Axiom of Choice

Cross-cultural Fusion Group

THE LEGENDARY ORIGINAL WORLD MUSIC BREAKTHROUGH ALBUM

CIRCA 1994

BEYOND DENIAL
فراي انكار

BY
AXIOM OF CHOICE

Reviews

“ . . . one of the wonders of World Trance Music” - LA Times.

 “Near Eastern art music, deeply moving and utterly beautiful” - by Rhythm Magazine.

“... music that is tender and passion- ate, floating through the consciousness with the intensity of a dream. " - Don Heckman. Los Angeles Times

"Beyond Denial displays a unique & dynamic artistic vision ... the free-flowing style fits with the groups of similar nature like Dead Can Dance, Vas, Stellamara and others carving new World terrain. A marvelous group of artists." - Lloyd Barde, Backroads - Heartbeats

"Beyond Denial" displays a unique and dynamic artistic vision. " ...A strong new sound...rich vocal textures, excellent musicianship...Axiom of Choice may well move into the front ranks of experimental world music"   - CMJ.

"UNFOLDING reflects our search for life's deeper meaning, and offers the vehicle of music to smooth the way. This music celebrates the poetical pursuit of knowledge and freedom; it is about seeking beauty, and above all, love." - Tom Schnabel. Café L.A. (KCRW)

Beyond Denial Album Full Review

"With their first album, Beyond Denial, Axiom of Choice offers up a revision of Persian classical music more accessible to ears attuned to Western pop, folk and soundtrack music. Along with standard Persian instruments like the tar and tombak (and the Kurdish daf), the group features synthesized bass and two Western acoustic guitars, one rigged with extra frets so that it can play the quartertones of Persian scales. The centerpiece of the album is "Desert Storm," a 13-minute song expressing the anguish of the Gulf War. Mamak Khadem sings her wordless ululations over much of the track, and Shahram Hashemi's tar offers an anxious and angry solo, both backed by the locomotive sounds of Pejman Hadadi's daf. It's a powerful piece, rather reminiscent of Hossein Alizadeh's Song of Compassion, but the power is spread out, and one must be patient for its arrival. While a few other pieces are somewhat interesting ("Whisper" actually sounds like Dead Can Dance), most of the tracks are unfortunately just exercises for the quartertone guitarist or the vocalist -- Persian jam sessions, as it were. The group has a hold on a powerful concept; let's hope they can develop it further." AllMusic Review by Kurt Keefner

Axiom of choice

Persian émigrés  (Mamak Khadem, Pejman Hadadi, Ramin Torkian) and American compatriots who have molded a sound that combines Middle Eastern melodies and rhythmic structures with progressive Western concepts. Their music features exotic and sensuous traditionally-styled Persian soaring female vocals  (by Mamak Khadem), Middle Eastern and African percussion, (performed by Pejman Hadadi), nylon string guitar (performed by Yussi Wenger), Persian tar and a unusual quarter tone guitar that enables them to play the Persian modal scales that are unique to their music. Rooted in the Radif (the repertoire of classical Persian music), yet not restricted to the boundaries of tradition.

Poignant, innovative, epic, and soulful—these are but a few of the adjectives used to describe the music of Axiom of Choice. Formed in 1992 by guitarist, composer and Artistic Director Loga Ramin Torkian and co-producer and percussionist Mammad Mohsenzadeh, the ensemble’s goal is to define a new sound within the context of Persian music. They were soon joined by vocalist Mamak Khadem whose prodigious vocal talent complemented the original compositions of Torkian.

The name of the ensemble is a mathematical term, which clearly defines their intentional freedom of choice within the parameters of their compositions and music. As artists who immigrated to the United States, Axiom of Choice incorporates the sounds of other cultures – both East and West - broadening the scope and appeal of their music while remaining loyal to their Persian roots and retaining the originality, distinctiveness and integrity of their sound. Their original compositions are mostly based on Persian melodies and modes and have universal appeal because of their cohesive, seamless and natural fusion with other styles of music. 

