The Joolaee Trio standing next to each other

© Reinecke

Joolaee Trio

Border crossers in the morning breeze

Music
Tickets

7 to 9 p.m., break

Gren­zgänger im Morgen­wind on piano, kamancheh and percus­sion

The music is so diverse, exciting and unusual that it is difficult to describe. The combi­na­tion of piano, kamancheh and diverse percus­sion creates a world music sound that is second to none. Misagh Joolaee is one of the most sought-after virtuosos on the kamancheh, the tradi­tional violin-like string instru­ment from ancient Persia. Pianist Schagha­jegh Nosrati drives the tides of this ocean of sound higher and keeps the waves alive, while percus­sionist Sebastian Flaig sets the heartbeat on his frame drum with muffled beats and sharp accents. The Joolaee trio combines tradition and modernity and is styl­is­ti­cally extremely diverse and variable with a poignant density of expres­sion. Just as it should ideally be in jazz.

In its concert, also entitled “Morgen­wind”, the Joolaee Trio presents rousing original compo­si­tions by all three musicians, including Be Hich Diyar — “belonging to no home” — by Misagh Joolaee, Fragile Balance by Sebastian Flaig and the Fantasy and Fugue by Schagha­jegh Nosrati.

Contrib­u­tors

Misagh Joolaee

Kamancheh

Schagha­jegh Nosrati

Piano

Sebastian Flaig

Percus­sion

Program

The Joolaee Trio has given its debut CD the title “Morning Wind”, after a poem from the Divan by the Persian poet Hafiz (14th century), who is famous in both East and West. Like the morning wind — in Persian poetry it blows from the East, has a fertil­izing effect, holds the secrets of lovers and brings spring — the seasonal one. The western fugue technique or the Persian radif reper­toire with its melodic figures, ornaments and melismas, for example, come into play. The instru­men­tal­ists also change roles: The kamancheh, for example, does not function as a melodic instru­ment throughout, but sometimes takes on rhythmic-percus­sive and harmonic parts. The piano is also used melod­i­cally, harmon­i­cally and percus­sively. The percus­sionist, in turn, has melodic and tone-painting tasks in between, espe­cially in the fantasy and fugue on a Persian mode, in which the stone marimba, an extremely rarely heard instru­ment, is used.

 

We see ourselves as border crossers who look across the lines. Because there is something there that we may not yet know.