Tag Archives: SoSaLa

About The Tracks

1. Vor Geschlossener Tur (In Front of a Closed Door)    

The lyrics / spoken words are in German, SoSaLa’s favorite language. In 1994 he felt that his life in Tokyo was kind of boring and going nowhere. Every day he felt like he was standing in front of a closed door waiting to see it open. It was a lonely time for SoSaLa,  and he had a difficult time communicating and socializing with Tokyoites.

SoSaLa: soprano sax, organ & vocal. Mark C: guitar (right channel). Toshimaru Nakamura: guitar (left channel). David Motamed: bass. James Lo: drums

2. I’m Blind  

This song tells of SoSaLa’s dismay for apathetic people who unquestioningly believes in the status quo. In the song’s imagery, the only way to intrude into their mental ignorance is by shooting at them with a water gun.

SoSaLa: soprano sax & vocal. Mark C: guitar (r/c). Toshimaru Nakamura: guitar (l/c). David Motamed: bass

3. Dadada Dadada Daaa     

This shows SoSaLa’s love for Dadaism. SoSaLa feels that American politics lack wit and humor.

SoSaLa: soprano sax & organ. Mark C: guitar (r/c). Toshimaru Nakamura: guitar (l/c). David Motamed: bass. James Lo: drums. Peter Gordon: tenor sax.

4. Vor Deiner Tur (In Front of Your Door)          
This instrumental track evokes the story of SoSaLa imagining a fictitious person who he tries to meet, but in vain, because the door to the apartment was closed all time.

SoSaLa: organ, Mark C: guitar (r/c), Toshimaru Nakamura: guitar (l/c). James Lo: drums. Peter Gordon: tenor sax.

5. So What    

When SoSaLa was in NY in 1993, he expected New Yorkers to be (in contrast to Tokyoites) more communicative, critical, liberal, and emancipated. He was disappointed to learn that New Yorkers are not very different from Tokyoites in this respect. The atavistic aspect of New York City was a shock to him. He was also disappointed with the music scene in New York. This trilingual (English, German, Farsi) track expresses these sentiments

SoSaLa: soprano sax & vocal. Mark C: guitar (r/c). Toshimaru Nakamura: guitar (l/c). David Motamed: bass.

6. Omar Khayyam in New York    

Another multi-lingual track (English and Farsi), SoSaLa expresses his deep respect for Iran’s culture and history. In this song he imagined Omar Khayyam (1048-1131: famed Persian astronomer, mathematician, and poet) being in modern day New York and how he would fit in.

SoSaLa: flute & vocal. Mark C: guitar (r/c). Toshimaru Nakamura: guitar (l/c). David Motamed: bass

7. You Want to Be a Sex Star         

This song expresses SoSaLa’s distaste of how human sexuality is shown off, misused, degraded, and commercialized in daily American life.

SoSaLa: flute & vocal. Mark C: guitar (r/c). Toshimaru Nakamura: guitar (l/c). David Motamed: bass.

8. Khodahafez (Good Bye)  

The lyrics of this track (in English, German, Japanese, and Farsi) are a metaphor for dismissing people who need too much time to make essential decisions. With the state of the world being what it is, SoSaLa believes that doing nothing and staying passive are unacceptable.

SoSaLa: vocal. Mark C: guitar (r/c). Toshimaru Nakamura: guitar (l/c). James Lo: drums. Peter Gordon: jaw harp.

1993

Reviews/Quotes

Reviews

CONCERT

Impressions of a Performance

Sohrab Saadat Ladjevardi & Jean-Marie Collatin Faye @ Love Not Money, 10-21-23 from 2:00 to 3:00 p.m.

In the wake of the devastation to the livelihoods of professional freelance musicians wrought by the digital paradigm shift, it is encouraging to see small record stores cropping up like shoots in a forest after a fire. Love Not Money, located @ 42 Eldridge Street in NYC’s Chinatown district, is one such shop. Specializing in analogue musical recordings like vinyl and cassette tapes, as well as related merch like vintage tee-shirts and posters, it is a prime example of this welcomed resurgence in “physical” music consumption and the venues that support it.

