Sohrab Saadat: SoSaLa: 1994-Live At CBGB

Saxophonist and composer Sohrab Saadat Ladjevardi, who goes by the stage name SoSaLa, has had a fascinating and varied career. A musicians' rights advocate and label owner, Saadat was born in Zurich to Iranian parents and is currently based in New York. He, however, spent several years working in Tokyo. The provocative and captivating 1994-Live at CBGB comes from this phase of his life. Recorded at the storied club of the title with a Japanese quartet, the music is dubbed No Wave, yet it is stylistically uncategorizable and carries elements of various genres.

Saadat's emotive vocals and gravelly saxophone are at the forefront of these fiery performances. "Wer Wie Wo Was Warum opens with guitarist Toshimaru Nakamura's blistering lines. Then, Saadat shouts the lyrics in German, giving the piece a theatrical feel, before blowing a few passionate choruses on the saxophone. Drummer Ryo Kato drives the music with thunderous beats, and bassist Masaki Shimizu contributes a reverberating muscular groove.

"Life Drunk" which follows starts similarly with the leader's forcefully spoken words over riotous rhythms. It seamlessly evolves into a soulful melody that Saadat plays on his saxophone and that the band backs with its funky swagger. Elsewhere, "Nakamura's bluesy improvisation on "Positiv Ja" is followed by a simmering saxophone solo from Saadat while Shimizu and Kato lay down infectious refrains.

In addition to English and German, Saadat sings in a few other languages. On "Tavalod" (Birthday), he switches to Farsi. His saxophone has the lyricism of a ney flute, and the tune has a definite eastern tonality. This is also apparent when Nakamura takes his turn in the spotlight and the rhythmic flourishes of the bass/drums duo.

A tense, expectant ambiance permeates the entire album from the opening bass lines of "Yurei" and its cinematic mood to the otherworldly sounds of "65." They both feature Saadat's visceral chanting and his wailing soprano saxophone. Nakamura's guitar lets forth red- hot chords while Kato beats out an insistent beat. Shimizu completes the collective performance with his electric and electrifying swagger. Thus, the recording comes full circle thematically speaking.

In addition to being a vibrant slice of nostalgia, 1994-Live at CBGB highlights a unique period in this multifaceted artist's output, making for a rewarding listening experience and serving as a superb introduction to Saadat's work and the sounds of the legendary venue.

Comments