● Birthplace: Isfahan
Biography
He taught a child with Ostad Tabatabai, a violin blind musician. From 12 years to Ostad Taj Esfahani, to learn vocal rows of payment. After a while, he also took advantage of the presence of Jalil Shahnaz and Hassan Kasaii in the field of traditional music rows. At 14, Professor Taj Esfahani, he advised him of reading and recording the page, and recommended to learn the entire rows. In 1976, in the Barbad test and homologous, Ali Akbar Khan Shahnazi, Dariush Safvat, Ali Tajvidi, and… Won the first rank of patrol. Since 1981 the death of Taj Esfahani was in charge of a continuation of music education. In 1983, he published his first album to the recommendation of Faramarz Payvar with the name: Fire of the heart and remembered Mr the Taj Esfahani. In the same year, he won his science with Ostad Kasai and Master Shahnaz. In the year 1984 – 1985, with a vocal called: A Tale of tress in Mahoor and with the Reed Kiani race, in the Amir Kabir series, his voice was broadcast from television. In the early 1990s, he presented works like: Nazlook, Lotus, Cedar Simin, iconic master, and… It has become a known face. In the same year, honorary Caspian with homologous such as Jalal Zolfonoon, Behzad Forouhari, Shahriar Faridyousefi, improvised works. He carried out concerts in European and Northern America in the late seventies. After that, his works have been distributed regularly in Iran and has held various concerts in countries such as Japan, Germany, Canada and England. During his four decades of professional activity, he has succeeded in publishing more than 60 music albums in traditional styles, orchestral and fusion, with cooperation homologous such as: Parviz Meshkatian, Hossein Alizadeh, Ali Tajvidi, Abbas Khoshdel, Mohammad Ali Kiani Nezhad, Mehrdad Pazoki, Mohammad Jalil Endalibi, Javad Lashkari, Mohammad Moosavi, Jalal Zolfonoon, Abel Ali F, Hasan Mirzakhani, Mohammad Javad Zarabian, Ali Jafarian, Abdolhossein Barazandeh, Fazlollah Tavakol, Mohammad Reza Cherali, Fereidoun Shahbazian, Kambiz Roshan Ravan, and… Has been. From his famous albums, he can refer to the president of patience, secret and need, sarsimin, Passion of love, Lotus, Iconic Master, Sarhomay, Afsaneh, Mastaneh, Aman of separation, Hengameh and lovers night. In 2010, he succeeded in obtaining the show of lasting figures.
Honors
– The Apprentice of Master Taj Esfahani, in a period of more than 11 years, from the age of 12 until his death
– The Apprentice of Master Hassan Kasai’s and Master Jalil Shahnaz in the field of music rows
– First place of Barbad test in 1976
– Singer The best-selling album in Iran music history as: Lotus
– Receiving the official badge of enduring figures in 2010
From side Music people
Master Abbas Khoshdel (composer Lotus album):
Orchestra and singer to live song. This is a song that can pinnacle vocals and vice versa to pull. It has shown experience. A coma that Mr. Eftekhari was a very optimistic singer and owner, but the listeners recognized Mr. Eftekhari with Lotus. In my opinion, Mr. Eftekhari is one of the best singers that emerged after the revolution. In terms of sound breadth and sound color and sound charm, and especially the information that is especially true in the heat of the poetry. Mr. Eftekhari is very desirable and perhaps more valued in things like Lotus and mysteries. By taking the above content and because I have a strong interest in his voice, I am sometimes influenced by this lovely reader why should I use loose work? Mr. Eftekhari says that if I need to read the work, it should only be made from Khoshdel and it takes three years to three years. It’s really the same thing. The Razit took three years to prepare and have heard of orchestration and coloring perhaps less. Now most singers work fine and are my respect. If it is a reader who has an honorary executive condition and my melody is able to run because of Lotus, a sound and the mysteries, I would gladly welcome these readers.
