Live performance by Ramin Zoufonoun
Improvisations on Persian-Tuned Piano
Dastgah (mode):  Shur

San Diego, California
Sep 30, 2000
Recorded by Pejman Haddadi

Persian-Tuned Piano - Improvisations - San Diego

تا سال‌ها، کسی اجازه نداشت شعر، داستان‌ یا ترانه‌‌ای از «بولات اوکودژاوا»، شاعر و نویسنده روس، منتشر کند یا جایی از او تصویر یا صدایی پخش شود. پدر و مادر او سال‌ها در اردوگاه‌‌های کار اجباری استالین اسارت کشیدند و تا حد مرگ آزار دیدند، اما ترانه‌‌های او آشکارا سیاسی نبود. استقلال، ظرافت و خلاقیت او در ترانه‌سرایی، تسلیم‌نکردن صدا و سروده‌هایش به دستگاه اختناق و فساد شوروی و به کارنبردن کلمه‌های تهی مورد نظر دولت، او را در «فهرست ممنوع‌ها» قرار داده بود؛ 
همچون نخستین عشق که قلبت را می‌سوزاند
همچون عشق دوم که نخستین را محکم‌تر می‌کند
همچون سومین عشق که کلید را در قفل می‌لغزاند
کلید در قفل می‌لرزد، چمدان در دستش
همچون نخستین جنگ که تقصیر هیچ‌کسی نیست
و جنگ دوم که تقصیر کسی دیگر است
و همچون جنگ سوم که تقصیر من است
و خطای من بر همگان آشکار است
همچون نخستین دروغ که چون مه صبحگاهی است
و دومین دروغ که چون تلوتلوخوردن پس از مستی است
و سومین دروغ، تیره‌تر از شب، تاریک‌تر از شب
شبی تار، بسی هولناک‌تر از جنگ

درباره این خواننده روس، بیشتر بخوانید در گوشه
http://www.gooshe.net/?p=795

زندگی من، بولات اوکودژاوا

Filmzenék Tarr Béla filmjeihez (Film Music From The Films Of Bela Tarr)

Rain I(Damnation Soundtrack) _Vig Mihaly

‏Improvisation in Esfahan

ضربيِ "مشتاق"در مخالفِ سه گاه

بی کلام عود (12)

Mantra Circuit

At the heart of this music lies the steel pan — an instrument born in Republic of Trinidad and Tobago in the early 20th century.

During the colonial era, African drumming was banned under British rule, out of fear that rhythms could unify enslaved and marginalized communities. Yet, music could not be silenced.

People turned to bamboo sticks, metal containers, and eventually oil drums, transforming restrictions into invention.
From this resilience emerged the steel pan, the first acoustic instrument created in the 20th century.

The word Creole itself speaks of mixture and convergence: in Republic of Trinidad and Tobago it refers to Creole languages shaped by African, European, and Indigenous influences, and more broadly it names cultures formed where worlds collide.

Reflecting this spirit, Creole weaves the luminous timbre of the steel pan with tribal rhythmic currents, embodying hybridity, memory, and the unbroken force of music.


all instruments, program, artwork
produce and mastered by Setsuya KUROTAKI

releases September 9, 2025

All tracks are copyright protected. All rights reserved.
℗ / © 2025 MNTN rec. under exclusive license to NOiR Inc.

bandcamp

Creole

Get my album 'Ela Mataa?' here!
https://music.apple.com/ca/album/ela-mataa/1450133455

Tarek El Borollossy: Vocals, Acoustic Guitar
Ali Omar El-Farouk: Oud, Acoustic Baritone Guitar, Nylon String Guitar, Vocals
Words by Tarek El Borollossy &amp; Sabry
Music by Tarek El Borollossy &amp; Omar Raafat

Recorded in August &amp; September 2011

This is an acoustic/unplugged ‘home recording’ version of the song written by Egyptian rock band Digla. The band’s lead singer and songwriter Tarek and I decided to record our own version after receiving strong positive feedback from having performed the song as a duo several times.

The Story of “Tamam Ya Fandem”
------------------------------------------------

The original idea of “Tamam Ya Fandem” came to Digla members Tarek &amp; Omar in 2008. They wanted for once to write and produce a decent Arabic song, one that is different from their usual style and beyond their range of expertise. They found their inspiration one night as they were sitting on the balcony of Tarek’s house when they heard a simple draftee by the name of Sabry singing to himself Egyptian folklore music on the street. Finding his voice captivating, they approached him with the idea of writing a song together.

As Tarek would put it “I wrote the song through him” he spent long hours in his garage with Sabry working on a song that addresses the oppression and corruption of Egypt’s long withstanding unjust regime.

It was not easy for Tarek &amp; Omar to train Sabry to sing the song, as he had no musical or singing background. But with enough work and dedication he came through and recorded the vocal part on the original recording.

In December 2010 the original version of the song was complete. Digla were contemplating how to have the song released when, as fate would have it the Egyptian revolution began next month. The significance of the song was stronger than ever, and it was released as a tribute to the heroes of the revolution:

http://www.youtube.com/watch?v=Mp0fj8D8Ero

The Egyptian revolution still continues, and the “Arab Spring” revolutionary wave is far from over. Let it be known that any dictatorial regime is bound to fail, not matter how long it tries to remain in power…

Ali El Farouk Music:
www.facebook.com/alielfaroukmusic

Digla Online:
www.facebook.com/digla
www.myspace.com/diglamusic
www.diglamusic.com

Lyrics (translated by Karim El Borollossy):

“Aye Aye sir, always a grand salute to you Sir who's shown me nothing but agony and humiliation

I blame you O' fate, I only blame you
You've taken away my nearest and dearest
I feel lost and abandoned
My emotions pain, and my mind has gone astray
My soul weeps precious tears

Aye Aye sir, always a grand salute to you Sir who's shown me nothing but agony and humiliation

No longer is there fidelity, O' life what have you done to mankind
O' life you made me gulp down the bitter cup of sorrow
Why is it O' life that the worthy get trampled underfoot?
Betrayal has become your pattern
Enough is enough; no longer shall I submit

Aye Aye sir, always a grand salute to you Sir who's shown me nothing but agony and humiliation”


تمام يا فندم، تمام كبير، كبير اوي
يا اللي عمري ما شفت منك غير العذاب

بأعتب عليك يازمن، بأعتب عليك يازمن و خلاص
طب ما راحوا يا دنيا، راحوا اعز الناس
انا تُهت في مكاني، و بقيت لوحدي خلاص
و الحب جارح وانا فكري سارح
ابكي يا عيني، والدمع غالي، غالي

تمام يا فندم، تمام كبير، كبير اوي
يا اللي عمري ما شفت منك غير العذاب

معادش فيه إخلاص، يا دنيا عملتي ايه في الناس؟
و سقتيني يا دنيا المر في الكاس
ليه فيكي يا دنيا ابن الاصول ينداس؟
والغدر فيكي بقا اساس
مخلاص كفايه، كتبت النهاية، نهاية

تمام يا فندم، تمام كبير، كبير اوي
يا اللي عمري ما شفت منك غير العذاب

السر الأزرق | نيلوفر مُحبّي

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