Another promising trend such stores represent is a return of live musical performance in situ. There was a time when such live performances in record stores were regular occurrences. The old, now defunct, J&R Music World regularly hosted such events to promote new releases … especially for jazz and classical artists. WBGO even broadcast the live jazz performances. But with the demise of brick-and-mortar stores, these live in-store performances ended.

So, when my friend and colleague Sohrab Saadat Ladjevardi invited me to one such performance he and Jean-Marie Collatin Faye were giving on Saturday October 21, 2023, @ Love Not Money, I was intrigued.

I’ve known Sohrab for about a decade now… mostly through his artist rights activism and leadership of Musicians For Musicians and his participation in other groups fighting for justice for musicians.

I’ve heard his thought-provoking recordings, but this is the first time I’ve heard him live, despite us both playing on the same bill for some fund and awareness raising events.

I’ve always liked the duo format, because it lives or dies on the conversational aspect at the heart of the best jazz. I’ve found this to be true regardless of instrumentation. The masterful interplay between Sohrab and Jean-Marie confirmed this once again, but not in any way I would have predicted.

Their performance on Saturday afternoon was a revelation. Jean-Marie’s mastery of the arsenal of percussion instruments at his disposal functioned very musically as both the foundation and embellishment for Sohrab’s improvisational flights of fancy.  Jean-Marie’s playing really engaged the audience of many passersby, despite his limited mobility (after all, his instruments were stationary). Sohrab, on the other hand, strolled back and forth, reminding this listener of Sonny Rollins, as he playfully interacted with listeners of all ages and nationalities.

However, the real pleasant surprise was how Sohrab held things together with no chords to shape the form of his improvisations. He strung together cogent thematic statements that unfolded with the force of narrative. He did this, by the way, while interacting with the percussionist and somehow managing to make verbal chant-like statements about the power of art and music…. all done in such a natural flow and engaging manner that many of those passing by stopped to listen and stayed for a while.

Like me, they enjoyed what they heard.

While the content was very different, Jean-Marie’s and Sohrab’s interactions come out of the tradition established and developed by Elvin Jones and John Coltrane, though Sohrab and Jean-Marie delved into more world music vocabularies. This amalgam seemed so natural coming from these cats that I have to conclude that it is their “happy-place”… musically speaking. It also produced much joy and happiness for the audience.

When the joy of the musicians is so infectious that it moves the audience, you are witnessing the reason live music is the most real manifestation of the power of music we have in this world of ours!

Bravo, Sohrab and Jean-Marie!

Review by Ken Hatfield (musician, composer, recording artist, author, educator and musician rights activist) – 10/22/2023

CD

SoSaLa with MARK C. / JAMES LO / TOSHIMARU NAKAMURA / PETER GORDON / DAVID MOTAMED – 1993 (DooBeeDoo Records 003; USA). Featuring SoSaLa (a/k/a Sohrab Saadat Ladjevardi) on soprano sax, organ & vocals, Mark C. & Toshi Nakamura on guitars, Peter Gordon on tenor sax, David Motamed on bass and James Lo on drums.

Sohrab Saadat Ladjevardi is originally from Iran, has lived in Germany & Japan and is currently living here. I’ve been admiring the work of saxist SoSaLa for the past decade, with two fine self-produced discs which are in between categories. This disc actually predates the other two and was recorded in January of 1993, more than thirty years ago. Backing SoSaLa here is an eclectic cast with Mark C. & James Lo from Live Skull, Peter Gordon (Downtown composer & leader of the Love of Life Orchestra) and Toshimaru Nakamura who is well known for his lower case/onkyo more minimal approach to the guitar as well as no-input mixing board.


 “In Front of a Closed Door” opens with some strong, no wave-like pounding drums, squealing sax, twisted vocals and wailing guitars along with SoSaLa’s organ. The original Live Skull band were one of the most intense post-punk bands to emerge from NYC in the mid-1980’s. Two of their members are on this disc, guitarist Mark C and drummer James Lo. Mr. Lo’s pounding drums are central to the sound of these pieces.

On “I’m Blind,” SoSaLa speaks & screams out with his brutal voice while the guitars swarm like deadly beings. Peter Gordon’s tenor sax is featured on “Dadada Dadada Daaa” which features more pounding drums and brutal guitars. SoSaLa’s brooding, dark organ is at the center of “In Front of Your Door,” with more throttling drums, screaming sax (from Peter Gordon) and throbbing bass. On “Omar Khayyam in New York,” SoSaLa does some powerful shouting over the top of those churning guitars.

