According to the Version of
Ostad Abdollah Davami
Born in 1891, Abdollah Davami began to study singing with Ali Khan Nayeb-os-Saltaneh and also with Aqa Hoseyn-Qoli, Hoseyn Khan Kamanche-kesh, Darvish Khan, Majd-oz-Zakerin and Mirza Abdollah. His prodigal memory enabled him to know countless songs and tasnifs by heart. In he night classes of the conservatoire he taught such would-be musicians of that time as Fakhereh Saba, Mahmud Karimi, Marziyeh, Khatereh Parvaneh, Homa, Elaheh. M.-R. Shajarian was also one of his pupils. Of his few recordings one can mention a tasnif-e Afshari from Aref Qazvini.
There is a story which shows his character clearly: In Darvish Khan's second tour of Tbilisi. Aref who went to bid farewell asked him to include a politically inclined and at the same time famous song during the recordings. Darvish Khan refused to accept that, but Davami himself decided to sing it during a recording session. Darvish Khan who was accompanying him became so angry that he tore apart his instrument. Davami managed to calm him and at last he accepted to include the song with a minor change at the beginning in his recording.
It has some exceptional merits and could be of major usage for the present generation and also could be applied for the generations to come an this is because of its proper artistic qualities as well as the masterly realizations of gushehs of radif by ostad.
He benefited from a rare dexterity in singing vocal radif. A collection of vocal radif and old tasnifs (including 186 titles by the famous artists and tasnif-makers Sheyda, Shurideh, Aref and darvish Khan) are transcribed by Ostad Faramarz Payvar in 1950s after a suggestion was made by Ostad Davami himself. Before him, ostad abolhasan Saba had made some arrangements of some of tasnifs, which unfortunately were left unpublished due to his health frailty. The present collection includes the same transcriptions made by Ostad Faramarz Payvar, those published by Mahoor Institute of Culture and Art in 1996.
Mahoor is truly indebted to Mohsen Keramati for spend time for listening to the present collection and making valuable comments.