Master Mohammad Jalil Endalibi (composer of Integral album of separation):
Alireza Eftekhari is undoubtedly one of the best and brightest our readers. But he needs support and encouragement in the course of their artistic work, which is a lot of what these days are. At this time, the work of artists has become very hard, and with this heavy costs, the man wants to deal with this situation. Alireza Eftekhari is the category of artists that have always worked in this situation, though the trend is upward and low. He lost much of his forestall in the commute that Alireza Eftekhari was between traditional and pop music. Alireza Eftekhari’s work is better than the artists of this field, such as Shahram Nazeri, but they know what to do, if the honorary is easier.
Abolhassan Mokhmatabad (journalist and music critic):
One day a composers who had published a lot of work with Mr. Eftekhari said: “This is an astounding sound. Even if the pickle eats, he calls it inside the studio without a defect of his larynx. This was not an exaggeration word, the gender of Mr. Eftekhari’s voice and style he sings in singing (singing School of Isfahan) sent a phenomenon in singing. I have heard the vocal of Mr. Eftekhari in the opposite of three times (private executive) on the poem of Hafez: Zahed Zahir, we are not aware of, in our right, whatever is not reluctantly, which is one of the few songs opposing the three times lasting in Iran’s music history. I guess Mr. Eftekhari could have been a weight in the Iranian vocal music, but he chose a way that people would know him more ballad to Bard and of course reading a ballad that experiences in singing and… And this means the sink in the sight of the elite music.
Seyed Alireza Miralinaghi (critic and scholar music):
Alireza Eftekhari, very little interview, say it is not an interview and does not write anything. He only reads his voice, the most sturdy reason for his being. His voice is the most popular voice in the memory of people in the aftermath of the revolution. If we were to consider before the 1978 (two years ago, the honor was given to the first-person test), and the comparison criterion would be between several voices, each with their own features in the Singing field, without the use of linear and stair method, i.e. First, second, third… To score artists, we must accept that the executive capabilities of Alireza Eftekhari are a collection that will not compare him with anyone and give him a special place. In a period of less than 20 years in the scene, he has been given a long time in a staged and turns of all of these readers with each other its exclusive and proprietary features, and the common way many of them The same is what they accept from the Maestro Shajarian, and to reject it, the honorary is naturally dismissed from the heavy shadow pressure of the master. He is the result of a city that has a strong tradition of singing and is still the best master in the old style of Master Mhmadtahrpor in the same city, and a solo tradition and vocal response is also the perfection. Despite the big, like Master Kasai and Master Shahnaz, the problem can be found to be an honorary ability in a different reader. The ability to promise old is just six-dong Read and Chahchaheh. In the age of advanced means of recording and playback, and in a period that ninety and more people’s musical needs are educated through the audio commodity, this is less physical abilities than it can do. It is an honorary to read different styles and methods, and not even the music of different cultural classes, and there is no reader who can read the Mr Row well, of course, if it is motivated and practiced, and the readers ‘ model of the Flowers app is good to bring water, both percussion and An old ballad read like a bar: fire a heart, by setting the master Payvar, who heard it, is also responsible for a good local song, and a popular music with the same tone and accent, even more hot and warm than the original. Just like a flexible, ready-made acting that runs contrasting and varying roles with skills and makes itself a great way to make the viewers feel the flow of life and presence behind this role. Honorary in singing such a personality. Acting into a thousand faces. In the report, there is no other reader on the recorded works of Iranian music, these are all different, varied, different pieces with each other and belong to a reader. The honorary has a size of several people, read and record, and its repertoire is surprisingly diverse.
I have heard and read that the choice of Alireza Eftekhari will take a bug in reading a certain or rata basis parts. The problem is not a strange thing and the part of the work is an artist. But the integrity of the existence of the artist is not based on his judgments. However, those who take elite bugs over their reading and braids are more than buyers and supporters of their work in the minority, and it’s a great majority to ascertain the task of the artist. It is important to have a reader with what reads the feeling of empathy and intimacy and is present in his voice. If the honorary has a lot of success, it owes the same part, otherwise it is not a strong and powerful voice in singing everything.
