Euphoric Whispers

This event is free, but a ticket is required to attend. To reserve a ticket, use the University Ticketing website.

This program features a rare NJ appearance of Ali Akbar Moradi and Pejman Hadadi, two of Iran’s most renowned musicians. Moradi is an extraordinary virtuoso of the tanbur, an ancient 2-stringed long-necked fretted lute traditionally used in religious ceremonies. Hadadi is one of the most innovative Iranian percussionists (tombak, daf); he has been a member of the Dastan Ensemble for over 25 years and collaborated with countless master musicians in Persian and world traditions. Their program, Euphoric Whispers: Improvisations for Tanbur and Percussion, features ecstatic and trance-inducing Kurdish music from western Iran – music that is little known in the US. Their improvisations are based on the repertoire of the Yarsan people - followers of a mystical faith associated with Sufism - and the beauty and complexities of the art of this region.

“Love, spirituality, intoxication with the divine and the power of music…With one string providing a drone, everything else rides on a single string of the tanbour, and in Mr. Moradi’s hands, that string encompasses an expressive universe.” - New York Times

"The masterful Hadadi delivers an astonishing array of sounds." - Los Angeles Times

Aliakbar Moradi

Aliakbar Moradi, often celebrated as “the best tanbour player alive” (Songlines Magazine, Issue 26, 2004), was born in 1957 in Guran, near Kermanshah, the central city of Kermanshah Province in Iran. Growing up in a family that cherished Kurdish musical traditions, Moradi began studying the tanbur at the age of six, inspired by his father and grandfather’s encouragement. His early passion for the instrument led him to study under the guidance of esteemed masters such as Sayyed Hachem Kafashyan, Sayed Mahmoud Alavi, Ali Mir Darvishi, Allah Morad Hamidi, and Sayyed Vali Hosseyni. These mentors not only helped him master the technical aspects of the tanbur but also instilled in him a profound understanding of the Kurdish maqam repertoire, an ancient and sacred tradition.

At the age of 14, Moradi gave his first public recital in Kermanshah, a significant milestone that marked the start of his professional journey. A year later, he established the first tanbur ensemble under the cultural department of Kermanshah, setting a precedent for elevating the tanbur’s role in Iranian music. Over time, he expanded his reach by co-founding the renowned Shams Tanbur Ensemble, further advancing the visibility of the instrument.

In 1991, Moradi was awarded first prize at the String Instrument Festival, a testament to his unparalleled artistry. His passion for preserving the tanbur’s legacy led him to conduct extensive research on its ancient maqams, culminating in a groundbreaking publication in 2002: a collection of four CDs accompanied by a detailed booklet, released by Maison des Cultures du Monde. This project has been recognized as a landmark contribution to Kurdish musicology.

Moradi’s prolific career includes the publication of over 23 recordings and books, many of which have become essential references for students and enthusiasts of the tanbur. His collaborations span an impressive range of esteemed artists, including Shahram Nazeri, Kaykhosro Pournazeri, Kayhan Kalhor, Ardeshir and Bijan Kamkar, Pejman Hadadi, Erdal Erzincan, Ulaş Özdemir, Pezhham Akhavass, Mehdi Bagheri, and his own sons, Arash and Kourosh Moradi.

Beyond performing and recording, Moradi is deeply committed to education and cultural preservation. He teaches tanbur in Tehran and Kermanshah, mentoring a new generation of musicians dedicated to this ancient art

Pejman Hadadi

Pejman Hadadi is widely regarded as one of the most innovative and prolific percussionists to emerge from Iran. Renowned for his exceptional artistry on the tombak—the central drum of traditional Persian music—and the daf, a sacred frame drum, Hadadi has elevated Persian percussion to new heights. His dynamic career has encompassed collaborations with some of the most esteemed figures in Persian classical music, including Hossein Alizadeh, Shahram Nazeri, Parissa, Kayhan Kalhor, AliAkbar Moradi, and Ardeshir Kamkar, as well as luminaries from other traditions such as Indian sitar virtuoso Shujaat Khan.

