Like Alireza Eftekhari, many other vocalists and musicians are also of the opinion that a good percentage of the music we currently listen to is inspired by old styles and songs, if not outright sampling them or using an interpolation. Therefore, many of the new song concepts we are hearing are recycled.
After years away from the spotlight, nonetheless, Eftekhari is now busy working with the National Orchestra as vocalist. In the following interview with Honaronline, he talks about his job and the state of today’s music:
When did you start singing? How did you master your genre and with whose help?
I began singing from an early age. At the age of 12, I attended the classes of classical musician and singer Jalal Taj-Esfahani. Two years later I recorded my first songs. This didn’t go well with Master Taj. He said it was too early for me to release an album. When he passed away, at his funeral I met with Parviz Meshkatian and Mohammad Reza Shajarian. After hearing me sing, Meshkatian asked me to come to Tehran for work. From then on, I started working professionally with many critically-acclaimed musicians and composers like Mohammad Jalil Andalib, Mohammad Ali Kianinejad, and Hossein Alizadeh. We recorded and released a number of popular albums and songs. It established me as the only successful Esfahani vocalist in Tehran.
Some say vocalists like Seyyed Reza Tabatabaei and Ali Asghar Shahzeidi failed to make it big in music because of their instructor Hassan Kassai. What is your take on that?
If you work hard, you know where and when to deliver your work. If not, you will stop half way through your career. Shahzeidi was a resilient singer. He could have made it big, but he chose not to. Instead, he is teaching music which is fine. For the first time, I signed a contract to sing four songs for TV. They were looking for new voices as most of the TV singers were old and out of reach. It seems some of the most talented acts got taken way too soon. I did sing the songs however, and because of that, I’m still around.
What qualifications must a singer have? What qualities do you need to succeed?
In regard to the materialization of tunes, image comes second to voice and musical talent. if you want to make music, you have to know how to sing or play an instrument. Anyone with good voice can learn the craft. He can educate himself on the back of nearly every musician from any genre. The problem is, all of today’s singers sound the same and they all got lost in the shuffle. We have to help the young artists and look for fresh voices. People like to listen to music. A good voice brings hope to them. Unfortunately, some are singing rap songs because they cannot flex their pipes. In rural areas, there are voice talents that are yet to be discovered. We have a responsibility to find and train them. We could organize music shows and contests to spot them.
You once said if the government allocates some budget, you could train new talents. Are you still willing to do so?
Absolutely, If the government is willing to pay my year’s salary, I am willing to find and instruct ten new gems. That’s my only condition. It is an old practice though. Critically-acclaimed musicians and composers used to get paid to teach the truly talented singers. Nowadays, some rich kids with tasteless tunes and no talent can dictate label signings. And, if enough people start talking about something, people end up listening out of curiosity alone - even if the music itself is mediocre. It serves the industry if we spot and educate new talents. All new respectable artists need to have their fair share of acclaim.
Some have come to believe that classical music has been hijacked and monopolized by certain individuals. They release their own albums and they do everything they can to stop newcomers from getting on the music ladder. How is that?
If a certain group is doing all this and more, they are not part of the industry. I don’t mean just music producers. These people work hard and support others, always. The problem is the state of music itself. It is messed up. When a new album contract is signed, the singer gets the least amount of money. The same is true for those who play musical instruments. This is wrong. The same thing is happening in the movie industry, although some directors and writers get paid well.
The IRIB broadcasts music. When they broadcast your songs, do they call you for permission?
Not at all, even when I release a new song. I have to call and ask them to pay for playing my songs. What is happening at the IRIB is not standard practice at all. The good news is that we have the Vahdat Hall. They are reliable partners and always supportive. I would like to thank all those who are working behind the scene. They encouraged and supported me to become the new vocalist of National Orchestra. It’s never too late to get back on the spotlight. The quality of my voice is still there and I’m willing to sing for as long as it lasts.
How is it going with the National Orchestra, especially with new conductor Fereydoun Shahbazian?
Our partnership is excellent. There are rules and regulations for everyone to follow. You cannot even use your own car to get to work. We have to stay together, stick together, and play together. This kind of order and standard procedure should be rule number one for other orchestras and music groups.
You have already released several successful albums, but you are no longer working that hard. Any forthcoming album releases?
To release a new album, I need to find some feel-good songs. But I can no longer find new songs that are as good as the old songs. The older generation of musicians has done their job. It is now up to the younger generation to take the lead. There are plenty of new artists coming out who are talented and vying for our ears.
My honest answer is that we once had many critically-acclaimed musicians and many feel-good songs. I took advantage of this excellent opportunity and never missed out any good song that was pitched to me. I never turned down the good material, even when I was too busy. I knew where I was. Music producers loved my works. That’s why sometimes I had to release three albums simultaneously. The producers were at fault because they never coordinated their schedules. People liked my music and it got major radio spins. I’m so delighted I didn’t sit on my hands and instead took the chance to make my craft mainstream. I fought my way into the spotlight and have been assimilated by fans.
It seems the IRIB was more serious about classical music back then than it is now?
True and it’s hard not to wonder. The moment the IRIB airs a popular music program it immediately gets it off the air, only to replace it with another program. People like me would very much like to produce music television programs. This happened before with great success and it could happen again, especially during the New Year holiday season. We had so many popular music television programs that are no longer around.
Any particular wish for the New Year?
I wish every success for the youth. They should try and find happiness, prosperity, joy and everything else they want, and they should never wait for help. They are the ones that should pay greater attention to themselves. This New Year may they be interested in changes, for that is the only way their future ahead would unfold various astonishments for them.
Translation by Bobby Naderi