He stands upon platform that no one can impose to him and if he reads a piece, he has been in the framework of his tastes anyway. And the honorary has proven that for any kind of reading, even pop music based on traditional and local melodies also has power and ability. If the conditions of implementation of artistic and elite works, ranging from composer and orchestra ready and good song and superior song and… And producer with culture, ready, again is the honorary that is ready for reading. Others, with the general effects and intellectuals to cover their inability and disabilities, when it comes to work, they actually do… Aside from that, the conditions for performing elite works are not socially available at all. Because it is not only an artist, it is the conditions of society that makes it. I remembered that I was a visit with Mr. Manuchehr Maroufi, a few and a few years ago, and spoke of works that his dear father had set up for the Great orchestra and singing and has not been implemented until now. I asked why they were not running? I replied: ‘ My father is looking for a good and expressive voice and don’t like any sound. I asked them if they were alive now, who did they read? Replied: Honorary. Just to be Alireza Eftekhari.
Seyed Emad Tohidi (composer album: Qalandarvar):
The first person of the Barbad test in 1976, from Isfahan, has come to a powerful vocal school, and however, in addition to the influences of the master Taj Esfahani, he was taken from the study of Adib Khansari and Taherzadeh and the luggage, but when many singers, the Metamorphosis of a distinguished song singing. He tried to imitate him and had to come to the field and drew a special attention. Singing in various works and even refreshing a number of old works by him, such as the power, warmth and beauty that in the contemporary history of Iranian music, the reader is not found to be a skilled level in the implementation of different designs. Alireza Eftekhari is a man of tolerance and people of orbit. He does not have a arrogant look at rocks people. People love him and have memories with his voice. I have heard about the Mr of the Crown, which is in the bakery, taxi, and beside the Zayanderud, there is no one to read to the Earth, the honorary of the true-loving people is rocks and does not avoid them. Even the serious critics of these years, who have a good reason for their criticism, including pop albums, and what are the reasons why the artist should not be available in a common belief; no! he reads very well!
Ali Shirazi (Vocal music singer and researcher):
The music of Ali Reza Eftekhari is not only among the singers after the revolution, which among all the singers of Iran one-hundred years of recording in our country is privileged and low. The power and flexibility of simultaneous, proper volume, heat, high breadth, clarity and transparency, and the ability of THARIRHA and the tumbling and speed of them, and to accelerate them, are the owner of a sound that is takes in the heart of all, which has seen the collection of these features in the recent century readers in Iran. We. Other characteristic of the sound of Eftekhari and his voices in different parts of Bam, Middle and peak. In the last century and even more closely, they are less readers who bid to change their sound from bass to middle or peak, the color of their voices. The attribute of the timekeeping among all our readers was Ostad Gholamhossein Banan and his name, because of the bright aner of all the voices of this century shines. The name of Eftekhari is also fits in this checklist, except for the few enthusing that have changed during two-time sound of his voice. Another feature of the sound is heat. He is the hypernym of the “O” in the form of his words and the interpretation of Ostad Noorali Khan Boroumand. The only time that is heavily in the form of “Iraj” sound is the function of the same color, which is a sound singer and owner of one of the most pleasing centuries of the century in its implementation. A. Eftekhari also clearly defines the words of poetry and, in a case that is the requirement of the work, is a good letter to the words of the poem. In a more complete expression of his sound has the power and brightness of my sound, the color and heat of the sound of the Banan, especially at the point of Bam, and the noise of the crown and time in the composition of Tahrirha and its instruments is influenced by the Shajarian. However, the experts and the low number of music criticism in Iran, with Anticadati who entered on a book of a Eftekhari, always ignore the positive characteristics of his sound. According to an old tradition, we are not in Iran in the form of Maktoob in the field of music, in contrast to accessorize, unfortunately the margin and space of our music is full of criticism of oral and more and more crosses with aunt’s words. Therefore, the author of the Critique of music has shown a little description.