Hadadi began his journey in music by studying the tombak with master musicians Assadollah Hejazi and Bahman Rajabi, developing a profound understanding of the instrument’s rhythmic complexity and expressive range. Later, through self-directed study, he mastered the daf, imbuing it with a uniquely personal style. After immigrating to the United States in 1989, Hadadi launched his professional career in 1991, performing with Persian classical ensembles and engaging in cross-cultural collaborations with Indian, Turkish, and American musicians.

In 1995, Hadadi joined the celebrated Dastan Ensemble, one of the most influential Persian classical music groups. His artistry contributed significantly to their critically acclaimed recordings and performances. In 2000, he co-founded Zarbang, the first Iranian percussion ensemble, breaking new ground in the integration of traditional Persian rhythms with global percussive traditions. Both groups have garnered international recognition for their innovative approaches, and Hadadi’s work with them has been widely lauded.

Hadadi’s signature style—characterized by unparalleled technical virtuosity, rich tonal variations, and inventive rhythmic compositions—has inspired an entire generation of tombak players. His influence extends beyond performance, as he is also a two-time recipient of the prestigious Durfee Foundation Master Musician Award, recognizing his efforts to disseminate and propagate Persian music in the United States.

In addition to his extensive work with traditional music, Hadadi has composed a significant body of music for dance. He has performed in concert with renowned dancer and choreographer Banafsheh Sayyad and her ensemble, NAMAH, creating evocative fusions of rhythm and movement. He has also collaborated with celebrated dancer and choreographer Shahrokh Moshkin-Ghalam, further exploring the intersection of music and dance.

Hadadi’s career has taken him to major international festivals and prestigious venues across North America, Canada, Europe, Iran, and Japan, where his performances continue to captivate audiences. Currently, he serves as a lecturer in the Ethnomusicology department at UCLA, sharing his deep knowledge of Persian percussion with students and fostering a new generation of musicians dedicated to the rich heritage of Persian music. Through his artistry and teaching, Pejman Hadadi remains a vital force in the global recognition and evolution of Persian percussion.

About the Instruments

Tanbur

The tanbur is the primary instrument of Kurdistan and one of the earliest string instruments in the world. It is challenging to master, requiring players to sweep across the soundboard with all fingers, creating the illusion of multiple instruments being played simultaneously. According to Moradi, “I discovered the tanbur in 1964, by chance and through the grace of God, when I was only seven years old. I felt that this instrument had a soul and spoke to me: its song cradled and purified me every day. My grandfather and my father greatly encouraged me in this vocation, because for the Yarsan, initiation in the tanbur is a pious task. From the beginning, they sent me to the greatest masters. Now, I must devote my life to it. Without it, my life would be just a series of dull and futile days.”

Tombak

The tombak, also known as the zarb, is one of the most prominent percussion instruments in Persian music, celebrated for its versatility and expressive range. This goblet-shaped drum is typically carved from a single block of dense wood, such as walnut, mulberry, or sometimes ash, which enhances its resonant tonal qualities. The drum’s body tapers gracefully from a wide head to a narrower, open base, amplifying its sound and allowing for nuanced tonal projection.

Played with the fingers and palms of both hands, the tombak allows for intricate rhythms and a wide spectrum of tones. Techniques range from deep bass sounds produced by striking the center of the drumhead to sharper, higher-pitched tones achieved near the edge. Skilled players also employ rolling and snapping motions, creating rapid flourishes and dynamic textures. These techniques give the tombak its characteristic ability to blend seamlessly with melodic instruments while also standing out as a solo instrument.

Daf

The daf is a sacred frame drum adorned with metal rings, often used in Sufi ceremonies. In Sufi traditions, this drum accompanies chanting, singing, and whirling dances during rituals aimed at connecting participants with the divine. Its repetitive and rhythmic patterns are believed to help transcend ordinary consciousness, fostering unity and spiritual awakening. Beyond its sacred role, the daf has gained popularity in classical, folk, and contemporary music across the region, valued for its versatility and emotive sound.