kalhor and Hossein Alizadeh.

What about your thoughts on Turkish music as a neighbor?

Motamedi: I have great admiration for Turkish music, culture, and people. We Eastern people share common roots. I feel that a part of each of our blood runs in the other's veins. You can clearly see this in the similarities of our music. Turkish music, from the old Ottoman period to modern tunes, are melodies of warmth in the heart of a lover.

What was the process of combining traditional Iranian poetry with jazz like?

Rembrandt Trio: When working with Mohammad, we don’t think of jazz as a style, but we use the improvisational qualities of jazz and the harmonic knowledge from Western music. Some of the recorded songs were already played with piano or other harmonic instruments. Additionally, some pieces were entirely in the dastgah tradition, and for these pieces, we tuned the piano to match the existing dastgah.

Improvisation is important in your performances — as it is in jazz.

Motamedi: Yes, indeed. A significant part of my performances with the Rembrandt Trio consists of improvisational vocal and instrumental sections. In my concerts, I place special importance on improvisational singing. I want to translate the energy that my audience sends me into the language of music and send it back to them instantly. The only way to do this is through improvisation.

How did you balance Western and Eastern instruments used in the album?

Rembrandt Trio: We started with modern piano, double bass, and drums. However, when playing with Iranian musicians, our instruments were not always in harmony. On the suggestion of our drummer Vincent, Rembrandt tried a fortepiano from the Mozart era. This instrument had a tone much closer to the santur. I began to play the violone. Vincent created his own whisper kit to accommodate Iranian musical instruments.

Who are your biggest inspirations in Iranian music?

Motamedi: All artists who have made a name in Iranian music are an inspiration to me. However, since my youth, I have been greatly influenced by Hasan Kesai’s ney. I also play a bit of ney. In my opinion, Kesai’s instrument contains the richest melodies of Iranian classical music.

You have collaborated with Iranian artists before. How have these collaborations added to you and your music?

Rembrandt Trio: Definitely, these collaborations have opened our minds and taught us to be more patient in music. We believe that our Iranian friends have also learned a lot from our approaches. For example, improvisation in jazz is like a conversational exchange. In Iranian music, usually one musician improvises while the others provide a suitable background.

What are the challenges and beauties of establishing a musical connection with different cultures?

Rembrandt Trio: The challenge is to maintain the complexity of each culture and not resort to easy solutions. We see merging cultures as creating a mosaic where each piece retains its own unique color, brightness, and beauty.

What are Rembrandt Trio's plans for your musical journey after the "Intizar" album?

Rembrandt Trio: We have projects in many different music styles. However, we really want to continue working with Mohammad for a long time. He is a valuable friend, a wonderful musician, and an amazing artist.

Are you considering joint projects between Turkish and Iranian music?

Motamedi: Yes, I would love to collaborate with artists from Türkiye. I hope we can find more of each other in music because our languages and music are like roots sharing the same water. I believe such projects should focus not on the differences of the nations, but on their common points. This partnership allows peoples and cultures to get closer to each other.

Rembrandt Trio: The fundamental similarities between Iranian and Turkish music offer artists from both countries the opportunity to create delightful melodies and lasting works together instantly. A three-country project would be very exciting in this regard.