Pi Recordings: Pi55 
http://www.pirecordings.com/album/pi55

* Hafez Modirzadeh: soprano saxophone (2),
                    alto saxophone (1, 4, 8),
                    tenor saxophone (16-18),
                    alto flute (7)
                    alto clarinet (13, 15),
                    karna, chains, bells, rattles (3-5),
                    ney (1)

+ ETHEL (all tracks, except 14)
  * Cornelius Dufallo: violin
  * Ralph Farris: viola
  * Dorothy Lawson: cello
  * Mary Rowell: violin

* Mili Bermejo          : vocals (1, 3, 13, 15-18)
* Amir ElSaffar         : trumpet (1, 3-5, 13, 16, 17),
                          vocals, santur (13, 15, 18)
* Amir Abbas Etemadzadeh: tombak (1, 6-8, 13-15),
                          daf (1, 4, 16-18)
                          bells (5)
* Faraz Minooei         : santur (13-16, 18)
                          “Resistencia” solo (14)
 
http://www.hafezmodirzadeh.com/ 
http://www.ethelcentral.org/ 
http://www.milibermejo.com/ 
http://www.amirelsaffar.com/ 
http://www.amirschoolofmusic.com/ 
http://www.farazminooei.com/

Recorded on July 24 & 25, 2011.
Recorded, mixed and mastered by Gary Mankin (http://www.garymankin.com/).


Reviews
~~~~~~~

By George W. Harris 
http://www.jazzweekly.com/2014/12/hafez-modirzadeh-in-convergence-liberation/

Multi-reedist Hafez Modirzadeh creates a mix of folk, jazz and even modern
classical here in a collection of suites that have musicians coming in and out
of the scene like an English mystery novel. A collection of strings includes
Ralph Farris/va, Dorothy Lawson/cel and Mary Rowell, who provide a mix of
background and alter ego to the various saxes delivered by the leader. Mili
Bermejo adds some vocals , and most effectively so on the earthy “Sor Juana”
suite, wile Amir ElSaffar’s trumpet, voic and santur add both a jazz and
otherworldly atmosphere during the “Karna Passages” and the penetrating “La
ANgustia d los Amantes” that dances alng with Modrizadeh’s alto sax.  Lots of
various percussion sounds are contributed by Amir Abbas Etemadzadeh who keeps
the music moving forward to create moves of mystical nights as on “Las Orillas
del Mar” or more Middle Eastern moods during “Templada.” Various agonizing
moods are conveyed here, with hints of romance and celebration.

--

By Hrayr Attarian 
http://www.allaboutjazz.com/in-convergence-liberation-hafez-modirzadeh-pi-recordings-review-by-hrayr-attarian.php

By Karl Ackermann 
http://www.allaboutjazz.com/in-convergence-liberation-hafez-modirzadeh-pi-recordings-review-by-karl-ackermann.php

By Dan Bilawsky 
http://www.allaboutjazz.com/in-convergence-liberation-hafez-modirzadeh-pi-recordings-review-by-dan-bilawsky.php

By Mike Shanley 
http://jazztimes.com/articles/147682-in-convergence-liberation-hafez-modirzadeh

Rasmus Klockljung (se) 
http://www.lira.se/skivrecension/in-convergence-liberation/

Por Sergio Piccirilli (es) 
http://elintruso.com/2014/10/21/hafez-modirzadeh-in-convergence-liberation/