The musicians work within a unique compositional structure in which both improvisation and personal expression can freely take place. One important goal is to make Persian music more accessible to the broader audience. The other is to communicate through a progressive and new global sound, unique to world music. Based on the quarter-tone guitar, saz, diwan (Middle Eastern lutes), Persian vocals, the Armenian duduk (oboe), clarinet, electric cello, and global percussion instruments, their sound is at the same time traditional and modern, Persian and yet global. The group’s music is self-expressive and powerful, adventurous and mysterious, contemplative and mournful, yet uplifting and cathartic. 

Their first album “Beyond Denial” (X DOT 25 Music) was described as “Near Eastern art music, deeply moving and utterly beautiful” by Rhythm. Their second release “Niya Yesh” (Narada World) became the winner of NAV’s best contemporary world music album in 2001. They were nominated Best Recombinant World Music Ensemble in 2001 by the LA Weekly Music Awards. Their third album “Unfolding,” also on Narada World, is inspired by the Persian poet, mathematician, and astronomer Omar Khayyam and embraces his mystical poetry and vision.

The first album “Beyond Denial” was described as “Near Eastern art music, deeply moving and utterly beautiful” by Rhythm. The second release “Niya Yesh” became the winner of NAV’s best contemporary world music album in 2001. They were nominated Best Recombinant World Music Ensemble in 2001 by the LA Weekly Music Awards.  The third album “Unfolding,” is inspired by the Persian poet, mathematician, and astronomer Omar Khayam and embraces his mystical poetry and vision.

MEMBERS OF AXIOM OF CHOICE - Beyond Denial:

Loga Ramin Torkian

Loga Ramin Torkian is a guitarist, Middle Eastern lutist, composer and the Artistic Director of Axiom of Choice. Born in Iran, he moved to the United States after the revolution. When asked to speak about his musical background, he says: “The path to defining one’s music is never straight. I reflect upon the day I left my flamenco guitar teacher - disheartened by his truthful comment that after practicing for years, the only way to bring myself to professional standard would be to move to Spain, otherwise my playing would always have an accent. I knew I could not leave the United States for years to come and I felt I had reached an end. I did not realize then that I was about to discover something very unique within myself.”

Loga spent the next three years studying the tar, a Persian lute and joined for a short period a traditional ensemble by the name of Nava. But he quickly learned that he could not satisfy his creativity within the framework of traditional music. It was then that he decided to create the quarter-tone guitar to which he adapted many of the tar techniques and formed Axiom of Choice, which served as a common ground for other expatriates to work with him. “As an émigré artist, I have chosen to express myself in music that is not bound by the confines of traditional Persian music. Yet, my music in its very depth comes from that tradition,” says Loga who continues to use the radif (Persian repertoire) and Persian melodies as the source of his compositions. Many master musicians have welcomed his approach. 

His innovative quarter-tone guitar retooled with movable frets also sets him apart as a guitarist allowing him to play Middle Eastern scales and create new ornamentations on the guitar. He also performs on other Middle Eastern string instruments such as the Turkish saz and the Kurdish diwan. His extensive travels around the world have been instrumental in developing his great sensitivity towards other cultures. He believes that any music that crosses over to other cultures should not only be appealing, but also fundamentally sound for the cultures involved. Loga has also been involved in composing music for films.

Mamak Khadem

One of the wonders of world trance music - The Los Angeles Times, Mamak Khadem captivates audiences by blending her roots in the ancient poetry and music of the Persian masters with a bold and revolutionary new sound. Mamak weaves a canopy, both simple and rich, for a stunningly emotional and spiritual musical experience that inspires new listeners to embrace cultural diversity and an awareness and appreciation of Persian arts and culture through a blending of old and new. Living in Los Angeles, and continues to perform all over the world. She has features in Plays, Film and Television. She also conducts workshops and classes in classical Persian music.