Works
1983 – Dell Fire – Abdolhossein Barazandeh and supervised by Faramarz Payvar
1985 – Mehrorzan – By Mohammad Ali Kiani Nezhad
1985 – Aftab counterpart – By Emad RAM
1988 – Secret and need – By Hossein Alizadeh
1989 – The effect of Mohammad Mousavi
1991 – Caravan – By Abdolhossein Barazandeh
– Gharib Bostan – By Mohammad Jalil Endalibi
– Official Patience – By Parviz Meshkatian
– Raz Gol – By Mohammad Azari and Mojtaba Mirzadeh and Alireza Eftekhari
– Sarv Simin – By Mohammad Ali Kiani Nezhad
– Sarhomay – By Jalal Zolfonoon and Abel Ali F
– Cute look – By Mohammad Javad Zarabian
1995 – Passion of love – By Fereidoun Shahbazian
1996 – Lotus – By Abbas Khoshdel
1996 – The most beautiful – By Mohammad Javad Zarabian
1996 – Your guest – By Jamshid Endalibi
1997 – Safe from separation – By Mohammad Jalil Endalibi
1998 – The legend – By Ali Jafarian effect
1998 – Iconic Master – By Ali Tajvidi
1998 – Fresh to fresh – By Mohammad Jalil Endalibi
1998 – Hengameh – By Hassan Mirza Khani’s effect
1999 – The aroma of the lily – By Mohammad Javad Zarabian
1999 – Lotus 2 – By Abbas Khoshdel
1999 – My voice now – By Abbas Khoshdel
1999 – Autumn – By Mehrdad Pazoki
1999 – Bye – By Mohammad Jalil Endalibi
2000 – Hezar Bahar flower – By Kambiz Roshan Ravan
2000 – The Shepherd of love – By Abbas Khoshdel
2000 – Clove – By Javad Lashkari
2000 – Nesima – By Fazlollah Tavakol
2000 – Mastaneh – By Jalal Zolfonoon and Alireza Eftekhari
2001 – Welcome – By Javad Lashkari
2001 – The neighbour – By ATA Jangak
2001 – Laughing Baron – By Mehrdad Pazoki
2002 – The lost love – By Javad Lashkari
2002 – Lovers Night – By Jalal Zolfonoon and Alireza Eftekhari
2003 – Baba Taher – By Jamshid Endalibi
2003 – The Time Sadness – By Fazlollah Tavakol
2003 – Candle Story – By Jamshid Barazandeh, Hossein Yousef Zamani, Kambiz Roshan Ravan, Ali Jafarian, Ali Bakan, Mahyar Firuz Bakht, Majid Akhshabi and Homayoun Shajarian
2003 – Love Glory – By fereydoon pleasing
– London concert – By Mohammad Jalil Endalibi
2003 – Looking Del – By Ali Tajvidi
2004 – Brady of Forgotten – By Habibollah Badiee, Mehdi Khaledi, Asadollah Malek
2004 – Youth Diary – By Fazlollah Tavakol
2005 – Sayyad – By Akbar Mohseni and Mohammad Reza Cherali
2006 – Love Song – By Behzad Khadarhanor
2006 – Khorasan Month – By Hassan Mirzakhani
2006 – You Come – By Hasan Mirzakhani
2007 – Travel – By Behzad Khadarahare and Alireza Eftekhari
2007 – Air of Thee – By Mohammad Reza Cherali
2007 – The Fragrance of Mehr – By fereydoon pleasing
2007 – Raz-i – By Abbas Khoshdel
2007 – Qalandeyar – By seyed Emad Tohidi
2007 – Roaring – By Fardin Karim Khavari
2008 – You Only Know – By Ali Kheshinejad and Amir Rahimi Azar
2008 – Ashgha Hi, Ashqa greetings – By Fereydoun Khoshnoud
2008 – The Voice of Masters – By Asadollah Malek, Fazloallah Tavakol, Jahanbakhsh Pazoki and Akbar Mohseni
2010 – Captive – By Mohammad Jalil Endalibi
2010 – Silk Road Concert – By Mohammad Jalil Endalibi, Abel Ali F and Ramiz Gholi F
2011 – The Night of Alleys – By effect of fereydoon pleasing and inspired honorary
2012 – Jam Mosaffa – By Mohsen Hosseini, Habibollah Badiei and Alireza Eftekhari
2013 – Where Is Friend’s House – By Mehdi blurred, on the hymns of the live-recall Sohrab Sepehri
2014 – King of Seasons – By Hossein Paravinia’s effect
