Tombak Navazan

The Tombak or Zarb. Is the Chief percussion instrument of Iranian Art music. This is a one faced drum Where The whole upper half is wider Than the lower. It is carved of single Block of wood! And it body is hallow, Open at lower end covered with a Sheepskin membrane across the Upper part. An average Tombak is 43 cm high with Playing face of 28 diameter A Tombak player holds the drum Diagonally across his lap with the Wider section usually over his right Side and it is played with the fingers And the palm of the hands. The tick Bass sound is known As TOM. This sound comes from striking the centre of the face with the Whole hand. The snap, dry sound, is known as BAK and is produced by Striking face of the rim. . A very great master of radif, tasnif and tonbak, Ostad Abdollah Davami, was born in Ta village of Tafresh city, Iran in 1891. As a teenager he discovered that he had a good, audible and suitable voice, so he decided to learn the elementary principles of Persian vocal music.One day he had gone to a gathering in the house of Majd-al-Mamalek that he met Ali Khan Nayeb-al-Saltaneh. After that he became the student of Ali Khan Nayeb-al-Saltaneh for learning radif and Haji Khan, Agha Jan, Sama' Hozur (santoor player) for learning tasnif, and the art of tonbak playing.because of his talent in learning music, he became friend of great masters of his time such as Mirza Hosseingholi (tar player), Hossein Khan (kamancheh player) Darvish Khan (tar and setar player), Malek-al-Zakerin (vocalist) and Mirza Abd-al-Allah (setar player). He has trained many students. He passed away in 1980........................................................ ............................................. (Ostad Hosain Tehrani) the very great master of tonbak and the father of modern tonbak, was born in 1912 in Tehran. Once that he had gone to zourkhaneh (Persian traditional gymnasium) he felt that he loved the tonbak of the morshed (Morshed is the singer and tonbak player of zourkhaneh that leads the athletes to practise marshal art in zourkhaneh. Morshed literally means spiritual guide.) So when he went back to their house, he made a hole at the end of a clay vase and covered the bigger mouth with skin and started playing his first strokes of tonbak on it. When his father was at work, he was able to practice in a room. But after some days the neighbors complained to his father that sound of Hosain's tonbak was tormenter. So he stopped practicing at home and started playing tonbak in the train (at that time it was called in Iran 'vagon-e-asbi') for people. .. Even he studied the style of the gypsy tonbak players (tonbaknavazan-e-doregard). In 1972, though he was ill, he recorded his last performance, rhythms of zourkhaneh. He was acquainted with 'radif' repertoire of Persian art music and 'tasnif' (rhythmic compositions of Persian vocal music). He was kind, smiling, chic (I should explain that he lost one of his eyes while he was working in a technical workshop in his youth and because of this he was always wearing a smoked glasses), self-possessed and witty. Unfortunately after a long indisposition, he passed in Feb. 25th, 1974........................................................ ............................................. (Amir Nasser Eftetah)was born 1925 in Amereyeh street in Tehran. He became interested in Tombak when he was very young. He started his Tombak tuition with Hoshang mehrvarzan who was a student of Ostad Hosain Tehrani. Through his dedication, intelligence and aptitude, he became very quickly very proficient in deep understanding of Tombak and a virtuoso performer. He was only 16 when he Joined Iranian national radio...him in corrected sitting position and correct method of holding the Tombak. He did not have any children and always treated his students as if they were his own children. He used to take special interest in their education. Punctuality, dedication and practice of his students were very important to him. Many of prominent Tombak artists are student of Ostad Eftetah. they include: Bahman Rajabi, Morteza Ayan, Mahmod Farahmand, Mahmod Rasoli and Homan Pourmehdi.He died in 1977 at the age of 52. He was buried at Emamzadeh Taher in Karaj....................................................... ............................................. . (Nasser Farhangfar) (1947-1997), was born in Rey city of Tehran Iran. His father was a tar player and his uncle was a tombak player. His grand father, Mirza Mehdi-ye-Khoshnevis, was a famous calligrapher of Ghajar's time. He started playing tombak at the early age of nine. ...Later he studied tombak with the Mohammad Torkaman, Ostad Hosain Tehrani, and Ostad Dr. Noor Ali Khan Boroumand and Ostad Abdollah Davami. His talent and knowledge in the art of tombak playing with his background of zourkhaneh's tombak made him a unique tombak player in his time. His followers have called his style sabk-e-Ostad Farhangfar (the style of maestro Farhangfar). He performed widely and trained many students. His masterpiece in the art of tombak playing is his accompaniment of the tar of Ostad M.R. Lotfi in Dastgah-e-Segah in the cassette of Parvaz-e-Eshgh, which distributed for his remembrance by Ava-ye-Shayda Company in Tehran.He was also familiar with radif repertoire of Persian art music. He was also a poet and a calligrapher................................................ ........................................... (Jahangir Malek) was born in Abshar street, Rey Avenue, Tehran, Iran in 1931.He stutied at Darolfono high school where he obtained his diploma. While studying at Darolfonon, He became interested in Tombak and started practicing on school tables. Ostad Hosain Tehrani used to live in Abshar street close to Jahangir Malak's family house. Jahangir Malak used to look at Ostad Hosain Tehrani in an admiring manner and was too shy to approach the master for tuition. Ostad Hosain Tehrani became more and more curious as to why this child looks at him in this way and one day he asked him: why do you always scrutinize my every move; do you what anything? He replied timidly yes. I would like to learn tombak from you. Ostad Hosain Tehrani asked him: where do live and can you come for tuition everyday? He replied; I am your neighbor in Abshar street. Ostad Hosain Tehrani observing his enthusiasm and interest, accepts him as student. He attended Ostad Hosain Tehrani's classes until 1951. He stared performing in Iranian national radio in 1951. Mr Moshir Homayon, mayor of Tehran and head of music board, attends one of his concerts and asks him to join his ensemble called "orkestere vizhe". This ensemble consisted of many master musicians and was very difficult for a young musician to collaborate with these masters but he made valuable contribution and became a valuable member of this ensemble. he also collaborated with the following orchestras: Number 1- under leadership of Hosainali Malah, Mehdi Meftah and Ostad Gholamhosain Banan....................................................... ........................................... (Amir Bidarian), he was born in 1932. He was student of Morshed Nasrollah and Ostad Hosain Tehrani. He performed in Iranian Radio from 1959 to 1977. He has played in some musical films Hassan Kachal , Zir-e-Bazarcheh and others. he has recorded an instructional cassette for the art of tombak playing .He worked on tombak for about 50 years and passed away in 1997.Ganjine-ye-Vaznha...................................... ................................... Ostad Mohammad Tahmasebi................................................... ..................................... .. (Bahman Rajabi) was born 1939 in Rasht. His interest in musical rhythms started in his childhood by playing on household equipments like metal trays. He moved to Tehran with his family at a very young age. He could not afford a Tombak teacher due to financial difficulties. Therefore, He started learning Tombak by just listing to and observing Tombak players during his schooling. He also faced family and educational problems. These difficulties very much delayed his artistic development. He considers himself as student of the past and contemporary tombak masters, by learning from past masters and being influenced by contemporary masters. He considers Ostad Amir Naser Eftetah as being more influential. Bahman Rajabi has renovated and modernized the work of other artists. He has also made some notable innovations in the art of Tombak especially in expansion of playing techniques by using logical methods. He has renovated the traditional Iranian 6/8 rhythms known as "motrebi" or "ruhozi". He has added ten new riz(roll) to the previous five traditional riz(roll). He is an excellent orator. He has given many lectures accompanied by solo performances about Tombak without expecting any financial reward. He believes that a modern Tombak artist must be a scholar, a thinker and a researcher as well as a good player. Bahman Rajabi is a mountaineer. Bahman Rajabi believes that art is for attainment of highest human attributes and not means for accumulating wealth. For this reason, he never plays in any institution in which art has only entertainment value....................................................... ............................................ ( Mohammad Esmaeili) (1313- sh) (1943- m) He was born in Tehran. His teacher was Hussein Tehrani at 1330-1340 (1951-1961). He has teaches Tunbak in Iranian Music Conservatoire. He was cooperated with Faramarz Payvar, Jalil Shahnaz, Hassan Nahid, Ali Asghar Bahari and … in Iranian Music Masters Group. He was performance Rounama peace at 1355 (1976) in Vahdat [Roudaki] Hall. He was teaches Tunbak in Jahad Daneshgahi Music University at 1376 (1997)...................................................... ........................................... (Mahmod Farahmand Bafi) was born in Tehran, Iran in 1956. He became interested in traditional Iranian music and Tombak at the age of 9. He started his Tomabk training with Ostad Amirnasser Eftetah in 1968 for two years. He started collaborating with center for preservation and propagation of traditional Iranian music in 1974. He has performed in 3 art festivals in Hafezeye in Shiraz and many concerts in various universities. He joined Molana ensemble in 1980. ............................................................ ...................................... (Mohammad Akhavan) Mohammad Akhavan was born in Tabriz in 1956. from an early age, he became interested in music. he choose Tombak at the age of 6 and start practicing without any teacher. he learnt the elementary playing techniques from books and tapes of the master players. At the age of 18, he was invited by ostad Mahmod Karimi and Daryosh Safavat to join Tabriz radio and television ensemble. At the same time, he started teaching at the Tabriz center for preservation and propagation of music, Tabriz music college and Tabriz music workshop. He has performed in many concerts in America, Europe, Asia and Africa. He now lives in Tehran teaching Tombak and performing with master musicians. As a Tombak player he is a perfectionist. He is always practicing his technique and exploring new styles...................................................... ............................................ (Jamshid Mohebbi), he is one of the best and famous Tombak Teacher and Player today he teached Tombak for exampel to Majid Hesabi ,Mohamd Sadehgi,Bahman Mobayyen ,Mehdi Esfahani ,Parissa... Jamshid Mohebi he was a student of Bahman Rajabi ,Naser farhangfar.he also play beautiful setar too......................................................... ............................................. (Morteza Ayan) was born in Tehran in 1946. He was 12 years old when he began his studies with Ostad Hossein Khorsandi. A year later he started his apprenticeship with one of the most influential masters of tombak, Ostad Amir Nasser Eftetah and within a few short years he was encouraged by his mentor to participate in various radio productions. After fourteen years of performing, teaching, and developing his personal style on tombak, he was invited by Dr. Dariush Safvat to the Center for Preservation and Dissemination of Traditional Iranian Music. During that time, he collaborated with many masters of traditional music such as Ostad Saied Hormozi and Ostad Yousef Foroutan. He has appeared with many masters of persian music and has given numerous concerts all around the world....................................................... ............................................ (Jamsid Chemirani) was born in tehran in 1942. he has studied the tombak since the age of eight. His teacher was Ostad Hosain Tehrani. Under his demanding tutelage, Chemirani made rapid progress and soon became a brilliant player. Since his arrival in Paris in 1961 he has taught at the Centre d'Etudes de Musique Orientale in the Paris Sorbonne Institut de Musicologie. He has performed with eminent Iranian musicians Darioush Safvat, Daryush Talai and madjid Kiani....................................................... ...................................... (Pedram Khavar-Zamini) was born in 1975, in Teheran, Iran. He learned to play the Tombak alongside to tombak Masters Kamyar Mohabbat and Bahman Rajabi. Talented student, he will perform in public with Bahman Rajabi...................................................... ............................................ (Bahman Mobayyen) The Tombak or Zarb. Is the Chief percussion instrument of Iranian Art music. This is a one faced drum Where The whole upper half is wider Than the lower. It is carved of single Block of wood! And it body is hallow, Open at lower end covered with a Sheepskin membrane across the Upper part. An average Tombak is 43 cm high with Playing face of 28 diameter A Tombak player holds the drum Diagonally across his lap with the Wider section usually over his right Side and it is played with the fingers And the palm of the hands. Bahman Mobayyen has developed a Variety of techniques to produce different sounds on the single face of This old instrument of Iranian Art music. The tick Bass sound is known As TOM. This sound comes from striking the centre of the face with the Whole hand. The snap, dry sound, is known as BAK and is produced by Striking the face of the rim. Bahman Mobayyen was born in Tehran, 1963. He started studying The TOMBAK and undertook advanced studies at the center for Traditional Music and Art in Tehran, Iran