Mamak Khadem is the vocalist of the Axiom of Choice ensemble. Trained in the classical Persian style, by nature poignant, she weaves emotive textures ranging from bliss to pain, which give a mystical and nostalgic bent to the music. “When I think of my childhood, my memories are inseparable from the melodies that touched my soul when I was growing up. It was through establishing this personal relationship with music as well as my training at the Children Choir for National Radio and Television of Iran that my musical education began. But it was not until the late seventies and after the revolution that I truly became inspired to learn Persian traditional vocals.” Thus, Mamak Khadem sums up her musical background. Like many other immigrants, Mamak discovered her cultural heritage after years of living abroad. The revolution in Iran and subsequently the immense amount of work produced in the early eighties by master musicians of that time became her source of inspiration. Since then, she has seized every opportunity to further her vocal art, regularly traveling back to Iran to study with some of the finest Persian vocalists and masters. In 1992, Mamak joined Axiom of Choice, which allowed her to experiment and define her own style. She has expanded her vocal art also by learning other methods of singing (such as classical Indian, and Bulgarian). Mamak believes that the path of learning is endless. However, one thing clear to her is that Persian vocal art can be successfully used outside of its traditional context. 

“I love teaching children and singing”, says Mamak. These are the two main goals in her life and she has been fortunate enough to fulfill both by teaching mathematics and world culture classes to high school students. She has worked and recorded, among others, with Hans Zimmer (on the score of Peace Maker), Jamshied Sharifi, Tulku, Omar Faruk Tekbilek, Joel Mc Neally (on the soundtrack of the movie “Buffalo Soldier” and “Dark Angels” TV series), Jeff Rona, composer of the “Chicago Blues” TV series score, and Chris Beck, the composer of “Buffy, the Vampire Slayer” TV score.

Pejman Hadadi

An original member of Axiom of Choice is the finest Iranian percussionist living in the United States. He's a much sought after Persian tombak and daf player to accompany the rare masters of Traditional Persian Music. Daf, the traditional frame drum of Kurdish music, is played in a very unique way. Pejman Hadadi has toured with Hossein Alizadeh, Kayhan Kalhor, and Shahram Nazeri, and is the premier percussionist member of the Dastan Ensemble.

World-renowned, Pejman Hadadi is considered one of the most innovative Iranian percussionists. He was born in Tehran, Iran on February 19, 1969. At age 10, he began studying Tombak, the central drum in traditional Persian music, with Master Tombakplayer Assadollah Hejazi for two years. He owes the foundation of his training to this Master’s precise teaching. He continued his training for a brief time with Master Tombak player, Bahman Rajabi, who exposed him to an entirely different approach to playing the instrument. Pejman tirelessly followed the various styles of famous Tombak players and was captivated by such great Masters as Hossein Tehrani, Nasser Farhangfar, and Morteza Ayan, who influenced him greatly through their recordings. After some time, he felt drawn to the other main percussive instrument in the tradition, namely the sacred frame drum known as the Daf. Alongside his long hours of Tombak practice, he taught himself how to play the Daf, finding great inspiration from the great Master Daf player, Bijan Kamkar, through his recordings.
 
Pejman immigrated to the US in 1989 and began his professional career in 1991. After collaborating with a few different music ensembles, Oshagh and Nava, he began performing with Master musician and composer, Hossein Alizadeh in serval concerts in the US, which led him to pursue music with more diligence. In 1995, he joined Dastan Ensemble, the highly celebrated and “most-forward-looking Persian music ensemble” (LA Weekly). Pejman has recorded countless critically acclaimed pioneering works with Dastan and continues to perform with the ensemble in some of the world’s most noted concert halls.

Yussi Wenger

Born in Frauenfeld, Switzerland Yussi began to play guitar in 1985 and studied at the Jazz Conservatory St. Gallen. After forming and playing in  a dozen bands and recording an album with "The Minimals" he moved  to Los Angeles to attend Musicians Institute in Hollywood where he graduated with honors. In 1993 he enrolled at L.A.V.C. to study classical guitar, arranging and orchestration, attend master classes and perform recitals. Then, in 94' Yussi began to play mandolin, banjo and other exotic string instruments, developed a strong interest in flamenco guitar and studied with L.A. teachers.

While Indian master Hari Har Rao tutored Yussi in the art of sitar playing Narada recording artists Axiom of Choice invited him in 1994 to join the band for their debut album "Beyond Denial."

