GORDON GRDINA

THE MARROW with FATHIEH HONARI

Attaboygirl Records

Gordon Grdina, Oud/composer; Mark Helias, bass; Hank Roberts, cello; Hamin Honari, percussion; FEATURED GUEST: Fathieh Honari, voice.

The distinctive sound of Gordon Grdina’s Oud instrument opens this album and draws the listener into the music like a magic spell.  The voice of Fathieh Honari floats chant-like above the Oud and reminds me of my time spent in the Middle East. Her voice is almost prayer-like as she adds her melodic message to the original song by Gordon Grdina called, “Not of Them.”

Grdina’s introduction to Persian music came largely through the Honari Family.  Fathieh Honari, the vocalist on this project, is the mother of Grdina’s friend and fellow guitarist, Hidayat Honari. Hidayat and Gordon met during their college days.  Once named Persia, that area today is designated as Afghanistan.  Within this World Music production, with jazz overtones, Grdina has included the poetry of Rumi.  Poet Rumi died in 1273, but his legacy as one of the greatest mystics and poets that ever lived still echoes today, not only in the Middle East, but worldwide. Gordon Grdina’s original songs reflect lyrics based on the work of poet Rumi.

This album introduces us to Vancouver-based guitarist, composer, improviser, master oud player and JUNO Award winner, Gordon Grdina. The JUNO Award is similar to our GRAMMY Award in the United States.  His album, “The Marrow” explores Arabian and/or Persian music blended with jazz and improvised culture. Iranian Canadian percussionist, Hamin Honari brings his wealth of Persian culture to this project, through traditional songs and adding his talents to Grdina’s original compositions. His mother (Fathieh) is one of Canada’s premier female Persian singers. She may be the only North American singer who can represent the rare Balochi folk repertoire.  Fathieh began singing before audiences as a child.

“In Persian music, they say that it’s not really music unless there’s poetry.  So, adding vocals pushes the album more towards a Persian aesthetic. I miss some elements of that because I don’t speak Farsi, though I connect with Fathieh’s beautiful vocals as a sensory feeling and an emotional expression,” Grdina says in his press package.

The bass of Mark Helias opens Grdina’s original composition, “Break the Branch.”  This musical arrangement reminds me of rushing pedestrians streaming down a city Avenue. The lyric, sung in Farsi by Fathieh translates to:

“Oh God! Do not turn this union into separation. Do not make the joyous lovers despair.  On a tree that is the nest of your bird, do not break the branch so that the bird flies away.  There is no more bitter pill than separation.  Do anything you like, except for that.”

The cello of Hank Roberts is warm and inviting throughout.  It is a complimentary sound to Grdina’s oud, creating a flattering musical balance. Although I would describe this music as more traditional Persian than jazz, the improvisational qualities to the music do support and embrace the character and distinguished elements of jazz music, the music of freedom.

Dee Dee McNeil

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