The father of Seyyed Ali-Asghar, who was a famous religious man, brought him to the class of Sheikh Abd ol-Mo’men, so that he would be able to read and sing the Quran correctly. Kordestani spent several years learning to sing Quran by Sheikh Abd ol-Mo’men and became an unprecedented Quran singer, so that his reputation reached over the borders resulting in his being invited to Egypt.

The people knew him because of his reputation. He was a real, unassuming person, who sang for all of the people who liked his voice (music).

Kordestani was a little bit over 40 years old, when he was invited by one of his admirers Mirza Ebrahim Khan, who requested him to come to Tehran. Mirza Ebrahim Khan brought him to a ceremony where one of the present singers was Ghamar ol-Moluk Vaziri, who was the most outstanding female singer of her time.

After Ghamar finished her singing, Kordestani were introduced by Mirza Ebrahim Khan to the attendees und was requested to sing. The accompanists put their instruments aside, as they didn’t know him. Kordestani sang one note higher than the pitch of Ghamar’s voice, much to the suprise (astonishment) of all the attendees, especially the present musiciens, since so a pitch from a male singer seemed unimaginable.

After the end of ceremony some of the attendees and present musicians insisted on Kordestani staying in Tehran. Through the financial support of Mirza Ebrahim Khan, Kordestani remained one month in Tehran and recorded nearly 30 songs on records with the Polyphon recording company. After that he returned to Sanandaj.

It isn’t known who accompanied Seyyed Ali Asghar Kordetani on these records, but the style of tar and violin playing is very near to Morteza Khan’s and his brother Musa Khan’s style. The author believes that it is not possible to find a tar player who plays so similarly to Morteza Khan.

These records were not protected carefully; therefore there are only 13 records which survived.

Seyyed Ali Asghar Kordestani devised his own style of Kurdish music. The fact that titles like Ghamangiz, Bayate Tork, Hejaz, etc. belong to Persian classical music and not to Kurdish language and music, point out Kordestani’s own style, which perfectly combines Kurdish music with Persian classical.

Kordestani has been dearly missed since his death in 1936 by all of his admirers and the world of Kurdish music.