Madjid Khaladj | Infinite Breath (Nafas) Persian Art Percussion

Go To Artist Page

Recommended if You Like
Madjid Khaladj Percussion Tombak & Daf

Album Links
Madjid Khaladj Tradebit Ba Music Records MusicIsHere PayPlay Apple iTunes

More Artists From

Other Genres You Will Love
World: Middle East Contemporary World: Persian contemporary Moods: Featuring Drums
Sell your music everywhere
There are no items in your wishlist.

Infinite Breath (Nafas) Persian Art Percussion

by Madjid Khaladj

This NEW recording (2007), represents a mere drop from the unlimited spring of possible explorations of Persian rhythms by using poetry. As it flows, it carries us through a vast garden, vibrant with color of flowers and ebullient with their fragrances.
Genre: World: Middle East Contemporary
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
just a few left.
order now!
Buy 2 or more of this title's physical copies and get 10% off
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Nafas / Infinite Breath
3:12 $0.99
2. Ham nafas / Intimate Pulses
4:54 $0.99
3. Ekhtiyaar-e del / Swaying Desires
3:37 $0.99
4. Mofar’reh zaat / Revival of the Soul
4:54 $0.99
5. Har nafasi / Upon Each Breath
3:50 $0.99
6. Nabz-e nafas / Pulses of Life
4:58 $0.99
7. Saaghi / The Cup Bearer
6:41 $0.99
8. Dayreh III / [Circle III]
4:31 $0.99
9. Jahaan-e faani / Our Ephemeral Realm
3:36 $0.99
10. Nafasi dighar / Another Realm
8:59 $0.99
Downloads are available as MP3-320 files.


Album Notes
BA Music Records is a coop of the artists it represents. Sales proceeds go to them directly. Thanks for your support.


Persian Art Percussion

Infinite Breath

Madjid Khaladj,
tombak, daf, dayré, zang-e saringôshti, dohôl,
tombak-e zurkhâneh, senj, zang, zanguleh, âyineh’pil


"It is one and a just one, it is all abundance and an abundant one, highest and dearest. Its path beckons and unity lies in motion with open eyes. Each breath revives - life when drawn, spirit when released." (Prose of Sa'adi, 13th.C.E)

A sophisticated taut bond has evolved between Persian music and poetry since the thirteenth century. It is through the weaves of this bond that tones and rhythms flow from one realm to the other, where rhythms are determined by the transformation of the syllabic weights of verses through an ancient rhythmic compositional system, called atannin.

The mystical substance along with the lexical relations in a poem or a piece of prose awaken numerous parallel emotions deep in our consciousness; powerful writings unfold into mystical emotions.

Thus, the poem chosen for a musical composition is the essential spring from which the music’s tones and rhythms flow. As emotions metamorphosed by man into words, the syllabic intonations of poems generate the rhythmic emotion of the music while in an onomatopic reversal, the sounds of words breath life into the emotions: dynamic, spiritual, meditative... by these exchanges, we transcend into a universe of rhythms where all is connected and held together by the ‘infinite breath’.

This recording represents a mere drop from the unlimited spring of possible explorations of Persian poetry. As it flows, it carries us through a vast garden, vibrant with color of flowers and ebullient with their fragrances.


The Instruments:

This is the main percussion instrument of Persian art music. Its challis shaped body is made of a turned and hollowed-out walnut or mulberry tree trunk with a goatskin stretched across the wide end of the resonator. (Heard on tracks 1,2,7,10).

Much appreciated and developed by the dervishes for use in spiritual performances, the daf is a frame drum that has its origins in the Middle East and Central Asia. In addition to its size, it is different from its closest kin by the chains metal rings that are suspended within the frame (Heard on tracks 3,6,9 and 10).

The name literally means circle. It is a Persian frame drum that is smaller than the daf (Heard on track 8).