with great masters of Tombak including, Jamshid Mohebbi, Mohammad Akhavan and Naser Farhang far He played percussion for 1- Film Music ,Arabian Nights, Natacha Atlas,(Singer). (Composer Richard Harrvy) 2- World Music for singers, Robbie Williams, Neneh cherry, Maxi jazz 3- at year 2000 he was a Solist for Champer Orchestra with Abdullah Chhade And Conductor Roland Mela... Through his performance And teaching, took a virtuoso approach Towards Tombak playing with the use of western notation in Iran and Other parts of the world especially in Germany where he lives, Tombak is Becoming increasingly popular now, Bahman Mobayyen is one of The most experienced Tombak teachers To day and is teaching at established musical centers around Germany..................................................... ........................................ (Arash Farhangfar) is one of the best players of tombak in Iran today, son of a big master, he started his apprentice of this instrument since childhood and that can explained his ability to master his art in spite of his young age. A set apart of a new generation of young creative musicians who search for the absolute truth. (Hamid Ghanbary)................................................... .................................. Hamid Ghanbary was born in 1974, in Tehran, Iran. He was taught playing the Tombak seriously by a well-experienced instructor, Mr.Bahman Rajabi. Dropping out of Chemistry College at that time was a turning point in his life. ............................................................ ......................................... (Shirzad Sharif) was born 1977 in Tehran, Iran and was raised in a highly acclaimed musical family which has nurtured the likes of the Tar ("Persian Lute") Grand Master Ostad Farhang Sharif, this exposed him to the intricacies of Persian classical music from an early childhood which was inspired by his grandmother's elaborate drumming. ............................................................ ................................................... (Pejman Hadadi) Considered the “finest Iranian percussionist in the West” (KPFA Radio and Rhythm Magazine), Pejman Hadadi began playing tombak at the age of ten with the masters of the instrument Asadollah Hejazi and Bahman Rajabi. In 1990, upon immigration to the United States, he began his professional career, performing and recording with ensembles of Persian classical music as well as Indian, Turkish and American musicians.( Sina Khosravi) was born in Tehran, Iran in 1983. He started taking Tonbak lessons at the age of 13 with Daryoush Eshaghy. he lives in London Ontario. Sina attends the University of Western Ontario doing a double major in visual arts and music. He has also been a guest lecturer at U.W.O for the past four years, demonstrating percussion instruments from the Middle East. In 2004 was the runner up in Ontario in the Western fair talent contest in 2004. Sina appears in the billboard -charting guitarist, Johannes Linsteads cd , Caf Tropical.He has done collaborations with U.W.O Dance Company since 2004........................................................ ............................................ (Peyman Nasehpour), tombak player, the oldest child of Ostad Nasrollah Nasehpour (vocalist and master of Radif repertoire of Persian art music), was born in Tehran, Iran, in 1974. In his family he was acquainted with Azerbaijani and Persian art music. After finishing the Child Music Course with Mr. Mohammad Reza Darvishi (Researcher of Persian regional music), he started learning tonbak at the early age of nine. ............................................................ ....................................... (Homayoun Shajarian) (born May 21, 1975) is a Persian classical music vocalist, as well as a Tombak and Kamancheh player. He was born in Tehran in a music-dedicated family. He is the son of Mohammad Reza Shajarian, who is in turn the grand master vocalist of Traditional Persian music. Upon his father's advice, he began studying knowledge of technique and rhythm under supervision of Nasser Farhangfar, master of Persian musical instrument: Tombak, at the age of five. Afterwards, he also continued learning Tombak under Jamshid Mohebbi's supervision. He commenced learning Persian traditional vocal Avaz at the age of ten, alongside his senior sisters under father’s supervision and gained knowledge of Avaz techniques and voice-producing. Simultaneously, he attended Tehran Conservatory of Music and chose Kamancheh as his professional instrument as well as being tutored by Ardeshir Kamkar. From 1991, he accompanied father in concerts of Ava Music Ensemble in US, Europe and Iran, playing Tombak; and from 1999 ..ed accompanying father also on vocals. His first independent work Nassim-e Vasl, composed by Mohammad Javad Zarrabian, was published on his 28th birthday, in 21 May 2003. Born in Shiraz, 1970........................................................ ............................................ (Navid Afghah) started playing the Tonbak in 1983 under the supervision of Mahmoud Farahmand Bafi at the Center of Traditional Music Heritage. The presence of his elder brother (Massih Afghah, Santur Player), helped him to find his way. Navid, who also plays the Tar and the Setar, passed several courses in orchestration, counterpoint and harmony under the guidance of Kambiz Rowshan Ravan. In 2000, he released his first solo album, which has been re-published in France in 2001 (CDA Records). He has so far performed in various solo concerts in Iran as well as abroad, and collaborated with many ensembles like the Soroush Ensemble, Faramarz Payvar Ensemble, Dalaho, Ayeneh and Massiha..................................................... .......................................... (Pasha Karami) was born in Shiraz, an ancient and cultural city of Iran. His tremendous ability of feeling the rhythm convinced everybody about his talent. Therefore in 1993 he became the disciple Navid Afghah, the master of Tombak, who had created a new and modern of playing Tombak. Soon he took the leading places among Afghah’s students and started teaching lessons in several music schools of Shiraz. Pasha won the first prize of young Tombak players in festival of music in Shiraz, in 2002. (Salar Aghili)..................................................... ............................................. ,he is one of the best persian Art music singer but he is also very good Tombak player as well ,his master in Tombak was Ostad Amir Naser Bidarian,God Blessed him.. (Ziya Tabassian).................................................. ......................................... started playing the tombak (a Persian percussion) at the age of 11. From 1994 to 2001 he studied western classical percussion with Julien Grégoire in Montreal, and has completed a Bachelor degree in percussion interpretation at the Université de Montréal. During winter 2002, Ziya went back to Iran for tombak training with M. Bahman Rajabi, and in 2003, he completed a residency at the Banff Centre for the arts, where he explored the contemporary music on the Persian percussions. (Kaveh Mahmudiyan)................................................. ...................................... was born in Mahabad, Iran in 1983. His interest on Tombak has begun since his childhood. At 13, he began to get knows with the instrument and started to get knows with the basics of Tombak notes and preliminary playing roles of this classic music instrument. During his first lessons by Mr. Farhad Bazargan in Fredrikstad, Norway in 1998-2001, he studied the playing methods and style of Master Hossein Tehrani. (Payam Mousavi).................................................... .......................................... start to learn Tombak At Age 5,he is student of Jamshid Mohebbi And Great Master of Tombak Bahman Rajabi ,He is also one of a good Tar player as well.(Behnam Samani) He studied Tombak for 13 years with D. Mohebi in Isfahan. He has been performing in Europe since 1987 and has collaborated with some of the most celebrated Iranian musicians including F. Paewar, M. Zarief and R. Badie. He has also worked with international artists such as H. Charasia, D. Schneider and H. Mitschke on several theatre and music projects. (Dr. Reza Torshizi). ............................................................ .................................................. he is student of ostad Esmaeilil also he was learning Tombak by Ostad Amir Naser Efteteh...He Wrote The Book Abot Music ...Hezar Sal vazn rytm dar mosighi Iran (One thousand years of rhythm in Iranian music) Published by hozeh honary ISBN: 964-471-018-5 ............................................................ ............................................... (Mehrdad Arabi began studying Tombak as a teenager with the renowned Morteza Ayan & Nasser Eftetaah. He began his ensemble work at the Center for Preservation of Music in Tehran, and was later invited to join the celebrated Mowlana, Bidel, Zolfoloon and Payvar ensembles. Mehrdad has compiled and edited 3 books on the technique and notation of Tombak. His excellent understanding of Persian melodic music comes from the fact that in addition to Tombak & Daf, he is proficient in the Kamanche & violin. In 1996 he was awarded a medal of honor by the Borneo University of Art, but his greatest honor remains performing and recording with two of the greatest masters of Persian music, Jalil Shahnaz and Hassan Kassaie. After settling in Los Angeles, Mehrdad Arabi began recording sound-tracks for Hollywood movies including The Passion of Christ, Hidalgo and Helen of Troy. He composed the score and played a full orchestra for the first Iranian American cartoon in the US, Babak’s First Norooz. He has performed to enthusiastic crowds at the Hollywood Bowl, the Armand Hammer Museum, and the California Plaza as part of the Festival of Central Asia. He was a featured percussionist in the World Percussion Masters concert at the Electric Lodge and in the Festival of Sacred Music at the Greek Theater in Los Angeles in 2002. (Matt Hannafin) ............................................................ .................................................. is a New York-born, Portland-based percussionist active in both free improvisation and Iranian classical and traditional music. He studied Iranian tombak (classical goblet drum) with master Kavous Shirzadian, Arabic and Indian percussion with Jamey Haddad and Glen Velez, African and Afro-Caribbean percussion with John Amira and Magette Fall, and voice with composer La Monte Young and Pandit Pran Nath. For improvisation, his approach blends the techniques and timbres of eastern and western percussion with sonorities and ideas borrowed from nature, electronic music, and the urban-industrial soundscape. (Farhad Bazargan)................................................... ......................................... .was born in Esfahan Iran in 1966.He starded to play tonbak at age of 16,During his teacher mr Hassan Azadfar which learnd him som of farhangfar style.He starded to play for honarestan honarhay ziba in Esfahan.Efter 2 years he moved to Norway and after some years starded to play tonbak again on his own and used some books from other ostads (masters)like ostad Tehrani ostad Rajabi and Ostad Farhangfar,he used some books from mr Majid Hesabi too and tryed to get know with different techniques and different style to make his own technique and style . 3 persons who got most influence in our techniques and our way to play tonbak in this newer time are mr:Tehrani,Rajabi Farhangfar and he will thanks them and other for all they do and did for The Art of Tonbaknavazi. (Mohsen Kasirossafar)............................................... ......................................... He is born in Mashad (Iran) in 1955. He starts studing the zarb in 1980. From 1983 on, he meets the masters K. Kalhor, M.R. Lotfi, H. Alizadeh, B. Kamkar and M. Aayan with whom he starts improving his technique, completing his studies with the great musician Nasser Farhangfar. Since 1976 he has been living in Rome, where he has taken a degree in cinema. He collaborates with musicians and composers like Ennio morricone, Giancarlo Schiaffini, Giorgio Battistelli, Angelo Branduardi, Mauro Pagani, Paolo Vivaldi, Andrea Morricone, Rita Marcotulli, Daniele Sepe, the duo Antonello Salis and Alessandro Satta, and many others. He has published a very wide range of recordings, he has been partecipating to numerous italian and international music festivals, as well as to many radio and television programms. He is an active member of groups like the Giancarlo Schiaffini Quintet, the Mish Mash Quartet, the Trio Alesini, Compagnia Felix, Saravan Tamburi d'Iran and Cadira. His musical activity ranges from classical to popular persian music, from medieval and renessance to contemporary and experimental music, including theater and soud tracks. Since many years, besides his career as a musician, he is dedicated to lute-making and teaching the zarb and the daff. (Reza Samani)..................................................... .......................................... Born in 1977 in Chahar Mahal, Bakhtiari, Iran, Reza Samani began studying the Tombak with his brother Behnam Samani at the age of eight and later became the student of D. Samani At twelve he picked up the Zorna and later the Ney-Anban and the Daf. In 1999 he traveled to Germany to collaborate on a project with the Ensemble Samani and from then he began his professional career and residency in Germany, where he pursued the study of music and world percussion. Reza has performed with Zarbang Ensemble and Ensemble Samani in numerous festivals and concerts throughout Europe. He teaches Tombak and Daf in Cologne, where he resides and conducts workshops throughout Germany..................................................... ........................................ Mohammad Reza mortazavi was born in 1978 in Isfahan/Iran. at the age of six he began his musical training at the music academy in Isfahan with master Hossein Purabutaleb. After receiving a thorough musical education he started on his own way. His novel and unique understanding of music secured him a leading position at a wide variety of music festivals. The characteristic charm of his work consists not only in the creation of new styles and techniques, but also in the confident applications of these techniques to the purpose of communicating new spiritual contents and musical sensations. This has made him successfully introduce the percussion instrument tombak in Iran and abroad as a solo instrument beyond its traditional role as a mere musical accompanimentHouman Pourmehdiwas born in Tehran, Iran in 1965. He is a master percussionist and a composer. He was privileged to study Tonbak under supervision of such legendary figures as Grand Master Amir Nasser Eftetah, and Master Morteza Ayan........................................................ .................................................... Arjang Kamkar was born in Sanandaj, Iran in 1956.He was borne into a musical family. He started his musical training from an early age with his father Ostad Hasan Kamkar. He started with Santoor and drum set and finally chose Tombak. He joined Sanandaj orchestra under leadership of his father. he then joined regional art and cultural orchestra Farhang va Honar and collaborated with this orchestra until 1975. He then moved to Tehran and studied art at University of Art. He joined Sheyda ensemble under leadership of Ostad Mohamad Reza Lotfi at Iranian national radio. He believes that his playing has been greatly influenced and advanced since joining the Sheyda ensemble. ............................................................ ................................................... Madjid Khaladj was born in Ghazvin(Iran) in 1962. At the age of seven, he started studying the Tombak with masters Maleki and Badjalan. Through them he inherited the teachings of master Hossein Tehrani, to whom we owe the renaissance of the tombak in Iran. he has been living in Paris since 1984 and he has been invited to teach the tombak at the "Centre l'Etudes de Musiques Orientales, Institute de Musicologie, Paris-Sorbonne". He has introduced this Tombak to numerous western percussionists. He is also founder of the Tombak school for the study of Iranian percussion. He is a superb solo artist and has accompanied many Iranian master musitions - Hossein Alizadeh, darush Talai, Mohamed Reza Shadjarian, Mohamed Reza Lotfi, Hossein Omomi and many others. He has a superb technique and excellent knowledge of Iranian Rhythm. He plays many Iranian Percussive instrument: Daf, Dayereh Zangi, Zarbe Zorkhani and Zange sarangoshti................................................. .......................................... "Payam Emami" is a Tombak player and has played years long with different groups in Iran. He participates at this moment in Holland with the band of the conservatory of amsterdam. ............................................................ .................................................. The percussionist Hadi Alizadeh was born in 1973 in Ilam/Iran. He studied in Teheran with master Bahman Rajabi the Persian drum Tonbak. Autodidactically he taught himself the art of the Daf play. In Iran he had numerous appearances at festivals and on broadcast. Starting from 1995 he teaches classical Persian drum techniques. Since 2001 he lives in Germany. Here he continued his teaching activity at different institutions, among others at the FMZ (free music center) Munich. His artistic emphasis is on the exchange with musicians of other traditions and cultures. He works as a soloist, and with several groups and at festival.................................................... ............................................ JossTurnbull The young and experimental percussionist JossTurnbull, born in 1985, began to play tonbak in 2005when he met Mohammad Mortazavi.He studied two years modern techniques of tonbak fromMortazavi. He played with him in his Puls Ensemble andworked on a Duo-programme for two concerts.Currently, Joss finds his own sounds, techniques andpieces while he is studying traditional suites andtechniques for tonbak.Beside tonbak Joss Turnbull also plays framedrums,cajon and percussion setups. He was supporting actfrom Trilok Gurtu, Hermann Kathans Buschwerk withNippy Noya and Rüdiger Opermann. 2007 Joss was theyoungest teacher for oriental frame drum at theinternational frame drum festival Tamburi Mundi. more about Joss:http://www.myspace.com/jossturnbull ............................................ Titus Bellwald born 1979 in Berne, Switzerland, studied classical percussion, has worked in the field of both ancient and contemporary music. Initially he started to play tombak in order to play a contemporary piece by greek/french composer Georges Aperghis (le corps a corps). Since 2004 when he graduated from his studies of classical percussion with a program of contemporary solo pieces combining electronics and percussion, he has worked on hand percussion - manly the tombak with masterclasses with Keyvan and Bijan Chemirani and regular lessons with Madjid Khaladj and occasional work with other teachers such as Antoine Morineau.