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Amir ElSaffar: At Two Rivers' Confluence

Daniel Lehner By

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Now jazz is not just an American art form. Eventually we're going to get to something more human. I want to emphasize what's unique to each culture but also what's similar. Jazz can act as a space for other cultures to exist in one space that makes sense.
There was a point during Amir ElSaffar's study of Arabic music where he almost didn't come back to jazz. He had gone to Iraq to study maqam, the system of melodic modes in traditional Arabic music, in order to bring some of the concepts into jazz. However, the experience proved to be a deepening one for ElSaffar.

"I was supposed to spend three weeks in Iraq, but once I had gotten a taste I realized that I wasn't really getting into the tradition at all. I knew some of the notes of the melody but not a lot of the nuances. So at a certain point, during that six-month time I dedicated myself to learning the music for its own sake. I had seen only a few people in Iraq that were really taking this music seriously. Very few Arabs even knew that there was an Iraqi version of the maqam and I wondered who was taking care of this music. Part of it was me wanting to be practitioner in my generation and part of it was just falling in love with the music and wanting to understand it more. At a certain point, I was really into the tradition almost to the point of not playing trumpet and maybe not wanting to play jazz anymore, but then I would get a call from somebody like Cecil Taylor who wants to do a week at the Iridium and, of course, I'm not going to say no."

Such is Amir ElSaffar's current presence in the music world. He has been splitting his time between the Arabic music and the jazz and improvised music, immersing himself in both fields for extended periods of time. In fact, the idea of being in two musical worlds has been codified into an ensemble named Two Rivers, who debuted their first recording on Pi in 2007. "I think it was when I got the commission to write the Two Rivers suite that sort of fished me out of just being into the maqam and gave me the chance to combine it with jazz. I was really resistant to it at first but then stuff started to fall into place."

In the States, ElSaffar has been keeping both busy and diverse. This winter, he's playing with flutist Jamie Baum's Septet and is involved with bassist Mark Dresser's Telematics project, using the internet and other high-speed connections to play with musicians in Abu Dhabi via NYU. He's involved with Danilo Pérez's "21st Century Dizzy" project along with other culturally-minded musicians like saxophonists David Sanchez and Rudresh Mahanthappa, percussionist Jamey Haddad, bassist Ben Street and drummer Adam Cruz. "It's sort of recreating Dizzy's approach to incorporating different cultural traditions in jazz, the way he did with Cuban music in the bebop era," said ElSaffar.

Inana (Pi, 2011) follows up on the ideas and aesthetics of the first Two Rivers records. Praised by critics as a personal and non-clichéd exhibition of jazz and Middle Eastern methodology, ElSaffar describes Inana as the next step in the musical exploration of the maqam in jazz, using new techniques in harmony and counterpoint that weren't on the first record. The line-up has changed very slightly since the self-titled release but for ElSaffar, the personnel of the band still act a cross-section of his interests as a musician.

"I knew immediately that I wanted Rudresh [Mahanthappa] involved; I had studied with him in Chicago. Nasheet Waits was somebody that I admired for the openness of his approach, the big sound that he has. Zaafir [Tawil] and Tareq [Abboushi] are both rooted in Arabic tradition but also very expansive in the kinds of music and instruments they play. Carlo [DeRosa] is one of the first musicians I met when I was in New York and he's just rock solid. When Rudresh told me that it was hard for him to rehearse because he was so busy, my fiancée recommended Ole Mathisen who was nailing it right off the bat. He's someone who's checked out Persian and Indian music, too. I'm always looking for people that are firmly rooted in jazz but have invested their energies into other music also."

Long before his foray into the traditional music of Iraq, ElSaffar's first musical interest was the quintessential American tradition: the blues. Growing up in the suburbs of Chicago, ElSaffar's father helped expose him to the northern city's rich commonwealth of blues and jazz. Allegedly, ElSaffar earliest exposure to jazz came as a conscious decision by his father.


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