In 95' he designed a series of guitars with Luthier Boaz Elkayam, recorded and released Yussi & Django's album "Bandidos de Amor" and also played on Ricky Martin's "A Medio Vivir" featuring the hit song "Maria." He was later called up to play on Ricky's Grammy Winning 98 release Vuelve. Yussi's solo debut "El Pirata" was released in 2000 and he has finished his second solo album "Velvet Rebel" both released on X DOT 25 Music. Since 1995 Yussi played on 80 plus albums, numerous film scores, TV shows and documentaries.

AXIOM OF CHOICE PREMIERE CONCERT

Axiom of Choice in Palace of Fine Arts - San Francisco June 1995

Album Details:

Beyond Denial

(Faray-e Enkaar)
فراي انكار

Style/Genre: World Trance/World Fusion
Instrumentation: Vocals, Quarter Tone Guitar, Nylon String Guitar, Tar, Tarbass, Daf, Tombak, Nagada, Bass, Drums

I have become a fugitive from the body, fearful as to the spirit; I swear I know not - I belong neither to this not to that - Rumi

ALBUM INSERTS:

1. Valeh 4:07
2. Pulse 0:58
3. Rhythm Riddle 4:48
4. Kaef 5:27
5. Desert Storm 12:51
6. Whisper 8:40
7. Panj 5:18
8. Kashmir 2:27
9. Moon Light 1:33

Item # CD 1002-2

PERSIAN EMIGRE ARTISTS ROOTED IN RADIF TRADITION RISK GOING BEYOND THE FAMILIAR TO CREATE NEW HAUNTING MELODIES OF THE DESERT STORM WITHIN.

Mamak Khadem: vocals 
Pejman Hadadi: daf, tombak, nagada
Ramin Torkian: quarter tone guitar, vocal nylon string guitar, tarbass
Yussi P. Wenger: nylon string guitar 
Shahram Hashemi: tar, tarbass, vocals 
Mohammad Mohsenzadeh: tombak, synthesized bass
Steven Graham: drums

Producer: Ramin Torkian 
Co-producer: Aldoush Alpanian 
Executive Producers: X DOT 25 Music 
Art Director: Babak Torkian 
Cover Design: Babak Torkian 
Text: Ellen Sinatra 
Photography: Fereshteh Saghafi & Carla Cummings 
Recorded at: Scotland Yard & Studio 42nd Studio 
Recording Engineers: Yousef Shahab & Mark Hermann 
Digital Processing: Silent Sounds 
Mastered at: Rocket Lab, San Francisco
Mastering Engineer: Paul Stubblebine

Videographer of the “Valeh” video: Dave Stringer

Special Thanks to: Valdez Guitar Store, Steve Harvey, Ellen Sinatra, Kamran Fallahpoor, Fereshteh Saghafi, Jalal Fatemi

Axiom of Choice
There is an exciting and profound artistic value in the mathematical principle, Axiom of Choice. The mathematician has the right to choose elements without explanation. In a world where everything must be explained, these choices are voluntary and do not need explanation. As a group of émigré artists, we choose to express ourselves in music, no longer bound by the traditions of Persian music. Yet in its very depth, our music comes from that tradition.

"Beyond Denial" is the first project in the Axiom of Choice series. We have risked altering techniques of sound production to create new sounds. The vocal expressions capture emotions such as agony, fear, tranquility and modesty, usually not expressed with such force. Quarter-tone frets were added to the guitar, widening the range and making it possible to play the Persian Radif in new ways. The Tar is played with spontaneous rhythmic structures and melodic integrity, to freely express the emotions and thoughts evoked by images. It is in these ways that this work is also an expression of young contemporary Iranian artists in the Western community.

Quarter tone guitar: 
As a guitarist, I found the nylon string guitar to have the warmth and haunting sound required for the middle eastern music. Quarter tones are part of the Persian modal scale and therefore cannot be played by simply bending the strings. The value of the quarter tones and the half tones (in special cases) would change from one modal scale to another. This meant, in this case, that the fixed frets normally found on the guitar were too limiting. I decided to replace the steel frets with gut frets, adding twelve more to produce the quarter tones. Therefore, it is a special feature of this guitar that the modal scales can begin from any note, without changing the tuning.

