Cyminology in New York

If ever a group was suited for the cosmopolitan Big Apple, it would be Cyminology. Consisting of the Iranian-German vocalist Cymin Samawatie, the French-German Benedikt Jahnel on piano, the Indian-German Ketan Bhatti on drums and percussion, along with the non-hyphenated German Ralf Schwarz on bass, the members of Cyminology might have very diverse backgrounds, but they share a unified musical spirit. Out of many influences, they have developed a distinct sound all their own, blending jazz, world music influences, and Persian poetry. Accomplished road warriors, they are currently on the New York leg of a tour supporting As Ney, their debut CD for the prestigious ECM label (and third overall). It has offered New Yorkers a chance to hear them in intimate concerts settings perfectly suited to their graceful, haunting music, as was the case Saturday night at alwan for the arts.

Samawatie is a poised performer with a striking stage-presence, which she established immediately on the opening song, Hafiz’s “Por sa ssedaa (Resonating),” entering after an extended instrumental prelude, dramatically vocalizing as she took the stage. Evidently, Cyminology’s live performances notably also allow the musicians take more space to stretch out in their solos, particularly Jahnel on piano, which should well satisfy more orthodox jazz listeners. In fact, Samawatie took visible joy his rhapsodic runs on their adaptation of Rumi’s “As Ney,” as his churning rhythm section-mates egged him on.

While the lion’s share of their concert drew from the current ECM release, they also included one song from each previous CD, including a rousing interpretation of Khayyam’s poetry, featuring a dynamic but tasteful drum and percussion solo from Bhatti. The first set concluded with another truly transformative take on the Hafiz’s verse, marked by the trance-inducing rhythms of Jahnel’s piano.

The shorter second set essentially consisted of Samawatie’s triptych of original verse, “Kalaam/Dassthaa/Delbasstegi (Words/Hands/Closeness),” which she impressively translated for the audience from contemporary Iranian Persian, then to German, and eventually into English. It is a richly textured piece, evolving seamlessly between movements, reaching a crescendo with Jahnel’s dazzling solo, which literally brought the pianist out of his seat.

Even if you do not understand Samawatie’s Persian lyrics, the spiritual nature of Cyminology’s music is clearly audible. Particularly in live performance, her arresting vocals are a transcendent listening experience. Their final New York gig of the As Ney tour will be at Puppets Jazz in Brooklyn, tomorrow night.

Poetic Cyminology

As Ney
By Cyminology
ECM Records 2084

Cymin Samawatie, born and raised in Germany, would not be allowed to front her genre-defying group Cyminology in her family’s native Iran. That is Iran’s loss. Blending jazz influences, modernist chamber music, and Persian poetry, Cyminology has a richly distinctive sound, which is dramatically captured on their first ECM release, As Ney.

As still one of the world’s most widely read poets, the thirteenth century Rumi’s Persian verse proves a fitting starting point for Cyminology’s dialogue between the ancient and contemporary with the title track “As Ney (Song of the Reed-Flute).” Adapted as a gorgeous song of longing by Samawatie, it is an excellent example of the mystical mood they create through her otherworldly vocals and the group’s evocative use of space. Samawatie also covers the fourteenth century Iranian poet Hafiz, giving “Por sa ssedaa (Resonating)” a distinctly modern sound, thanks to Ralf Schwarz’s prominent bass lines and Benedikt Jahnel’s pulsating piano vamps.

Cyminology then looks to the mid twentieth century with Jahnel’s setting of “Naagofte (Untold)” by the Iranian modernist feminist poet Forough Farrokhzaad. A trailblazing filmmaker as well as poet, Forough’s life was tragically cut short by an auto accident. Her words, which translate as: “Hang no lock of silence on these lips/For I must share my secret/And reach the ears of the world,” take on a multiplicity of meanings in Samawatie’s sensitive rendition. In an arresting arrangement, Samawatie’s wordless vocals blend seamlessly with composer Jahnel’s cascading piano, before finally concluding with Forough’s brief poem.

Samawatie’s own lyrics are decidedly spiritual in content, like the haunting “Niyaayash (Prayer),” which is strikingly shaped by Jahnel’s delicate piano figures and Ketan Bhatti’s shimmering percussive accents. While Cyminology employs the standard jazz instrumentation of a vocalist supported by a trio of piano, drums, and bass, definitively classifying their music is a tricky proposition. Perhaps the most explicitly jazz-oriented moments can be heard from Jahnel on the three-part “Kalaam/Dassthaa/Delbasstegi (Words/Hands/Closeness),” but their musicianship is consistently impressive on all tracks.

Throughout As Ney, Cyminology’s easy rapport is audibly evident in their graceful interplay and the peaceful vibe of their music. Synthesizing their diverse influences, Cyminology creates truly transfixing music, with no one seeking the solo spotlight at the expense of group solidarity. Even Samawatie’s vocals sound like an equal and inseparable part of Cyminology’s whole. As Ney is a richly textured, refreshingly thoughtful recording. It is quite distinct from other jazz and world music releases, but fans of those genres should find it accessible and rewarding.

Note: Cyminology will be performing live in New York on May 7th at the Cornelia Street Café, May 9th at Alwan for the Arts, and May 12th at Puppetsjazz in Brooklyn.