Zang-e saringoshti
Brass cymbals pairs attached onto the thumb and the middle finger of each hand. Mainly employed to stress the dance, one finds them particularly omni-present on figurine dancers in Persian miniature paintings of the beginning of the last century (Heard on tracks 4 and 6).

A large cylindrical double-ended drum, the dohol is played with two special drumsticks. One is a thick wooden one, bowed close to the end, called Changaal, and the other one, called Deyrak, is a much thinner one. (heard on tracks 6 and 10).

Tombak-e zurkhaneh
This instrument is a large tombak formed in pottery rather than wood. It is slightly conical in form and is played in zurkhâneh, the traditional persian gymnasium where orchestrated rythmic exercises and mystical peotry are combined to provide a transcendence experience. (Heard on tracks 5 and 10).

This is a special type of large diameter brass cymbals, played by striking a pair together. (heard on track 10).

Bell, a much smaller version of the European cowbell, it rings at higher notes. (Heard on track 10).

This is a small spherical bell, put on the neck of the heard in villages and at the same time used around the ankle and the wrist in folk dances, especially in India and Central Iran. (Heard on track 10).

This may be called a Persian “Gong”. It is a large metallic drum of ancient origins. (Heard on track 10).

Prose and Poems:

Sa’adi,13th.C.E (1. Nafas / Infinite Breath)
Aref-e Ghazvini, 20th.C.E (3. Ekhtiyaar-e del / Swaying Disires)
Haafez,14th.C.E (7. Saaghi / The Cup Bearer & 9. Jahaan-e faani / Our Ephemeral Realm)

© Madjid Khaladj / Bâ Music Records


Review by nsabba (Brookline, MA):

Madjid Khaladj's percussion work give voice to the stretched skin on daf, drum, and dayereh in ways that are abstractions of the human voice in the way that earthen vases and pots are abstractions of human existence for Khayyam. I became familiar with this amazing artist only a year ago, and can't stop spreading the pleasure I've derived from listening to him.

Actually I heard his tombak* during a 1994 performance of the Paris based Mostagh group, was truly taken by it but didn't realize who it was until I got this CD last year. The true measure of percussionists in Iran has been Hossein Tehrani, who in the fifties and sixties raised the level of the tombak to that of a solo instrument. He showed everyone the capability of the percussion to suggest implied melodies and absent voices which it would have accompanied were they present in a give piece. Madjid Khaladj makes these abstracted suggestions come alive, especially on the daf, the larger of the three main stretch skinned percussive instruments of Iran...

You will be pleased with the broad appeal of this artist. He uses persian instruments, but in his hand, they speak universal passages.

Zarb, Tombak, Tonbak, Daf, Dayreh, Zang, Dohol



to write a review

Tamara at CD Baby

A master of Iranian percussion, Madjid Khaladj’s talents have been well recognized across the musical spectrum, both academically and within pop culture, from working with Ry Cooder and Lisa Gerard on film soundtracks and being a part of many radio and television broadcasts to performing in festivals, conferences and concerts all over the globe. This kind of diverse reputation and respect can come only from a musician who equally possesses both the technical prowess and the natural vision that allows him to experiment and improvise with insight and literate inspiration. Whether one is studying the finer subtleties or is new to the music, Infinite Breath offers more than enough to chew on. Between the ten tracks, a large variety of Persian instruments are heard: the recognizable tombak and daf drums as well as the dayré (frame drum), zang-e saringôshti (brass cymbals), dohôl (cylindrical double-ended drum), tombak-e zurkhâneh (a large tombak formed in pottery rather than wood), senj (large diameter brass cymbals), zang (bell), zanguleh (small spherical bell typically worn on the wrist or ankles in folk dances) and the âyineh’pil (a metallic drum, often called a gong). Khaladj has the drive and talent to capture one’s attention equally whether he’s speaking with all instruments or only one. As Hossein Alizádeh wrote, “This development demands deliberate pondering and reflection.”