There is a wealth of techniques for guitar available that can be used in Persian music to produce new textures and sounds. One includes finger picking, which allows the player to play different drones, which results in a wide range of overtones. By letting some notes ring, new intervocalic relationships are created which embody new tensions and new energies.

I am excited about the possibilities of this new instrument. I hope that it will be adapted to other forms of Middle Eastern music.

This project began over three years ago by myself and M. Mohsenzadeh. The first prototypes were the result of series of long discussions, research and extensive experimentation. It quickly became clear to us that this project was very promising, yet it required more research and experimentation to become mature. We laid out the principles important in the direction of this project:

1. We would use simple, artistic concepts -- not Western harmonies. We felt that randomness and chaos in confined form could generate harmonious patterns in melodies and sound.

2. Music becomes bold and effective when stated in a direct manner. In order to achieve that, we decided to reduce the ornamentation and emphasize the main structures.

3. Musical texture must be rhythmically dynamic, which means it must have at least two levels of complexity, from gross to subtle. It must feel natural, yet be challenging and coherent.

4. Melodies should not only sound Persian, but in their very depth, should come from the Radif (the repertoire of the classical Persian music.) 5. We are committed to capturing the vision within the music, not the melodic structures of the Gusheh (melodic structures within the Radif.) That meant we altered these melodies where necessary.

6. The poetic images inspired and assisted the musicians in the creation of these compositions. It is our hope that these images are captured in the music, and then transmitted to the audience.

"Desert Storm" is a central piece in the project which captures the fierce images and intense emotions of this horrible occurrence. The war was the climax of the destruction that had taken place in the region for the last twelve years -- an extremely tragic and fearful event which touched me deeply. The poem "Hast Shab" is modern form of the poetry in Iran, with desert imagery that presents powerful metaphors for death and destruction. As the musicians internalized these images, their contributions transformed the composition. As such, the piece became a dynamic reflection of our shared experiences.

"Mitaravad Mahtab" is the result of three readings of the poem, randomly superimposed upon one another. It is my own inner rhythms that bind them together. In this process, the phrases were distorted, creating an unexpected emphasis on certain words and a re-creation of the poetic images. I hope that this freshness will penetrate into deeper realms, bypassing rational interpretations.

This project became complete with contributions from all the musicians, who brought with them their distinctive knowledge, techniques, and creativity. They were willing to take chances and risk going beyond their usual musical expectations.

Ramin Torkian - 1994

Axiom of Choice: Beyond Denial

For many of us, the Gulf War was a brief, disturbing blip on the radar screen of our nation's history. Axiom of Choice, a group of Persian immigrants now living in California, are here to remind us that for those who lived through it, that first month of 1991 was cataclysmic - the culmination of more than a decade of senseless bloodshed in the region.

The principal members of this talented 7-member band are all well-versed in classical Persian music, and though the melodies and rhythms of Radif - the Persian classical repertoire - saturate their brooding, deeply moving disc, they are by no means slaves to tradition. Call it experimental Near Eastern art music, infused with overtones of Sufism, not to mention ripping percussion. Leader/guitarist Ramin Torkian plays a nylon-stringed classical guitar, retooled with movable frets, so he can approximate the untempered intervals of Persian music. The effect is utterly beautiful, as is the voice of Mamak Khadem, which rings out through the album like a crystalline bell of despair and pain. On the opening track, "Valeh," she's multitracked over Torkian's descending arpeggios, her "voices" hovering and quivering like unquiet souls suddenly released from this troubled plane.

Beyond Denial is a fine first effort - a chronicle of armed conflict in both the inner and outer worlds. It's heavy stuff, though the group does lighten it up a bit on "Rhythm Riddle," a sort of Brazilian Jazz meets Eastern classical romp. Again, Mamak Khadem's voice shines here like a rare, precious stone. I look forward to hearing more from Axiom of Choice and other artists on the curiously-named X DOT 25 Music label.

