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Radio ›› Tombak
Tombak
Varashan, 4m59s [extrait]
Piste 2 de Tombak
CD: Ambiances Magnétiques (2006) AM 161
25 septembre 2007
in Startling Moniker (ÉU), 25 septembre 2007

Texte

«Perhaps the most delightful aspect of Tombak is the obvious care that has gone into recording and reproducing the wide dynamic range Tabassian presents.»

Tombak, percussionist Ziya Tabassian’s first release for Ambiances Magnétiques makes its break with more “classical” style tombak playing early on, introducing rubbing and scraping sounds not often associated with it. It’s a gentle way of letting listeners know Tabassian intends to search for new facets of this well-known instrument. Entre nos peaux is a fine example of this search, beginning with a series of slowly cascading drawing sounds across the head of the tombak, which gradually form into a circular and continuous scraping sound of nail on hide.

Tabassian forms these wild scratch noises into a ball of pink noise, possibly using his whole palm across the head - though the exact nature of how these sounds were realized is unimportant to enjoying them. When Tabassian allows the awesome low end of the tombak to emerge again, it bursts forth as a wounded beast, rushing and powerful… charging the listener and suddenly retreating. Perhaps the most delightful aspect of Tombak is the obvious care that has gone into recording and reproducing the wide dynamic range Tabassian presents. The deepest tombak rumbles practically carry with them the scent of the resonating wood from which they arise, while the lightest touch of fingernail is also apparent.

Although there is nothing wrong with Tombak, I do find myself wishing for more in the way of an improvisational recording from Tabassian. I suspect there is a strong element of improvisation in this album, but with the “all pieces composed by” credit, it’s difficult to be sure. For me, the process of discovering and utilizing these new sounds is most interesting and I’d appreciate being let a little closer to that source than this recording seems to allow.

blogue@press-3415 press@3415
1 septembre 2007
Par Martin Longley in The Wire #283 (RU), 1 septembre 2007

Texte

«Tombak is certainly a percussionist’s percussion album, savouring each microscopic whisper of fingers on stretched skin.»

The tombak is a drum commonly used in Persian classical music, sometimes known as the zarb. In 2002 Montréal-based percussionist Ziya Tabassian returned to his native Iran to further his studies, resolving to respect the tradition, but committed to exploring the more abstracted qualities of the drum. Tombak is certainly a percussionist’s percussion album, savouring each microscopic whisper of fingers on stretched skin. At one point one imagines Tabassian was buzzing his lips, as if into a cornet mouthpiece, but instead it’s the supremely dry friction of fingers pushing the “wrong” way on the drum skin. The listener can find a comfortable volume level for such subtleties, but when a harder rhythm coalesces, speaker cones rumble with mighty bass. One piece sounds as though Ziya is peeling a hard-boiled egg on his drumhead. Eventually, the album closes with the almost shockingly conventional Danse mon tambour, revealing the drum’s ability to power a layered beat pattern. Ultimately though, this disc might be too minimalist for even the most steadfast drum worshipper.

blogue@press-3382 press@3382
1 juillet 2007
Par Dionisio Capuano in Blow Up #110/111 (Italie), 1 juillet 2007

Texte

«Tabassian non fa virtuosismi, né tribalismo à la page. Esplora il corpo dello strumento come fosse quello di un’amante.»

Il tombak è il principale strumento percussivo della musica classica persiana. Non propriamente un tamburo, assomiglia ad una grande coppa di legno, con l’apertura superiore coperta dalla pelle in tensione e un collo stretto che finisce con una base più stretta ed una piccola apertura. Viene suonato a mani nude, percosso, fatto roteare. Tabassian non fa virtuosismi, né tribalismo à la page. Esplora il corpo dello strumento come fosse quello di un’amante. Da questa manipolazione sensuale escono suoni che sono brividi della pelle (Entre nos peaux, è il titolo più che emblematico), melodie (Chante mon tambour), riflessi quasi metallici (Seul dvant soi). Il musicista più che suonare uno strumento, sollecita lo spirito della sua terra a parlare, a danzare (Danse mon tambour). Il tombak acquista una vita propria, avviluppando esecutore ed ascoltatore. Bonghisti freak state alla larga.

blogue@press-3356 press@3356
1 juin 2007
Par Gabriel Bélanger in SOCAN, Paroles & Musique #14:2 (Canada), 1 juin 2007

Texte

Le percussioniste Ziya Tabassian offre au public un premier album solo. Connu pour sa participation à différents ensembles, il est actif autant dans le milieu de la musique ancienne que contemporaine. Il présente ici des pièces pour tombak (connu également sous le nom de zarb), principal instrument percussif de la musique persane. Cet opus est le fruit de ses réflexions musicales les plus récentes et retrace les rythmiques de la musique ancienne persane tout en y apportant une touche contemporaine.

blogue@press-3339 press@3339
1 juin 2007
Par Henryk Palczewski in Informator “Ars” 2 #46 (Pologne), 1 juin 2007

Coupure de presse

blogue@press-3352 press@3352
1 mai 2007
Par David Dacks in Exclaim! (Canada), 1 mai 2007

Texte

There’s no shortage of solo drum or percussion ensemble discs. However, very, very few of these attempt to explore their subject matter in an electro acoustic way. This marks Tombak as an important building block in what will surely become more commonplace in years to come. Recorded live with no edits or overdubbing, Tombak shows Tabassian in total control of his instrument. He is well known in Quebec as a proficient player, in the traditional sense, of this single headed, goblet shaped drum, but here he eschews pattern-based regular rhythms in favour of scraping, scratching and advanced tonal manipulation of this incredibly versatile instrument. Perhaps a solo record on tombak works better than on some other percussion instruments due to its inherent versatility. Tabassian capitalises on the quick and sensitive response of the tightly bound drumhead to create everything from pure bass pulses to wind-like howls. The dampening effect achieved by using one’s hand inside the cavity of the drum is also imaginatively deployed. Further sonic ingredients are found in Tabassian’s ability to brush the body of the drum or create distorted effects simply with his hands. All these sonic inventions are interesting but his formal technique also plays a major part in his ability to generate abstract sounds — consider the drum flurries in Varashan, which sound more like smears than precisely metered riffs. The last tune on the album, Danse mon tambour, does give it up and turn it loose with some addictive rhythms and sparkling colours.

blogue@press-3317 press@3317

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