Had this disc been released closer to the time it was recorded it would’ve been seen as an extension of the No wave/post-punk scene. Twenty years later, it still sounds daunting, brutal and in-your-face. At 25 minutes, it feels long enough to catch us off-guard and we can still relate to the anger or frustration at the center.” – Bruce Lee Gallanter / Downtown Muic Gallery, (8/25/2023)  

DooBeeDooBeeDoo NY (7/24/2023) SoSaLa “1993” – A Portrait of the Artist as a Young Man by Dawoud Kringle.

Quotes

“Yeah, I listened to it. It rocks! Punk, jazz, not dead!” – guitarist, band leader and musician rights activist Marc Ribot (9/2/2023)

“Hi Sohrab, I did have a chance to listen before we left for Croatia yesterday.. I want to congratulate you on expressing exactly who you are as a musician and a man the way you did at 40.. I heard and felt it all, your attitude was loud and clear.. your frustration, anger, despair, aggressive attacking tone was disturbing to my sensibilities.. Your message was an obviously honest expression of your life’s experiences at that time but with this reissue 30 years later you are still living in that world and telling the same sad story.. I would hope you would have a more compassionate world view of the humanity that surrounds us every day.. I would suggest following this reissue up with a message of love in your next recorded project at 70.. 🎷” – CD jazz sax maestro Joe Lovano texted me this comment (August 30th, 2023).
 

“Hello Sohrab,  thanks for the Sosala’link, it’s a powerfull performance.” – French Lo’Jo band leader, composer and performer Denis Péan (8/30/2023)

“Listening now!! BLOWN AWAY!!!! Fuckin’ Brilliant. a” – multiple Latin Jazz Grammy Award winner Arturo O’Farrill (8/20/2023)

“The music of Sohrab/SoSaLa is truly one of a kind.  There are no boundaries to his creativity- he takes his art (or his art takes HIM) in whatever direction it wants to go.  The results are always something you’ve never quite heard before – and always unique and inspiring.” – guitarist and guitar repeairman Joe Belle (8/8/2023)

“Sohrab’s music is honest and fierce taking no prisoners. It should be mandatory in school and club situations.” – legendary jazz man David Liebman (7/31/2323)

“yes sohrab, i am listening closely to it, most of the way through. it is wonderful –  strong energy, original, and constantly changing sounds, a delight to listen to. being 30. years since it was recorded, it still sounds fresh and totally original! congratulations and great work!” – royal hartigan (drummer, percussionist and educator), 7/22/2023

1993 is SoSaLa at his rawest and most earnest.  30 years later, he proves to be a sonic prophet.” – Philo/Illegal Arts Records, 7/9/2023

(SoSaLa) stands at the forefront, leading the music in a way few could. His saxophone work is masterful in every respect. While it’s obvious he comes from a free jazz tradition and sensibility, he has his own unique approach that stands apart from others. [As] a producer and bandleader, he clearly knows how to bring out the best in those he works with. This collection is essential for any admirer of SoSaLa. It conveys and embodies a perfect balance between the wisdom of age and the restless energy and idealism of youth. The music is as fresh and innovative now as it was when it was recorded 30 years ago.” – Dawoud Kringle / God’s Unruly Friends / Dawoud the Renegade Sufi, June 30th, 2023

“Ich habe jetzt Mal durchgehört.
 
Was ich gut finde:
 
30 Jahre alte Platte die immer noch frisch klingt – das ist beeindruckend.
Die Performance
Das alles Biss hat
Das ganz oft eine interessante und wilde Idee kommt die wunderbar auf den Teil davor passt.
 
Was mich stört:
 
Es gibt zu dem “art house” / wilden / nervösen kaum Auflösung / Entspannung / Gegenpol.”
 
English translation:
 
I've listened now.


What I like:


30 year old record that still sounds fresh - that's impressive.
the performance
Everything has bite
That often comes up with an interesting and wild idea that fits perfectly with the part before it.


What bothers me:


There is hardly any resolution / relaxation / antithesis to the "art house" / wild / nervous." 
 Lars Deutsch (German composer and producer), 6/22/2023)