Erik Goldman, Rhythm Music

Valeh

Lyrics - Words: Rumi
Transliterated to English From Farsi/Persian - (English Translation)

Lead Vocals: Mamak Khadem
Backing Vocals: Shahram Hashemi

بی همگان به سر شود بی‌تو به سر نمی‌شود داغ تو دارد این دلم جای دگر نمی‌شود
گاه سوی وفا روی گاه سوی جفا روی آن منی کجا روی بی‌تو به سر نمی‌شود
دل بنهند برکنی توبه کنند بشکنی این همه خود تو می‌کنی بی‌تو به سر نمی‌شود 
گر تو سری قدم شوم ور تو کفی علم شوم ور بروی عدم شوم بی‌تو به سر نمی‌شود

Bi Hamegaan Be Sar Shavad (Life goes on without any one)
Bi To Besar Nemishavad (Without you life can not go on)

Daghe To Daarad In Delam (My heart burns longing you) 
Jaaye Degar Nemishavaad (Can not go anywhere else) 
Jaaye Degar Nemishavaad (Can not go anywhere else)

Gaah Sooye Rahaa Raavee (At times you go towards freedom)
Gaah Soyee Jaafaa Raavee (At times you go towards infidelity)
Aaneh Manee (You are mine)
Kojaa Raavee (Where are you going)
Aaneh Manee (You are mine)
Kojaa Raavee (Where are you going)
Bi To Besar Nemishavaad (Without you life cannot go on)
Bi To Besar Nemishavaad.(Without you life cannot go on)

Male Vocals:
Gaah Sooye Rahaa Raavee
GaahSoyee Jaafaa Raavee
Aaneh Manee, Kojaa Raavee
Aaneh Manee, Kojaa Raavee
Bi To Besar Nemishavaad

Del Benahand (They put their heart in it)
Toobeh Konaand (They promise and ask for mercy)
Beshkanee (You brake)

Del Benahand(They put their heart in it)
Toobeh Konaand (They promise and ask for mercy)
Beshkanee (You brake)

In Hameh Khod To Mekoni (So much about you) 
In Hameh Khod To Mekoni (So much about you) 
Bi To Besar Nemishavad (Without you life cannot go on)

Ahhhhhhhhh Yaaeeeee Yaaaaaaa ...........

Gaar To Saree Ghadam Shavam (If I come to you) 
Vaar To Kaafee Alaam Shavaam (If for you I raise my hand)

Vaar Beravi Adam Shavam (If you go, I will not have it)
Bi To Besar Neeeemishavad (Without you life can not go on)

Neeeemishavaaaad. (Will not happen!)

Desert Storm

Lyrics - Words: Nima Yushij
Lead Vocals: Mamak Khadem

هست شب

هست شب یک شبِ دم کرده و خاک
رنگِ رخ باخته است.
باد، نو باوه ی ابر، از بر کوه
.سوی من تاخته است
*
هست شب، همچو ورم کرده تنی گرم در استاده هوا،
هم ازین روست نمی
.بیند اگر گمشده ای راهش را
*
با تنش گرم، بیابان دراز
مرده را ماند در گورش تنگ
با دل سوخته ی من ماند
به تنم خسته که می سوزد از هیبت تب!
.هست شب. آری، شب

Moon Light

Lyrics - Words: Nima Yushij
Recital: Ramin Torkian

مي تراود مهتاب
مي درخشد شب تاب
نيست يك دم شكند خواب به چشم كس و ليك
غم اين خفته ي چند
خواب در چشم ترم مي شكند
نگران با من استاده سحر
صبح مي خواهد از من
كز مبارك دم او آورم اين قوم به جان باخته را
بلكه خبر

در جگر ليكن خاري
ساق گلي
كه به جانش كشتم
و به جان دادمش آب
اي دريغا به برم مي شكند
دست ها مي سايم
تا دري بگشايم
بر عبث مي پايم
كه به در كس آيد
در و ديوار به هم ريخته شان
بر سرم مي شكند

مي تراود مهتاب
مي درخشد شب تاب
مانده پاي آبله از راه دراز
بر دم دهكده مردي تنها
كوله بارش بر دوش

:دست او بر در،مي گويد با خود
غم اين خفته ي چند
خواب در چشم ترم مي شكند